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Are Diana Krall and Elvis Costello morphing into each other? While Krall inches further into pop, her future hubby has plunged headlong into jazz. Costello’s latest album sees him working with saxman Lee Konitz, the Jazz Passengers and the Mingus Big Band (along with usual suspects Steve Nieve, Pete Thomas and classical cohorts the Brodsky Quartet). Piano ballads like “I’m in the Mood Again” and “When Green Eyes Turn Blue” are tailor-made for Ms. Krall and good chemistry for a marriage made in musical heaven.

Elvis Costello is a pop music encyclopedia, having written and recorded in many styles. One of Elvis’ favorite genres is country music. The legendary artist first ventured to Nashville in 1981 to record Almost Blue, which carried this label: “Warning – this album contains country & western music and may cause offence to narrow minded listeners.” One of his best recordings was 1986’s country-flavored King of America, produced by T-Bone Burnett, best known for the Oscar-winning soundtrack to O Brother, Where Art Thou? and the Grammy-winning Robert Plant and Alison Krauss album Raising Sand, both of which popularized traditional country sounds. Now Elvis has teamed up again with T-Bone for ...

He’s got a new album coming this fall, but in the meantime fans will enjoy this 18-track collection that neatly summarizes two decades of Costello’s prolific output. Included are songs from Costello’s piano-ballad rich North, his Burt Bacharach collaboration Painted from Memory and his country flavored The Delivery Man, with guests Lucinda Williams and Emmylou Harris. There’s also some of his blistering, acerbic rock from When I Was Cruel and New Orleans magic from his elegiac The River in Reverse. Eclectic Elvis.

The album’s name and cover illustration of a thieving fox seem to indicate that Costello has a bone to pick with greedy wheeler dealers. While that message is certainly evident in the rocking title track, the versatile songsmith covers a lot of ground thematically and musically. “Jimmie Standing in the Rain,” rooted in traditional jazz, portrays a struggling singing cowboy in 1930s England, while the folky “Bullets for the Newborn King,” one of several sweet ballads on the album, deals with the regrets of a political assassin.

While his excursions into lounge, opera and classical were commendable, it’s a relief that Costello is rocking out again with members of the Attractions.  Peppy numbers like “45” and “Tear Off Your Own Head (It’s a Doll Revolution)” have all the reckless charm of his early classics. But it’s quirky songs like the soulful, dub-tinged “Alibi” and the hypnotic title track, which quotes Abba’s “Dancing Queen” and samples ’60s Italian pop that really get under your skin.