You’d have to be Scrooge himself not to find something to like within this sparkling gift of an album.

At once, Harry Connick’s big band jumps out of the box, let loose by a flurry of Arthur Latin’s drums and a blast from the 14 horns. The blaze is hot enough to instantly melt the song’s title character “Frosty the Snowman.” If country-western is what sets the foot a-tappin’ dig further under the tree for Connick’s duet with veteran George Jones on the leader’s original “Nothin’ New for New Year.”

This one should light up country radio stations around the nation for many years to come. (Connick, incidentally, is a huge, long-time fan of Jones and was thrilled when he agreed to record with him.) The sway of the Caribbean breezes through the innocence of “Mary’s Little Boy Child,” a Christmas song made famous by Harry Belafonte. You’re stocking need a little funk, a little New Orleans? Harry for the Holidays packs that too on a good-timin’ “Santa Claus Is Coming to Town” that spotlights some of the big band’s many fine horn players.

Connick has some fun here, calling out, “Momma put the pot on. He’s hungry.” The mood continues on another Connick original, “The Happy Elf,” which includes a twinkling piano solo. Connick softly recounts the story of Christmas on his devotional “I Come with Love” which he delivers with wonderfully understated emotion. Traditional Yuletide fare, all smartly arranged by Connick, includes tunes such as “I’ll Be Home for Christmas” and “Oh Little Town of Bethlehem.”

‘While “you better watch out” might be good advice for those contemplating genre jumping on a single release, Connick makes it work with excellence on all accounts. His arrangements are intelligent and adult yet fun enough for the kids. They are carried out by his group of crackerjack musicians who can swerve on a curve and stop on a dime.

His string orchestrations (for the 70-pieces) ring with tastefulness and avoid the downfall of syrupy interludes. Striking, too, is Connick’s growth as a vocalist—he’s increased his range and nailed his individual style. His vocal dexterity brightens the light-heartedness of the bouncing “Frosty” and warms the quiet closing moments of “Silent Night,” which is blessed with Leroy Jones’ brilliant trumpet.