WALTER BEASLEY
WALTER BEASLEY renowned multi-saxophonist Walter
Beasley's sure to get a great reaction on his next tour as his loyal following
is certain not to be disappointed with the release of Go With The Flow, his
seventh CD overall and first for the N-Coded Music label. Neither, for that
matter, will any fan of R&B-tinged smooth jazz grooves. Packed with seductive
quiet-storm melodies and hypnotic contemporary rhythms, Beasley's latest
project, as with past discs, is distinguished by its heartfelt instrumentals and
soulful vocals.
"My ability to sing is what makes me different from many of my smooth sax
peers," confides Beasley. "Singing enables me to communicate in ways others
can't. On the flip side, I can evoke emotions and stimulate imagination when I
pick up the saxophone. When you combine both of those elements with the fact
that my background is R&B and I come from a soulful, instrumental tradition,
there is, I think, a certain uniqueness to the music I create both as an
instrumentalist and a vocalist."
That instrumental tradition, exemplified by the likes of such Beasley favorites
as George Benson, Cannonball Adderley, David Sanborn and others, is evident
throughout Go With The Flow. The CD's title track sets the tone with a rhythm
track so funky it's virtually impossible for listeners to not bop their heads,
tap their feet or get some otherwise serious body rhythm going. "My Pleasure"
and "Brother," a tribute to a beloved uncle who recently died of leukemia, are
alsoreminiscent of that instrumental tradition from which Beasley flows.
"Let Me Watch (You)" keeps the torch burning rhythmically, but with an added
twist: it has a freaky side not normally associated with Beasley. "I'm not sure
what kind of mood I was in when I laid that one down," laughs the native
Californian, now Massachusetts resident. "But it's definitely
uncharacteristically out there."
On the mellow side, Beasley's saxophone caresses to perfection on tracks like
"Precious Moments," "Over And Over" and the mid-tempo "West HamiltonGroove." As
on past CDs, the singer/songwriter/
producer/instrumentalist weaves his spell on a few choice cover tunes. His vocal
chops are masterfully showcased on Billy Ocean's "Suddenly," George Howard's
"Cross Your Mind," which he dedicates to his dear friend, the late, great
saxophonist George Howard, and his own "Don't Know Why." As on last year's
acclaimed Rendezvous, Beasley, who says he's blessed to be teaching at his alma
mater, manages to utilize former students on various songs. Two shining examples
are composer/instrumentalist Kevin Hoo and Abria, who once again adds her unique
brand of the spoken word idiom, this time on "All I Want," another original
song.
Beasley's diversity comes from within, but he benefits from the youthful energy
he attains from his students. "Being a professor has afforded me the opportunity
to consistently be around eager, creative minds. It's a symbiotic relationship.
I give them the tools to break down the walls and they, in turn, give me the
tools to keep my music fresh in terms of both current trends and current
technologies. They're longing to do things that are different and so am I. It's
a great situation because we all feed off each other."
Over the years Walter Beasley has mastered the ability to share his art with
other equally serious musicians. He also has learned how to feed off ofthem.
While a student at Berklee, his classmates consisted of such heralded talents as
fellow saxophonist Branford Marsalis, vocalist extraordinaire Rachelle Ferrell
and Tonight Show guitarist/band leader Kevin Eubanks. Additionally, he has
toured and/or recorded with the likes of Stephanie Mills, Vanessa Williams,
Brian McKnight, Gerald Albright, Kirk Whalum, Art Blakey & The Jazz Messengers,
Dexter Gordon, Bob James, Ronnie Laws, Everett Harp and Norman Brown.
Since recording his self-titled debut album in 1987, Walter Beasley has remained
committed to opening doors for up-n-coming musicians and working whenever
possible with established artists. The academician in him comes through loud and
clear when he earnestly expresses his concern over the lack of opportunities for
his students and other young musicians desirous of honing their performance
skills. "Funding has become a critical issue because budgets have been steadily
drying up," he says. "And the lack of government programs has created an
unfilled and unacceptable void in the area of live performance."
As long as he's recording, Beasley insists at least a handful of new artists
will have an outlet. "In the huge scope of things, the little that I do might
not amount to much. But," he adds, "for a small few, it can make all the
difference in the world. So I'm determined to do what I can." Wherever that
determination leads him, he'll continue to Go With The Flow.