JC Hopkins Biggish Band plays a kind of swank, stylish big band jazz that mixes elements of swing and the classic big band era with elements from other eras of musical history so that the music is somehow both retro and modern. The songs here are good, solid efforts with arrangements that highlight the band’s talents. Most important, both the band and vocalist Queen Esther manage to convey that they are having real fun playing and singing this music without resorting to over-the-top gimmicks. There’s just too much good feeling about these performances not to be caught up in them. The emotions that come across are genuine instead of forced or produced. That goes a long way toward making this CD an enjoyable listen.

All ten of the songs are originals. Four are credited to Hopkins alone: the title track, “Small Town,” “Someday,” “Show Biz’ness,” and “Settle Down.” One, “Ice Cream Song,” is an instrumental credited to the entire band. One, “One Never Knows,” was co-written with Norah Jones, while the rest were co-written with Madeleine Peyroux. All are solid numbers that, even with the occasional rough edge or awkward turn of phrase, still come off as completely believable in their genre. That’s because Underneath a Brooklyn Moon is not an imitation of anything. It takes the care and enthusiasm of major artists of the big band era as its basis, but it does not seek to slavishly imitate the sound of a particular era.

The musicians in this band are all incredible. Baritone saxophonist Claire Daly has played with Aretha Franklin, James Brown, and Joe Williams. Percussionist Warren Smith (who plays vibes here) has worked with Nat King Cole and Charles Mingus. Coleman Hawkins-influenced tenor man Patience Higgins is an alumni of Ellington’s band and Stevie Wonder’s. Lewis “Flip” Barnes is known for his work with the beloved William Parker Quartet. On it goes, with each chair filled by a unique player who is a stunning musician in his or her own right, not unlike the famous lineups of the classic Ellington or Basie bands. Like those masters, Hopkins oversees the proceedings from his piano, offering leadership and encouragement.

Fronting this band as featured vocalist is Queen Esther, a child of the South who grew up hearing the rock/blues of the 70s--the Allman Brothers and Little Feat—rub shoulders with the blues of Muddy Waters and the jazz stylings of singers like Betty Carter and Sarah Vaughn. She’s well-versed in the blues, having performed with blues guitar legend Hubert Sumlin and James ‘Blood’ Ulmer. Her work on this CD is ultra-hip, not because of who she reminds the listener of, but precisely because, whatever influences she brings to the table, she manages to make you think of no one but herself.

When this CD arrived in the mail, it was impossible to tell, at first glance, whether it would be something special and interesting, or just another misplaced exercise in nostalgia. It’s an album that deserves to be taken seriously on its own terms, without any judgments or preconceptions. There is musical depth in the arrangements, but there is plenty of heart and soul, and plenty of fun, too, in these grooves.