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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.