Jazz lovers often lament the fact that the genre does not enjoy more widespread appeal. It's no mystery why that is the case, as jazz as a popular art form died the second its audience could no longer dance to it. However, there have always been musicians who understand and appreciate a strong groove while maintaining a commitment to the improvisational elements of jazz. Mocean Worker (rhymes with ocean) is such a band and last Friday they brought their brand of jazz funk to a small, but enthusiastic crowd at 9:30 Club.

MOWO, as the group is sometimes called, is the brain child of bassist/producer Adam Dorn (pictured), who creates his albums using a combination of live and sampled sounds. Dorn & Co. are touring in support of Cinco de MOWO!, a groovy delight that blends sounds from jazz's heyday of the 1930s, 40s, and 50s with funky beats and bass lines. The CD features some notable guests including trumpeter Herb Albert, bassist Marcus Miller, and the late saxophonist Rahsaan Roland Kirk.

Photo from Mocean Worker's MySpace page

The surprise of the evening was the night's opener, Bitter:Sweet, a group gaining notoriety after having been featured on the soundtrack of Grey's Anatomy. The group's trance/lounge sound consists of a DJ, percussionist, guitarist, and violinist who support bandleaders Kiran Shahani, who plays bass, and vocalist Shana Halligan. Resplendent in a grecian white gown and sporting flowing red locks, Halligan looked like a siren on stage. Her sensual persona and sultry alto voice fit perfectly with the laid back grooves her band created. Their material, which recalls elements of Sade and even classic James Bond themes, started to sound the same after the first few numbers, but the band's concept is strong and so they are worth checking out.

Dorn's enthusiasm was palpable as MOWO began the main set, which is not a surprise given the fine group of musicians he assembled. His deep musical knowledge was apparent as he would occasionally take to the mic and whip out lines from artists as diverse as E.U., Massive Attack, and Cab Calloway. Along with all-star drummer Zach Danzinger, Dorn also did his share of heavy lifting in terms of laying down the head-bob inducing grooves. All of the soloists were excellent, but the standouts were flugelhorn player Mike Williams, who used his harmon muted sound to great effect, and showstopping percussionist, Isobel Walker. The tunes themselves were fairly straightforward, which is expected given that the group values a danceable beat over musical twists and turns. After all, a MOWO show is supposed to be a dance party, not metaphysical exploration.

MOWO brought the funk and party atmosphere from the opening note and didn't let go of the almighty groove for the entire show. The set emphasized material from the latest album, highlights of which were the horn driven "Ole Baby," and the trumpet feature, "Changes." Many of the songs involved sequenced rhythm tracks that accompanied the musicians on stage and at times it felt as though the machine got in the way of the band's natural feel. The difference was subtle, and probably went unnoticed by many, but it seemed as though the band opened up when the laptop was taken out of the picture. This problem will likely be cured as the tour progresses and so is easily overlooked. With such a positive vibe and danceable sound, it's clear to us that the small size of Friday's crowd will not be an issue the next time MOWO comes to D.C.