Kevin Gilbert

One of the more interesting short-lived musicians from the 90's, Kevin Gilbert was a multi-instrumentalist, singer, songwriter and producer who collaborated with everyone from Michael Jackson to Madonna to his then-girlfriend Sheryl Crow. His real love, however, lied in creating theatrical yet attractive sounding music that blended his own American pop sensibilities with mid 70's Genesis, a combination of approaches which is rendered perfectly on his 1995 album Thud, a testament that would prove to be the only solo album he would ever do before his death in May of 1996 from autoerotic asphyxia at the age of 29. Sadder still, his body was discovered on the day he was scheduled to have an audition that could have landed him the position of becoming lead vocalist of Genesis, as Phil Collins quit the band earlier than year.

In any case, the music here covers a lot of ground, from the angular bluesy rock of 'Goodness Gracious' to the dusky jazz of 'Joytown' to the punk-opera-prog. centerpiece 'Shadow Self' without so much as a single snag or note out of place. Wry lyrical content and a unique, distinctive delivery also do Gilbert a lot more credit than he ever got during his life, and its a shame that we'll never know just how far he could have gone. If this work was of any indication, the sky certainly would have been no limit.

Links to buy and try are below, as well as a 'Shadow Self' stream to appetize the skeptical and impatient alike. Enjoy!



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Universal Congress Of

Without a doubt one of the most overlooked and under-appreciated bands to grace this modern age, Universal Congress Of spawned from the wreckage of Joe Baiza's seminal jazz-punk group Saccharine Trust (who were signed to the venerable SST Records during its heyday). While they certainly bear some similarities to their forebears, Universal Congress Of dispense of the cryptic lyrical waxing in favor of a chimerical blend of jazz, funk and whatever else that grooves. It would be folly to call theirs is a simple act; intricate snare rolls and unusual horn riffs permeate their work, all anchored by heavy funky basslines to create an effectual anomaly in terms of genre.

It was only whilst looking for more adventurous material by guitarist Joe Baiza that I chanced upon Universal Congress Of -- it took me a long time thereafter to track down this particular album. I was eventually rewarded with what I consider to be a veritable pontificate of modern jazz, The Sad and Tragic Demise of Big Fine Hot Salty Black Wind. If the title alone doesn't intrigue you, the persistent driving rhythms and infectious funky basslines should pique your interest. Though it may have been released some twenty years ago, I still consider this reputable album UCO's most enduring record to date, and most certainly an imposing statement for generations of jazz enthusiasts to come.

I wish half the shit I scooped off Ornette Coleman and Charles Mingus tasted this good.

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