OZOMATLI.

Byline: Emmanuelle Soichet Staff Writer

After 11 years defined by their outlandish live shows, Ozomatli -- the ubiquitous 10-member L.A. Afro-Latin, jazz and hip-hop band -- are now re-entering the studio to produce their fourth full-length album, which they hope will catapult them from respected regional jam band to nationwide best sellers.

For a band that is the voice of a multiracial, progressive Los Angeles, though, an appeal to the masses likely will come from pulling away from their political roots.

The group came together 11 years ago after a sit-in to unionize the L.A. Conservation Corps, a city program that provides jobs for inner-city youth, led to the creation of a community arts center headed by Ozo founders Wil-Dog Abers and Anton.

Casual Friday- and Saturday-night jam sessions to raise money for the center soon crystallized into a regular group, and artists began asking this early Ozo prototype to play at loft parties, Abers recalls. The events got bigger, the band more serious. So when the arts center closed, the band kept going, polishing its sound and releasing its self-titled debut in 1998.

``We didn't want to become a political band, we just are one,'' says Wil-Dog. ``It's in our roots, where we come from as a band -- we come from a community that is socially conscious and we support causes that we believe in.''

That trickles down to fans, whose online message forums buzz with postings of rallies, articles on immigration, election information and job listings for community groups.

``They inspire us to do good things and help different causes,'' says Maria Bourne -- a veteran ``Ozo Head'' fan club member. ``They're just good people -- it's uplifting.''

In a sense, part of Ozo's appeal is also what's holding it back, as maintaining that grass-roots street credibility has created clashing dualities for the group.

Despite the band's tours with the likes of Santana and the Dave Matthews Band, album sales have never been great. The band has survived by relying on heavy touring, on the road up to eight months a year. And while that has nurtured an ardent fan network, it has taken a toll on a 10-member band.

``We've hit a threshold in many ways. We've gotten to as far as we can go on our own this way,'' percussionist Jiro Yamaguchi says.

``We've accomplished so much that some artists never do -- we have three Grammys, we've toured Europe -- we've done things mainstream bands do, but we still haven't sold that many records. That's our challenge.''

And so came the decision to return to the studio to record a radio-friendly album that Ozomatli hope will land them squarely on the next bracket on the sales ladder.

From all perspectives, the record -- which will be the group's first studio release in three years when it comes out in 2007 -- has the makings of a completely new direction.

Backed by Universal Latin, the leading distributor of Latino music in the U.S., the album will temper Ozomatli's characteristic fist-waving lyrics by touching on more personal themes, from coping with addiction to raising a family. It will see Ozo teaming up for the second time with producer K.C. Porter, the man responsible for top-selling albums by Selena, Ricky Martin and Boyz II Men, to create more of a pop sound.

And -- unlike every past album -- most of the lyrics will be in English.

``We've always naturally leaned toward Spanish, but with this album, we've changed,'' Yamaguchi says. ``Our audience really is English-speaking.''

And they're gambling that any fallout from fans will be overshadowed by tapping into a much larger and potentially lucrative market Ozomatli has skirted in the past.

``With every album we do, we lose fans -- and then gain twice as many,'' says Abers. ``Over the years, our fan base has only grown.''

Emmanuelle Soichet, [phone]

emmanuelle.soichet(at)dailynews.com

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