June, 2005

May, 2005
 

November, 2004

Joe Sample was in town recently and I had the honor of interviewing him for a workshop at World Cafe Live.  Tom Emmi, the creator and producer of the BET Jazz program, "Studio Jams", is producing a new series called "Music Lab".  Music Lab will be shown at schools and will provide an in depth look into the lives and art of great musicians.  My interview of Joe Sample was the pilot for the series, and what an excellent choice of subject he was!  For many years, he's provided a living example of a great artistic life as composer, musician, bandleader, and recording artist.  Joe Sample was very engaging, gracious and willing to share his knowledge.  The afternoon I spent listening to wonderful stories from a true master will be a treasured memory.

May, 2004

October, 2003

One of the things I enjoy apart from music is the company of a good book. I love books that inspire, challenge, or tug at my heartstrings. Here's a list of books (in no particular order) that mean the most to me:

• The Poisonwood Bible by Barbara Kingsolver
• Long Walk to Freedom, The Autobiography of Nelson Mandela
• Tuesdays with Morrie by Mitch Albom
• The Seven Habits of Highly Effective People by Steven Covey
• Q, The Autobiography of Quincy Jones
• A Prayer for Owen Meany by John Irving (my favorite author)
• The Art of Possibility by Rosumund Stone Zander and Benjamin Zander
• The Inner Game of Music by Barry Green
• Angela's Ashes by Frank McCourt
• The Color of Water by James McBride
• Bluebeard by Kurt Vonnegut (or anything else written by Kurt Vonnegut)

I would love to hear about your favorite books, send me a message in the Guestbook.

September, 2003

Over the past few months I've had the opportunity to jam with Larry Carlton, Pat Martino, Bela Fleck, and Joey DeFrancesco. These jam sessions (as well as others) have been documented by director Tom Emmy as "Studio Jams".  Recorded at Philly's legendary Sigma Sound Studios, these sessions show musicians creating spontaneous, engaging musical arrangements.

I had a great time hanging out with some of my favorite musicians and communicating through the language of music. Kudos to Tom Emmy and his crew for making it happen.

The good news: Studio Jams are now being shown on BET on Jazz. The bad news: there are still some areas where you can't get BET on Jazz. Suggestion: call your local cable provider and demand it!

Meanwhile, you can check out this story about Studio Jams at Jazz Times' website.

Lookout for an exciting new tribute to Jaco Pastorius! I am honored to have played on Jaco Pastorius Big Band Word of Mouth Revisited, which features a who's who of the bass world: Victor Bailey, Richard Bona, Jimmy Haslip, Christian McBride, Marcus Miller and Victor Wooten. The big band itself is tight under the direction of longtime Jaco collaborator, Peter Graves.

Jaco was a major influence on my development as a musician, and so it is especially gratifying to be included on this project that honors his legacy.

The CD is on the Heads Up International label and will be released late August.

May, 2003
The Velvet CD, I'm pleased to say is being received warmly by fans and music writers alike. Here is an in-depth interview with Baldwin "Smitty" Smith from The Jazz Nation, a web-based magazine. Enjoy!"

April 24, 2003

Gerald Veasley Nominated- Bassist of The Year
The 4th Annual National Smooth Jazz Awards has nominated Gerald for Bassist of The Year.

To vote go to:  www.nationalsmoothjazzawards.com

April 23, 2003

Travis Smiley Interviews Gerald Veasley on The Travis Smiley Show
If you missed, Click Here:

April 22, 2003

BASSIST GERALD VEASLEY LAYS DOWN THE SEDUCTIVE FABRIC OF VELVET

“What’s old is new again.” It’s an expression we’ve all heard. In simple terms, it means the good stuff is timeless, and it will always survive and eventually resurface, no matter how many years go by or how much clutter might get in the way.

Bassist Gerald Veasley knows. He grew up with the good stuff – the seminal urban grooves of the ‘70s that served as the backdrop to his creative awakening. “That was a time when I was kind of coming into my own as a musician, starting to really take music seriously, and there were all these great sounds around,” he recalls. “Music right about that time was starting to get very, very funky, and people were taking a lot of chances. There weren’t a lot of constraints in radio.”

Veasley’s richly textured new recording that evokes the sound and spirit of those formative years when innovators like Sly & the Family Stone, Earth Wind and Fire and George Clinton’s Parliament-Funkadelic turned the traditions of R&B and soul on their head and redefined the urban sound.

Combine these potent ingredients from decades past with the sounds and sensibilities of contemporary urban music, process them through Veasley’s musically rich Philadelphia upbringing, and the result is a unique instrumental perspective on the burgeoning movement that is now called neo-soul.

With Velvet, his sixth solo effort on Heads Up, Veasley maintains an unmistakably progressive sensibility with the help of some of today’s brightest ascending stars.

Among the young luminaries are fellow Philadelphian Jaguar Wright, who provides some sexually charged lead and backing vocals on the stirring Curtis Mayfield cover, “Let’s Do It Again,” and John Stephens, who also lends his pipes to the same track, as well as the gently rhythmic ballad “Summer Kiss.”

Other guests include vocalists Mikki Kornegay and Warren Cooper, who both step up to the mic on the sensual “It’s Alright.” Guitarist Randy Bowland adds layers of texture to “Let’s Do It Again,” “Velvet” and the heartfelt “Home,” while Hammond organists Benji Porecki (“Bread Puddin’” and “Forever”) and Michael Aharon (“Do You Remember”) bring the shimmer that’s such a vital component of the urban sound – regardless of what decade it comes from.

And then there’s Veasley’s usual crew, each with a star power all his own: Chris Farr, who handles tenor and soprano sax; Will Brock and Mark Knox on keyboards; and co-producer Richard Waller III on drums and percussion.

Helping Veasley hold it all together on the two neo-soul vocal tracks is producer Herb Middleton, whose credits include work with Will Smith, Al Green, Mary J. Blige, Faith Evans and Kenny Lattimore.

Veasley’s latest effort is a place where old school meets new school. Drop this one into the changer and hear the best of both worlds – the classic as well as the contemporary.

Dig the feel of Velvet.

December, 2002

To all my friends - I wish you a joyous holiday season. I'm looking forward to enjoying time with my family after having spent the last three months working on a new CD while juggling teaching and touring.

First, regarding family, my daughter T.J. is living up to the song "All I Want For Christmas Is My Two Front Teeth". She has made a fortune off the tooth fairy. Am I the only one who remembers when you used to get a dime from the tooth fairy? Ah, the good old days.

Roxanne is somehow handling running Flying Vee Music, working part time as a career services rep, organizing the upcoming Bass Bootcamp and doing all the Christmas shopping and decorating. Ah, the life of a musician's wife (and business partner).

I had fun seeing Kyle and his family over the Thanksgiving Holidays. Many of you know that my son is the program director of an excellent radio station - WEAA in Baltimore. Ah, the benefits of having relatives in high places.

Vanessa is coming home from Atlanta for her mad holiday dash through Philadelphia. If you see her, tell her that her father said hi. Ah, the joys of fatherhood.

On the music business front, I'm very excited about the upcoming release of my new CD - VELVET. It is the strongest music I've ever recorded. It mostly features my longtime friends and band members - Richard Waller III (who also co-produced the album), Chris Farr, Mark Knox and Will Brock.

Added to the mix are some new friends - Jaguar Wright, a true soul singer who gives one of the most inspired vocal performances I've ever heard and John Stephens, who is a undoubtedly a future star.

We are offering our third Bass Bootcamp March 21st 22 and 23, 2003 in Reading, PA. Once again we are partnering with The Berk's Jazz Festival to present a weekend of workshops, performances and master classes for serious minded bassists of all levels. Instructors include Gary Willis, Victor Bailey, Michael Manring, Doug Wimbish and for the first time Brian Bromberg. For more information visit www.geraldveasley.com.

If anyone hasn't solidified their New Year's Eve plans, I have a suggestion, spend it with us at Zanzibar Blue in Philly. We're going to unveil some of the new material form VELVET featuring Jill Scott's horn section - Jeff Bradshaw and Matt Cappy. On the weekend preceding New Years Eve (December 27th and 28th) you can also see us at Zanzibar Blue. On The 27th we'll have a special guest - saxophonist Eddie Bacchus Jr. from Pieces of a Dream. For more information call 215-732-5200.

Finally, from my family to yours, we wish you health and prosperity in the New Year. In spite of all the setbacks we may have in our lives, we are truly fortunate. We are here. Breathing, thinking, planning, loving, living. As long as we're here there is a chance. May God bless you.

Sincerely,

Gerald Veasley

You may notice the glaring gap between September and February on this page. It's not because there hasn't been anything new to report. Certainly, there's been a lot going on. Here's the top five events that I'd like to share with you:

1) Starting with the most obvious, September 11th turned our world upside down. Personally, I went through the gamut of emotions since that day - shock, fear, anger, grief. Then finally, I felt encouraged by the stories of heroism, unity, and grace shown by the people of this nation.

2) From the agony to the ecstasy - found out that Rox and I are having a baby. Now finally Taylor, our 5 year old, will have someone to look up to her. She already looks up to Kyle and Vanessa, her older brother and sister who are (sigh) both grown and living too far away to be playmates.

3) I was pleased to find out I was nominated as "Bassists of the Year" by the National Smooth Jazz Awards. If you'd like to cast your vote, you can do it online at nationalsmoothjazzawards.com

By the way, my good friends Pieces of a Dream recieved a well deserved nomination for "Group Of The Year". Voting ends February 10th. Spread the word.

4) Recorded with the wonderful Nnena Freelon. She's a classy lady with tremendous talent and vision. We worked on an album produced by the unflappable John Snyder in NY. Ironically, the repertoire is from the Stevie Wonder songbook. In 1999, I recorded a Grammy nominated album with the Dixie Hummingbirds that featured a performance and song by Stevie - "Have A Talk With God". That album was also produced by John Snyder. Then, when I began working on "On The Fast Track" I decided to re-do Stevie's "Do I Do", which has turned out to be quite successful. Hmmm.

5) Moved forward in planning the Bass Bootcamp, a weekend of workshops for bassists, March 15th to 17th. We now have confirmed our roster of instructors - Victor Bailey, Michael Manring, and Doug Wimbish. My fellow instructors and I intend to challenge Bootcamp bassis students to reach for the next level. For registration information, click on Gerald Veasley's Bass Bootcamp on this website's home page.

P.S. Here's the "Memorable Gig Story" I wrote for Jazz Times Magazine which was published in November:

Jazz musicians are notorious name droppers. Most of their collections of memories involve having done "such and such" with "so and so". I'm no exception. I'm not ashamed to admit that much of what I remember easily about my career are stories resulting from sharing the stage or tour bus with jazz legends. The biggest legend in my collection (and the funniest) is Dizzy Gillespie.

While I never played in his band, I seemed to cross Dizzy's unmistakable path periodically. When I misplaced my passport in Vienna, it was Dizzy who called the State Department in Washington to try to help me. When the Grammy Living Legends show honored Quincy Jones by assembling a group (including me - the unabashed name dropper) to play Joe Zawinul's "Birdland", who was on trumpet? Dizzy, of course.

I once played with him in a jam session in Japan. During my bass solo on "Round Midnight", he picked the quietest moment to clear the saliva from his horn. "Splat!" The audience cracked up at my shocked expression and Dizzy's feigned regret. Great musicians do have perfect timing.

My favorite Dizzy story, however, involves not a gig, but a train ride.

I'm on a train in Japan with Zawinul's band plus (big plus) Dizzy who is seated across from me. It's too early to have had breakfast, so I remark, "man I'm hungry". Dizzy produces a briefcase and in James Bond - like fashion pulls out of it the biggest peach I've ever seen in my life. Without a word, he holds it out to me and I take it because I'm hungry and it's from Dizzy. Juice is dripping everywhere and the gentlemanly percussionist, Bobby Thomas, who is seated next to me, is embarrassed beyond belief. Too hungry to care, I chew that thing down to the pit. Of course, the Japanese don't create trash, so there are no trash receptacles anywhere on the train. I've got this pit and no where decent to put it. Bobby's embarassed, I'm embarassed, God only knows what the Japanese are thinking. Dizzy rolls his eyes in mock disgust and without saying a word, puts the briefcase on his lap and opens it again.

He pulls out a handkerchief and motions for me to put it in the handkerchief. What else can I do? I place the pit in the hand of one of the architects of bebop, who wraps it up, places it in the briefcase, closes the briefcase and sets it back on the floor as if this is the most natural thing in the world.

I think Bobby Thomas laughed harder than I did.

September 2001

ON THE WRITTEN PAGE

JAZZ TIMES

I was asked by Jazz Times Magazine to contribute a "memorable gig story". What they were looking for was a humorous road story like the kind that musicians tell among each other. My creative juices startied flowing immediately. I came up with a few ideas that the editor, Christopher Porter thought were really funny. There was the one about me jumping off a stage in New York in the heat of the moment and the painfully funny results; or the time a Grover tour bus turned into an inferno, and three other story ideas.

The editor couldn't decide so he left it up to me to choose which story I thought I could "knock out of the park". I chose to write about a great experience I had in the presence of the great Dizzy Gillespie. I won't give it away here, (Awwwh) but you can look for it in the November issue of Jazz Times.

Meanwhile, sharing this type of story has inspired me to dig into my memory banks of 20 years of touring. I'm going to publish those gig stories here on my website. Look soon for what I hope will be funny, irreverent or inspiring recollections of life on the road.

BASSICS

Volume #28 of Bassics will feature a piece about the new CD, "On The Fast Track". It will also include a transcription of the song, "Under The Cape Town Sun" which can also be heard on the Bassics CD sampler accompanying the magazine.

"Cape Town" was inspired by the music of that gorgeous South African town which I visited twice. Cape Town is also the home of the great singer/ guitarist Johnathan Butler. Inspired by Johnathan, I performed this piece on an Ibanez five string acoustic electric bass which I think enabled me to capture al organic, "global village" type sound. This instrument has become a important voice for me and now I play it every day. It won't replace "Honey", my beloved six string electric (shown on the CD label) but it's getting close to my heart. And you thought instruments were inanimate objects!

August 2001

Ten Tidbits From Radio Land

Lot's of good news on the radio front for "On The Fast Track":

1 - Single, "Do I Do" has topped the New and Active R&R chart.

2 - On August 4th, my band and I performed "The In Crowd" live on The Doug and Lorna show on WHUR in Washington D.C. Apparently this song has come full circle, since, according to my friend Lee Mergner. D.C. is where the signature Ramsey Lewis version was recorded live.

3 - "On The Fast Track" was new CD featured on John Chung's radio show - Touch of Jazz on KBLX in Oakland. Touch of Jazz is a very tastefully programmed Sunday morning show (no, I'm not partial!).

4 - On September 28th, the show "Harlem After Midnight" on WHCR will salute me by playing nearly an hour of my music. I'm honored to say the least!

5 - I heard from a very reliable source that Stevie Wonder heard my cover of his "Do I Do" on KTWV in LA and loved it. I could walk on clouds.

6 - "Do I Do" is in power rotation in New York's WQCD (CD 101). Yeah!

7- Had fun live interview with the very cool and engaging Madison on Detroit's WVMV at my August 5th Elizabeth Park show. Also, had the opportunity to chat with one of my favorite musicians, Joe Sample.

8 - August 6th performance of my Electric Mingus Project was broadcast live by WRTI in Philadelphia.

9- WJJZ in Philadelphia (the first station to play "Do I Do") is putting the finishing touches on album release party for "On The Fast Track" where else - but on an AMTRAK train! For details, keep and eye on the projects page.

10) Congratulations to flutist and WVMV on air personality Alexander Zonjic on the release of his new recording for Heads Up. It's called "Reach for the Sky" and it is beautiful.

If you like "On The Fast Track", but you haven't heard anything from it on your favorite radio station, you hereby have my permission to call the station and (politely) request it.

What are you still reading for? Call the station. Pretty please.

July, 2001

I just finished a great weekend of dates this past weekend with Pieces Of A Dream. We played three outdoor shows as headliners in Springfield, Mass., Atlantic City, NJ and on the Camden, NJ waterfront. Last nights show in Camden was especially cool - in front of practically a hometown crowd (Camden is across the Delaware river from Philly) of about 4000 people. Pieces and I both share Philadelphia roots, so playing for that audience probably had a comfort level for all of us that's hard to beat. In spite of Philadelphia's reputation for being a tough audience, (the recent booing of Destiny's Child during the NBA finals and the oft mentioned booing of Santa Claus at an Eagle's Game) I've found Philly fans to be just as vocal in their approval as in their disapproval.

Last night's show for example, was a "Lovefest". The audience was not content to sit back in the uphill lawn seating. A few folks, came to the front of the stage as the concert started with the new Pieces single, "Are You Ready". I expected them to take a few snapshots and return to the grassy area. But you know how it is when family comes over - they get comfortable. The few in front grew to probably a hundred by the time the last note to "Fo-Fi-Fo" was sounded.

It was great. It's nice to play in front of a big audience and it's also great to be in a small club. The first setting offers an electric energy, the second an incomparable intimacy. Last night was the best of both worlds. We were able to PLAY BIG - the way bands do when there's a large number of people checking them out. "Playing big" (my own expression) means big in terms of showmanship, sound, selections of songs, attitude, etc., It's an approach that's necessary when there are huge numbers of faceless fans with whom you need to connect.

Yet with a crowd directly in front as well, we were also able to make eye contact the way you can in a little jazz club. Imagine also seeing people that you know down front - spurring you on.

Not that this band needs much encouragement. It's one of the most energetic and musically satisfying shows I've seen in contemporary jazz. OK, maybe I'm being a bit partial, but next time we're in town, you be the judge.

July, 2001

My latest CD, "On The Fast Track", is being received well. I'm thankful that I had the benefit of the talents of my band members: Mark Knox, Butch Reed, and Chris Farr. This has been my loyal, hard working group for the last few years, so it was great utilizing their services as opposed to using "hired guns" (ie. studio musicians or guest artists). We have a great rapport that I think comes through on my new CD. Also, the extended family of musicians lended a hand: Will Brock, Donald Robinson, Randy Bowland, John Swana, Tony Miceli, Ted Thomas, Charles Baldwin, Matt Cappy, and Jeff Bradshaw. Once again, these are musicians that I have a history with and I believe that it makes a difference.

The production team of Richard Waller III, John Anthony and myself was still intact for "On The Fast Track". We have developed an effortless working relationship. In the studio, we have to actually say very little to each other. We know the result we're going for and we know when we've achieved it. I'm very thankful to work with people who understand my musical vision and in whom I can place a great deal of trust.

Thanks to the hard work of my label Heads Up, combined with the efforts of the creative/technical folks mentioned above, the CD is doing well. In fact, the first single, an interpretation of Stevie Wonder's "Do I Do" was the #1 most added single in smooth jazz radio in it's first week of release. Listeners have taken to the upbeat funky grooves, tight horn section performances and soulful soloists on the CD. I generally am not influenced by the opinions of reviewers (whether positive or not) but I must admit to being flattered by Karl Stark of the Philadelphia Inquirer saying "the grooves come from a deep place". I think they do. Most important, however, is your opinion. Check out "On The Fast Track" and tell me what YOU think!

April 30, 2001

I've finished my new record - "On The Fast Track". I feel exhilarated and satisfied about the results of my labor.

February 11, 2001

Today I took another step toward completing my latest CD project for Heads Up Records- the photo shoot.  I have to admit, this is usually the most difficult part for me.  I don’t know how models develop the patience to take roll after roll film to get the perfect shot.  I’m a great deal more comfortable putting in 12 to 16 hours a day creating the music.  This particular shoot went very well thanks to a great photographer John Secoges, art director – Robert Hoffman, my manager Paul Silverthorn and my wife and erstwhile stylist Roxanne.  I’m anxious to see what I think will be great photos for the CD.

As I’m writing this, it’s about 10:30 on a Sunday night and in a sense, the second half of my day is about to start.  I’m going to go in my studio – The Soul Lab, and put some finishing touches on the opening song for the record.  It’s a tune I call “On The Fast Track” – an upbeat song that conjures the image of a morning train headed downtown.  The song features Chris Farr, the brilliant young saxophonist from my band and Tony Miceli (a great vibes player who can also be heard in my other band – The Electric Mingus Project).

Tomorrow, Richard Waller will mix “On The Fast Track” for an international sampler that will include songs from other Heads Up artists.  Richard has great ears and is sort of my alter ego.  Our musical tastes are very similar – sometimes it seems as though we’re reading each other’s minds.  It’s great to have that kind of relationship with a creative partner.

For a few days, I’ll actually have a bit of breathing room from the album.  I’m going to Japan and Hawaii.  I’ll be playing with Pieces of A Dream (who just completed their latest Heads Up release).  Playing with this great group will give me a chance to not only have a change of scenery but will allow me to come back to my music with a fresh perspective.  Who knows, maybe there will even be an eastern influence creeping into my “urban progressive” music.  Stay tuned.