There's nothing traditional about today's entertaining jazz players. If anyone new jazzbo sets out to begin some ensemble - and not be completely ignored - it's pretty much a necessity to incorporate a modicum of out moments. Figuring that, it still seems that there are a few too many jazz groups working in a traditional mold. And while those tropes are, obviously, still important repeating them again, doesn't seem like a good use of time - the players' or the listeners'.

But Steven Bernstein understands all of this. His music, while incorporating enough New Orleans' style decadence, brings in disparate elements as to not allow listeners to guess at what's about to happen. So, while there are those countless disposable jazz groups, Bernstein's Sex Mob is not one of them.

Focusing, overwhelmingly, on covers and filmic compositions, the Sex Mob hasn't impacted jazz or popular music as much as the Bad Plus, but Bernstein's group is endlessly more entertaining. Beginning its recorded life about a decade ago, Sex Mob didn't really figure everything out until 2003's Ropeadope release of Dime Grind Palace. That disc, as it was able to cop as much energy as a live set, didn't work with other's songs. Instead it relied upon Bernstein and his crew to not only create, but enliven a set of jazz spanning all of the genres' recorded history. There was a bit of funk in addition to the more traditional - or even the out moments. And while the disc didn't afford the group the kind of attention it deserved, it was a proper pronouncement of intent.

In the intervening time, Sex Mob has moved over to the venerable Thirsty Ear for its newest disc Live in Willisau. And while this isn't the first time Bernstein has recorded with organist John Medeski, his inclusion here changes the dynamic of the band.

Medeski's playing isn't overwhelming on this outing, but it's nonetheless important to the overall affect of the music. Even as his solos - as disjointed as they are - challenge what listeners might expect from a keyboardist, the focus isn't ever foisted solely upon his keys. "Kenny Supreme" probably grants Medeski the most room to stew over his instrument even while the solo lacks any sort of melodic antecedent.

That's not the point, though. As much of Bernstein's playing is about feelings that it's capable of evoking. And Medeski's playing on the entirety of Live in Willisau works towards that end. As each song melts into the next - in a live setting Sex Mob sometimes can't find the heart to end a song, just switch to something new - it becomes more and more apparent that Bernstein is moving ever closer to achieving what he set out to do with this group.

While tangentially referring to New Orleans' style jazz, Bernstein has sought to incorporate the emotions surrounding the music as much as the music itself. So, while the good times inevitably flow from his horn - and this disc - even a few lackluster Bond compositions can derail the effort.