Singer-songwriter Jesse Moore originally conceived his new CD, "More Than Life Itself," in response to a personal crisis: The end of a 16-year relationship.

But the crisis that nearly destroyed New Orleans recast the project with a much broader application.

"Once Katrina hit, almost every song took on a totally different meaning, much deeper than an individual experience," Moore said this week. "It's like I'm holding the city that I love so much in my hand and saying, 'I hate what happened. I'll miss you. It's sad. I love you.' "

On Saturday, Margaritaville hosts the first local post-Katrina CD release party for "More Than Life Itself." Rather than perform solo in the club's front room, as he does most evenings, Moore moves to Margaritaville's main room, backed by keyboardist Marc Adams, guitarist Don Williams, bassist David Malia and drummer C.J. Solomon.

Moore grew up in Brooklyn, N.Y., then embarked on an epic artistic career that took him around the world. As a child, he sang on Brill Building demo recordings. Based in Japan and then Thailand, he recorded albums and toured the Far East with the American R&B bands the Houserockers and Black Fire. Back in New York City, he acted on TV ("Law and Order," "As the World Turns"), in films ("Howard the Duck") and theater. He co-founded the Catskill Animal Sanctuary on a 77-acre farm in Woodstock, N.Y..

For years, Bonnie Raitt had regaled him with tales of New Orleans. He finally joined cartoonist pal Matt Groening, creator of "The Simpsons," at the 1988 New Orleans Jazz & Heritage Festival. Smitten, he returned to the Big Easy many times.

Following the 2003 dissolution of his long-term relationship, he moved to New Orleans. A year later, he landed a slot in the Margaritaville rotation after the previous occupant, guitarist John Fohl, hit the road with Dr. John.

Five days a week, Moore stood alone onstage in Margaritaville's front bar, competing with Jimmy Buffett videos, ESPN feeds and Lone Palm Pale Ale for patrons' attention. Just as the Preservation Hall Band commands a premium for "When the Saints Go Marching In" requests, Moore charges extra to play Buffett favorites.

"Margaritaville has its own following," he said. "The cult of Buffett is a real thing. Other places can be dead, and this place is rocking, or vice versa."

The front bar would likely do just as well with its video jukebox. But the club is committed to putting money in local musicians' pockets, in part because Buffett well remembers his own days as a struggling singer-songwriter in the French Quarter.

"He has a soft place in his heart for New Orleans," Moore said. "He's always wanted (the club's front room) to be a kind of garage. I was able to write songs and work out material. No one has ever told me what to play. They said, 'You entertain the people, you'll make a living.' "

The steady pay enabled him to finance "More Than Life Itself." He assembled a strong supporting cast with Anders Osborne, the album's producer, plus John Fohl on guitar, Casandra Faulconer on bass, John "Papa" Gros on keyboards and Kevin O'Day on drums.

As producer, Osborne insisted the musicians approach each song with fresh ears. The title track was originally a slow waltz; Osborne coached them to play it like Al Green. He also revamped "Stranger In the Band" with a Nashville twang.

"Most of what we recorded were first takes, because we had to be on our toes," Moore said. "It's like when you rock climb -- you have to be super aware. You're in an altered state of consciousness. That's the vibe Anders created in the studio."

Osborne also let Moore cherry-pick songs from his own vast catalog of compositions.

"He pulled out his laptop and started popping one song after another," Moore said. "He played 'Underneath It All' and I began to cry. It was like I had written it, like it came out of my experience. That's what happened with 'Taste Your Tears.' They all felt like songs that I had written out of my life."

Moore was delighted with the finished product. The nuanced arrangements, subtle musicianship and emotional honesty represented a giant leap forward from his 2003 blues-rock album, "The HooDoo Man." He scheduled a CD release party at Margaritaville for Sept. 8.

Then Katrina intervened. As the storm approached, he embarked on a rambling evacuation to Arkansas, Pennsylvania, Oregon, New York, North Carolina. He returned to New Orleans on Oct. 6 to find his French Quarter apartment undamaged, and work plentiful.

With most of Margaritaville's musicians in exile, he performed for eight consecutive days, took a day off, then logged another six straight afternoons at the club.

"It was the Jesse Moore All-Day Tavern for a while there," he said. "With a lot of the heavy hitters gone, it's an opportunity for guys like me. Lots of places that wouldn't talk to me before are like, 'Want to play here?' The jobs are out there."

And "More Than Life Itself" is now much more than a personal catharsis. "It's Gonna Be OK," an Osborne composition, resonates especially well in post-Katrina New Orleans.

"When I start playing that song, conversations end, and there is usually one person or more crying. It sounds a certain note with people who have suffered or seen suffering, because it offers a little hope. It's painful, it's sad, but it's going to be OK. That's all anybody wants to hear in their lives, since they were a little kid.

"I thought I was writing and picking and singing these songs for a particular reason. Suddenly I'm singing these songs as much for the city. And people are hearing it that way."

What: The singer-songwriter and his band showcase material from his new "More Than Life Itself."

When: Saturday, 10 p.m.

Where: Margaritaville Cafe, 1104 Decatur St. (504) 592-2565.

Admission: Free.