Houk and Szentes then brought this segment to a close, with “Pyramid,” a number that could have been dubbed, “Variations on a Theme of Slink.” And in another wonderful pas de deux, Khristin Steckmann and Prottas provided requisite oomph in “Cross Hands Boogie,” with music by Derek New.

And what nitery would be complete without a vamping singer? Jones called upon the talents of Angelina Brower, who, in a smoky rendition, crooned, “He Likes It Slow,” composed by William Benton Overstreet. Followed by Kid Ory’s “Blues for Jimmy,” Cherkasov and Szentes danced with a breezy aplomb, their ardor still readily apparent, and Szentes’ attentiveness nonpareil. Bandleader Jones, tickling the ivories throughout, added a nice touch on celesta. 

With the parade of loveliness continuing, Steckmann and Kruger joined Prottas in “Basin St. Blues,” after which a quintet of dancers, including Claire Bednarek, Taylor Berwick, Victoria Manning and Quincey Smith joined Barr in Jelly Roll Morton’s “Billy Goat Stomp.” A can-can-esque scenario, with the gals sporting fish net stockings, and the wailing trombonist, Kristian Foreman proving his musical mettle, this bawdy dance was pure pleasure.

A rousing grand finale topped the proceedings, which could have been dubbed, “Ladies of the Night”—and a few good, no make that great, men—did their balletic stuff, with a good time had by all. Shout-outs, as well, to the other Hot Niners: Ben Flocks on tenor sax; Ben Thomas on guitar and banjo; standup bassist Scott Worthington; tubaist Kyle Richter; and drummer Marcelo Bucater.

As Mr. Fitzgerald, in his brilliant close of Gatsby wrote, “So we beat on, boats against the current, borne back ceaselessly into the past,” so was ACB’s “Jazz” a trip into what seems like a long-forgotten era. Thanks, then, ACB, for gifting us with a modern take on that bygone time.