Sexmob celebrate 20 years by deleting the space between the two words of its name and releasing Cultural Capital, the band’s first album of all-original material by leader Steven Bernstein. In an age where jazz often requires a high-concept ambition to find a wide audience, the New York musicians content themselves by making low-key music built on the four exceedingly engaging musical personalities. Led by Bernstein, whose slide trumpet imbues every arrangement with a sly, knowing presence, the Mobsters carry themselves with casual confidence. The playfulness extends to every level of the music, down to Kenny Wollesen’s always cosmically free drumming. Even in charted-out songs like “Syrup” and “Step Apache,” the joy is as much in the easy movements of Bernstein’s trumpet with Briggan Krauss’s saxophone as it is in Bernstein’s melodies. Known for a broad discography containing albums of pop songs, film scores, exotica, originals and far beyond, the songs on Cultural Capital tap a vast range of moods—from the weird night-world vibrations of “Valentino” (underscored by atmospheric guitars overdubbed by Krauss and bassist Tony Scherr) to the rich sweet Americana of “Helmland,” perhaps in tribute to the late Levon Helm, with whom Bernstein sometimes played. Veteran live and session musicians all, Sexmob make the type of jazz that one hopes is always being made somewhere, fully recognizable in the tradition of conversational music played on basically unaffected instruments, and equally fully alive in the present moment with nary a drop of nostalgia.