 |
|
| |
|
Robert Walter's 20th Congress |
|
|
Velvet Lounge
Washington, D.C.
10.18.00 |
|
|
|
|
|
|
|
|
review
Of all the places to play in our nation's capital, somehow Robert Walter and his 20th Congress ended up at the Velvet Lounge—on a Wednesday. The lounge itself is known for showcasing quality lesser-known acts, and with the success of Walter's West Coast brand of funk (from his years playing with the Greyboy All-Stars), one would expect to see this crew in a more suitable setting. The venue holds 100 people uncomfortably, and at the height of the evening it reached full capacity. Unfortunately, because of the venue's awkward shape, the band was only visible to about twenty-five people at any given time, so folks quickly tired of fighting for room to groove and filed out early.
Despite sporadic crowd support, 20th Congress played with the intensity and skill of true music front-liners, winning over the audience with intense funk/soul fusion grooves, outlined with post-modern jazz vamps and ambient transitions. The group consisted of Robert Walter on keys, Cochemea Gastelum on sax and flute, George Sluppick on drums, Chris Stillwell on bass, and Chuck Prada on percussion. The five-piece non-legislative body was snuggly packed into the corner of the room; the close confines made for an intimate performance, where the communication was easy, the transitions smooth, and the grooves tight. The first set of the evening was up-tempo and driving, featuring songs "White Russ" and "Shemp Time" from the group's debut, Money Shot. Those in the crowd with space to move were in spastic frenzies by the time the set ended.
Unfortunately, because the show was scheduled on a Wednesday, people began heading out earlier than normal. The second set didn't begin until nearly 11:45 p.m., and the once dedicated and energetic crowd that had cluttered the venue's small space earlier began working their way out the door and deeper into drunken stupors by the third tune. The hardcore fans who stayed were treated to tunes more on the experimental side, which catered to the mellow, intoxicated mood created by the now spacious room. "Corry's Snail & Slug Death" and "Soulful" were definite treats for those that stuck around. Seeing Cochemea work the effects pedals for his saxophone to add texture to Walter's dancing fingers was as pleasant as it was hypnotizing. By the show's end, most had cleared out; but those in attendance, even for a portion of the performance, were definitely amazed by what they saw. A positive vibe filled the air that night, and was sure to have rubbed off on people. Before the performance, percussionist Chuck Prada mentioned that 20th Congress' tour was scheduled to create a buzz for the new album, which was released in mid-September. One could easily say "mission accomplished," because it was apparent, from the faces and attitudes of those leaving, that Robert Walter and 20th Congress are a force to be reckoned with in today's music arena.
by Damani
top of page
|
|
|
