There are so many things to like about the Berks Jazz Fest. Personally, I like when I can leave my hotel room at 9:50 p.m. to go see a 10:00 performance, arrive at the venue at 9:55, and be in my seat in time for the show. Afterward, I can shake hands with the artists, and venture into the hotel jazz club for a libation or two. Then, when I am all jazzed out, I can take the elevator back up to my room and call it a night. No hassles exiting crowded parking lots, no porta-potties to contend with, no mosquitoes to swat at, no 90 degree heat, no designated driver needed, and no dropping off your drunken, tag-along friend who can’t remember how to get back to his own house. Just enough energy to push that elevator button is all I need. Now, that’s living.
Saturday night at the Crowne Plaza Hotel Reading, Gerald Veasley and a few of his friends got together at the hotel ballroom and gave the audience a performance that explains exactly why this jazzlover’s spring fling has gotten increasingly popular since the day of it’s inception, 21 years ago.The versatile bass player led an act that paid tribute to the “Sounds of Philly,” taking the audience back to the time of the 70’s and early 80’s which marked the era when the unmistakable “Philly” sound was at its peak. Joined by Walter Beasley, Nick Colionne, Carol Riddick, and Will Downing, the band performed a nice mixture of the most popular classic R&B tunes of the day, and flavored them with their own personal styles to create an innovative groove that kept the crowd hand-clapping to the MFSB favorite “Soul Train,” and providing back-up vocals while Will Downing took the lead on “People Make the World Go Round.” Walter Beasley was masterful as he performed Grover Washington’s timeless classic “Mr. Magic.” His delivery reminded me of just how much Grover was loved and respected by his fellow sax players. Nick Colionne did a nice job of taking on Eric Gale’s signature guitar riff throughout the song. A great showman as well as guitarist, Colionne kept the evening light, entertaining the crowd with his playful interaction with the band members. Gerald Veasley added a nice touch to the concert by dedicating his version of “Ain’t No Stoppin’ Us Now” to the memory of the late Wayman Tisdale.
When Carol Riddick first took the stage I had not heard her before and had no idea what to expect. Let me assure you that I know who she is now. Folks, this girl has got some pipes. Her voice features depth and power, and she possesses exceptional control which allows her to range out with fearless emotion, and then fade back to a whisper without losing clarity or pitch. I’m looking forward to seeing more of Ms. Riddick.
Gerald Veasley, or “Mr. Veasley” as his musician friends affectionately call him, settled the crowd in, as though we were all invited to his own private party. He is a natural at directing the flow of a concert. Music is still a business and even the finest musicians still need someone to be in charge once they hit the stage. Much like Marcus Miller, Veasley is the consummate bandleader. Watch him closely. He manages the stage, making sure everyone hits their cues and stays in the moment. And when it’s his turn to shine, he's intense but remains poised. He’s not flashy, he’s just good. Damn good.
After it was all over, I shook hands with the artists, made a few new friends, and drank my fill of bourbon and beer at Gerald Veasley’s Jazz Base. Tired and all jazzed out, I headed for the elevator and pushed the button, after which I found myself fully enjoying my ten-second ride home.
G.
Although I wasn't physically at the Crowne Plaza this year, you got me feeling like I was right in the thick of things! Won't miss it again.
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