Inside the cover of Duke Robillard’s new CD is a photo of him wearing a shirt that cheekily proclaims, “Duke the King of Strings.” While never self-aggrandizing in his music, Robillard to be sure has long established himself as a guitarist’s guitarist. From his stints with Roomful of Blues (which he co-founded) and the Fabulous Thunderbirds, to his work with Dylan, Tom Waits, and many others, as well as his voluminous solo work, he has displayed a range and virtuosity that are as striking as they are seemingly effortless. Whether breathing new life into vintage material or presenting originals, he does so with a mix of earthiness and elegance.

The title Six Strings of Steel puts the focus on Robillard’s instrument, but note that the set is co-billed to his All-Star Band. So, while the album does provide another showcase for his own mastery of blues, rock, and jazz, it also points up another hallmark of his work – exceptional ensemble playing. He easily shares the stage with his ace band mates – bassist Marty Ballou, drummer Mark Teixeira, saxophonist Doug James, piano and organ man Bruce Bears, and vocalist Chris Cote.

Working with these longtime accompanists, Robillard is able to confidently put his own stamp on numbers well-known and obscure without sounding simply retro. Dylan’s driving, bluesy “Watching the River Flow” is taken at a slower tempo, with the addition of baritone sax, an acoustic texture, and fiddle by Katie Shore of Asleep at the Wheel, giving the song a laid-back vibe that suits the reflective mood of the lyrics. Fats Domino’s “I’m Gonna Be a Wheel Someday” is also slowed down and transformed with a seductive ska groove, along with a tangy but typically brief solo by Robillard. Ike Turner’s “Take Your Fine Frame Home” is an R&B fireball – one of several numbers that highlight Cote’s robust vocal power – but Robillard delivers a solo with rockabilly echoes. As usual, it works.

The set cooks right from the start with the Barney Kessel instrumental “Git With It!,” as Robillard’s guitar and James’ baritone sax face off in a fun duel. The breakneck “Shame, Shame, Shame,” a Smiley Lewis hit, shows off Robillard’s love of old New Orleans rock-and-roll, while “Lima Beans,” a Chess chestnut from 1951, is insanely infectious, thanks to the way James’ burping sax gooses the groove. It’s one of two vocals by Robillard. The other is on Lowell Fulson’s “Lovin’ You,” a classic blues that Robillard gives his usual stylish veneer.

The album includes two Robillard originals. “In Perfect Harmony” (co-written by Ballou, Cote, and Teixeira), a sweet tribute to his wife, has an irresistible pop buoyancy and Crescent City overtones in the way James’ sax punctuates Cote’s vocal. “Groovin’ in the Swamp” (co-written by Ballou and Teixeira) is just that, a languid instrumental in which Robillard’s liquid lines practically make you feel the humidity.

Six Strings of Steel closes with Link Wray’s foreboding “Rumble,” the instrumental that launched who knows how many guitarists. Robillard keeps it faithful to the original. The King of Strings seems to know – another of his virtues – that it’s hard to improve on perfection.