Led by ex-Saccharine Trust axewielder Joe Baiza, Common Congress Of started as the name for Baiza’s 1987 single record later getting the name of his okay, funky backing strap. Although on his debut single LP he was still playing semi-improvised, avant-garde jazz-rock much like what he was discovering in Saccharine Trust, Baiza/UCO’s later on (as well as for my cash better) function was more organized and song-oriented. Although he continuing showing a skill for all-out free of charge playing and gnarled, aural jazz harm, when Baiza added funk to the blend and held the tunes under 10 minutes, he became a more interesting musician and UCO became a more interesting music group. Although I’m unpleasant utilizing the term (because I’m nearly sure what this means), UCO, specifically their early-’90s information, falls in to the group of “artificial jazz.” But UCO, paced by exceptional bass/drum combos like Bob Fitzer and Paul Lines, and Steve Gaeta along with a. P. Gonzalez, performed rockish jazz/jazzish rock and roll not really unlike that of Bloodstream Ulmer and Ornette Coleman. But whereas those two wandered openly into the globe of dissonance and (specifically in Ornette’s case) harmolodics, UCO deeply anchored their music in large funk. This, nevertheless, did not imply that Baiza’s electric guitar playing became much less intriguing, nor achieved it imply that UCO’s great sax participant, Steve Moss, ended blowing up a surprise; what it supposed was that they limited the screwing around and centered on substance instead of style. Not really what you’d anticipate from a couple of previous SoCal punks, UCO was (continues to be?) a music group that understood that less, particularly when used a feisty verve, is definitely more.