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A California expatriate, I sometimes entertain thoughts of moving back to the Golden State. I'll see some familiar stomping grounds in a movie, or hear a band that comes from my home county, and inevitably I'm a little homesick. One of those moments came recently as I began listening to an advance copy of OM Trio's new Live 2-CD album, a collection of live tracks recorded at select venues in Northern California, Arizona, and New Mexico. Not knowing anything about the band before getting the album, I found myself able to concentrate more on the music and less on preconceived notions or extraneous hype. Not that it really would have made all that much of a difference - OM Trio deliver a tight, eclectic collage of funk-flavored ear candy. Likening each tune to a Pringle, once they pop, you can't stop (grooving, that is).
Largely advertised and recognized as a San Francisco Bay-area jazz-fusion trio (keys, bass, and drums), I expected a healthy dose of cool California jazz directives. Rather unexpectedly, OM's mix is further spiked with the influence of the members' New Jersey roots and East Coast jazz exposure. The result is an ominous balance between the two sonic textures.
The opening "Hippopotamus" and "Sunstruck" ease the listener into things with a steadfast jazz-funk fusion romp, firmly asserting the band's fusion pedigree. Proceeding through the first disc, one thing becomes very clear: OM has an incredible ability to place a wide variety of influences and ideas under their own umbrella. In addition, they play with an edge and intensity that avoids overpowering the rhythm and forsaking the groove.
Stylistically, OM travels wide and far, throwing in sounds you know you've heard before but can't quite remember where. Listener attention is maintained through the band's ability to expand the material in new and exciting directions ("Broken Glass," "24 'Miles' To New Orleans," "Clydedogg"), and in their ability to go places you'd never expect from an obviously jazz-rooted trio ("German Dances," "The Color Grey Suits You Well," "Glowsticks & Pacifiers").
Although OM fancies flagrant expressions of their varied musical influences, they do so upon a rock-solid jazz-funk fusion foundation. Tunes like "Spin Slowly," "Subway Sailor," and "Old Guard" fortify the jazz imprint and remind listeners that OM is a jazz trio, not a jam trio. Fortunately, the band recognizes their jamming abilities and tap their jam reserves frequently.
In contrast to the band's more traditional jazz fusion originals, "Tucson Is Burning" provides listeners with considerably more straight ahead funk stylings. Through impromptu riot-inspired improvisational social commentary, each piece of the saga highlights the dynamic moods inherent in anarchic upheaval (specifically, the disenchantment of Arizona fans after their team's loss to Duke in the 2001 NCAA Basketball Championships). Opening with a solid march in somber cadence, each piece of the saga evolves as OM's funk interpretation of the beauty and mayhem that is a drunken rage en masse. Part VIII is most representative of the dichotomy, and contains the band's most adventurous single-composition eclecticism on the album, spanning classical, experimental, hard rock, and of course jazz within a spry seven minutes. The saga ends with a return to the march, but this time with more feeling and fanfare; the funk heals all wounds, baby.
Listening to the double-disc album several times, and on many different stereo systems, I find that my only complaint rests in the album's sound quality. While the recordings are crisp and present an accurate soundstage with each band member firmly planted his respective position, I found that they lacked depth and impact. I feel that this is due largely to the fact that the album was created from minidisc master recordings, which introduce lossy compression schemes. The result is a grainy texture that can limit the impact and realism of OM's edgier work. Does this mean I would not suggest this album? Far from it. This is an excellent album and is not only listenable, but highly enjoyable.
John Coltrane defined "om" as the original sound, the sound from which all others are born. As such, OM Trio can be expected to contribute to and expand the realms of music. Anyone wondering if the band is able to do so should pick up a copy of their Live offering. The two-disc set not only answers these questions, but does so in a thoroughly convincing and impressive manner that will have you going back for more.
Rick Beatty
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