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Nathan East is the most famous person you don't

know you already know.

One of those guys that's unparalleled.

You look at that discography of work, and you don't have to try to explain it.

Over decades, you become aware that this is the most versatile,

adaptive bass player in the world.

He's a musical genius, he's just one of the baddest bass players there ever was.

He's just a masterful player.

He's such an exceptional, exceptional musician.

He's one of the greats.

Guy is just badass in everything he does.

And he has been forever.

He's been with every act.

He's been with every imaginable musical genre.

And he's done it.

If Nathan can't make your session,

you have to rethink the way you're gonna make the record.

He's probably the best bass player I've ever worked with.

100 years from now, he'll be considered one of

the top talented musicians of all time.

Whatever it is, it, he's got it.

This is the secret weapon.

It's not such a secret, but he's the only one,

there's only one of him.

Hey Ricky Lawson!

We love how you.

And Jojo.

Hey, give me a kiss.

Yes.

Cats!

Dude.

If I was gonna go on the court,

this would be the team.

Oh, man.

This would be the winning team.

You haven't seen me trying to shoot, though.

Yeah, I know.

I know.

If I was gonna go on the front line, this would be the cats.

Oh, man, thanks for being here. This is great.

Bass players,

to a large extent, tend to be the unsung heroes.

If they are well-known, sometimes it's for

the wrong reasons.

It would be great if he actually wrote down or

there was a list of all the tracks he played on,

where you'd think, my God, that was him.

My God, that was him. My God, that was him.

Gladys Knight and the Pips.

Lionel Richie. Pointer Sisters.

Kenny Rogers. Chaka Khan.

Al Jarreau. Aretha.

Whitney Houston. Kenny Loggins.

Amy Grant. Michael Jackson.

Earth, Wind and Fire. Anita Baker.

Wayne Shorter records to Bob Dylan.

Phil Collins. Quincy Jones.

Patty Austin. Eric Clapton.

Sergio Mendes. Elton John.

Babyface. Chris Botti.

Natalie Cole. Michael McDonald.

George Harrison. Stevie Wonder.

Herbie Hancock. Beyonce.

David Foster. The guys in Toto. Daft Punk.

Give them Ishmael, kids would be going, I love that record.

Oh, that's Nathan East.

Oh, that was Nathan East. That's Nathan East.

This guy is really something.

There's just a handful of guys like Nathan,

who keep appearing decade after decade after decade on records

because they have this unique gift.

I think the goal of any artist is to take their own

emotional life and transduce it into notes and sounds.

I was born in Philadelphia,

Pennsylvania on December 8th, 1955.

My father was born in Middledrift, South Africa, and

he was actually a track star,

went to Chaney State University in Pennsylvania.

Tom East sets world mark.

He beat Jessie Owens and he would have made the Olympics,

but the Olympics was canceled due to the war.

My dear sweet mother, Gwendolyn Harrell East.

She was originally from St. Louis, but

she taught kindergarten in Newark, New Jersey.

And the way she met my father was his brother was at

Mount Claire getting married to one of her good friends.

They met at the wedding and started dating.

He would come to New Jersey and court my mom, or

she would go to Philly.

It's unbelievable, looking at some of these pictures of my

parents when they were so young.

Mom and Dad were married close to 50 years.

And when he passed away, I found some love letters where he was,

by the light of the moon, I write this letter.

It was pretty romantic, I thought, Dad, come on now.

You were rolling pretty romantically.

Nathan has toured and recorded and

played with some of the biggest talent on the planet.

If you've listened to any radio, any song, anywhere in the world

in the last 40 years, chances are, you've heard Nathan East.

How we doing?

Doing good. All drum mics are ready to go.

They're just doing a final check and we'll start getting.

I think that there is really something to be

respected about someone whose credits read like Nathan's do.

It's a testament to his versatility, obviously, but

to his demand.

No, I got 10,000 hours logged in here.

I bet you do.

Yeah.

There's so much of himself in those records,

I think a lot of them he almost considers his solo albums,

because there's so much Nathan on these records.

He's just probably storing up all this good stuff all these

years, and it has to let itself out now.

The stars are all in alignment.

Hey, how you doing?

What's that? We're ready here.

We're from San Diego.

We had a small three bedroom house with nine people in it.

My mother sang, my father played piano,

he played the same three songs.

For about all of our childhood.

The funny thing was my father, he wasn't

professional or schooled, but he would put a Life magazine on

the piano as if it were music, and he would start to play.

I'm the third oldest boy, five boys, two girls.

So I have two older brothers, two younger brothers,

and two younger sisters.

Growing up we had the family band.

Cecilia played French horn, and

we had a trumpet, Gertie played trumpet.

We eventually convinced her to play flute,

which she did, she happily.

Did flute and piccolo, much more pleasant.

Being the youngest I got into it playing trombone.

We had our own horn section.

Nathan was playing cello in junior high school.

When I went to junior high school and asked, can I take piano lessons?

Well they didn't have piano lessons, right, so they

said you can play one of the instruments in the orchestra.

I'm thinking that bass was pretty big, I'm a little guy.

And the violin would be all over too small, so

the cello was perfect.

So I started on cello, that was my first official instrument.

The thing that I discovered was that before they

hit the A on the piano, I would just tune the cello and

like the A was in my brain some kind of way and.

He could hear a note or you could play a note on

the piano, and he could tell you what it was, what that note was.

This was even tougher, you could name a note, and he could sing

it and you'd play it on the piano and it was spot on.

I made a lot of lunch money in junior high

school because people would say, what key is that, and

I'd be able to identify the key.

And also it's like okay, well, play an A.

Okay, here's an A.

I think that instrument really developed my ears a lot.

At the top end

of this recording process, I said Let's put some world class

real musicians in a room, and see what happens.

What is the first song gonna be called?

101 Eastbound. I think

kinda to get underway, I would like to do this.

Okay, cool.

The tune is 23 years old.

We're kinda changing it up to start as a Brazilian kind of-

Pretty minimal kinda samba-ish kind of tune.

I kinda can start with the bass and voice.

I'm sorry.

Coming in from the beach, baby!

Yeah, your coming in from the beach, that's exactly right.

Okay, let's get it, get underway, kinda listen to it. Okay.

Maybe we can- Yeah.

Spice it up if there's a place, or, you know.

Right, right.

Yeah.

Watch the.

The funny thing about Nathan as a lead artist is

nobody can believe that he hasn't done it already.

I didn't realize that he's never

made a solo record.

I didn't realize that.

What, he never made a solo record before?

He should have done it a long time ago.

He should've done it a long time ago.

I think he's been meaning to.

I think, just he's always working.

The record player was this big, huge credenza.

The speakers were in the side of this big cabinet.

That was like our childhood pastime.

Je m'appelle Barbra was one of my father's favorite albums and

one of the first musical memories that I have is

listening to her voice.

One time I flew in to one of her sessions,

I put on the headphones and big orchestra and everything and

I heard that voice saying, is Nathan here?

And I'm going, wow.

If my father was alive, that would be a proud moment.

My parents pushed us all to be involve with music for

which I will be forever grateful.

My brother, David play guitar.

Now if you played guitar, you were cool.

Now we're talking classic.

There's David, Marcel, and me.

I especially like the David afro with the part in it.

We are talking throwback Thursday right here.

Ray, my oldest brother, used to sing.

So they were at church, and I'd sit in there and

tag along with him.

And I'd look on the altar, and there sitting there on a stand,

is a bass, a four stringed instrument.

I'm not even sure if we had a bass player,

if there was anybody playing the bass but He went and

And started to jam with the guys, and the power that I felt in my

hands instantly was something very special.

He never ceases to amaze me,

his ability to adapt to the genre that he's playing in.

All of a sudden I heard him playing on Daft Punk.

And I think, what the hell?

How did he morph into that?

I remember taking a picture of all the guys.

We got a photo and I was about to post it to Facebook,

and they said, wait, wait, wait, don't post it to Facebook,

because nobody knows what we look like.

I love that record, you know?

Before I could put two and

two together who everybody was and

who all was playing, All I knew was, that song felt great.

Then you go look and see whose playing, and

you go, oh, well no wonder.

There's a song that Michael Thompson submitted.

We're very interested in a particular groove that-

Just sent it to you this morning too.

Let's hear it.

There it is, this groove.

When he finally announced that he was going to

record his first solo record,

everybody came out of the woodwork.

I called up Nathan, I think I was in Switzerland,

I tell him you can't do this record without me.

Ray Parker is blowing my email up.

And I told him, you know, if you need some rhythm guitar,

after all, who you gonna call?

You want it crazy.

I want it crazy.

Let's go, baby.

Can I just do the very first part,

the first opening, the long note?

On the first pass?

The first pass.

Okay, you got it.

It's a little funky.

We're golden.

One piece at a time.

Okay. Come on man.

That's where we need to be.

That's exactly where we need to be.

It's the Tom Scott that you hear on

Quincy Jones records, that you hear on Earth Wind and Fire.

That you you hear on Steely Dan.

What neighborhood are you from again?

Well, I listen hard to different kinds of music.

The famous Mr. Talkbox.

The also famous, a guy named Nathan East.

Nathan East.

Oh my goodness.

I'm speechless.

Let's have some fun.

The environment changed when Mr.

Talkbox came into the session and tore the song wide open.

Stop!

Whoa!

That's crazy!

The song we'll keep really got established yesterday.

So.

Okay. This is what, this right here.

This is kinda where we are.

Guess what?

What do you think?

It's pretty phat.

Sounded like a record.

I'm ready to put this on the radio right now, come on man.

We started a jazz mass at Christ the King and

Ray was the canter and Nate played bass, I played guitar.

It's great that I learned

the bass in the church, because it's a very forgiving place.

So, if you make a mistake, they forgive you a lot easier

than if you're just on a regular gig.

We wanted to play all the time.

From the church, we branched out, playing some of the pop and

rock and jazz tunes of the day.

Back when I started,

radio was not just one type of music.

I mean you could hear Miles Davis and

then go right into Jimi Hendrix, then Cream then the Temptations,

all on one station.

Aretha Franklin, Wes Montgomery, as the years went on, Earth,

Wind, and Fire.

Tommy Todesco, Bob Dylan, Blood, Sweat and Tears, Tower of Power.

So, I started having this eclectic influence of music.

Santana, Clapton, these were the things that got me.

My opinion is, the greatest guitar player of all time,

Wes Montgomery.

One man's opinion.

Over decades,

you become aware that this is the most versatile, adaptive,

bass player in the world, and he fits everywhere.

He sets the bar so high.

Once you play with him, it's tough to not have that in the

back of your mind when you're playing with other people.

Not only is he one of the greatest musicians of all time,

in 100 years we'll be talking about what he did on the bass.

And what he did musically.

He's one of those players that can

walk into a situation and make everyone sound good.

The whole band sounds better because that guy's playing in the band.

Because he brings everyone up, and he ties it together somehow.

I'll never forget picking up the bass at

the school cafeteria one afternoon and playing the bass

line to a song by James Brown called Top of the Stack, and

I started going.

Nate picked it up and started jamming on it.

There were some girls around, and- I looked down

and there were about nine girls standing there looking up going, wow.

And at that moment I realized that this is what I wanna do.

The rest is history.

I like this.

And Nate always had that

contagious joy when he plays,

and I think that affects the other people he plays with.

And those are the collaborations that really make great records.

His spirit has everything to do with his music.

Some people have it, and some people don't.

Got it right, you know?

He did, and I don't know how to put it.

It's like a person that's talented, they've got it.

Whatever it is, they have it, they get it.

And they're getting very young.

When I was high school,

I wanted to be involved in as many musical situations as possible.

So I was literally in the marching band, pep band,

stage band, and then I was in a band called Power, kind of

an R&B funk band, and we played all around town in San Diego.

We played for one of the Stacks reviews, and

that's how we met Barry White.

He heard our band and called us up for a meeting in LA, and

he actually hired the entire band.

Here's our group called Power.

That's what you call a hair don't.

There are hair dos and hair don'ts.

I was 16 years old, touring with Barry White and

the Love Unlimited Orchestra.

For us it was like, you know, the big time,

because he was making number one hit records.

And when we came back off of that tour we

got some additional opportunities playing with

Cannon Ball Laterally.

Cannon Ball brought them me the first time,

you know, Power, two bad guys, and to talented, I mean, so

talented it was ridiculous.

Boy, little did we know at the time

that Nathan would go on and have such a relationship with Quincy.

Well I feel very blessed with the people

I've met in my life, very blessed, and

Nate is at the top of that list.

It's like Q Project here.

I think it's fantastic.

He was born with a gift, playing with Hubert Laws

when he was 19 years old at the Hollywood Bowl.

That's like a child prodigy kind of performance.

It's so difficult to assume that Nathan

was just beginning because he played so professionally.

I mean, he was already on the level of what we had been

doing already.

He contributed to a record we did called Family.

I wanna get to, this.

Look at this.

Wow, what did you do?

You took a picture of this?

Somebody actually gave me that, and

it's a Hubert Laws Family, our first record together.

That was a big hit for CBS.

Yeah.

Big hit.

Big hit.

He also wrote a tune for

that record called Wildfire, and it features piccolo and

his bass, and we played the melody together.

We'd like to close with a song that

I probably wrote, let me see, about 30 some odd years ago for

Hubert Laws.

We are going to attempt to play this song.

It's called Wildfire.

Good luck guys.

So you see he was already very precocious,

I mean as far as his ability to play professionally.

He was already there.

He was really young.

I know that because I was young then.

I require a lot of my guys.

When Nathan came to the band and was immediately a contributing

member and had lots to say, we almost didn't even question it.

It's kind of like Hubert's comment, you know, well of course.

Wow, there's Cecil Lytle.

Well, I joined the faculty at UCSD in 1974.

One of the most remarkable first students I met was Nathan East.

And Nathan said something like, I hear you're the new jazz professor.

We just thought we'd come by and shake your hand and

find out what we're gonna do together.

By November of that first year, Nate's mother and father had

invited my family, new to town, over for Thanksgiving dinner.

And here we were in the East household, and

the seven, eight children and mom and dad, and

it was just this rookery of happy souls.

It was very clear that I wasn't just gonna have a relationship

with Nathan East, but

a personal relationship with all nine members of the East family.

What was comforting was to meet young

musicians who were so capable and also such decent people.

And it was borne out not just with Nathan East but

also his entire family.

I started to work on my master's program as UCSD.

And in my first year, Bert Turetzky just said, Nate,

go to L.A., and start making money.

Go to L.A., become rich and famous, and

make us proud.

Those are the exact words I remember.

Great.

Do you think I have time for

a lesson before I leave.

I mean. Yeah.

This is Burt Turetzky, ladies, and gentlemen.

My coach, my mentor, my instructor, my professor.

Your friend.

My friend.

Damn right, and you know what happened when he became rich and

famous, he brought a house for his parents, that made me cry.

I thought, oh God, he is even better than I thought he was.

From the very beginning he wasn't just a student.

He was a remarkable young man, and I think that relationship in

my heart has grown deeper in the last four decades.

He paid his dues in those early days.

There was probably a lot of ramen being consumed.

At that time.

He was really trying to make his mark in the studio world.

Nathan comes up as the new kid on the block with

the bass, and everyone is like, who's this Nathan East guy?

I don't know, but he's good.

Let's keep using him.

Nathan and I met during the making of

Lee Ritenour's album in the 70s.

Ladies and gentleman, Lee Ritenour.

Would you please introduce me to your associate?

All right, on vocals and bass,

the great Nathan East.

Nathan, nice to have you here.

I actually remember

where I was standing the first time I heard him play cuz he's

that extraordinary a player.

He's that unique a player.

And it's just one of those things you just don't forget.

He's one of those guys.

It just a handful of bass players that have contributed

to the bass like he has.

The first gold record I ever received was given

to me by Lionel Richie, and it was for

the song Endless Love by Lionel Riche and Diana Ross.

Every time I would watch a television show,

and every time I would see him there's Nathan East and

I'm going, okay, I guess when I do my next record, Endless Love.

I'll call Nathan East.

And of course it went from there to almost every record I

ever recorded.

I had to have Nathan East on the record.

And I'll never forget hanging that thing in my

hallway.

And trying to visualize what it would look like to have a few gold records there.

You had to have him, because you want the vibe on the record,

you want the vibe to happen.

You want it to be locked, just call Nathan, it's locked.

Now come on Lionel,

how is that you never age?

One of my favorite Lionel stories is

coming out of Ocean Way at about midnight.

We played ping pong until 12:30.

One thing led to another and next thing you know I'm hearing all these great

Commodores stories and Lionel Richie stories.

And right when we got ready to leave we'd talk some more.

We talked six hours.

Before you know it, 6:00 AM.

I couldn't believe it.

Our cars are running.

Probably went through half a tank of gas.

There's a handful of players that all do this very well.

But at the top of them, at the top of the pile,

you're gonna find Nathan East.

Right now. Nate, what's up buddy?

You.

How the hell are you?

Good.

There he is.

There he is.

Nathan, it's unbelievable.

You made it happen.

God make it happen.

Amen to that.

You know what I'm saying. Oh, brother.

I flew to LA and Nathan and

I met at a restaurant to discuss pre-production on the record.

We drove separate cars to his studio.

Just by mere coincidence,

I have the radio on to the same station that he's listening to.

And as we're coming to the stoplight, the original version

of Moondance by Van Morrison comes on the radio.

Nathan starts lip syncing and

doing all kinds of choreography.

So I pulled out my phone and started to film and

there in all its glory it became very

clear to me that Moondance was a bit of our own destiny.

Ladies and gentlemen, Greg Phillingains.

Hey.

A man who needs no introduction.

Yes and you didn't give me one either.

So I'm not going to give you one.

So, so there we used to get confused a lot, seriously as brothers anyway.

I mean people would call him me and me him.

The bond was established so long ago it didn't take us long,

but once that clicked, it was just a permanent lock.

It's gonna be a big ass- It's gonna Song like- And it'll be tight, yeah.

It means a lot, really, to all of us who are participating in it.

I think most everybody who is participating in it loves Nate.

And you can't help but notice that.

My brother from another mother, Thomas.

The key, for me, was Chris telling me that he wanted to

have kinda the spirit of the Brian Setzer Band,

which has a definite kind of rockabilly sort of a vibe to it.

Tom has done

an amazing arrangement on this, and thanks everybody for

being here today.

Yeah.

I don't normally sing a lot of swing.

Big band stuff, but it's very soulful,

very exciting arrangement.

Those guys did a fantastic job.

When you're casting and

doing a song like a Van Morrison song Moondance, and you got Tom Scott,

and you got Michael McDonald, and you got Nathan East.

I can already sort of see what that's gonna sound like.

All right, let's hear what you got.

I'm saving a big surprise for right now.

It's a rock and roll masterpiece.

Guitar and bass are going

You know, keeping that kind of thing going.

The other licks just kind of grow out of that.

Oh!

You're killing me!

I did that actually so we can go into overtime!

Just the right amount of everything.

It's a combination of taste, adventurism, and

knowing when enough is enough.

It just sounds like the best of what those guys do.

How can you go wrong with that combination of

musicians and talent?

Are you kidding me?

And that's what we call an arrangement.

Thank you, thanks, thanks very much.

Everything just wrapped.

Now I guess I can show you one of my most

prized possessions.

It's the signature Yamaha base chrischiero.

I love you, Nate.

Yes, that way, Jiro.

Nathan has been

an endorsed artist at Yamaha for 31 years.

Not only is he a great ambassador to Yamaha,

he's a great ambassador to music.

I love the sound of Yamaha basses from the minute

I heard them.

I think I was at A&M Studios listening to Abraham Laboriel.

He put the first Yamaha base in my hands and I said,

I have to go home with this thing.

Someone sits down and

they just relate to an instrument.

I think it's very important and I think that's where Nate's

relationship with his Yamaha bass is.

I had the pleasure of meeting Nathan in

the early 90s.

It's been really fun to watch his evolution.

As long as he's on the planet,

he's gonna be probably the most sought after bass player.

For my bass that I record with I've had people

offer me substantial amounts for that instrument.

He's got this one bass that just sounds perfect.

I've offered him everything in the world for it.

I offered a trade for this studio for that bass.

Nathan East, that's the sound when you hear that.

He could play a two by four and make it sound great.

We can take some credit, but

it's all in the fingers and the heart, and he just brings it.

He totally brings it.

What are you, are you going to tell me he sold it?

No, no.

You ever thought about making you a record?

Nathan, has a very famous bass sound that's been on

number one hit after a number one hit.

My challenge is, do I just do his famous bass sound and

keep it like that or

do I try and stretch to see if we can beat it?

I think one of the first times that we were in pre-production

we were talking about playing a bass amp.

He was like, well why would you want to do that?

- So, so. - I'm not feeling the concept of that.

He's not feeling it.

I'm not to be just straight up honest.

I'm not trying to change your sound we'll keep that the same.

Let's try it and if you're not liking it, you're

not digging it and you know we don't spend any time on it.

I mean we can try it but.

So it was a bit of a stretch I

think for Nathan and myself cuz I had to respect,

he's literally probably the world's greatest bass player.

So I was wanting to see just an inside challenge if I could beat

his bass tones.

Yeah that's better.

Sounds absolutely gorgeous.

I mean, it's, I mean, now I wish I could re-record every record

I've ever played with this sound.

Well, you said the other guy's the best, so

I've gotta beat his tone, so.

I got the challenge.

Let's go.

The first time I heard Nathan on the radio I

remember being with my dad and we were like, wow,

that's Nathan on the radio.

One day when Nathan was

starting to play big concerts My father had to pay one time.

He says, I can't believe that I actually have to pay to

see my son play now.

It was a pretty interesting moment in his life.

Dad was funny, he was always saying, you guys gotta have a back up plan,

but once he say Nathan's career take off, he came around.

I was at home and

received a call from Kenny Loggins one evening saying his

bass player had left the band.

And he needed somebody to come out on the road right away.

That kind of started our relationship.

I took a trip to California and

Nate was gonna pick me up at the airport.

This limo pulls up, and this guy steps out of the limo says,

are you David East?

And I said, are you Kenny Loggins?

And sure enough, it was Kenny Loggins.

Nathan invented many of the bass parts

that are now the quintessential tunes from that era.

He was that rock.

I could turn to him and go, what do you think?

He got called to do this film called, Footloose.

And it was one of the first pop record that I ever sang on.

I had a line, put your feet on the ground, that's me.

I had a bass player in the band shortly

after Nathan.

I guess I had become a broken record saying,

well Nathan used to do this or maybe if you would do it,

you know Nathan did this kind of thing here.

And finally he turned on me and he goes ain't no Nathan East,

ain't never gonna be no Nathan East.

Yeah, there's a lot of players who could say that.

Now are you gonna sing it?

I think I can do it as an instrumental.

Instrumental?

Yeah. Cool.

And I was thinking, when we get to the line, they will just pimp it out

in different directions like.

New key.

You know.

Cool.

New key.

Yeah, that's So it's-

- Then it changes to B flat? - Yeah.

And then after that is another key.

Right.

Right. Yeah.

It's one of those keys.

Just think about

records that I grew up on, Stevie Wonder's records and stuff like that, where you felt like,

okay, this is kind of like a story to our lives.

This reminds me, it makes me feel like this will be the story

of people's lives later on.

Really we're introducing the bass as a solo

instrument.

This is gonna be the voice.

Here

was a chance for Nate to step out front and center, and play

the melody solo, and have more kinda the spotlight's on me fun.

Until this record, he had never aspired to kinda step out, and

say here I am presenting what I do.

He's been content to be a side man, and

never prevail upon anyone to return the favor in terms of

performing on anything of his.

But he's got a hell of a lineup on this one, boy.

He's brought out all the big guns.

That is what I wanted.

Chuck Finley who played trumpet on the original

version of Sir Duke with Stevie Wonder 40 years ago at least,

ended up coming in and playing on our version as well, so

we had one of the original guys.

Good take.

Yeah.

That was the last one.

That's fun.

That was There's

a biblical proverb that says, the beauty in young men is their power.

But the splendor of older men is their gray hair,

their gray headedness. It means they've had experience.

You see he's had a lot of experience and But

the whole experience of Nathan being in the group, really one

of the most important periods in my life and my evolution,

it's pretty special stuff that I achieved with Nathan right there by my side.

Help me, Nate.

Help me, Nate.

And Nathan right

there you know some pretty evolved music.

Is a mother and a bass player got to be on his dig,

honey, cuz he was playing.

And just as cool as a cucumber,

gentle spirit and on fire, the fire's inside.

And he's brought that to other people's music for a long time.

When I think about it, I get mad that this first record, on his own.

It makes me mad.

What's wrong with you?

It's kind of dumb.

I'm sure, for 20 years, he sat here, if not more.

He probably had the support from the music community to have done anything like this.

But he's also been really, really busy, I've never known

the guy to be like, just been hanging, just been chilling.

Lou calls him for everything, Eric Clapton calls him, Phil Collins.

President Obama was inaugurated, that's Nathan East.

When Quincy Jones threw his 80th birthday party,

he called Nathan to be the musical director.

Nate is the bass player's bass player.

And the musician's musician.

God he's a monster.

Gorgeous.

That is beautiful.

I think this is a perfect time for

him to make this record.

Because he's one of the greats.

Nathan is no less than one of the all time great musicians.

His career of course tells that story, but along with that he's

one of the sweetest guys and nicest people I've ever met.

Wow, this is amazing.

It sounds so beautiful.

Are we doing your bass in the room or

you going to be there?

No, we probably should now.

Not way in there, right?

Yeah, man.

It's too far away, man.

We can hang with you.

Yeah, thanks.

If there's any time, we do some music.

I couldn't believe what I was hearing.

It felt to me that it was the first song that he heard when

he was still in his mother's womb.

His connection to the piece of music was unbelievable.

It's like he's been playing this for his whole life.

It's very natural.

God bless these hands here, man.

Thank you.

I don't have to tell you what a fan I am.

Thanks, likewise.

You guys have no idea how timely this is in my life right now.

It's- Wow.

We'll see if I get through it.

Aw.

See that?

I've got chills.

Oh my God, the song is just perfect.

It's so good.

I can't take it anymore.

All right, go out there and

get your mic and start singing.

It is for me a classic moment on the record.

Wow, seriously.

We just had church in here.

Humility.

That's what he possesses in great abundance.

There is no need to prove anything.

All I know is that when you play with him,

I know how good it feels, and that's that.

That's the best of the best.

When you're on that level of musicianship,

the homework that you have done gives you the precision and

the technical tools to adjust to any situation.

I've never heard Nathan play a bum note.

He's just extraordinary talent.

When I did the Phillip Bailey album, Chinese Wall,

this was about 83, 84.

First he wanted me to produce it.

As soon as he announced that, a lot of

black radio were kind of saying to him, you're gonna go and work

with this white Phil Collins but don't make a white record.

He kind of got the wind up a little bit.

He said I'm gonna bring Nathan with me.

Nathan H Jenner Nathan?

I said nope.

He's like, oh, he's a great bass player.

Philip, being a friend of mine,

invited me to play and we went to London.

That was the first time

I got the chance to work with Phil Collins.

We started to make this record, and

I started to get very close to Nathan.

And we did the whole album, and we became very tight.

After two weeks of recording, Philip said,

you know what, we still don't have the undeniable single.

And so this one last day,

we started to mess around with something.

We came up with the dum da dum dum dum dum dum.

Nathan worked on what exactly

that riff was going to be.

It really took 20 minutes to write,

believe it or not.

Philip was singing Choose Your Lover.

And then it's la, la, la, la, la, la, choose your lover.

And I went home and they didn't like the sound,

Choose Your Lover.

But I wrote Easy Lover.

And basically the lyrics kind of almost wrote themselves.

He became a potent showstopper.

Never forget hearing Easy Lover on three radio stations at the same time.

We didn't realize it was gonna be so

big, and I don't think we'd ever thought that it's still gonna be

played on the radio now.

We didn't think that long ahead.

That was probably one of his really first big

monster hits.

It was always fun to see

an album project come out and see Nate's name on it.

He was humble.

I mean he didn't always share it, you'd be surprised,

you'd be looking at an album going down to the minor notes.

They were on this?

He always got a kick out of who he was playing

with next.

There was always this quality of, oh my God,

look where I am now, look what I'm doing.

He has this sense of joy and excitement.

When Eric Clapton called, he was like,

I'm gonna play with Eric Clapton, he was like a kid.

I was playing with Kenny Loggins at Live Aid, 1985.

And when I came off stage,

there's Eric Clapton on the side of the stage, saying,

hey man, sounded great, you wanna go hang out?

I was watching the other bands play, and

I saw Nathan play with Kenny Loggins.

And it was, whoa.

He was like a third of the band's sound.

And I'm used to that obviously with Hammer Soul or Jack Bruce.

But it was different because those guys really just

were loud.

Nathan was proficient, and he played like a guitar player.

So I, for one day, I wanna play with him.

When I was a kid,

I had black light posters of Cream and I'm sitting

there learning the bass line to Sunshine of Your Love, and

then to be playing with Eric Clapton, every night.

Phil Collins was producing a Clapton album.

Phil assembled this band that included me and

Greg Phillinganes for Eric's record.

Roger Forrester who was managing

Eric Clapton at the time sat in there and

he said, you know what, this is a band.

And by the time we finished the end of one day,

he had half a dozen dates booked.

We called it the Heaven Band.

What was that- It was freaking awesome.

We'd be drop-dead killing, pimped out in either Armani or

Versace, that was it.

There was nothing else.

We'd go shopping.

Whatever town we were in, Eric would say, any Versace?

We were cleaner than the Board of Health.

And the four of us, people have kids with Dad.

As Roger would say, go on, in you go.

Buy what you want.

And I would say, really?

This is very expensive.

Greg and Nathan would, really Dad?

Yeah, really.

You sure?

We were just like the four gangsters,

we'd come out there and just kill.

In the Clapton band, him and Greg were like

They brought a bit of stage presence to Eric's show.

Cuz, Eric just stood there and played guitar.

We all used to laugh when he played.

It was fantastic, but Greg and Nathan would bring a little bit,

not Earth, Wind, and Fire in terms of the way they dressed,

but they'd bring the movements.

They'd bring some different kind of thing that had never been in Eric's band.

I mean, Eric would just sit and

laugh because of their choreography.

Then of all the things I've done that

was the most fun, just being behind the drums in that band.

That four piece should have stayed together.

I'd like to bring a dear friend, and gentleman here to the front

of the stage now to sing a song for you.

The song is Can't Find My Way Home.

The gentleman is named-

You know when you play a song every night,

it just kinda gets it into your bones

Having played with Eric Clapton for so

many years, I called him and said,

I can't imagine recording a record and not having you on it.

He's a great singer and

a great multi instrumentalist.

So he could've done it a long, long time ago.

He could hear everything going on.

And I really love working with

people who listen that whole-heartedly.

So And you know, he's got roots,

he's got R & B roots and great composing qualities.

So you can just go there,

if you want to go off somewhere, he'll follow you.

So let's talk through this for a second.

Okay. Yeah, let's talk through this for a second, guys.

And the bass will be It's this very moody

kinda thing.

Yeah. If it just all centers around him- Yeah.

This play and this scene really carve a space.

Yeah.

And just let it be the bass in the vocal here.

We're creeping in and out and just making it moody.

It's maybe the first one, the second time around we hold that,

can't find my way home, just maybe a bar extra- Okay yeah.

The industry has changed so much, and

that's another reason why this record is special.

Because you get to play with live,

breathing people as well as real instruments.

You're actually playing piano.

That's a special thing when you get to play off different people.

I think, playing something by myself I can't,

well wait a minute, that might feel different if I do this.

And it makes you change your thought,

it gives instantaneous response.

Play me how it would go.

Yeah, nice.

You just hold on a little bit longer.

Just a little breathing room, okay?

That's where you live, that's where you live, right in that area right there.

I'm moving in, I'm moving in right here.

It's great, it's perfect.

That's what music is supposed to be about.

It's that interplay,

the kind of ESP that happens in the studio between musicians,

and especially great players like Nathan, who can play

anything they can think and beyond anything they can think.

When you get guys like that,

your music's gonna become a whole other animal.

That's a cool version.

I like the tempo of it and

the vibe and everything.

That's where that song lives, guys.

There are musicians who feel that music is their life, but it's actually the opposite.

It's your life that impacts your musicality.

The rock and blues world is mourning the loss

of arguably the greatest guitarist in the world.

Dallas native Stevie Ray Vaughn was killed in a helicopter crash

early this morning.

The accident happened in dense fog after

a concert at the Alpine Valley Music Theater The copter

disintegrated on impact into hundreds of pieces

which scattered over a wide area and the local coroners office

says it looks like everyone in the copter died instantaneously.

In the late summer of 1990,

Nathan was out on tour with Eric Clapton and

they were on a bill with Stevie Ray Vaughn.

Nate and Greg Phillinganes were both going to

grab a helicopter back to the hotel after the gig.

We know that Nathan was supposed to be on that helicopter.

But Nate had a friend that was flying in on a private plane.

And the guy said, Nate, why don't you fly back with me.

We'll fly back.

And he said, sure.

And he hops out of the helicopter and he says, Greg,

come on.

Greg's like, oh, no.

He's like, come on, we fly helicopters everyday.

And Greg said, okay, and he went with Nate.

While his manager Charles Komer told us that

Stevie Ray could've been driven out of Alpine Valley in a van,

but gave his seat to someone else and opted instead for

the ill fated chopper.

The helicopter was taking the men to Chicago.

Vaughn took the last seat, at the last minute.

I had gotten the news that that helicopter had crashed.

The news was saying that five of the Clapton bad members had

died in that accident.

And I called the hotel.

Phones were blocked.

I was calling the managers.

I was going crazy, but no this just isn't it.

And then finally, Nathan called.

And it was just the most incredible moment to just hear

his voice, to come that close.

But it wasn't his time, he had a lot more to do.

I would venture to say that Fourplay was

probably a pretty profound part of his evolution as a player.

He was one of four artists in that band,

as opposed to just being a glorified side man.

When we started the group Fourplay,

the idea of the group was supposed to represent four

completely different individuals.

So we all had these

strong individual personalities, but

when we started playing together as a quartet This other sound

emerged from the first hour of this first session, it was just

this magic that happened with this particular unit.

And it became the foreplay sound and it was like woh.

At that time, Lee and Harvey and

I all had separate solo careers.

So it was a little bit of a gap that

Nathan didn't have a solo career.

He would always say, yeah yeah yeah I'm gonna do it.

I'm gonna do it, I'm gonna do it.

This is kind of a funny ongoing conversation with Nathan for over 20 years.

Everybody said, when are you gonna make your record?

And Nathan keeps saying, I'm making it.

I'm making it, I'm doing it.

Where is the record?

The record would never come.

He had what we call the golden handcuffs.

He was too busy playing all these fabulous gigs with

everbody else.

When you ask somebody for

20 years to do something, it becomes a nag after that so,

it's just a full circle moment and, the interesting thing is,

we're in the same room That the very first Fourplay CD was

recorded, which sold over a million copies, and for

me this is a little bit of a deja vu to start my record here.

These rooms, they purr,

they hum, they have so many ghosts in them, good, friendly,

musical ghosts that hang around the room.

It that corner that I'm in with my drums,

Sammy Davis, Jr, Frank Sinatra And

Dean Martin stood in that same corner, with a lot

of history here and Nathan gets to do it in ocean way.

Yes yes!

You know you can actually tell a lot about

a person by their record collection.

But there, look at Quincy, look at this young stud!

Now we're talking long before Michael Jackson.

That's Quincy Jones right there, come on.

Who actually discovered Bob James.

I found Bob James and all.

He was 19, in Notre Dame.

He had some marbles going around oil cans and stuff.

He was out there.

But, he's a great guy.

And they fit like a glove.

This is really taking me back.

Bob James, years and years before I met him.

And I was such a fan.

To end up in a band with them, Fourplay is just amazing.

When it comes to musical talent

Nathan's in a league that's rare.

But he's not alone.

Bob James is one of those players.

Guys that are tapped in.

And can turn on a dime.

He's probably one of the American treasures

that I value the most in terms of musical integrity,

in terms of friendship, and

just what he brings overall to the musical business.

It's insane what he's accomplished.

If you look into Bob James' career,

he's had about 12 of them.

Wow, I'm so happy.

I'm just.

Hm.

We waited 20 goddamn years to be on this project.

We better come up with something.

Gee wiz, you know.

Its the musical account of our friendship.

And I wanted to refine that actually to

a musical representation of our friendship.

Not just the audio in itself.

I was really fascinated by how Nathan and

I had worked together enough that even without drums you

almost could hear the rhythm.

As much as we have done separately and on the many, many

different kinds of projects, there's still an element of

mystery about when something comes together and works.

You can't predict it, but you kinda know when it does.

Well he's achieved tremendous success.

Everybody surrounding him knows it.

That doesn't define him to me.

Probably one of the big reasons why he is successful is

because he doesn't think that way.

He comes into a situation and

he figures What does this music need?

And then he does it.

He fits into a team.

It's not about me.

He's ready to back you up, and

support you, whether it's playing one note all night, or

many notes, he's selfless.

That's what's incredible about Nathan.

He was making a lot great music, but nothing with the name Nathan East on it.

Now he's doing it, and that makes me happy.

1992, 93, 94, I love keeping these

around because it's like a time capsule and I can go back and

see what I was doing.

What were we doing?

Fourplay, The Tonight Show with Johnny Carson.

This is crazy to look back at this stuff and

just kind of see your life.

Sting, Elton, Natalie Cole, James Taylor.

That's all one night at the Carnegie Hall.

The 80s game for a lot of the session musicians was three,

four sessions a day, five,

six, seven days a week minimum, I mean,

it was just like the game of how much could you squeeze in.

And, obviously, as things started slowing down for

everybody, it became important to be able to play live, and

by forming the group, Fourplay, we've been able to tour and

make records.

I toured with Eric Clapton, so we'd tour and

we'd do an album, tour and do an album.

Do the same thing with Phil Collins, do an album, tour.

For those of us that kinda do it all,

we've been able to maintain a pretty good workload when

the actual day to day session situation pretty much dried up.

Now this is ridiculous.

These are all boarding passes.

And that's just from last week.

I think it's 67 times that I've been to Tokyo.

So if I can find 67 boarding passes,

I think that would be cool.

It's like a recap of your life, it's amazing.

Some of these years I think I spent more time in the air

than I did on the ground.

Families make big sacrifices to let

us musicians go out on the road.

While the wives and mothers take care of the household and

watch after the kids.

While it's all fun, it's not without sacrifice.

Well they say behind every good man is a good woman.

First of all I hope that I qualify as a good man.

You know Anita is my rock and

a lot of the things in my life have led to us being together.

It's not your typical family.

We focus more on the quality of time we spend together,

not so much the quantity because he is gone a lot.

We don't look it as a negative thing, we look at it as

a positive because when he is there we appreciate him more.

What you look for

in life is not so much a guy who can play music, or read music.

Can he feel it?

He feels his music, but he also feels his life.

It's a reflection of exactly who he is.

I love his spirit.

In two hours he'll be playing with Eric Clapton, or

he'll be doing a session, or he'll

be mastering his record but two hours before, he's a dad.

Tell me when you're ready.

Ready.

Hey, look the cat.

Nate's sense of importance of family has always

been at the forefront of who he is.

There's music and there's family.

Momma. There's your momma.

Come on.

I mean he comes from a place where it's that

kind of thing that shapes a man and

he's never lost sight of that.

We were in the studio talking about songs and

my son Noah had just come from piano lessons.

He said, oh we're working on this arrangement of

a Paul McCartney, you know, Yesterday.

Chris says, well let me hear it.

Noah goes over and plays it.

And so after he's finished, you know, Chris looks over at me and

he says, that's gotta go on the record.

Yeah.

Go the touch.

And you want to know how proud dad is?

There's only six cameramen in here.

He pulls out his camera.

That's my boy, come on.

That's so beautiful.

Okay, your turn, David.

Come on, Sam.

Hold that thought.

Yeah.

No, we wanna get it started?

Dear Lord, I want to thank everybody for

coming here.

And for my dad's album and that everybody does well on the album

and thank you everybody for coming.

I mean, it's gonna be a great dinner.

Amen.

Thank God.

Amen. Amen.

Thank you.

Thank you, Nate.

These guys were born 60 seconds apart on which date?

May 11, 2000.

Look, there are kids, and

then there's Noah and Sarah.

Anything they can do, Noah can do.

Sarah, she's well on her way to being the next Gabby Douglas.

I mean, she won regional championship this last year. Wow.

Number seven.

So all we want is a scholarship basically.

Well.

Hello little man.

How's it going?

You ready to rock it?

Yeah, I'm ready now.

Let's go.

So your dad'll probably be right here and here's his volume.

If he starts sounding really bad, just turn him off.

All right. Cool.

Hey dad can you hear me?

I can hear you Noah.

It's surreal to play with your son.

You changed his diapers and

next thing you know you're making music with this person.

Are you ready dad?

Ready son. All right, let's do it. Okay.

I'll never forget the morning of the session.

There's a picture of me and Paul McCartney.

And Noah looks up and he sees, and he says, daddy,

there's the composer of this song and

I wonder what he thinks of this arrangement, I hope he likes it.

That's a full circle moment to me.

The Beatles were like my first heroes.

It's almost like living a dream,

when you think about learning the baselines. Tax Man and.

You think about, wow these are songs that I learned when I was

just learning how to play bass.

And now, I'm standing up next to a Beatle playing these songs.

It's amazing.

I remember very specifically, Nate just picking

up a broom and just jamming to the Beatle records.

And it's ironic that he ended up

playing with most of the guys in the band.

And of course, George went on to be one of my

dearest friends and I truly miss him.

We'd get together at his house.

He'd send a car for me every time I arrived in London.

And we'd get together at his house out in the country and

go over some of the memories of The Beatles and

it was just really an amazing time.

It was my birthday once in, while we there,

actually while we were there in Japan.

And George gave me a birthday party.

Eric gave Nathan a beautiful Giorgio Armani suit and

George gave him a fabulous brown leather jacket.

Here we go.

My Beatle jacket.

Really, I love it.

After all these years,

I don't think any of us thought we'd even maybe still be doing this.

Nate's one of those guys, that I really cherish that friendship.

I feel really fortunate.

It's like a precious thing to me at my age.

Because you never know.

There'll come a time when you just don't get to do

these anymore and get to see these people anymore.

All I can say man, is thank you and I love you.

I love you more.

Wait a minute.

I love you.

I love you more.

Come on. Come on.

Really been a blessing to be

here to play with him on his very first solo record.

Really an honor that he called me.

He can call anybody.

We were in the middle of mixing the record when

we received the tragic news that Ricky Lawson

had suffered a brain aneurysm from which he would not recover.

The death of Ricky came as a complete shock to us all,

particularly to Nathan.

They have shared their entire careers together.

The spirit that Ricky Lawson

has left on this record is absolutely overwhelming.

Especially knowing that now he has finished his mission here on

Earth, and gone on to that band in Heaven,

that has a lot of great players there.

You will always be represented and remain alive in my heart,

you know, especially through this record.

The music is spiritual,

cause basically you take something from nothing.

You know, to have all of us in the room together is the one way

that you create magical records.

Ricky knew how to groove.

That's the thing. He was always like that.

I mean, he was grooving like that in Detroit in high school.

He had this thing about washing cars.

He came to visit my house one time.

He said I'm on the way, I'll be there in a few minutes.

And after about 20 minutes I was wondering where he was but

then I get a knock on the door and he said come outside.

He had detailed my car. He would do that.

It didn't matter where you lived.

He would come over and wash your car and leave.

He was nuts. He was absolutely.

No, who does that?

Working it out.

Get the hose, spraying it, just soap and everything.

He was just crazy like that.

That's the kinda guy he was, he was just generous.

Hey!

We are supposed to be here, I think,

to help one another, to be better as people for each other.

Nathan.

Ricky, never even have to say anything to Ricky.

This was one of last projects that he recorded.

I just want this to be not only my project, but

his project as well, and

I dedicate this album to Ricky Lawson, my brother in music.

I've been so blessed.

In my career as a musician and as a person.

Cuz I'm just a little knucklehead from Detroit, you

know, traveled the world, played with some incredible musicians,

met some wonderful people like you guys.

It's a blessing for me to sit back and

watch it all happen.

I just wish Nathan nothing but the best.

Nothing but the best because he is the best.

You're having a bad hair day huh?

Aw.

You know a lot of people leave here with their dreams inside of them.

And we've been blessed, and I'm thankful.

I thank you guys.

Thank you guys for your time,

because I appreciate you.

Good night.

The record is about this bass player, but

it's more about the spirit of who this person is.

This is kinda like this Brazilian

So there's no demo on this right?

There is a little bit of a demo.

What I was hoping is to get everybody together and

say it would be really cool if we did this lake,

cuz what I'm looking for Yeah.

Is to become a lot more beefy.

I'm usually the guy,

no let me just lay down a nice solid part, and then you can do what you want.

But, this tune is basically a bass solo from start to finish.

Man, I wanna blow over that.

I don't wanna blow over there.

I don't wanna just do this.

When he is in that chair you know that things are good.

Joy coming from there and

there's knowledge and there's experience.

It's just exactly what is supposed to be happening and then some.

That's what you can't teach.

That's what you don't learn.

That's that lightning in a bottle,

that x factor thing that Nate has.

On this entire record he steps out one time.

The song is really about the grandeur and

the complexity about who Nathan is.

Let's just lead that length and then go to that section.

Okay, let's start the audition.

Tim is going to go on B three.

Then I am going to take up.

Got her.

I heard they were opening cattle call auditions.

I took the track back to Nashville,

orchestrated it, put the choir on it.

He turned a studio recording into a live stadium performance.

By the time you get to the end,

it just sounds like everybody's celebrating dancing and singing.

It's great to have a song that I can call my own.

Thank you!

What I'm sick about is the fact

that he can do anything.

First, he's a pilot.

When the hell does anybody have time to become a pilot?

Can you have just one area of brilliance?

Oh no, not him.

I gotta be a great bass player.

He's a magician.

Do you know what kind of time you have

to invest to become a magician?

You ever see his magic?

He was ridiculous.

It's like being a brilliant musician isn't enough.

Oh yeah, let me just have a membership at the Magic Castle.

No one has a membership, he does.

A pilot and magician?

It's like, what are you gonna run for Congress next?

This is the official

Presidential Inaugural Album 2009.

It's definitely an honor to have been part of this.

It was the biggest gig I've ever played in my life.

Two million people on the steps of the Lincoln Memorial in D.C.

You know right after they said,

okay everyone stay in your seats while the President and

the First Lady and the First Family leave.

So President Obama and the First Family actually came over to

each one of us, and he came over and gave me a big smile and

handshake and said, you were really laying it down.

Made me feel like the first bass player.

America The Beautiful Was one of the most

important moments in recording this record.

Nathan wanted to do a song that represented the love

that he has for this country.

Nathan is remarkably patriotic.

America the Beautiful was what we chose.

If you're a bass player,

it's hard not to be influenced by Jaco Pastorius.

He did things with the bass that no one has ever done before and

no one will ever do again.

And one of the things that influenced me was his version of

America the Beautiful.

I as inspired to try to come up with an arrangement for this song.

Still want your heart to just be beating like,

oh man this is unbelievable.

Yeah.

Ok, I want to run up to the front and

take a picture in the front.

Okay, Noah get in it,

let's see if I can get both of us in it, oh, steady!

Oh, studio A.

Yep,yep.

Okay, excuse me, I've only read about this place.

It was an amazing experience to be at Ocean Way Nashville and

among these incredible string players here.

Music is a very spiritual experience anyway,

so when I was sitting there and

then I look up and see the stained glass windows, and

I felt as though God let us borrow his house to record in.

My first solo CD, thank you.

And it touches my heart that everybody agreed to do this for

free so I'd really Here we go.

We recorded most of this record here in

Franklin Tennessee where one of the last great battles of

the Civil War took place just a mile up the street.

Two forces clash together, and 7,000 men lost their lives.

Before we recorded Nathan's solo on

America the Beautiful,

we took a trip up to the Battle of Franklin.

Nathan went with remarkable reverence.

He's one of these remarkable people that

can embrace everything.

One of the greatest attributes to why he's so successful.

It's because he's so successful within himself.

When you hear a person like Nathan East play,

it's very representative of the kind of human being he is.

It's a mirror into his soul.

It's like windows into his heart.

He's a good man, and a generous guy.

I've never seen him in a down moment.

He's got a smile of gold.

And when he says he's there for you, he's there for you.

He's not just a bass player.

It's a package. It really is.

He's a whole human being.

Nate doesn't just focus on music,

he focuses on life and on the world.

He's a real giving person.

That's the way he is on his sessions,

that's the way he is with family,

that's the way is his friendship.

Here's someone that doesn't just play

beautifully, but he's a beautiful human being.

I, I don't know anybody like him.

The fact that he's this beaming light shines so

bright every time you're around him just adds to

his musicianship.

He's a really good guy. He's the perfect genuine friend.

You just don't find that that often.

Those notions of who we are.

And what we should be doing while we're here.

It's important to have that.

Nathan's got that.

We knew what we had going in.

We knew it was going to be special,

we knew it was going to be different, but

we were not expecting the flood.

Ladies and gentlemen, he debuted at number one.

The first number one on the Yamaha Entertainment Group label.

He's been number one ever since.

We are unbelievably proud to welcome Yamaha recording artist,

Nathan East.

It's a new doorway. It's a new.

And I hope it's not just a one time thing.

Chances are you've

spent your whole life listening to the music of our next guest.

That is Nathan East sitting in with The Roots tonight.

Nathan's record is one in a million.

That's like lightning striking.

The album will show the listener that there

are an infinite number of sides to Nathan.

It's incredible.

It's gonna be very interesting to see where it takes him.

It's just a masterfully magical album.

It's magic, and I just found myself blown away.

He's one of those musicians that just happen that one time.

100 years from now you'll be considered one of the top

talented musicians of all time.

He is that guy, he is that guy.

It is no longer Nathan East Whip.

Nathan is now Nathan East the artist.

We are extremely excited about what the future holds.

This is the weapon, the secret weapon.

It's not such a secret but it's the only one.

There's only one of him.

Did you catch that?

See ya.

We did it.

We did it.

And there you have it.

So, I guess I'm still on the clock, so see you back in the studio.