Their moniker isn’t just clever; it’s a statement of purpose. Inspired by the punk spirit of the Dead Kennedys and animated by a dark mockery of Kenny G’s “artistry,” this West Coast instrumental jazz-punk trio are attempting to keep the world safe from smooth jazz. Rhythms percolate with purpose, slaloming through a range of styles including spacey psychedelica, juiced funk, bustling Balkan swing, and clattering No Wave skronk, while tipping their hat to jazz icons from the Bird to Ornette Coleman. They’re skilled multi-instrumentalists who have played together in boundary-bursting combos like Critters Buggin, Garage-a-Trois, and Les Claypool's side projects. Like Garage-a-Trois, the DKGs tip toward the rock spectrum and tend to play clubs more than halls. In March they released their second album in as many years, Operation Long Leash. There’s a quirky playfulness to what they do, from the jungle exotica of “Melvin Jones” (presumably named after the Lions Club International founder) to the dark noisy expressionism of “Black Death” and the decadent cocktail bounce of “Jazz Millionaire.” They understand music with a lover’s indulgence, while teasing and taunting it like you would a kid brother. That lighthearted spirit never lets the air get stuffy and invites smiles rather than marginalizing itself with self-seriousness.