Gerald Veasley

On The Fast Track

Waiting To Board

Do I Do

Next Stop Soulville

The In Crowd

Kickin' 22 Express

Heaven To Earth

You Asked For It

Sweet Rain

Deep Blue Samba

I Desire

Under The Cape Town Sun

Good Night Moon

Walter Beasley

Hard Work (Live and Raw)


The album is the latest - and perhaps most innovative and audacious - maneuver in the game that Veasley has been playing since his early days as an up-and-comin...


Your Move

by  Paula EdelsteinOn Velvet, bass player extraordinaire Gerald Veasley is as smooth as the title of his sixth solo effort for the Heads Up label implies. After one listen, his audience will know that the soul he plays  is legendary. Veasley blends a richly textured mix of urban funk, the Philly sound, and his unique bass perspectives to give listeners his rendition of the sounds and sensibilities of the neo-soul movement. Eleven new compositions either written or co-written by Gerald Veasley, "Home," and the outstanding cover of Curtis Mayfield's "Let's Do It Again" make a resounding statement about the rich tradition of soul, rhythm & blues, gospel, and funk that continues to endear generation after generation of music lovers to their very essence. Songs such as "Coup de Ville," "Velvet," "Summer Kiss," and "It's Alright (Tonight's the Night)" conjure up the perfect snapshot of Veasley's musical mindset, which was obviously inspired by real-life visuals. Even though Gerald Veasley is still in tune with the fan appreciation garnered by his previous releases, he has noticeably stepped away from the bass riffs and voicing used on many of them, especially those heard during his time with Grover Washington, Jr.. However, his dynamic six-string bass guitar work still allows ample room and space for the very vivid improvisations contributed by his accompanists. Nearly 15 guest musicians add their impressions and memorable moments to this great musical set that Gerald Veasley has filled with tender human emotion, matchless funk, and memorable entertainment experiences.

Velvet

by  Alex HendersonOn his Heads Up recordings of the 1990s, Gerald Veasley set out to have his cake and eat it too--he wanted to record melodic, accessible pop-jazz that had commercial appeal and didn't frighten away NAC radio stations, but he also wanted to record music that had some substance. And up to a point, he was successful. Love Letters, like his previous Heads Up dates, isn't the five-star gem he's quite capable of recording, but it's more substantial than 90% of the instrumental pop that NAC stations were playing at the time. Love Letters' greatest flaw lies in the production--Veasley and Richard Walters III tend to overproduce, and it's regrettable that a musician of Veasley's caliber doesn't have more room to stretch out and improvise. Nonetheless, the Philadelphian does get in some worthwhile solos here and there, and the sleek melodies he wrote are generally relaxing without being dull or mind-numbing. Although not remarkable, Love Letters is a decent collection of mood music--the thing is that a musician who's capable of winning over the notoriously demanding Joe Zawinul should be recording albums that are outstanding instead of simply decent.

On The Fast Track

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