To put things
succinctly, it has been an interesting summer for Robert Walter’s 20th
Congress. The ex-Greyboy All-Star piano
player and company released their eagerly anticipated debut album, Money
Shot, which relives the Hammond B-3 organ funk days but with a personalized
flare. They then hit the road to
support the album but had all their gear stolen during their stop in
Alberquque. In response to this
unfortunate event, the jam band community held a benefit concert at Wetland’s
Preserve in New York City which featured Dave Hoffman and Justin Wallace
Ulu, Fuzz and Hope Clayburn of Deep Banana Blackout, Eric Krasno of Soulive,
Joe Russo of Fat Mama and Stanton Moore
of Galactic. Not only was the concert an
amazing sonic event but it was also a fine display of mutual musical admiration and support. Although an evening not covered by the media,
it should go down in history as a fantastic musical philanphropy. Since this summer, Robert Walter's 20th Congress (Walter on Hammond, Chuck Prada on drums, Cochemea Gastelum on saxophone and flute, George Sluppick on drums, and Chris Stillwell on bass) has
recovered from their losses and they are moving on with their busy touring
schedule. The Vermont Review caught up
with Walter between gigs from his home in San Diego, a city he has
called home his entire life.
VR: When did you first start playing the piano?
RW: I started when I was really young. I guess when I was eight or nine. I studied classical piano for a couple of
years and then I lost interest in it and I quit. Than I played drums in a rock band for awhile. In 1988, when I was nineteen, I started to
play piano again because I wanted to write songs. It is easier than trying to write from the drum set.
VR: Was playing
the piano something that your parents instilled upon you during the early days?
RW: Yes, although I think I wanted to play when I was
young. When I kind of discovered rock
music, I decided that I did not want to play the piano. I rediscovered it later.
VR: You play the
Hammond B-3 now?
RW: Yes, that is
my main instrument now.
VR: Is it
difficult to go from the one instrument
RW: It feels
different to play. If you can play the
piano, you can sit down and play something on the organ, but there are a lot of
skills that go with it. Getting used to
the way it sounds, working the draw bars, working the volume pedal and you have
to pay more attention to the release of your notes. It is definitely a different thing. Also, the tradition of it is different. There have been so many different great organ players over the
years that you have to study the history of it in order to give it
VR: When you
decided to start playing the Hammond, did you take lessons?
RW: No. I just listened to records which is really
how I learned to play the piano too. I
started getting interested in listening to a lot of organ players and than I
figured “I might as well try it.” It
took a while. In my old band, the
Greyboy All-Stars, I played organ once in awhile but I didn’t really do it very
seriously. I mainly played electric
piano. When I started to decide to do
my own band, I was listening to all these organ players so I decided to center
the band around that.
VR: How did you
get the 20th Congress together?
they were a bunch people that I have known from San Diego who I had played with
various situations. I picked out the
people who were good but who hadn’t been playing on a more national level. After the Greyboy All-Stars broke up, I
wanted to pursue my own thing. I wanted
to play with people I like and also respected musicians.
VR: So, why did
the Greyboys break-up?
RW: Our drummer,
Zak Najor, quit the band because he wanted to go to Bible school. He was tired of being on the road and all
that. I think after all that time, I
think everybody in the band was getting burnt.
VR: It seems
like you guys still play together here and there.
RW: Once in
awhile we see each other. I am now
playing with the bass player. I like
all the guys and I think they are great musicians. You can’t do the same thing forever or else you just stop learning. For the last couple of years in that band,
we did not practice very much and were starting to go in different directions
musically from each other. It is hard
to work in that environment.
VR: I see that
Elgin Park sits in on your new album?
RW: He lives
right down the street from me. We hang
out a lot. He has been doing TV and
film scores. He has a show called
“Freaks and Geeks”- it was on NBC for awhile.
He is working on a couple of movies right now and he did a record under
his own name that I played on also. It
is more like a pop band. He doesn’t
play guitar solos- it is all him just singing.
It is a cool record though.
VR: Do you look
at Money Shot as a continuation of Spirit of the 70s?
RW: They are,
definitely. I am playing more organ. That is the main thing that has
changed. The players are also
different. Money Shot is a little less reverent to the old records. Spirit
of the 70s was directly influence
by 1960s and 1970s soul jazz. We were
really into that stuff at the time.
That is all that I listened to.
With the new record, there is less of an intent to try to imitate that
stuff. It is more me playing stuff
that I want to hear. Also, Stanton
Moore is on the record which changes the character by bringing in that New Orleans
influence. I also think that the record
sounds a lot more crisp.
VR: Did you deliberately choose Stanton Moore to
get that polyrhythmic feel?
RW: Yes. I have known him for a long time and we had
jammed together here and there. I
thought that it would be really interesting combination because my writing
doesn’t really lean in that direction.
I am not from there but I have always liked that kind of music. I think the slamming together of the two
styles was really interesting.
VR: Is there a difference between Boogaloo and
RW: We used
Boogaloo as a catch all phrase for 1960s stuff but Boogaloo is actually is a
style of music influence d by Latin music.
It started with people like Willie Bobo. There were Latin bands that were playing popular R&B, rock
& roll tunes and the combination of the music created a dance style and a
little scene. And than all those guys, like Big John Patton and Grant Green,
picked up on it and did their own version of it which is really more what we are ripping off. Boogaloo was actually a particular style of
music at one time. No we use it to
describe all that stuff that is a little bit before the discovery of funk but
VR: You had
quite a wave of support after your gear was stolen.
RW: Yes. That was really nice. I had no idea that a lot of the people even
knew who we were. I went to New York
for the benefit show and I got to meet a lot of musicians who I have known
about here and there but I never got to meet.
It really helped out because we were pretty demoralized at the
time. It was a big blow. We have gotten everything thing else back on
line now. We haven’t replaced
everything we lost but we are definitely up and running.
VR: Did you have
to rent equipment in the interim?
RW: We borrowed
stuff and we were using stuff that we
had that was old and not really professional quality. A lot of our gear was rare vintage gear. Some of the things are irreplaceable. And the things that are replaceable are hard
to find. You have to wait around and
find stuff on ebay. The fun part is
that we get to go to music stores shopping again. The search is kind of exciting.
We have found a lot of stuff.
Viperhouse had their equipment stolen before the Ottawa Jazz Fest, they
released a live album of their performance up there (on borrowed
equipment). Is there any chance of documenting the Wetland’s benefit?
RW: There was
some talk of releasing it as a record.
Since it has so many different players, I don’t know what the legal and
ethical ramifications of that are. We
would have to contact everybody and make sure that it is ok to release it. And really, we have gotten back on our feet
financially. Basically, we don’t want
to think about it anymore. We want to
move beyond it.
VR: I am going
to name some names of some fellow musicians.
I would love to hear what you have to say about them. Lonnie Smith?
RW: He is my
favorite living organ player. I got to see him at the North Sea Jazz
Festival in Holland two years ago – he
was playing with Lou Donaldson.
Sometimes you see the older players and they still play great but they
have lost some of their aggressiveness and stamina. He is going strong. He is
also fun to watch. I think he is real
showman when he plays.
VR: Larry Young?
RW: Larry young
is great. I have a couple of records by
him that I am really into. I have not
heard much of his later Tony Williams’ Lifetime stuff. I know him more from his 1960s records. There is one called Heaven on Earth on Blue Note with George Benson that I am a big fan
of. He played on Grant Green’s His
Majesty King Funk which is sort of a Boogaloo record. Technically, he is one of the heaviest guys. He also very interested
in more modal and modern approaches to the organ whereas most players come
directly out of blues. He plays a
little bit different.
Sparks is a good guy. I learned a lot
from him. We got to play with him a
little bit. His greatest thing, to me,
is his rhythm. Not necessarily his
rhythm playing but he uses time when he plays solos too. It is instantly easy
to play time with him which is something you don’t realize listening to records
but when you are on stage with him, everything feels natural and easy. He is such a strong force rhythmically.
RW: I met him
here and there with Galactic but he came out and played with us in Seattle the
last time we were there. He changed our
whole outlook. He plays really
spontaneous and you can never predict what he will do. He sat in with us and played really
harmonically outside and he forced everyone’s head open as far as how you don’t
have to be chained to the tune so much.
He is great.
VR: Les McCann?
RW: Les McCann
is a big influence on me for piano.
Mainly for that gospel influence.
VR: Your album
makes a lot of references to “You Got
Another Thing Coming!”
RW: That is the
hidden track on the record.
VR: Are you a
big fan of Judas Priest?
RW: I was when I
was a kid. I haven’t listened to them
recently. We were joking around in the
studio. Dan Prothero, the producer,
loves hard rock. He would always have
people play covers in the studio.
Garage a Trois did “War Pigs” and Papa Mali did a version of “When the
Levee Breaks.” We tried to be super
ridiculous and do Judas Priest. It came
out kind of cool and funny. It wasn’t
originally going to be on the record but everyone who listened to it, loved
it. It was cool to hear Stanton playing
something so square. He played it
straight down the center, hard rock style.
There was no syncopation in it whatsoever.
VR: How much of the 20th Congress is
composition and how much is improvisation?
RW: Usually it
is like a jazz group. We have ahead arrangement and we have a melody at
the front of the song and we play it back at the end of the song. Everything in between is improvised on the
form of the head. There are usually
some chord changes that are set but we are free to play within those as much as
we want. We have all sorts of
techniques such as substituting chords or changing the lengths of the chords
that we do by feel.
VR: How much
does your own mood affect your playing?
RW: It is really
variable. The goal is to play as much
of what your genuine emotions are at the time and not what you preset. That is part of why we try to improvise so
much. If you are playing from genuine
emotion while your feeling it, you are playing it rather than trying to
remember it. Singer/Songwriters, who
write a song about their girlfriend or whatever, have to get up there and get
themselves in that headspace that they were at when they wrote the song. I think half the time they are
bullshitting. We are trying not to do
that. We are trying to play exactly
what we feel. The only downside is if
somebody is in a bad mood and they may not play from the most positive of
emotions. We try to keep ourselves
happy when we get up there.
VR: So the 20th
Congress thrives on a happy vibes rather than contention?
Definitely. Especially as I am getting
older, I like to spread something good to people. It seems that when you hang out in the room, would you rather
hang out with someone who is complaining all the time or happy? You much rather be around somebody who is in
a good mood.
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