Israel Kamakawiwo'ole has taken us over the rainbow; now he's scoping the world.

The big dude with the sweet voice and hypnotic 'ukulele strum has been re-imagined as a concert soloist. In producer Jon de Mello's latest project, a panoramic orchestral dress embraces a dozen familiar Iz tunes.

In the parlance of music-talk, this is world music at its best.

The key track, "What a Wonderful World," has a sweeping intro that sets the tone for the rest of the album, which focuses on mountains of melody bigger than Iz and masterful execution of style matching artistry. You can hear Iz, in his inimitable pidgin English, relishing the values of pono (making things right), kuleana (responsibility) and kokua (helping each other) during an interlude. I shed some tears on the very first listen; Iz's interpretation always packed emotion and sentiment, but the rousing new arrangement pulls at the heartstrings.

It's deja vu with beaucoup thrills.

You can sway and bounce to "Henehene Kou 'Aka," the joyous Hawaiian favorite mixing laughter and holoholo (travels), or revisit "Kaleohano," the Louis "Moon" Kauakahi (he's the leader of The Makaha Sons, Iz's one-time group) ballad that has a place in Iz history: it was the tune he struggled with at a Na Hoku Hanohano Awards show, when his Makaha chums (who were in the audience) chimed in spontaneously, marking the last time they ever performed together.

Some listeners accustomed to Iz's plain and simple earlier versions may be initially startled. Indeed, the orchestral Iz is not the old Iz.

But the symphonic cloak does not impede Iz's flow or aloha; if anything, the orchestral sounds nourish his spirit, enhance his music and mana'o, and expand his power and legacy.

There's still personal, quiet and intimate moments, like Iz's easygoing, childlike "Twinkle Twinkle Little Star." The orchestral nuances give the lyrics "up above the world so high, like a diamond in the sky" new impact.

"White Sandy Beach," an Iz staple for years, could be a breakout hit; it's always been a crossover tune, equally favored by radio programmers and music fans. The wondrous arrangement points to a summertime sizzler.

A handful of classic Hawaiian titles are here, too: " 'Ulili E," the playful portrait of the sandpiper; " 'Opae E," the delightful gem about shrimp and mollusks; " 'Ama'Ama," the make-you-hungry ditty about mullets and other fish; and "Ka Huila Wai," about a windmill. These interpretations should give authentic Hawaiian music a boost. Especially helpful: the English translations with the Hawaiian lyrics in the liner booklet also laden with closeups of various parts of Iz's massive body.

"E Ku'u Morning Dew," the Eddie Kamae-Larry Kimura standard, offers more dedicated Hawaiiana; "Ke Alo O Iesu," a Dennis Kamakahi creation, is Iz-style gospel paying homage to the akua (god).

Iz has never been known as a composer, but one of his modest creations, "A Hawaiian Like Me," (the final track on the CD) is as earnest as it gets. He shines through the orchestral flourishes, proving you can put Iz in a dressy suit, and he still retains slippah-comfy joy.

Reach Wayne Harada at wharada@honoluluadvertiser.com.