Walter Beasley

Editorial Reviews

All Music Guide - Thom Jurek
Walter Beasley's self-titled 1987 debut for Polydor Records offered this new talent on the smooth jazz block as a triple threat: Beasley showed himself not only to be a talented saxophonist, but a fine songwriter and vocalist as well. Though he was deeply influenced by the late Grover Washington, Jr., Beasley took that inspiration far and wide. One need go no further than the album's opening cut, "I'm So Happy." Beasley's soulful vocals and alto saxophone are right up in front of a female backing chorus, a stylist drum loop, crisp synths, and a catchy guitar hook worthy of Eric Gale or Cornell Dupree though it's played by Freddie Fox. Add to this some Chic-like handclaps and...
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Editorial Reviews

All Music Guide - Thom Jurek
Walter Beasley's self-titled 1987 debut for Polydor Records offered this new talent on the smooth jazz block as a triple threat: Beasley showed himself not only to be a talented saxophonist, but a fine songwriter and vocalist as well. Though he was deeply influenced by the late Grover Washington, Jr., Beasley took that inspiration far and wide. One need go no further than the album's opening cut, "I'm So Happy." Beasley's soulful vocals and alto saxophone are right up in front of a female backing chorus, a stylist drum loop, crisp synths, and a catchy guitar hook worthy of Eric Gale or Cornell Dupree though it's played by Freddie Fox. Add to this some Chic-like handclaps and dreamy keyboards, and nursery rhyme refrains with saxophone swirling in the bridge, and you have a bona fide crossover hit. It's a hell of an introduction for Beasley as a modern soul vocalist and songwriter, and he wrote or co-wrote all but two of the album's nine cuts. Preston Glass and Kenny G wrote the following cut, "On the Edge," but Beasley's technical gift on the soprano sax is what's on display here. Kenny G may have written it, but his own chops don't hold a candle to the killer soul, in the pocket rhythmic sensibility, and overall arrangement with the loops and spiraling funky keyboards in this version. Other standouts on the set include the romantic gospel/soul ballad that is "Call Me," the funky "Back in Love Again," and the tough swagger and strut of "Nothin' But a Thang," that was a club favorite and a subsequent single. While it's true that Lionel Job's production sounds dated in the 21st century, most everything that came out of the smooth jazz genre from that period does: the packed compression on the keyboards and drum programming are a dead giveaway to the era, as are the stacked vocals. That said, this is one of the shining lights of the entire period, and it's easy to see why this music became a juggernaut commercially. Beasley stands out as a giant of the genre because he set his own watermark so high. The emotion on this set is clear, and the grooves are timeless. This is a very impressive debut by a player who arrived on the scene fully developed.
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Product Details

  • Release Date: 7/1/2008
  • Label: Verve
  • UPC: 602517743670
  • Catalog Number: 001144902
  • Sales rank: 18,376

Tracks

Disc 1
  1. 1 I'm So Happy (4:41)
  2. 2 On the Edge (5:06)
  3. 3 Call Me (5:15)
  4. 4 Jump on It (3:58)
  5. 5 Back in Love Again (5:14)
  6. 6 Tenderness (4:20)
  7. 7 Nothin' But a Thang (5:05)
  8. 8 Where (5:11)
  9. 9 I'm So Happy (4:58)
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Album Credits

Performance Credits
Walter Beasley Primary Artist, Primary Artist, Flute, Keyboards, Saxophone, Alto Saxophone, Soprano Saxophone, Vocals, Background Vocals
Onaje Allan Gumbs Synthesizer Strings
Audrey Wheeler Background Vocals
Thor Baldursson Synthesizer, Keyboards
Freddie Fox Bass, Guitar
Bill Hagans Guitar, Keyboards
Lionel Job Percussion
Billy Kilson Drums
Cindy Mizelle Background Vocals
Leo Okeke Bass, Bass Guitar
Technical Credits
Walter Beasley Producer
Thor Baldursson drum programming
Ray Bardani Engineer
Bill Hagans drum programming
Ted Jensen Mastering
Lionel Job Producer, drum programming
Acar S. Key Engineer
Kevin Reeves Mastering
Peter Robbins Engineer
Bob Rosa Engineer
Eugene Jackson drum programming
Michael Bays Art Direction
Hollis King Art Direction
Pete Robbins Engineer
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