NOMA’s first album, self-released, failed to draw much attention, but this second opus released on the prestigious Montréal label Ambiances Magnétiques gives Tom Walsh’s project a much better chance to make an impact — that and the fact that the group’s material is pure dynamite. The leader and trombonist stands in the middle of the stage; to his left is an electric funk trio (Guy Kaye, Alan Baculis, and François Chauvette) and to his right a jazz trio (Rainer Wiens, Normand Guilbeault, and Thom Gossage — Pierre Tanguay subs for the latter in two pieces). This geographical disposition is directly reflected in the music, a blend of groovy licks, post-bop phrasing, plus healthy doses of free improvisation and humor (the addictive duo Ambiances Magnétiques has been returning to more and more in 2003). The album presents nine compositions by Walsh and two group improvisations, but it counts 32 tracks. Most pieces have multiple indexes reflecting each and every twist of the music. This could be credited to a hyperactive sense of organization, but this reviewer has a different idea: considering that most pieces are segued, that the album flows effortlessly like a genuine funk set (Fela Kuti comes to mind), and that it has been assembled from two different concert recordings (a fantastic editing job), this overindexing is probably meant to help the listener lose himself in the moment instead of keeping track of where one piece ends and the other begins. The level of playing is captivating: Kaye’s mean wah-wah and Wiens’ prepared electric guitar form the odd couple of the group, displaying lick after lick of infectious invention. Of course, Walsh’s trombone playing shines, but his composer side takes precedence. Pieces like Inversion: Diversion and Capacity reveal a dangerous bandleader, the kind that can entertain and at the same time push the music further than you’d expect.