LISTENING STATION: Pink Martini retro in sound

Pink Martini
Splendor in the Grass
Heinz Records

It goes without saying that they don’t make combos like Pink Martini any more — and one wonders if they ever really did. The band crafts a sumptuous retro sound that harks back to postwar Hollywood orchestras.

The 12-piece band, led by pianist and composer Thomas Lauderdale, distinguishes itself from the outfits that gained renown during the lounge revival in the mid-1990s with its impeccable musicianship, subtle yet lush arrangements and polyglot repertoire.

The vibe on its fourth studio album is a mash-up of exotica, orchestral easy listening with a touch of folk mixed in. Songs are performed in Spanish, French and — in a first for the band — Neapolitan. What sounds twee and even pretentious in a simple description is more like campy fun on performance.

The group’s use of period musical details is astonishing. Little touches, such as the muted trumpet played by Gavin Bondy, sounds uncannily like the source material the band is referencing. The trilling harp in the opening track, “Ninna Nanna,” sounds as if it was sampled from the theme of some Technicolor romance from the 1950s. The chorus on “Ohayoo Ohio” is such an authentic throwback it will have visions of champagne bubbles dancing in listeners’ heads.

Vocalist China Forbes throws herself into the emotion of songs with lyrics in the romance languages, but in English, she can sound a bit literal and wispy. The title track, “Splendor in the Grass,” is a simple but demanding song, with hints of Bob Dylan’s “The Man in Me” around the edges and a more direct allusion to Tchaikovsky in the bridge. Miss Forbes doesn’t quite sell the wistful idealism evoked in the song’s lyrics. But on the very next track, the campy cha-cha “Ou Est Ma Tete,” she comes off as broken and longing.

Another winning track is a bilingual duet on the song “Sing (a Song)” of “Sesame Street” fame. Miss Forbes duets with Emilio Delgado — who played Luis on the original show.

The album also features the recording debut of National Public Radio correspondent Ari Shapiro, who offers a credible, good-natured karaoke-style performance. He doesn’t have the chops to match up to the cool congas and mournful trombone on the song, except as a bit of stunt casting.

But Mr. Shapiro’s chatty, slightly off-key singing style is in keeping with the cinematic feel of the whole album and the movie-poster look of the cover. Though “Splendor in the Grass” doesn’t live up to the promise of its two wonderful, moody opening tracks, there is much here to enjoy.