Your Move

On his website, electric bassist Gerald Veasley is quoted as saying that he wants to be “creating more and better music, reaching more people and giving my band its own identity.” His current CD, Your Move, released on March 11th on Heads Up International, goes a long way towards accomplishing that goal.

On this, his eighth solo project, Veasley once again firmly establishes that he is one of the top bass players on the jazz scene and that he was justified in pursuing a solo career, rather than remaining as a sideman. He is fully deserving of having the spotlight shine brightly on his music. Of the ten tracks that comprise Your Move, six were either solely written or co-written by Veasley; three more, including the title track, were written by Chuck Loeb; and there is a collaborative effort between Loeb and Veasley (“Traveling Light”). The remaining track, “Thank You (Falletinme Be Mice Elf Again),” was composed by Sylvester Stewart, otherwise known as Sly Stone.

The album opens with Chuck Loeb’s “Hear Now,” a song that is well suited for Veasley’s funky approach to his instrument. He lays down a telling bassline that reflects his early Sly and The Family Stone and Earth, Wind & Fire influences. Veasley utilizes the traditional four-string bass, and expands his high and low range by also playing a six-string bass for “Hear Now.” If you enjoy hand-played percussion and plenty of drumbeats, you are going to like this song, as no less than three musicians, Loeb, Josh Dion and Richard Waller III, beef up the beats.

“Slip ‘n’ Slide” is a wonderfully upbeat song with lots of spunk. Loeb’s elegant guitar chords dance sprightly, and Veasley’s six-string bass seems to feed off that energy. Although there is no suggestion in the liner notes that these two musicians played together in the studio, producers Veasley and Loeb, along with Waller III, have given the recording a very live and dynamic feel. Additional kudos should be given to Assistant Engineer Lucien Dowdell, as well as Martin Walters who mixed the sound and Robert Friedrich who did the mastering.

Veasley, a native Philadelphian, cut his teeth in the music industry by performing as a sideman for Grover Washington, Joe Zawinul, Philip Bailey, Teddy Pendergrass, Pat Martino and numerous other outstanding artists. Like a fine wine aged to perfection, Veasley’s music satisfies the musical palette more completely than most of his contemporaries. The songs “So Close To The Son” and “Greenwood,” both of which he co-wrote with alto saxophonist Chris Farr, feature lushly textured arrangements, a light mid-tempo melody and more deep grooves from the bassist as he continues to employ both five and six-string instruments.

Gerald Veasley’s gifts as a composer come to the forefront with “Three Tears,” the most beautiful song on this CD. Chris Farr weaves true magic on both his tenor saxophone and the EWI, and Veasley adopts a more laid-back, melodic approach to this pretty ballad, which mourns the loss of a close friend. Peter Kuzma’s organ touches are subtle, as is the keyboarding of Donald Robinson. Mark Knox provides extra touches on the keyboard and synthesizer. The mood never becomes melancholic, just reflective.

Sly and the Family Stone’s funky “Thank You (Falletinme Be Mice Elf Again)” went all the way to # 1 on the Billboard Hot 100 in February of 1970, and there is every reason to believe that Veasley’s cover of the tune will also chart well. Veasley adopts a more laid-back approach than Sly’s bolder styling; Veasley builds a strong foundation upon which Donald Robinson lays his keyboard melody. Wendell Sewell’s sweet guitar licks, Matt Cappy’s trumpet and Chris Farr’s saxophone boost the funk element.

“Traveling Light,” a collaborative effort between Veasley and Loeb, is another beautiful piece that at times dances and in other moments soars. The stars that shine the brightest on this piece are Loeb, as he dishes smooth, emotive acoustic and electric guitar chords, and horn man Nathan Eklund, who triples on trumpet, flugelhorn and trombone.

If you are looking for a collection of songs that will build a soft, reflective mood with subtle grooves and evocative phrases, this is the album you should pick up. Gerald Veasley demonstrates once again that he is an outstanding bassist who knows how to play passionately and evoke a strong emotional response from the listener.