Questlove Supreme: Nathan East

Episode Transcript
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Speaker 1 (00:00):
Quest Love Supreme is a production of iHeartRadio.

Speaker 2 (00:08):
You guys been at thirty Rocket fall along right for
for a while?

Speaker 1 (00:11):
Pretty much? Yeah, pretty much.

Speaker 2 (00:13):
That's pretty cool.

Speaker 1 (00:14):
We made it through the story.

Speaker 2 (00:16):
I can't believe it. You know, it's like everybody has
everybody has a story for the last.

Speaker 1 (00:20):
Year, exactly exactly.

Speaker 3 (00:24):
You ready?

Speaker 1 (00:25):
Yeah? Oh, I thought I hate Slart video. My bad?
What's up here? I was up? Everybody?

Speaker 2 (00:30):
What's up? I made good up?

Speaker 1 (00:32):
What's up? Ladies and gentlemen, Welcome to another episode of
Quest Love Supreme. I'm your host, Questo. We have Teams
Supreme with us right now. Well, I can't assign myself
another moniker.

Speaker 3 (00:49):
It just took you a second. I wasn't sure if
you knew as.

Speaker 1 (00:52):
Guy who I was, because you know, whenever we're in
the presence of greatness, I just I understand my thinking
goes the other wise. Dude just played on every record ever.
I wish, I truly wish we had like James Brown's intro,
just so I can right right start naming it like

(01:15):
literally dud tears in Heaven, get lucky? Uh whatloose? Saving
all my love for you? I just can't stop loving you.
Oh morning, algebral morning, Steve Steeves about to fit.

Speaker 2 (01:31):
This stuff?

Speaker 1 (01:32):
Easy, lovers, there you go through the fire. I mean
even even underground classics like smooth Sailing by the eyes
of I got freaking who has any work with Tina
Marie Dion Warwick, like Whoever the Weekend? Justin Timberlake, BB King,

(01:54):
Mary J Blise, Fish, ladies and gentlemen, the most used
session musician of Wait, I'm kind of saying this is
just but anthanist. Are you the most used session musician
of all time?

Speaker 2 (02:08):
You know what? A mayor? I'm not exactly sure how
to verify that, but we can say that I've been busy.

Speaker 1 (02:17):
Book and busy gentlemen. I love it. A great Philadelphian
is on the show. Welcome East to Quest Love Supreme.

Speaker 2 (02:27):
It is a pleasure, a joy, and an honor to
be here. I mean, you've had everybody from Michelle Obama to.

Speaker 1 (02:37):
We're working on him and now Nathanist Yeah. How how
how are you right now? Where Where are you? Okay?
I know that we can't see you because this is
an audio show, but I should say that in the
land of zoom, when you're watching like news pundits sit

(02:57):
behind their library collection while the book Nah Nathan is stunning.
Like I'm certain that all those guitars and basses hanging
on your wall have a story to tell, correct.

Speaker 2 (03:08):
You know, they really do. There was there's the one
that was on some of those early Barry White records
that was like the white pea bass in the background
is my Like.

Speaker 1 (03:18):
That's your Barry White? Was your first client as a
professional bass player?

Speaker 2 (03:22):
Yes?

Speaker 1 (03:23):
Yes, late, Wow, Jesus Christ, let's start. This is the thing,
Like I've known you for the longest and of course,
like you know, you've come to the tonight show and
you've sat it in and all that stuff. I still
can't wrap my head around the fact that you're a Philadelphian.
What is your and at that, like I'm really elated

(03:45):
to speak to someone. Usually all the musician musical luminaries
from Philadelphia that I talked to are are kind of
from a certain like my dad's range, like born in
the late thirties, early forties, and really can't give me
a lay of the land of what Philly was like
to grow up in Philly as as a youngster in

(04:07):
the seventies when all this magic was happening. But what
is your Philadelphia story? Where in Philly were you born?

Speaker 2 (04:13):
Well, actually North Philly Doctor's Hospital roughly sixty five years ago.
And my my, that's the that's the we're supposed to
give away those things.

Speaker 3 (04:28):
Yeah, when you like that, you are actually.

Speaker 1 (04:31):
Rop the skincare routine, Nick, I need a skincare regimen.

Speaker 3 (04:35):
That's a renting all at least at night.

Speaker 1 (04:37):
I don't know. Even as you said that, I was like, oh,
he might be like five years older than me, right,
born in the Wow, Yeah, you know, in nineteen sixty.

Speaker 2 (04:46):
Six, nineteen thitty five, you know. And you know, b
my dad went to Cheney Cheney State in Cheney, Pennsylvania.
He had the world's record in the fifty one hundred
yard dash beat Jesse Owens in nineteen forty made the Olympics,
but due to the war, the Olympics were canceled, So
I didn't have that bragging right, but he was the

(05:09):
world's fastest human. My daughter is now keeping it going.
She runs track for UC Berkeley on their D one
Pactael twelve track team there in Texas A And then
this weekend, you know, for the for the regional finals.
So you know, there's a lot, but Philly I left
early when he had an aerodynamics aviation job in Convert,

(05:33):
San Diego, where he moved the family. But we would
go back to Philly every summer and kind of just
jam and I a lot of great musical influences. And
I don't know what's in the water. There's so many
bass players, Anthony Jackson and Eddie Henderson. It's just like
what it's base heaven over there.

Speaker 1 (05:53):
You know. So was your family immerged in music as
well or just like how what was your first musical
memory that you had?

Speaker 2 (06:04):
Yeah, there was there was always a piano kind of
around the house that uh, pops and moms both would play.
But you know it was like, you know, music, music
filled the neighborhood and and you know, so you'd hear
Glutys Night, Marvin Gay Out, you know, blasting through the
homes of this of the neighborhood. But it was really

(06:24):
I'll never forget My first forty five was More Love
by Smokey Robinson. We were just always gathered around the
radio and listening to music. And I remember when I
played cello for three years and then I discovered the
bass and it was it was actually in church. My
brothers and I were doing. They were doing like these

(06:45):
folk masters back in the day when all that started
and uh, and then there was a bass on the
altar and I went up picked it up, and nobody
claimed it and I picked it up and I said, oh.

Speaker 1 (06:57):
Lord, you take yourself out of play.

Speaker 2 (07:01):
Yeah, I mean I just started playing, just just out
of my love for music. And it only had four strings,
so it wasn't it wasn't that difficult.

Speaker 3 (07:09):
But you played the cello before.

Speaker 2 (07:11):
But I played the cello before anyway, I was in
the range of the bass cleft, so that that kind
of got me got me going.

Speaker 1 (07:19):
Okay, this is interesting because usually anyone that we interview
on the show that's an axe men or an ax woman,
nine times out of ten there's like a the thirty
dollars Sears guitar thing story that happens, like with Sears
having these affordable instruments and you know, people teaching their

(07:43):
getting their kids lessons and whatnot. But you started on
the cello and then worked your way.

Speaker 2 (07:47):
To the base, right, and the weather is the thirty
actually forty nine dollars story story from from the pod
shop where my mom got me. My first base was
about that long. You know, it was a you know,
a short scale, no name, but you know that that
was my uh, you know, ticket to ticket to everything,
you know. And then I started playing in all the

(08:08):
bands and uh stage band in high school and okay,
you know the drill. One thing leads to another, next thing.
You know, you're doing a couple of gigs I learned.
I learned the A string, the eastring, and then I
had a gig already.

Speaker 1 (08:23):
Oh okay, you know.

Speaker 2 (08:25):
And then the first gigs were in church and obviously,
you know, I always say that's the best place to
have your first gigs because if you make a mistake,
they're ready forgiving. You know, you don't get it, you
don't get it.

Speaker 1 (08:40):
I see. Do you remember, well, at the time when
you're learning your craft, were there any other notable musicians
that you grew up with or or artists that you
were kind of hanging with during your your formative the
years as a.

Speaker 2 (08:57):
Teen or yeah, you know, well, as a team, we
It's funny because we backed up. We had a band
called Power and there was a staxed review that rufus
Thomas Barry White, a bunch of people came and played
and we were the house band for everybody. And after
that gig, Barry White invited us all to his office

(09:18):
up in Beverly Hills. We went up there and he
hired our whole band on the spot to go tour
with him. And so, like, my first gig was at
the Apollo Theater. Then we did Madison Square Garden, we
did Cobo Arena and Detroit. You know, I'm like sixteen
years old.

Speaker 1 (09:34):
Wait, what year is this?

Speaker 2 (09:36):
This was like a let's see, seventy one maybe.

Speaker 1 (09:43):
Okay, so at the very beginning of Barry White's career.

Speaker 2 (09:46):
Yeah, seventy one two, and he started, you know, he
had all these hits.

Speaker 1 (09:50):
And were you lying about your age? Like anybody you know.

Speaker 2 (09:56):
I didn't volunteer my age. It was just one of
those things where you know, you're saying, opportunity, Knox, you got.

Speaker 4 (10:03):
To go, you know, and how do you propose this
to your parents? How did that conversation?

Speaker 2 (10:08):
Well that was another thing that they were, you know
how parents are. They're they're always a little reluctant about that,
but they they went along to it because I was
with my brothers, you know, my and all my my
homies and from the neighborhood. So we were all together
in this and it was it was really special to
to be with an act like that, you know, an
arena act where you're you know, selling out arenas, and

(10:31):
it was unbelievable.

Speaker 1 (10:32):
So did you ever do the Philadelphia circuit that would
have maybe eventually landed you in MFSB Or was that
already Anthony's gig?

Speaker 2 (10:43):
And yeah, that was that was already done and dusted,
and that would have been been his gig. And I
would have been already out on the West coast by then.
But those those were the you know, those were the
dream gigs that everybody wanted, you know, gambling, huff and
and those tombs are very near and dear to my heart.
But by that time we were out on the West coast.
And then so so Barry was kind of he was

(11:05):
kind of it. And and then you know, I played
with him live before before I started recording, but then
you know, started doing all those records, and and he would,
you know, most people don't know, he'd drive up from
from Watson a stuts bear cat with gold emblems on it,
and then he'd get out with the three fifty seven magnum.
You knows, twirling it like like he's in like he's

(11:28):
in the country Western movie. It would sit on the console,
you know, like this thing.

Speaker 3 (11:32):
No special occasion special.

Speaker 1 (11:35):
I wanted. I wanted to ask you. So you're you're
the you're the third guest of the show that's had
Barry White interactions. But I've heard, you know, through throughout
my coming up in the industry, like some gangster Berry stories,
but can't ever get like what was he like to
deal deal with? Ray Parker Jr. Told the story of like,

(11:59):
you know, he actually dently crashed Barry White Mercedes trying
to play him the demo for one of those songs.
Won't let the music play. And then his former tour manager,
Alan Leeds had a few stories about you know, Barry's
whole modus operandi, and you know I knew of the

(12:21):
gun always there. Like in general, was he I don't
want to say sugar nitish, Like was he fearsome or
was he cool to get along with or.

Speaker 2 (12:34):
You know, in general he was he was very cool.
We had a we had an amazing relationship, and he
was just always he was always very supportive, I mean,
especially if he liked you. You know, he was one
of those guys that that you know, if he liked you.
And then you know, Gene Page was the arranger for
all those sessions, and you know, the great Gene Page

(12:55):
and and so there was always just when it was happening,
it was it was incredible, Like you know, Barry was
just he loved the fact and you know we're making
some some hits in there, so I mean, he was
he was gracious and appreciative. We wrote a couple of
things together. I had a song on the Love and
Limited album called Easing Okay. And you know he would

(13:17):
always end up with his name on everything, you know,
the write a word, get a third concept.

Speaker 1 (13:25):
Right exactly the side note, does anyone ever remember the
bridge to Jay Z's New York New York song? Do
you remember New York which one exactly exactly jas New
York song? Do you remember the bridge that's New York
state of Mind? H Do you remember the bridge exactly?

(13:47):
So you know, I teased all the time that, oh okay,
because when Jay won the Grammy for that Alicia one
two and I was trying to figure out what I
was like, she insisted on adding that bridge. So that
she too can get right as good for it. I

(14:10):
never knew if that song had a bridge. I knew
the who exactly exactly there's a bridge going, there's a
bridget it.

Speaker 2 (14:18):
But conversely the bridge that Don't got Don't stop till
you get Enough, which was written by Greg philin Games.

Speaker 1 (14:24):
Greg Philing Games, Yes, now that's the.

Speaker 2 (14:26):
You know, we know that story. And conversely, now that
was something that that was worthy of you know what
five percent.

Speaker 1 (14:36):
So it happens, it goes down with those sessions. Ray
told us that very tracked everything at the same time,
with multiple I mean, at least for Ray, you know,
he would say like sometimes it'd be two sometimes four
guitarist playing at the same time, and that he didn't

(14:58):
do a lot of post mixing and none of that stuff.
Like So, I'm just trying to figure out the one
question I never got to ask him about that in
doing it, is if Barry doesn't do any post mixing
once the song is cut, how long do you guys
have to play a song in the studio before the

(15:18):
engineer captures the right EQ, the right compression, the right sound.
Like someone has to play over and over again while
they're like okay, getting levels.

Speaker 2 (15:28):
Right while you're while you're playing over and over again
and you're learning the tune, and Barry's given everybody a part.
Like if you're looking in the studio, literally there's three
guitars there, there's Ray Parker, There's Wah wah, you know,
it could be Lee written hoor sometimes Parks, Dean Parks,
I mean, David t. And so you'd have those guys.

(15:51):
He had like a touring band at the time and
they were not really known. So his name was Willie C. Straut,
but another bass player because he was on there. Is
the thing I remember about is he was always so nervous.
He was sweating from the palms of his hand, you know,
because when Barry came around you there was a force

(16:11):
to be reckoned with, you know, and he'd starts singing
a part to you. Okay, you play bowl, boul bowl,
you know, and so he would he would so literally
you got a room full of musicians Barry. There was
a roads in the middle of the room. Jean was
in there, Ed Green was over on drums, and then
he'd go around and sing the part to every guy
and and you would literally start to hear a hit

(16:34):
being just developed just right before your very eyes, and
pretty soon you're playing this thing like like for hours.
And next thing, you know, when you add all those
parts and bits and pieces, you know, they hit record.

Speaker 3 (16:47):
Oh Barry White didn't read or write music.

Speaker 2 (16:50):
No, no, he would if you said you said, here's
play me middle c he wouldn't. He would not know
where to go.

Speaker 1 (16:59):
Really really, as many times as I thought, you know,
seeing the piano and all that stuff, even.

Speaker 2 (17:04):
Though he was the maestro, you know, but but I mean,
but at the same time, he knew. You know. That's
that's what I love about music anyway, because you don't
really have to, you know, be schooled for those notes
to come out, you know. And we we all have
the same twelve notes, like Quincy says, you know, we
got the same twelve notes fort to work with.

Speaker 1 (17:25):
So are you on the do you know the the
stretch of the very White discography that you were on
at the time.

Speaker 2 (17:33):
Or yeah that I think one of the first ones
that I was on was called The Messages Love, and
it had just the way you are, A bunch of
those tunes I had, you know, there was whichever album
had ecstasy when you lay down next to me.

Speaker 1 (17:51):
Just casually that baseline, you know, and and those you know.

Speaker 2 (17:58):
That was my first kind of heartbreak in the business,
because you know when when you're in the studio every
day all day and then you get that album and
you crack it open and you look for your name
and it's not there. It was like produced by Barry Wright,
written by Barry White. Album, all songs and no musicians.
And I said, what's what's up with this? Oh, he
doesn't want anybody to steal his sound, you know, so

(18:19):
you were surprised.

Speaker 3 (18:20):
You didn't know ahead of time that your name ain't I.

Speaker 2 (18:23):
Had, Your name is not gonna be on the record.

Speaker 1 (18:25):
And so really, guys, see, that's why I always thought
that like rhythm arranger and all those other like made
up credits is for you know, we won't give you
right his credit or production credit, but we'll just say
that you did rhythm arrangement or you're right, you know,
just another auxiliary credit.

Speaker 2 (18:44):
I mean, love theme was was a gene arrangement to
a song, and the arrangement was so bad that it
was so powerful that they took the lyrics off the
song and they didn't even finish the tune, you know, exactly.
That was ABC Wide World is fos every Saturday.

Speaker 1 (19:00):
I mean it was like watching the guy fall down. Dude, Yeah, no,
I remember it. How does one I'm not saying, I'm
not asking, like how does one stay territorial? But okay,
so your Barry's go to guy in your mind if
you don't say how high when he says jump in

(19:21):
terms of like all right, we got a session next week,
can you make it? Can you make it? Who are
you worried about that's right around the corner that might
take your gig? Like were you territorial? Like, okay, I
got Barry White? Now do you start sifting for other
people so you can go higher and keep Barry White?
Or because I'm trying to figure out, like if you're

(19:43):
in LA and you're competing against like Chuck Raney and
Louis Johnson and all those things. I know that mainly
producers have their main guy that they always stick with, right,
but you seem to be the main guy that everyone
always sticks with. So how do you how do you
want like your territory to make sure that the next
guy behind you doesn't take it in case you get

(20:04):
sick one day or.

Speaker 3 (20:05):
Well, while still being a teenager.

Speaker 2 (20:08):
Well, the only way to really mark your territory is
is what you leave on the tape, you know, in
the studio, the notes you play are your marketing. And
and like Quincy used to always say, if he to
get the call is one thing to get the call
back is uh is the other part of the equation
that like and and uh. And I never really was

(20:29):
too territorial. I was. I was always just so appreciative
because I said, man, with all these bad cats in
this town, Lewis Johnson and Abe La Boya, I mean
just I mean an a list of players. So whenever
I kind of got a gig, I was just going,
oh man, either they weren't available or you know, just

(20:50):
just bring your bring your a game, you know. So
that for me, it was just like just just leave it,
you know, leave leave your mark on the on the tape.

Speaker 1 (20:57):
Right. So I want to ask this hypothetic speaking all right,
let's say ed Green does not exist, and it's nineteen
seventy four and I'm Barry White's studio drummer. How much
am I getting paid? How do I get paid? Is it?
Are you getting paid by the hour? Is it by

(21:19):
the song or just by the session.

Speaker 2 (21:22):
Those sessions usually had a contractor, and as we all know,
there's a lot of politics in this, you know, but
the contractor was the he was actually the one getting paid,
so he was like on double scale. And then because
he was, he would put himself as the leader.

Speaker 1 (21:41):
Okay, so you had to be afm.

Speaker 2 (21:43):
You had to be AFM.

Speaker 1 (21:44):
Yeah.

Speaker 2 (21:45):
And then so there were two sessions to day. There
was ten to one, two to five basically, so I see.

Speaker 1 (21:53):
So there was always someone there to make sure the
musicians got paid. So it wasn't like Barry was just
like reaching in his pocket like all right, here's forty
five dollars.

Speaker 2 (22:00):
You know, you didn't get an envelope. It was it
was all. It was all very unionized and and people
like Gene Page was there. He was there to make
sure that happened too, you know. So you you got paid,
you know. And then back in the day, everybody would
show up at the union and you'd have a stack
of checks waiting for you.

Speaker 1 (22:21):
Right, and by the way, are you on are you
on Gene Page's Love Look record?

Speaker 2 (22:26):
Love Look?

Speaker 1 (22:28):
It came out in Atlantic seventy five, nineteen seventy five.

Speaker 2 (22:35):
You know, in all honesty, i'd have to look, okay,
of course I'm thinking no, because I wouldn't forget that,
you know. Okay, but there's you know when when there's
been quite a few, you know, they start to they
start to ba hard to keep trying.

Speaker 1 (22:52):
Yeah right.

Speaker 2 (22:53):
I always kind of go to AllMusic dot Com when
I went, wow, well even they forget stuff too, yeah, exactly.
So what was your next pivot after Barry White? And
I can remember when I had to because I started
getting calls from Hubert Laws and and Ronnie Laws and

(23:15):
some of the guys in the sort of in the
jazz idiom. And I can remember having a call where
it landed on the same day as Barry. And I
can remember asking him because theoretically the way you go
from single scale or double is if you have so
much work that you that you have to charge double
in order to keep so, so you could say no

(23:36):
to somebody else, you know. So I can remember going
to Berry and asking, you know, I said, man, what
should I do? And the guy said, well, if you
ask him, it's been nice knowing you, you know, there
just like giving me their blessings. But I pulled them
aside and I got up the guts, and I said,
I was just wondering if I could just ask for

(23:57):
double scale because I'm getting some other offers and if
I say no to you, you know, then it'll help
me say no to them if I get double here.
So he looked at me. I saw the three fifty
seven sitting there on the on the count wow, and
he put he put his arm, he put his arm

(24:17):
around me. Said, Nate, if you want that, you got that.
I mean, it gave you a big smile. And it
was like, I mean, these are the moments and music
that like people don't know about, you know, are you stay?
So that was the that was the first time. And
then then then I was like a double scale cat,
you know, which was cool.

Speaker 1 (24:36):
You know, that's what's up?

Speaker 2 (24:43):
All right?

Speaker 1 (24:44):
Are you one any of the Running Loss stuff or
oh yeah, I want to know if you're on the
pressure Sensitive album. But that's with uh, that's the that's
the what you call it sample? Yeah, well tidal wave.

Speaker 2 (24:57):
Is but always there, oh always, that's.

Speaker 1 (25:02):
Uh with uh. That's on friends and strangers, correct, that's
on friends say yeah, okay, I see again.

Speaker 2 (25:08):
I'd have to look because it's it's it's enough decades.
It's it's longer than four decades ago. So i'd have
to look quite.

Speaker 1 (25:14):
All right, quite all right? When you are booked, uh
for a session, do you least get the courtesy of
hearing the song first to see if this is something
you might be into or you just kind of jump
into it and not know what it's going to wind
up being.

Speaker 2 (25:32):
Yeah, no, no, courtesy of the song. It's it's it's
you get there and it's baptism by really or fire
wow and you.

Speaker 1 (25:42):
So you have to learn these songs on the spot,
on the spot.

Speaker 3 (25:45):
Yeah, wait a minute, a mere. Let me ask Nathan
this what kind of music did you want to make?
Like when you started out? Like what was the dream?

Speaker 2 (25:55):
Oh? Yeah, no, the dream was was all these guys.
I remember reading an article that sha Ka Khan was
talking about. She said, Anthony Jackson is my favorite bass
player because he laid down the gauntlet on all those recording.
Now it was the bible of bass. You know what
he played, and I studied it. But when I read
that article, I thought, oh man, I would like to

(26:16):
be everybody's favorite bass player. Like that was my.

Speaker 1 (26:18):
Dream and.

Speaker 2 (26:22):
I'm still living the dream. I mean, you couldn't you
couldn't make it up, you know, once it started hitting
in January. I remember January second, nineteen eighty I did
it Hurts Rent a card jingle commercial. Gene Page was
a composer. James Gatson was on drums, Ray Parker and
Lee written Aragon guitar, Sonny Burke at the I mean,

(26:43):
I'm up there writing in my diary all these guys,
you know, And and I worked every day since then
because then it was kind of like once these guys
hear you, they start going telling people about you, and
it was just like stepping zones and and it was
crazy that way.

Speaker 3 (26:58):
And that's your tribe. So that's even crazy exactly.

Speaker 1 (27:02):
So for the musicians that listen to this podcast. And
I'm gonna try and ask this in a way so
doesn't alienate or offend them. Already knows where I go,
where I'm going, No, But I think this, I think
this is important, and you know, this is this is

(27:23):
a battle I always work with because we live in
we live in a time now where musicianship is just
in the wild wild West, right and again. And I've
talked about gospel chops for a long time where like
the gospel chop community sort of sci I mean, like, yo, man,
why are you always coming down on this and playing

(27:44):
on But and you know, I don't know if the
rules that apply then apply now now I'm just I'm
I come from a place where, you know, the musicianship
of the sixties and seventies and some of the eighties,
you know, that's my bread and butter, because you know
it's it's you know, it's undeniably classic. However, you know

(28:08):
there's a new generation that sort of feels like the
need to go from one from zero to sixty and
four seconds and kind of show you everything you know
they have. But it's it's almost like in your opinion,
where do you feel that that script got lost in
or is this just a natural evolution? And now we

(28:28):
just live in a time where you got to do
everything but the kitchen sink to impress and keep your
job right. Whereas you know, all the time I tell
musicians like, dude, just play. You know, in the beginning
I used to take their music their stuff away and
just like play this one thing and this one thing only.
But like, does someone have to tell you that? Like
what's I guess what I'm asking is what stopped you

(28:53):
from trying to showboat, to let people know like I'm
the shit and just do what's called for. That's it.

Speaker 2 (29:00):
Yeah, you know, it's it's very seductive to to want
to in certain instruments. I think, like like piano like
this this like crazy Olympic fast chops, you know they
it kind of lends itself to to people wanting to
really it. But but I never wanted somebody to walk
away from a gig, said while he was the fastest
guy ever ever heard.

Speaker 1 (29:22):
Right.

Speaker 2 (29:22):
What I actually like to do now is I go
down the Instagram feed with the sound off, you know so,
and then you know, you see everybody playing and and
you try to figure out who's playing something that's worth listening.
And very rarely do I you when when I turn
it off, you know, like very few notes. But I
learned early on too, just play the play the groove

(29:43):
and the ink and the and and let it, you know,
play that funk.

Speaker 1 (29:48):
Does that? But does that truly matter? And like I
think all of us in this room right now like
agree with you. But then it's also like does that
matter anymore? Does it truly matter? Yeah?

Speaker 2 (30:02):
I think it will always matter and The only thing
that I base that on is that I'm still I'm
still fairly busy, like like like really really busy, you know,
where every day there's something to do. After we finish here,
I'm running the studio and uh, I got about four
songs waiting. So to me, it's the same concept. And

(30:26):
I remember when Barry said when the Lynn drum Machine came,
he said, it's over for drummers, you know, and and
so like, it can't be over for drummers that can play,
you know, because this is a machine and it will
not come up with something that God put in its
head by itself, you know. And so I I think

(30:47):
that regarding it. But it's tempting. It's seductive when you
hear a machine to think that that's going to be
the way of the world. But when it when it
gets right down to it, just like you, you know,
you play every day of your life, and and that's
what you do, you know, and that's what people that's
what I think the humans want to hear, you know,

(31:07):
they don't necessarily want to hear a machine. And I
don't think they want to hear a person playing like
a machine.

Speaker 4 (31:12):
But that in that proof and like certain new artists
putting like they still have to dip back like Bruno
Mars still got to dip back like Anderson, and you
still gotta dip back like there's just there are some
artists that see, I'm gonna need this if I'm gonna
be funky.

Speaker 2 (31:26):
And when they dip back, everybody, Oh, man, if you
heard this is the most amazing thing I've heard.

Speaker 3 (31:30):
Exactly it. It's new y'all. Remember Childish Gambino's.

Speaker 1 (31:36):
That I'm playing Donald, I'm playing for you. Though, what personally,
what do you prefer? Do you prefer studio rats or
do you prefer like being a road dog?

Speaker 2 (31:54):
Which is a great question, you know, because some people
are either either or I've enjoyed being both. You know,
I've enjoyed my life on the road. It comes with
experiences and and something that you know, when it's live,
there's nothing like that, you know, especially if you're playing.
You know, we did live aid two hundred fifty thousand

(32:16):
people in Philly. You know, there's no feeling like that,
you know, and to look out and see that. But
then there's nothing else like being in the studio and
here in your instrument, just like being recorded pristinely by
one of the top engineers, and then when you hear
that playback, it just sounds like heaven, you know. And
and so those are those are the two kind of

(32:38):
sides of the coin of a music of a musician,
you know, and I think it's important to have both
of those qualities.

Speaker 5 (32:44):
How did COVID change, you know, do your workflow in
terms of you know, how did you have to shift
once the pandemic hit?

Speaker 2 (32:53):
Yeah, you know, the I watched and I had some
very significant touring set up. You know, Airic Clapton had
three months in the summer and we were going to
do like six Royal Albert Hall shows and then go
to Europe, and we had all that.

Speaker 1 (33:07):
Planet and we've seen his tweets, I.

Speaker 2 (33:13):
Don't I had a Russian tour, you know, lined up
and uh, playing with this Russian orchestra. So I was
looking for that and so I watched. I watched, like
literally the revenue for the whole year that would have
tightened me up go right out the window, you know.
And uh when when when COVID hit, It's like you

(33:34):
are instantly becoming an entrepreneur.

Speaker 3 (33:36):
Now you got some merchandise.

Speaker 1 (33:38):
Let's talk about it.

Speaker 2 (33:39):
You get to see how to deal with lamb, you know,
and then what you're going to do, whether that's whether
that's uber driving or which I have some friends that
had to hit, you know, or or coming up with
a way you know, never let a good pandemic go
to waste. You know.

Speaker 4 (33:54):
So are your voice work because like when you said that,
I was like, yeah, you are a voice actor, dud
I hear and that's what you did.

Speaker 2 (34:02):
I was blessed. I did some voiceover working, and since
I have a studio, it really came in handy because
people send me songs and files and so I could
I could do that till four in the morning. I
end up doing a lot.

Speaker 1 (34:16):
Have you written a book?

Speaker 2 (34:17):
You know what? I have a book in the works,
and definitely there's some there's some fun stories. So that's
that's in the works at the moment. No.

Speaker 1 (34:26):
I was just gonna say, I could probably just lists
all the albums you played on. That would be the
whole book. Right. Have you have you had a session
that you were kind of not satisfied with your performance
and you're shocked that like oh I got away with
that or that sort of thing, or you.

Speaker 6 (34:46):
Know, it's funny because are you allowed are you allowed
to like I'm certain that you're being hired because it's like, Okay,
Nathan will be you know, Nathan will knock this out
in one or two takes.

Speaker 1 (34:58):
Won't be that hard, let's go through it. Or you know,
have you had a moment where you felt like I
could have did better and they were like, no, no,
I'm fine with that. It's good. And then.

Speaker 2 (35:09):
You know what's funny is every everything that I ever
hear back, I always think I always hear something that
I said, Oh man, if I did it again, I
would have I would have made that little hipperode or
just put a little something extra on that note or something.
I mean, everything I hear that I do, I always
feel like there's there's a room for, uh, for some
kind of improvement. But however, you know when the guys,

(35:33):
like when when Daft Punk, they did get lucky and
they were mixing the bass part and I actually had
the chance to redo that because we recorded the track
and then they sent it back and then Nile put
his guitar on. And when Nile put the guitar on,
that's where the funk just like it just it just
pulled the funk out of the thing. So I asked

(35:54):
the guys, I said, you know, if I could have
another shot at the base and I kind of went
from my Bernard Edward impersonation. And I was actually happy
because they edited everything to the team, but they said, hey,
your basebar. We ended up just using most of the
one same take, one whole take. Oh cool wow, which

(36:15):
was cool, and you know it was funded. Now that
was a fun one to hear, and my kids thought
I was cool because I played the.

Speaker 1 (36:23):
Right a question. Okay, So I guess for most bass players,
especially bass players that are coming of it, sort of
coming of age in the seventies. You being born in
fifty five, you would have been fifteen years old in

(36:46):
nineteen seventy, and I'm certain by this point you were playing.
Yeah you were, you were a fully realized bass player
by a nineteen seventy correct.

Speaker 2 (36:55):
Yeah, I think I was. I was like just jumping
getting into the realization.

Speaker 1 (37:01):
Okay, So that said, can you describe to me what
you're what the reaction or what the feeling was when
you first heard Thank you for letting me be myself again?
Because okay, so I have this thing with Christa McBride
about my disdain for songs and E minor because, like I,

(37:29):
I have an obsession with collecting really horrible funk songs
in E minor because you know, it's like when you're
playing E minor that that's the easiest key for a
beginner and base to play. And of course my thought
is that you're trying to top the mount Rushmore of
E Minor, which is basically thank you for letting me
be myself again music that's in there. But no, that's

(37:53):
I wouldn't even consider that the mount Rushmore. I mean
I was definitely not. I was just trying to think
was that the same thing all songs in the kV
so thank you for letting me be myself? Shining Star
could be in there. I would think, Well, it's kind
of weird because I don't know if I can let

(38:14):
Larry in twice. I mean, he he's already the alpha.
So anything that comes after, thank you for letting me
be myself, no matter what song it is, release yourself,
hair right, all those things. So but for you, though,
did you have a like come to Jesus moment when
you heard that? Like, what did you make of the

(38:35):
sound because I always wanted to ask a bass player
that was of age who knew what bass playing was beforehand,
which I'm certain that you know, James Jamerson was the
leader of that. Yeah, but what was thank you for
letting me be myself for you in terms of hearing that.

Speaker 2 (38:51):
I mean, I'd have to say that was that was
one of the wheels, you know what I mean. It
was like and I can remember the guys in my
back and you know, as I said, man, have you
heard this cat Larry Graham? You know, and so they
came in with Graham's Central Station and they came in
with that, and like you're listening and you're just going,
I mean, to be that innovative at that time period

(39:13):
where there wasn't too much before that that that said
that much, you know. And I love those youtubes now
where you can see Slide in the studio listening to
listening to those tracks, you know, just going wow, this
is crazy, you know. And so it was. It was
a it was a big revelation. I mean, I'm not
gonna lie and e Minor, I mean, you know, as

(39:34):
a bass player, it's always funk any you know, everybody
Lewis Johnson doubt it's drunk and he you know, I
get I get asked to judge these Battle of the
base bass contest sometimes, you know, almost I'd rather have
a root canals. I mean, I walk out of there

(39:56):
and everybody comes walks in the room with their thumb out,
and you know, they don't they don't check the tuny,
they don't check the volume. They just start whacking the bass,
you know, and it's like funk and e and it's like, please, guys,
it's like.

Speaker 1 (40:10):
How many ways can they reinvent the will?

Speaker 2 (40:12):
So?

Speaker 1 (40:13):
But for you it's okay. Well, I mean, is there
still challenges that have yet to be discovered or or
just in terms of the sport of bass playing.

Speaker 2 (40:29):
Well, if you if you think about baselines, like for
the Love of Money, when Anthony Jackson walked in and
saw a D minor on the paper, and then he
came up with that baseline, you know, right, and and
and then when you think about till you come back
to me, Chuck Rainey, you know, these these are to
me where the bass really caresses the song, you know.

(40:49):
And and if there's one thing that I that I
would tell and I have students at my online school
of base, and I say, make every single note count. Don't.
Don't just go in there and start playing. You first,
you have to listen and know what the song is
all about, you know, and and and we're just part
of a big picture. So you know, when everybody goes

(41:11):
in whacking and smacking the bass, it's like, really, guys,
you know. And I remember Anthony Jackson used to say,
if you if you want slapping and popping, you got
to call Marcus, you know. He said, he said that
cost me two hundred and fifty grand a year, but
he would he refused to do it.

Speaker 1 (41:29):
Really, Yeah, Evan, he never played with his thumb at all.

Speaker 2 (41:34):
You have not heard if you find it, if you
can find it, please.

Speaker 1 (41:38):
Did he always play? Did he always play with a
pick at least? Or he used a pick?

Speaker 2 (41:43):
Yeah, a pick in his fingers. But but I think
for the love of money is what you can hear?

Speaker 1 (41:50):
The pick? Yeah? For you, though, what is your what
is your preferred weapon of choice? Your thumb?

Speaker 2 (41:57):
What I do is I grew my I grew my
name just long enough so that I can switch between.
If I need a little extra percussive sound, I'll hit
it with the nail And actually that came from an
article I read about Chuck Rainey said he did the
same thing, So he would you'd use the meat, the
meaty fleshy part of your finger, you know, and get
that big fat Jamerson sound. But if you wanted to

(42:17):
have a little more percussive like a pick sound, instead
of using a pick, I just used my fingernails.

Speaker 1 (42:23):
And what is your preferred weapon as far as your
your bass collections?

Speaker 2 (42:29):
And one of the basses, like all those songs you named,
it's it's my U. It was the predecessor to my
signature Yamaha bass, but it's called a motion bass and
it's just we we had like this bass that they
had made for me, and then this box that I
used to carry around and it has it was like
an EQ box that would shave the mid frequencies. And

(42:49):
that's that's been the bass I've played on, you know,
like countless. I need a bakerrect, I mean everything. You know,
all those dudes name change the world, you get lucky
And so that's my my fire string. It's it's the
equivalent to my five string signature, but it's like a prototype.

Speaker 1 (43:04):
What was your okay, So you know, there's over two
thousand credits you have, and at least two hundred of
those songs are like life changing songs. So you know,
I won't even pick your brain about each and every song.
But what was the first song that you recalled out
of your comfort zone that you played on? Like there's

(43:25):
a difference between Barry White's as Ecstasy when You Lay
next to Me and Footloose by Kenny Loggins, so like,
or was it just a gradual thing where it's like, oh,
rock gig today or a pop gig or a yacht
rock gig or but what was the first like, Okay,
this is out of out of my normal my out

(43:51):
of my normal realm of client clientele.

Speaker 2 (43:54):
Well, well, one of the one of the most challenging
records was Wayne Short joy Rider and Trease Russian played
on that. Robin Ford I think was on guitar. And
it's one of those things like Wayne's writing, it doesn't
it doesn't take into account like how the stuff lays
under your fingers. It just it's just these notes that
are that are in a uniquely random order that are

(44:16):
that are amazing. But you really, I mean, I remember
all of us having our heads buried in the music
thinking and I think somebody said, hey, would it be
cool to take this home for a couple of days
and then come and shed it back, And they were
kind of because you don't want to. You you want
to make it sound like you own it when you
when you're playing the music, you know. The song Footloose

(44:37):
was was a bassline that we had. I had the
benefit of playing on the road every day like for
months with Kenny. We'd go practice the tune and by
the time we recorded it, that was like one take,
you know, but it was cool. Early on with Hubert Laws,
there was an album called Family.

Speaker 1 (44:54):
Yes, that's that's my joint.

Speaker 2 (44:56):
Bobby Lyle Chik Korea was on there and.

Speaker 1 (44:58):
His sister was singing Devor sang.

Speaker 2 (45:01):
And and that that was one of the more kind
of challenging I wrote a song that I played with
the electric bass and piccolo where played the melody together
and it was kind of a little bit of a chopbuster.
It's called wild Fire.

Speaker 3 (45:16):
And the piccolo together.

Speaker 2 (45:19):
Yeah, so piccolo and.

Speaker 1 (45:21):
Or separate tracks.

Speaker 2 (45:24):
And that the separate tracks, you know. I was like,
wait a minute, yeah, and so uh it was. It
was one of those that you know, required a little
bit of shedding before going into the studio. But for
the most part, you go in the studio like sight Unseen,
and they you know, they either throw this music in
front of you or play a demo like you know,

(45:47):
of the many ways to articulate what they want you
to play, and you go from there.

Speaker 3 (45:51):
I was just going to ask things that you need
for your session, that you have to have, you.

Speaker 2 (45:57):
Know, normally, it's it's not a one of the the
last things we did and and we I got to
congratulate John Fatist because we did the music for Soul
and we were in Capitol. Yeah, congratulations, Yeah, and we're
over there January twenty twenty, like like the first week
of January twenty twenty. We were in Capital Studio A

(46:18):
and uh that was interesting because he I had my
upright bass, I had my electric upright, my electric bass,
and we kind of auditioned all three and we ended
up using my my my upright bass. You know, the
real wood bass engineer got a fantastic sound out of it.
And I was I was just so proud to see

(46:39):
him walk away with the statue. You know. That was amazing.

Speaker 1 (46:42):
Yeah, that was awesome.

Speaker 3 (46:43):
You always bring a choice with you at every session, and.

Speaker 2 (46:47):
If I can, a lot of times they if they
just say, you know, they may just say bring the
electric bass, you know, and for Babyface, you know, probably
not going to be a lot of upright playing.

Speaker 1 (47:00):
Right, all right. So when you're when you're doing sessions,
for instance, with all Right, let's let's say Through the Fire,
do you mostly do you have good relationships with the
producer that chooses you for the session or is it
just all right? So what was it like working with
I don't hear stories about h. R If Martin. It's

(47:25):
hard to pronounce his name. Reef Martin, Yeah, a Reef Martin.
Because you know, Shaka's album was such THEE I Feel
for You album is such a landmark album which was
sitting somewhere between uh, the past and the future that
was to come, you know them, uh sort of exploring

(47:47):
new sounds and new new technology. Were you on that
entire record or were you just on Through the Fire?

Speaker 2 (47:54):
See? I was on a few album, a few cuts
on that I'd have to look. But Through the Fire
was actually produced by, written and produced by David Foster
and my buddy who I share a studio with Tom
Keane wrote it as co writer on that song. Okay,
that was a cool song because David Foster, years before
he had he came up with this kind of like

(48:17):
a solo album of all instrumentals, and that tune was
actually on it. I don't know if I didn't know that, Okay, Yeah,
And so I was familiar with the tune, loved the tune,
and so again, you know, to get to play on it,
I was I had a my heart was already connected

(48:37):
to it, and then David was a friend, and so
we were we were having a great time in the studio.
John Robinson on drums, I think, Mike Landau on guitar,
David on keys, and so the tune kind of played
itself like that. Every song is unique, as we all know,
like a song like Tears in Heaven. I always say

(48:58):
that that that I didn't play that song. It played
me because I knew Condor clapton Beautiful Little Boy, and
just the emotion of going in the studio and recording
that knowing what it was all about, you know, I
mean I don't even remember the notes I played, and
you know, like I say, the song kind of just
plays you.

Speaker 1 (49:20):
Are there two versions of Is there a studio version
of Tears in Heaven and the unplayed version or is
it just one definitive.

Speaker 2 (49:26):
The other two? The studio version is on a soundtrack
called Rush. Yeah.

Speaker 1 (49:32):
It was Jefer Jason Lee Joints.

Speaker 2 (49:34):
Yeah.

Speaker 3 (49:34):
Yeah, yeah, and you did both versions.

Speaker 1 (49:38):
Yeah yeah, so you play with Okay, I see, yeah,
when I I think when I first met you. I'm
sure that we met before, but the first time I
really got to talk to you, we were in a
Carousel and it was one of the most surreal gigs
of my life because it was at the time you
were playing with Toto correct, right, Yeah, yeah, so it

(50:02):
was it was Toto, Dinah Ross the Roots, Prince wow
right and oh and Los Lobos and uh yeah.

Speaker 3 (50:17):
The one the one fest in London or.

Speaker 1 (50:18):
Something they be No, it was it was it was Okay,
what's what's what's the event? What's the festival in Rotterdam.

Speaker 2 (50:27):
It's the North Sea Jazz Fest.

Speaker 1 (50:28):
Okay. It was like because Carousel is sort of occupied
by uh yeah, the Netherlands, like it's it's the North
Sea Jazz Festival before Carousel, like.

Speaker 3 (50:40):
I knew where that was. Ill kept staying out.

Speaker 1 (50:42):
And is is it slightly between like South America and
it's somewhere in the middle of nowhere. It's not Europe
and it's not South America. It's like that, you know,
like it's like way below Cuba.

Speaker 3 (50:55):
Okay, so they brown, they're brown there, Yeah.

Speaker 1 (50:58):
They're kind of brown. Was on that Yeah, there was, Yes,
there was a lot, but just that was the one
time because we were there for I think four days
before the gig even started. Like I thought, it was
weird that we all came out early. Yeah, me too,
to hang, I've never done that. Usually I get there
the day of the gig, do the gig, and I'm

(51:18):
out and hit it and then I'm like, wow, one,
you'll you'll never catch me swimming or in the beach.
But yet here I am swimming in the beach like
and I'm talking to you know, to Toto, and you know,
like everyone everyone's there. So yeah, wait a minute, was
Journey also on that gig as well?

Speaker 2 (51:40):
God it may have been on that gig as well. Yes, Okay,
so I'll bet you I could find the poster or
something of that gig because I try to save you know,
all the yeah, all the information. But I mean, it
was like all these people and I sat next to
Diana Russ on the flight back home. It's crazy. Really, yes,
we got to talk. It was it was incredible.

Speaker 1 (52:00):
It was a very it was a very surreal, surreal gig.
Even like the fact that Prince was so accessible.

Speaker 2 (52:05):
It was like, wow, let everybody stayed up to see Princes.
I mean, it was unbelievable.

Speaker 1 (52:10):
Prince. Prince was so killing that he did an additional
two hours. That was the roots time. So so on
Prince's side of the stage, there's like sixty thousand people
warm more so so, and then on our side of
the stage, it was like three hundred people.

Speaker 2 (52:31):
I mean, we just told them what promoter is going
to get mad at him? You know what I'm saying.

Speaker 1 (52:36):
We told the promoter, what do you want us to
do because Princeton took our time. He's just like, uh yeah,
just do the seat and go home. So literally, like
we did, Wow, we did three songs, we did the
next movement. You got me. The scene was like, all right,
good night people. You literally are like a golf clap.

Speaker 2 (52:52):
Like the promoter's dream, like Prince will not get off
the stage, you.

Speaker 1 (52:57):
Know, right, dude, that would. We were over there watching
him and there was like, oh shit, we got to
go on stage, like and I'm asking I'm literally asking
him backshas like are you doing another encore? Because I
gotta run to the other stage and I'm gonna do
one more. I was like, okay, well there's no more routsho.
But but when you're in that situation, like especially with

(53:18):
legacy bands and whatnot, how often, like with TOTE, I'm
certain that you're not just doing it for that gig.
But do they hire you for like a year duration
or is it just like for this particular tour.

Speaker 2 (53:32):
And yeah, that that particular tour was they they actually
called me and said, you know, Mike Pricaro, who's who
was the bass player this suffering with the als, and
what we would like to do is go on tour
and raise some money to help him with his medical expenses.
So so this this was the tour where it was
just from the heart, you know, and these guys I

(53:54):
know thirty years and and those are all my boys,
and so we we got together and proceed from the
tour was going to his family to help him because
he at that point he was you know, he was
off the circuit.

Speaker 1 (54:07):
Well, okay, speaking of like Toto, can you can you
explain the sort of the somewhat stranglehold that they had
on just a particular sound and sonic Like I know,
I'm not insulting when I say, like, oh, yacht rock
or whatever, because like I'm a really big fan of

(54:29):
all that Michael master Yamaha d X seven right, fretless
bass sound like I like, you know, easy match, Like
I love that yacht rock stuff. But I mean at
the time when you're doing it, when you're doing it
in real time, like between that period of like eighty
one and eighty seven, when this new sort of la

(54:50):
glossy sound sort of takes over, Like are you realizing
that sonically it's a little bit different than what was
kind of like with with the with the grid of
the seventy sound, Like did you notice.

Speaker 2 (55:07):
A change or yeah, I mean it it and they
got they got beat up for oh they're so slick.

Speaker 1 (55:15):
They got beat up in the beginning. But now it's like,
in hindsight, I love the shit out that sound. So
it's like, yeah, it's almost like revision of history, Like yeah,
I always loved Africa and for example, all those things, right,
but like what were they? Were they the the who
was who was the And it's always like some up

(55:36):
for debate, like who's technically the first yacht rock smooth
LA sound? Like people say like whoever the producer was
of a captain in to Neil's leve will keep Us Together?
Like many will cite that as the the first moment
in nineteen seventy three where it's suddenly like that Neil
Sedaka does it. And then but you know, at the
time when you're gigging in LA, like what was the

(55:58):
basic perception of like the Percaro guys, Like Oh, they's
some badass motherfuckers.

Speaker 2 (56:05):
Or like absolutely, and you know, and and and back
in the day too, like you had A and M studios,
you know where the carpenters, you know, and they were
there were all these like very very lush kind of
sounding record It's funny. I was over there the other day.
We were doing a Mary Clayton Tiny Desk concert. Nice yeah,

(56:26):
and it was it was, it was really cool. But
every time I go in there, it just takes me
back because I mean I was in there. I did Johnny.
I did Johnny Mathis with a fifty piece orchestra. I
did Dion Warwick. A lot of people in there, uh
you know Don Henley, I mean so many. They say
the ten thousand hours, like like we we all have
ten thousand hours and a lot of studios, you know,

(56:48):
and the total the total project. If you think about
every one of those guys has such a powerful individual
voice on their instrument. I'm Steve Percaro Man wrote he
wrote Human Nature from Michael Jackson, and you can hear
in those chords that's Steve Pacarl. You know, one guy
plays like that. David Page, same thing, very powerful personality.

(57:12):
And and those guys were like all of us, you know,
students of music. They studied, they studied sly and and everything,
you know, so when they went in the studio there,
those were the standards that they kept. You Jeff Picarl,
you know these there were some bad they're La finance basically,
you know. And so they they went in and you
listened to you listen to Africa Now and and those

(57:34):
songs like hold the Line, and so it was fun
for me because as soon as as soon as they
asked me to play, you know, it was like playing
in the top forty band. He played great songs and
Rosanna and and you know, I couldn't ever really figure
out why they were getting such a bad rap. Oh
they're too slick, and you know, I mean what you're

(57:56):
getting punished for trying to have a good sound and
come up with some good tunes, you know.

Speaker 1 (58:05):
Okay, So oftentimes if I get asked to do a
gig nine times out of ten, on ass like, well,
if I think they're hiring me because of a certain
sound that I had, then I'll recommend them, Well, you
should go to this studio because this is where I
recorded this particular record that I and where you'll get
the sound. Yeah, right, you'll get the sound that you want.

(58:26):
How much control do you have over like the sound
and the texture of what you want or you just
got to trust the engineer and the producer and that's it.

Speaker 2 (58:37):
You know, Al Schmidt who we just lost and worked
a capital a lot, and we the Warner Brothers, used
to have a studio and that we did when we
first started four Play. The first real four Play album
was was a Bob James album called Grand Piano Canyon
and that was what he called me. Harvey Lee Lee

(59:01):
written Hour and actually Harvey Mason and Lee Written and
I Are both recommended me when he asked about who
should I get on bass, you know, so the four
of us got in that quartet. There's a song called Restoration.
I call that the first four play songs on that album.
And Al Schmidt recorded that. And I used to take
that recording around to all the Stay and Sunset sound

(59:22):
Oceanway and say, guys, my bass sounds like this, you know,
because you know how like your drum you could play
in ten different studios and it'll sound like ten different guys,
you know, And I can't ever figure out, like how
does the same instrument translate so differently in different studios,
you know, So whenever possible, yeah, I'll recommend in one

(59:42):
of my favorites spend tons of time and was ocean
Way Studio. Oh okay, we did the first uh well,
we did so much stuff there, but first four play record.
But we used to record there with the Lionel Richie.
We did, We did Kenny Loggins level will follow, I
mean ton because I did. One of the things I'm
most proud of is we did a song called if

(01:00:05):
you Think You're Lonely Now Bobby Womack.

Speaker 1 (01:00:07):
Yeah, I was going to say you were on the Monster.

Speaker 2 (01:00:10):
Yeah, the ocean Way Studio. And as funny as all
these tunes I can remember, I could kind of just
remember being there. It's almost like the day and so
that being one of my favorites. You know, when I
went to go do my solo album, you know where
did I go? Ocean Way which is now called United
Studio back in the day.

Speaker 1 (01:00:31):
Record Yeah, yeah, yeah, we did podcasts there.

Speaker 4 (01:00:34):
Yeah, we did like three of the studios he dropped
so Far, A and M Yeah, yeah.

Speaker 2 (01:00:41):
Okay, those are the big ones Capital Record.

Speaker 7 (01:00:45):
I have a question, Nathan, at any point in your
career did you mess with key bass, you know, playing
bass on a keyboard?

Speaker 2 (01:00:54):
You know, there was a there was I was sorry.
There was a time in the algia days that he
had a couple of tunes that had key base on,
like uh, boogie down Down. There was one I can't
right quite remember the name, but it was that this

(01:01:14):
like really funky key base and.

Speaker 1 (01:01:17):
So so I got darked in the roof.

Speaker 2 (01:01:20):
Yeah, I loved him so much. I loved him.

Speaker 3 (01:01:33):
I loved him so much I couldn't even like him.

Speaker 2 (01:01:35):
But I'm trying to get that in Milwaukee. Yes, I
used to call me.

Speaker 1 (01:01:43):
Wait, Nathan, can I ask have you ever worked with
Tommy Lapuma?

Speaker 2 (01:01:48):
Yes, many, many, many times.

Speaker 1 (01:01:50):
Okay, have you have you worked with him between? Like
the era that you worked with him was at least
between seventy five and eighty five. Yes, Okay, Tommy Lupuma
has such he has such a distinct sound. He has
a very distinct sound with his production for all this stuff,

(01:02:11):
for his Algebro stuff, for any record that he produces
that I'm almost under the impression that whatever studio he used,
he kept it on one setting and never ever adjusted
because it's to me, it's it's so like even with
the stuff they he did with, like Brenda Russell and

(01:02:33):
oh my God, there's a sound that he gets in
his base and his Spender Rhodes where I instantly know
that's a Tommy Tommy.

Speaker 2 (01:02:41):
Well, first of all, Tommy Lapuma would start every session
off with lunch at beach a you know, like you
would like. He was more concerned about taking everybody to
lunch and get the best bottle of wine in the place.
And then once you got that, then you were cool,
Let's go make some music.

Speaker 1 (01:03:00):
Is just another Quincy fake out. Do you know Quincy's
theory about this? No, So Quincy Quincy does the same thing.
He wants the sessions late at night, and he wants
the guys to have the itis and to be a
little tipsy and somewhat sleepy. And then he'll start usually
at one in the morning because he knows that any yeah, yeah,

(01:03:26):
you're not thinking, you're tired and all that stuff. So
he he purposely will track important things between like one
and six in the morning because like you're not as
alert and you won't challenge him on something and overthink
and overplay.

Speaker 2 (01:03:42):
I've had many Sunrise services with Quincy, by the way,
and and Algero for that matter. But you know, it's
it's it's funny because Stevie is the king. You know,
he he called.

Speaker 1 (01:03:58):
You his time.

Speaker 2 (01:04:00):
He marches to a different I mean we recorded the
last record. It was me, Ricky Lawson and him in
the studio and he got to take it four am.
And I remember thinking, oh, man, I got I got
a ten am with Jay Graydon on someone he doesn't care.
And but but yet, you know, getting back to Tommy,
he he was that guy that he wasn't the kind

(01:04:23):
of producer that told you, hey, I need an a
flat on the third bar, the the you know, of
the of the bridge, you know. But he he just
knew how to put people together. And to this day,
Anita Baker will tell you that the record she did
with him is sonically her favorite record.

Speaker 1 (01:04:39):
Giving you the best that I got. No, it was
was it Rhythm of Love or.

Speaker 2 (01:04:45):
I think it's Rhythm of Love? I'll have to check.

Speaker 1 (01:04:48):
It was the one that I apologize and body and soul.
It was the one that came out in ninety four.
I think you Fronte went on record and say that
was his favorite. It's not a favorite. I think my
favorite was Compositions.

Speaker 2 (01:05:01):
But I was just going to say we we had
the most fun on compositions and Fair Tales being one
of my favorite, two eleven minutes long, going acting a
fool at the end. And for Ronnie, you know what
it is, Okay?

Speaker 1 (01:05:16):
Well one her entire discography is not available for streaming,
so I really I can't even lay judgment. I mean,
I have a cassette somewhere, but it's like I haven't
touched my cassettes and eons, so you know, for me,
I'm just like no rapture, nothing else.

Speaker 2 (01:05:33):
But you're well, I mean songstress was was? That was
our first time in the studio together, and that the
song as.

Speaker 1 (01:05:40):
Your own songstress? Oh yeah, that's your own angel. Yeah
of course you Oh my gosh, from day one, you know,
I love it? Wow? Yeah? What was her producer? The
guy Michael J.

Speaker 2 (01:05:58):
Powell? What was he like?

Speaker 1 (01:05:59):
Because I've always you know, stuff about it.

Speaker 2 (01:06:01):
Michael, the gentle giant and the greatest, I mean, one
of the greatest producers ever. We speak, we speak from
time to time and again a producer's producer. It's really
really soft spoken, but knew what he knew what he
needed and got the best out of everybody, you know,
and put some great cats together, you know.

Speaker 1 (01:06:23):
All right, So without naming names, because I know there's
always two sides to a coin, right. Have you ever
been in a situation where it's kind of like amateur
hour with the producer like he didn't know what he's
doing or not too communicative with you know, they wanted.

Speaker 2 (01:06:46):
Every now and then you get those guys that you say,
how did they get to be the producer for this
important project? You know? And one of the things those
kind of producers do, and I have to give it
to their credit is they'll they'll call the cats, you know,
and one guy who will remain nameless. But we were
in and Jeff Pacara was playing drums and after every

(01:07:08):
take he would look to Jeff and Jeff would either say.

Speaker 1 (01:07:10):
Yeah or nay.

Speaker 2 (01:07:11):
It either was the take or wasn't, you know, And
that's how you would determine if you do another take again.
But I mean, for the most part, and a lot
of people say, oh, have there been some some session
that you've hated, But for the most part, I've enjoyed
all of them and been blessed with some really talented,
gifted producers.

Speaker 1 (01:07:30):
How do you know if a session is bad, Like
if you have to spend more than an hour on
a particular song, or.

Speaker 2 (01:07:41):
Yeah, they're beating up on a song and next thing
you know, everybody's looking up at their watch and you
don't have a take, and like you keep trying, and
then the takes just get worse. I mean, for whatever reason,
maybe it wasn't in the song, but uh, you know,
even even up till recently, you know, sometimes people bring
a song in and somebody'll say, oh, man, this isn't

(01:08:03):
really a great song, but they'll have like if you
got filling gains on keys, he's gonna make the first different.

Speaker 1 (01:08:09):
Yeah.

Speaker 2 (01:08:10):
And and I was telling David Foster the other day,
I'll never forget. And of course Quincy, Quincy's the you know,
one of the top guys ever. But we were doing
uh Patty Austin, James Ingram, how do you keep the
music playing?

Speaker 3 (01:08:24):
Dropping? Nathan dropping?

Speaker 2 (01:08:28):
But but we were in there and we don't have it,
just like Quincy said, well, we don't have an intro
for this, and and anybody and David Fosterer literally he
has his legs closed and he says crossed, and he goes,
what about this? And he plays the intro exactly what
you hear on the record.

Speaker 3 (01:08:46):
Yes, yes, David Foston, Lord, thank you.

Speaker 1 (01:08:48):
Okay, speaking of which, and I'm sorry, fantee you, I
feel like I'm about to steal your question, but I
gotta ask the intro to after the dance. Oh that's
my question for play after the dance the barge. Yes,
that intro to me is probably the first thing that

(01:09:14):
I think of if I start thinking of like smooth
Jazz FM. Yes, yes, it's such an earworm. It never
leaves you. So it's not like I have an opinion
on it. It's not like, oh that's my favorite or
I hate that intro, but it's like it lives in
my head. Rent Free, that was my favorite? Who came
up with that intro? And by? Because I can't get rid.

Speaker 2 (01:09:37):
Of vibe James? You know what? And that's the same thing.
That's what he he just said, how about you know
he always writes everything else and he says, stand by
and he writes this, how about this? And you play it?
And now I'll go on record saying that's probably my
favorite intro. Of course you can't gave it it's too

(01:09:58):
only second to minute by minute Michael McDonald, Nathan, can
you tell.

Speaker 4 (01:10:03):
The story of Nathan East and Bob James, because like,
how did that marriage come together?

Speaker 3 (01:10:08):
And when did y'all know?

Speaker 2 (01:10:09):
It was like like we we knew we had something
special on Bob's record and he was an an R.
He was an executive at Warner Brothers Records when we
did his solo album. So he said, guys, I could
I could propose this to the Warner Brothers. He said,
I think we could get a deal right away. He
came back, he and and you know what, they didn't

(01:10:30):
even have to hear a demo or anything. They said signed.
And when we did our first session, we showed up
at Ocean Way and and there was Mo Austin, Michael Austin,
Lenny Warnker, I'm in the big Warner Brothers. Would they
beat us to the studio?

Speaker 3 (01:10:44):
They were excited? That excited Dan.

Speaker 1 (01:10:47):
How was more Austin as an executive?

Speaker 2 (01:10:49):
Man?

Speaker 1 (01:10:49):
I've heard like a lot of stories about him, But
how was he?

Speaker 2 (01:10:52):
You know, the last of the Mohicans. You know, he
was record When you look up record executive, there's his
picture right there, you know. But that that was like
our first you know, and it's it's it's here. It
is nineteen ninety nineteen ninety one. And we go in
the studio and when Bob wrote that intro, I just said,
bro And but of course, like he wrote, you know

(01:11:15):
that crazy arrangement of feel like making love and matter
of fact, he had a hit with that instrumentally and ROBERTA.
Flack had a hit with it. I mean it was
like a hit time on two different formats, right, And
so it's been you know, and believe it or not,
we're having our thirtieth anniversary right now.

Speaker 4 (01:11:36):
Yeah, in my mind, my child mind, you're like the
best of friends and y'all you'll have Sunday dinner and
that's all.

Speaker 2 (01:11:41):
No, we're brothers. We're brothers without a dit from another mother,
and and you know we we've had a chance to
go around the world together and and just have you know,
have the best time. And so he's he's actually he
and Greg are actually godfathers to my son Noah, who
plays keys. I'm I didn't know what, uh we want

(01:12:05):
to do a record because we we've been playing a
couple of gigs over the weekend. We played in Omaha
for Walter Scott Junior's ninetieth birthday celebration and we had
the best time ever. And you know, David Foster was
there and all the guys and and he's he's turned
into one of my favorite musicians.

Speaker 5 (01:12:24):
Man the four play catalog. Man that for me, like
the Between the Sheets album and the Alixa album. Those
came out when I was in high school and so
I used to do my homework of those records and
like chant was my joints. I love those joints and
y'all like I noticed like leave written now he was
on those records and then the guitarist y'all switch?

Speaker 1 (01:12:46):
What was the reason for the changing personnel?

Speaker 2 (01:12:49):
Yeah, I think after three records Lee Lee really got
into the more of executive branch of the of the
record record business series in one of his friends and
he and Dave Gruson and and g r P g
r P Larry Rose, he started getting busy with kind
of doing doing records on the executive level level, and

(01:13:11):
so that takes up so much time too.

Speaker 5 (01:13:13):
Yeah, y'all record the joint the Phil Collins the why
can't it wait till morning?

Speaker 1 (01:13:17):
Man? Y'all tell me about that session?

Speaker 2 (01:13:20):
Man? You know we sent that over to Phil. I
called Phil's manager and uh, you know, it's great when
these guys are your friends too. But I called Phil's
manager and uh secretary answers and she said, she said,
what what's this regard? And I said, it's far regarding
for play. They said, well, I don't know if he
can help you with that, but I'll get But I mean,

(01:13:45):
he we said, and we wanted to do something obscure,
so we we kind of found this song that wasn't necessary,
like it wasn't the number one hit, but I can't
wait till morning. It was a little obscure, and we
we sent him over and again, Bob came up with
this this in arrangement. We sent it over and he
went into his studio put the vocal arm. When he

(01:14:05):
sent it back, we all sat in the studio cried.

Speaker 5 (01:14:08):
You know, it was just like, what is this na,
That's a gorgeous song man. Yeah, there was a singer
that There was a singer that Lee used to work
with the lot, Eric Tagg. Did you ever get any
sessions with him?

Speaker 1 (01:14:20):
Yes? Dude, what was he like?

Speaker 3 (01:14:23):
Man?

Speaker 5 (01:14:23):
Because he's like one of my favorite singers everybody's solo key.
I don't even know if he's still making music now.

Speaker 1 (01:14:28):
Yeah.

Speaker 2 (01:14:28):
He sang like Stevie Wonder too.

Speaker 1 (01:14:31):
You know, yes, yes, real big Steven Floydce.

Speaker 2 (01:14:34):
He was from Uh, he was from Texas mm hm.
Really great guy and he was in Lee's band. I
remember when I Lee's band was one of the first
ones I was in. Uh. First time we went to
Japan was with Lee and you know Eric was in
those bands. You know that. That's the thing I love
about music. There's so many great people out there that
a lot of people hadn't even heard of.

Speaker 4 (01:14:55):
But you know, it was something about the way y'all
pulled stuff out of People were talking about that earlier,
about the Michael McDonald record. I was like, the way
that Michael was singing on that record, but just felt different.

Speaker 2 (01:15:09):
Michael's different.

Speaker 1 (01:15:10):
Yeah, yeah, we know that different.

Speaker 2 (01:15:13):
If I could, if I could have a voice, it
would be his, you know. And then I really enjoyed
his his h Quest Love Supreme podcast too. He was
he's so, he's so down and he sang on my
first solo album, we did that version of moon Dance,
you know, like a big band version came in and
crushed this record.

Speaker 4 (01:15:32):
Yeah, I was, what's the process of picking the songs
to reinvent? Because I was just listening to a song
you did with Bob It was uh oh and Vince
gil Oh crazy crazy crazy crazy crazy crazy Yeah from
crazy everybody do that.

Speaker 1 (01:15:48):
But I was singing, this is supreme your homework.

Speaker 2 (01:15:52):
You guys are unbelievable.

Speaker 4 (01:15:53):
But yeah, how do y'all decide which songs to reinvent?
Which in your mind are you thinking this is how
I always heard it? Or or man if I could
only touch it a story and if you can apply.

Speaker 1 (01:16:03):
It and if you can apply that answer to your
arrangement to Sir Duke, I would appreciate that because we
still haven't forgive you were still are not forgiving you
for that. It's some genius shit to this day, we
we've studied it so much that it never moves us.

Speaker 2 (01:16:24):
First of all, you can't, like you can't touch a
steviee song, Like if you're doing a Stevie song, it's
it's it's already the Bible, you know, so you do that.
But then for some weird reason, like right in the
middle of the studio, I said, what if we when
we got to this this part, we just changed like
every four bars.

Speaker 1 (01:16:42):
Wait, let me let me explain to put in perspective.

Speaker 3 (01:16:44):
And I got it because I forget.

Speaker 1 (01:16:46):
Yeah, like you you know, he's taken. He's taking songs,
you know, and sort of putting a new spin on it.
So the song that he really did that too, was
there's an arrangement of Sir Duke, of which that horn
part is very intricate, just as is anyway, And what
he decided to do was to just modulate and in

(01:17:10):
some sort of non secutor way modulate the key into
keys that aren't supposed to fit. So, in other words,
instead of regularly to another key and then and then
another key, so you you basically have to transpose every

(01:17:32):
four bars a new key that's not related to what
you did before.

Speaker 3 (01:17:40):
Stevie song.

Speaker 2 (01:17:40):
So there's no rhyme or reason. Literally, it's it's kind
of random, just like pulling him out of there and saying, oh,
well that works, and then okay, we got to get back.
So what would we end? Which one? You know? So
the first one you know is, you know, the last
one has to lead you back, and then the other
two heaven nose with it.

Speaker 1 (01:17:58):
I'll put it this way. I'll put it this way.
Hip hop heads, if you're familiar with uh most y'all
seen bays Cassy song, Yes and ye constant switching, Ye
done this? This has nothing on that song. We I mean,
we practiced Cassa Bay like maybe as a whole song

(01:18:21):
an hour straight. But this one part of that Stevie
Wonders song. Oh god, that that was almost like a
two hour nightmare thing. Sorry, but I'm glad we survived it,
and it was it was fun hittinged with it.

Speaker 3 (01:18:36):
No rhyme or reason. There was no song that y'all picked,
and y'all were like, yeah, no, this is this is
why I want to.

Speaker 2 (01:18:41):
Do, you know Stevie. And and I realized that every
everything I've ever recorded, I I had Stevie. I've done
like at least two or three Stevie. We did Overjoyed,
which came out of I do these sting Rainforest benefits.
We do them at Carnegie Hall every year, and Stevie
was on one, and I was just fooling with the

(01:19:02):
changes of uh over Joyed on Basi's kind of like
at rehearsal when nothing was happening, and I'm kind of
trying to figure him out. And next thing, you know,
I hear harmonica and now he's playing, and now I
look up their sting Elton, John Bonnie Rait. They're all
just standing there looking like looking on and I'm going,
oh Lord. And as I'm learning the changes, Stevie's playing

(01:19:24):
and we get to the end, and you know, they
all give they all start clapping, and then Stevie comes
over and says, if you ever record that, call me.
I want to play on it. So that was my
next question.

Speaker 4 (01:19:35):
Some of the responses from these revisions, can you share
like what have been those like?

Speaker 3 (01:19:40):
I wish I would have done that, Nathan, I wish
you was suggested that.

Speaker 2 (01:19:43):
Well, I mean, if Stevie offers to play on your record,
you have to do it right, right, right, right, right, man.
I could have had Stevie on my record, you know.
So he came and blessed the record. And the way
we what we did was we recorded a track and
then when I played on his record, I brought the
track over and then he you know, two in the morning,
he he popped it on one take see you later

(01:20:06):
because he wrote it.

Speaker 1 (01:20:07):
Really all right? We a former quest Love Supreme guest
that we just had was out the barge. I know
your name is on the In a Special Way album,
but do you recall anything from that the barge session?
Do you know what songs you played on? Are you
going to Stay with Me? Are you on time Will Revealed?

(01:20:30):
Are you on a dream?

Speaker 2 (01:20:33):
You know? I'm embarrassed.

Speaker 1 (01:20:35):
This is don't many records.

Speaker 3 (01:20:39):
It's called great It's called greatness of.

Speaker 2 (01:20:43):
An album called did you do an album called Gemini?

Speaker 1 (01:20:46):
Yes?

Speaker 2 (01:20:48):
Do you know?

Speaker 1 (01:20:49):
Yes?

Speaker 2 (01:20:49):
That that when we did the whole thing and there
are a few songs that really like stand out in
my mind, like Broken Dreams, Okay and Turned Away, I mean,
chick out these tunes, these and these are El Debars
at his finest writing style, you know. And and and
I'd have to look on the on the other one

(01:21:11):
because back in those days, you were just ripping and
running in and out of Motown studios and these studios,
and literally everything was like a machine, you know. And
I know Freddie Washington's on on at.

Speaker 1 (01:21:22):
Least the Yeah, the reason why I asked was because
the other two names on bass were already Freddie Washington,
but then James Jamison Jr.

Speaker 2 (01:21:34):
And jameson I did.

Speaker 1 (01:21:36):
I didn't realize that James Jamison Junior had a career
as a professional basis on records, you know. I didn't
know that. So I was trying to figure out like
what songs were yours and what songs.

Speaker 2 (01:21:49):
Were Yeah, he was getting called and sometimes it's it's
a little unfair because the way they listed they just
they was a bass and they'd have three names, you know,
so you wouldn't really know who played what in that
you were very familiar with their their style. But speaking
of James Jamison at that very studio that that we
used to record at Motown. One day somebody asked me

(01:22:10):
to replace the Jamison part. And that's the only time
I've ever refused to play a part because I am
not going to replace James Jamison, you know, right, please?

Speaker 1 (01:22:22):
Are you the type of can you shape shift your sound?
So if I say like, okay, I want to go
for something more bestore sounding, and you're like, okay, well
I know exactly how to approximate that sound.

Speaker 2 (01:22:36):
And absolutely it's like, you know, it's like drawbars on
the Hammond. You know, you can go from church to
to jazz, you know, and everything in between, you know.
But but on the base, if I want to go
for the jackal signd, I go for the back pick up,
you know, which is what he used to do. And
then of course I have I offender jazz bassis yamaha,

(01:22:57):
I mean I have I have a lot of basses
that we can just get different sounds on. So yeah,
that's and that's one of the fun things to do.
You know, you listen to the song, figure out you
know what what is this song called for? Oh?

Speaker 5 (01:23:09):
I was gonna ask who were some of your favorite players,
Like who were the guys that you learned from and
that you learned from as you know, when you were younger,
and some of the guys that you still pick up
stuff from now.

Speaker 2 (01:23:17):
Yeah, I mean the guys I mentioned and early on
it was like verding White from Mirth Wind, you know,
Rocko from Tower Power, James Jammerson, Chuck Rainey, Ron Carter,
Charlie Mingus. I mean it was like just the best,
so many yeah, only the best, so many great guys.
Anthony Jackson, Marcus Marx Miller Aby you know, you know,

(01:23:41):
Jocko of course.

Speaker 1 (01:23:43):
So excluding excluding your four play guys, who would you
pick in your your starting five lineup? Like career retrospective?
Who's on drums? Well, who's on drums? And you played
with the best?

Speaker 2 (01:24:03):
Dead or live?

Speaker 1 (01:24:05):
Yeah, dead or alive? Who who did you gel with
the like what drummer brought brought the best out of you?

Speaker 2 (01:24:14):
I'll tell you. I have to say, Jeffrey picarl If
you listen to a song called Lady Loved Me by
George Benson, Reef Martin produced it, I think.

Speaker 1 (01:24:29):
So yes, I know the song.

Speaker 2 (01:24:31):
Yes, okay, another song, Yes, listen to the fade and
what you hear in me and Jeff. It sounds like
two kids playing in the sandbox, you know, I mean
it was like it it was, and he was just
every time we walked in the studio and saw each other,
we just started smiling and we did We did everything
for Maurice White's solo album, BG's Barbara streisand we did

(01:24:56):
Randy Newman, I Love La all that kind of dude.

Speaker 1 (01:25:00):
Wow, Okay, I was going to ask you next, love
it and doing and doing? Why do I feel like
you're more or less ear to what's her name's video
of that as opposed to the actual song?

Speaker 2 (01:25:13):
Right?

Speaker 1 (01:25:14):
Oh wait, no, Chris Jenner made a You're allergic to
that name?

Speaker 3 (01:25:24):
Original?

Speaker 1 (01:25:24):
I Love l A Right, But I'm only asking because
that's one of my favorite Randy Newman albums ever. And
Real Emotional Girl is like one of my all time
favorite songs.

Speaker 3 (01:25:38):
Uh, idiot, that's not David Lee Roth the original. I'm
an idiot.

Speaker 1 (01:25:43):
Yeah, now, people, Randy, Randy was first. But yeah, what
were your memories of doing that? The Randy Newman album.

Speaker 2 (01:25:52):
You know, the Memories was basically that was that was
the entire total band, you know, Luke Lenny Castro was
playing Cushion, Carl you know, I mean it was like Jeffcarl,
it was. It was literally and and those guys were
the go to guys for for everybody. You know, when

(01:26:12):
when they're Clapton came to record his first uh you
know when it's it's called behind the Sun in l A.
The Warner, the Brothers guys. Okay, use our guys and
there you go again, Jeff Carl Hill and Gaines Lucather,
Michael Omarty and I mean it was like the the
the session aces of that time. So that was the
Randy Newman record was just amazing because he we'd sit

(01:26:34):
around the piano and he showed up the tunes and
then we just start go cutting.

Speaker 1 (01:26:42):
There's there's two guys that often see their names on credits,
but they're not in the total circle because of course
the page the page cats. But did you work a
lot with uh like Bill Wolfer or Michael Bodkick Michael Bodkerker,
Yes at all.

Speaker 2 (01:27:00):
Yeah, absolutely, yeah. And Michael Botaker was another one of
those names. You'd look on all these records and there's
Michael Bodaker. George Benson, give me the Night, There's Michael Bodaker,
you know, like all these records, and I and I
did several several things with him, including the Academy Awards. Yeah,
he was down, we were down underneath the stage.

Speaker 1 (01:27:21):
Wait a minute, guys, I knew, I know this is
going to be an episode. We always have like a
pors Mo post mortem thing where we finished an episode
and then we start getting mad because we forgot. Oh,
I forgot to askhole, We forgot.

Speaker 3 (01:27:37):
To ask place with Nathan. That's gonna happen recorded.

Speaker 1 (01:27:40):
I believe. I was trying to sit here and figure out, like,
what is the ultimate signature based performance you've given on
a record. I'm praying this is you. Are you playing
bass on Dennis Edwards? Don't look any further. Yes there, Yes, indeed,

(01:28:07):
I can't believe that's the one thing I did. That's
the one thing I need to do my homework. I
was just like, get paid in full without that songo, dude,
I totally forgot. I was like, I know, he has
a signature song that is like a tattoo that's we're
forgetting about.

Speaker 2 (01:28:24):
You know that is such you know, that is just
incredible to me.

Speaker 1 (01:28:30):
This is a musicologist, but it's it's such an iconic
bassline that Did you write that baseline or was it
just like like it's such a base led thing. Did
you get writers credit for it or did they tell
you this is what you're playing. The baseline is the
hook of that song.

Speaker 2 (01:28:48):
It's a combination and that's one of my favorite lines.
It's a combination of what was already it was basically
already there. Uh and so I was I was the
executioner of that line.

Speaker 1 (01:29:00):
And wow, so did you how many times did you
work with because you mentioned Dennis Lambert, did you work
with them at all after that?

Speaker 2 (01:29:06):
Or yeah? Lots? Yeah, and Dennis So, I mean, you know,
it was it was a very fertile period. I mean
we're talking you know. I'm just thankful that we were
born at a time like the seventies, eighties, nineties where
music was just it was so fertile. I mean, there
was so much music.

Speaker 1 (01:29:25):
Now.

Speaker 2 (01:29:25):
I had somebody sent me a picture of a piano
with two keys on it the other day, and the
they used to write, you write it too now, you know,
like and like you almost get penalized for having too
many cores. Now you know where this you had lines, baselines,
you had chords, you had melodies and and so uh

(01:29:48):
you know another one of those baselines that it was
the at the barge do Doom.

Speaker 1 (01:29:55):
That's what I'm saying, a dream okay, that is you Okay,
good right, but all of these.

Speaker 2 (01:30:02):
Dud I mean. And I'll never forget, you know, being
in the studio that day, knowing that you know this
one is special, very special.

Speaker 1 (01:30:12):
Okay. I was gonna ask you win all right? Good
Steve asked the question to hit it.

Speaker 2 (01:30:18):
It's your question.

Speaker 1 (01:30:19):
He never answered it. The dream lineup. We only got
to the drummer. We didn't get to the other.

Speaker 2 (01:30:23):
Way to go Steve way to referee to go yeah,
Greg feeling games.

Speaker 1 (01:30:28):
Okay, that's your keyboard player.

Speaker 2 (01:30:30):
That's your keyboard player.

Speaker 1 (01:30:31):
So who's your guitarist?

Speaker 2 (01:30:32):
We got guitarist, I have to say, And this is
you're gonna You're gonna you may you may laugh at
this one, but Pat Metheni is my favorite guitar player.

Speaker 1 (01:30:41):
Yes, yes, I wouldn't. I'm not mad. Wait a minute,
I Spring isn't here, not even how many how many
Athenie albums are you on?

Speaker 2 (01:30:56):
None? You're not okay, I'm not a single Mathenia that's
that's that's my bucket list. Yeah, wow, story really yep.
We uh, we played a we played a concert for
we had to sing at at Dodger Stadium. It was
Elton John and Airic Clapton and and METHENI came and

(01:31:16):
Steve and I quoted one of the songs that Steve's
playing on it's in seven four and Steve and we
started playing that during the solo and Pat went crazy.
You know, it was like, you know, fifty thousand people
out there. We saw Pat giving his wife a high
five when we played this tune. You know, But you know,
Pat's he's just he's just a consummate musician. And I've

(01:31:37):
always he's always been one of the guys on my
bucket list to play with, you know, to record with.
We've played together, kind of jammed up at his place
on the Upper West Side, but I've never had the
pleasure of being on one of his records. Of course,
Georgia Man saying, I mean and then you know, as
bands go, you know, if you look at you know,
we lost four play lost, Chuck Lobe, Who's oars. You know,

(01:32:01):
the guy could do no wrong for I mean, he
could play funk, jazz, rock and uh. And on top
of all that, he was the sweetest guy. So you know,
check I think about him every day.

Speaker 1 (01:32:12):
When did he pass? When did Chuck pass?

Speaker 2 (01:32:14):
Twenty seventeen?

Speaker 1 (01:32:15):
Yeah, okay, they think.

Speaker 4 (01:32:17):
Can I ask what musicians or music you and Noah
talk about? What is what does he put you onto?
Since he is like an amazing musician.

Speaker 2 (01:32:24):
H Well, you know he's amazing because well, of course
everybody's you know, onto Jacob Kayer, So he's like, he's
like phenom of phenoms. But we you know, we we
go with Herbie and he's I look at his you know,
because he goes to the not only does he go
to University of California b at Berkeley, but he goes
to YouTube University.

Speaker 3 (01:32:45):
And so yeah, you started him there and.

Speaker 2 (01:32:47):
He studies you know, Billy Preston Goat Yeah, and people
like Billy and and Herbie. Uh, you know, he he's
kind of all over the map, you know, with with everything,
and he loved we we do one of our favorite
songs to play, Sunny Side of the Street, you know,

(01:33:08):
which is a sixty year old song that that Louis
Armstrong sang back in the day. So he he knows everything.
But then we we love Algiou and you know, kind
of kind of a z. I mean, he's just a
musical musical guy.

Speaker 3 (01:33:23):
Yeah by the looks of YouTube, but like you had
a baby music genius.

Speaker 2 (01:33:28):
Well, you know, he has perfect pitch and he not
only does, he's not one of these guys that like,
if you look, you're gonna hear a million Olympic chops,
you know, but he's got heart and soul and the choices.
You know, it's the it's the it's what you don't play.
It's a space you leave that makes makes it specially,
you know. And that's what I'd like to see a

(01:33:49):
lot of the younger guys kind of understanding, because you know,
now I just he starts scrolling. It's like you just
hear everything a Z in the first bar.

Speaker 1 (01:33:58):
Right, Steve, do you want to ask the question? Should
I go?

Speaker 7 (01:34:03):
Well, actually, I'm curious about you said you played at
Live A in Philly.

Speaker 2 (01:34:08):
Was that with Phil Collins? That was with Kenny Moggins.
Kenny Logins, Yeah, you're.

Speaker 1 (01:34:18):
Also very well known.

Speaker 2 (01:34:19):
For playing fifteen nineteen eighty five and.

Speaker 7 (01:34:23):
Mmy said at Ulliot Live. Yeah, yeah, but you're I
guess you're you're you're applying my obsession with easy Lover
and your association with with Phil How many Phil Collins?

Speaker 1 (01:34:41):
That was a Philip Bailey album that that song was on.

Speaker 2 (01:34:44):
Yet you know it was a Philip and and my
relationship with Philip is what got me on the gig
phil Phil Collins. He was going to be the producer
and Phillip said, hey, I want to bring I want
to bring Nate Nate East over to London with me
and so yeah, you know, so we went to London,
recorded that in.

Speaker 1 (01:35:03):
Wrote that song.

Speaker 2 (01:35:04):
Correct, Yeah, we wrote that song. It was the last
song that we recorded. It was like after two weeks
of recording and Philips said, man, we still need like
an undeniable single, and we went over the piano and
about twenty minutes later that came out.

Speaker 1 (01:35:19):
Wow, just twenty minutes later.

Speaker 2 (01:35:21):
Yeah, And what it was was we kind of like
had the we had all the parts and we said,
let's make a demo over the track and then tomorrow
we'll listen to the demo and come back. And so
we made the demo. The next morning we put it
up and George Masenberg was the engineer. He recorded, we
played it and everybody, Hey, everybody liked it. Was wrong

(01:35:44):
with that? Let's go with that. And then I heard
Phil Collins kind of singing these choosy lover was the name,
you know it was. It was the lyric and singing.
But as he was singing, I said, manage voice sounds
and I said, man, wy, don't you guys just do
it as a duet? Okay?

Speaker 3 (01:36:00):
Really yeah, Nathan, everyone it.

Speaker 2 (01:36:02):
Was it was a Phil Bailey record, you know. But
then you could hear like Phil's voice, and at that
particular week, the song Against All Odds was number one,
Phil's first number one, and it was like number one
on the charts. So it was like, this is a
no brainer. The two of them has to do it.
And man used to hear it on like three radio
stations at once.

Speaker 3 (01:36:23):
It's still one of the greatest.

Speaker 1 (01:36:25):
So that is I love that song.

Speaker 2 (01:36:27):
That was that that allowed me to kind of solidify
my my standing with the folks. I bought my house
and finally they said, you know, because you know, your
parents were saying, yeah, but you should have something on.

Speaker 3 (01:36:43):
Your dad had a whole job. I still can't repeat
arrows something.

Speaker 2 (01:36:47):
So he was in the air space business that design
engineer aircraft. Yeah, he designed the F sixteen swept wings
and the C five a tail, you know, and he
used to always bring these rocket pictures home of these
rockets and silos. So that's where we got our kind
of We had four pilots in the family fly my

(01:37:07):
brother's fly.

Speaker 3 (01:37:08):
My dad was a rocket scientist.

Speaker 1 (01:37:12):
Is there is there a session or song that you
had to pass on that wound up becoming like like
did you get the call first for like we Are
the World or something like that, and you had to
pass on it because you were already doing a gig somewhere.

Speaker 2 (01:37:31):
Well, fortunately I can't tell that story because because no
is one of the words that I have not been
able to say. And I don't turn down anything but
my collar.

Speaker 1 (01:37:40):
No, no, no, no, talk about it.

Speaker 3 (01:37:42):
That's not possible.

Speaker 1 (01:37:43):
So I should take all the gigs, all right, thank you?

Speaker 2 (01:37:46):
You know. I mean I learned early on, like my
accountant said, nobody's following you around with a pension plan.
And we got to you know the career, well a
studio musicians careers four years, so we got to figure
out what to do with your money. And he told
me that in nineteen eighty. You know, wow, So you
know you're always thinking, you know, is this is this

(01:38:08):
it a man the peak? And is it gonna? Am
I going to be on the other side? You know?
They say that the four stages of a musician's career
is who's Nathanist, Get me a get me Nathanist, get
me a young Nathanist. Who's nathan Who nathan How do
you get that?

Speaker 1 (01:38:26):
One more time? I've read that before, one more time, say.

Speaker 2 (01:38:31):
Who's Nathanist, get me Nathanist, get me a young Nathanist.

Speaker 1 (01:38:37):
Who's Nathanist?

Speaker 2 (01:38:41):
I hate that. David Foster told me that that Hurtrillian.

Speaker 1 (01:38:45):
I've read that in one of my voice over books.

Speaker 2 (01:38:46):
They the U right of that has kept me going
for forty years.

Speaker 1 (01:38:51):
Now, Wow, I've never heard it put that way, and
now that that totally.

Speaker 5 (01:38:59):
Don't don't you start feeling all the part and the
other part they say, The only other part I've heard
of that same saying only other verision I've heard is
the additional stage of get me Nathan East at any price.

Speaker 1 (01:39:09):
So like that's kind of before, you know, I mean, I.

Speaker 2 (01:39:12):
Like that to this day. My brothers called me and
they always and soon as they answer that get me
a young Nathan Eist. You know, they always you know,
but but it's good to kind of have a little
bit of that fear because especially back in the day,
there was always the new guy, you know, like in
the eighties, you know, like especially young guitar you know,
you had you had like Larry Carlton, and then you

(01:39:33):
had Lee Written Hour and on these guys coming and
Luca Third and so there was always like this this
heavy hitter waiting in the wings, you know, to be
the next guy. You know. So now I think we
can we can rest a little easier because there's not
a million studios and a million gigs going on like
they were back then.

Speaker 1 (01:39:54):
Well, who who in your in your eyes was uh
kind of uh who who do you admire of that? Well,
I guess like young lions to you are now established musicians.
But I mean, if I'm talking to mid nineties Nathan Ese, like,

(01:40:16):
who who are the musicians that were coming up that
you were like, okay, I messed with them? Or you know,
like who's do you feel that the future is safe with?

Speaker 2 (01:40:26):
Yeah? I mean when because I remember, you know, first
here in s browns Espaldine and she was one of
these like she was young, new newcomer, and then next thing,
you know, she had Album of the Year, you know,
the Grammys. And then again there's people like Jacob Kaier
and and Justin Lee Schultz. Now that are that I

(01:40:48):
think are very very promising that I feel comfortable leaving
them with the with the torch, you know, because they
they seem to be putting in some serious time. And
then they're there. There are quite a few, and and
I'm I'm excited by my son Noah too, because I
think he's he's becoming a student of music and really

(01:41:08):
like a sponge, you know, just absorbing everybody from Keith
Charott to Bill Levin's too, you know, to Herbie and uh,
everybody in between these. But now he's playing Hammond Oregon
B three and so he's listening to a lot of
the lot of the cats there, Jimmy Smith, Joey, It's
crazy all right.

Speaker 1 (01:41:28):
Before we wind up, I just I'm still thinking of
the post mortem talk.

Speaker 3 (01:41:34):
It's no way you can avoid it.

Speaker 1 (01:41:36):
No I just okay, are you I know you play
with the Pointer sisters. Are you on? I'm so excited,
I'm on, I'm so excited.

Speaker 2 (01:41:49):
Jesus I played the posters of my Cousins by Marriage.
So we actually uh, we actually re recorded all the
hits and they asked me to produce it because a
lot of times, you know, like PEPSI will say hey,
we want to use I'm so excited, and the record
labels say, okay, give us something master and give us

(01:42:10):
something crazy, and so they they hired me to produce it.
So it was so easy because then I just called
Greg and John Barnes and all the guys that played
on the original and we went in and recruit recreated
all those songs oh wowow and used them on you
know now when you see them on a Pepsi commercial,
those are the ones and they're they're benefiting from it,

(01:42:30):
which is great, so cool, And that's.

Speaker 1 (01:42:33):
What Prince did you know, Yeah you can re recall.

Speaker 2 (01:42:35):
Yeah yeah, yeah, because you you know, the label onto
the Masters and you know that's when Prince put slave
on his right head and he just went in and
recut him.

Speaker 1 (01:42:45):
But sometimes it backfires, like you know before, think, thank
you Sylvia Room for finally releasing the heat Wave discography
for streaming, because I don't know if I could have
taken another like Boogie Nights twenty twenty. You know, some
acts like re recording it not really quite nailing it

(01:43:05):
the way that you know in some cases it doesn't work,
but in this case it does work. Another dance classic
of yours is that your base work on Wolmack and
Womack's Baby I'm Scared of You.

Speaker 2 (01:43:19):
I'm on Womack and Willmack, and I'd have to I'd
have to look and remember if I could the particular tune.
So let me look that up and I'll get back
to you on that one.

Speaker 1 (01:43:27):
That's a great problem to have fully accept it, I except.

Speaker 2 (01:43:31):
Start stacking them up, you know, after after a ten
thousand tunes, it's just crazy.

Speaker 1 (01:43:37):
Yeah, Fante, he's on another iconic hip hop bass sample?
Which one? So you you're you're you're playing on uh
Flack and Bryson's Born to Love album? Correct? Oh my god,
they're they're there duet right yeah, yeah, second Childhood Primo

(01:43:58):
boo b B boom.

Speaker 2 (01:44:03):
You know, you reminded me of stuff that I that
I completed. And you know this happens in Japan because
they pay attention to everything, and sometimes I'm walking down
the street, they come up with a big armful of
vinyl records that you completely forgot that you played on
the side and everything.

Speaker 1 (01:44:20):
But see, that's and that's what I I wish that
you know, the powers that be and and the Red
Tape the red Tape people and the lawyers and whatnot
would realize that the beauty of sampling is that cats
like us will see what gets sampled, and now not

(01:44:45):
only will we purchase the the ROBERTA. Flack and people
bryceon album, but then we're gonna read the credits and
see who played on it and then purchase everything that
they played on and so on and so the rabbit
hole p s.

Speaker 4 (01:45:00):
I would like to tell the masters who are listening
to this, there's an app for that, and it's called Deeper.

Speaker 3 (01:45:04):
Just saying black owned, go get it deeper. It's an
app called Deeper.

Speaker 4 (01:45:08):
Like if you find a song you like the bass player,
you touched the bass player's name and you can see
everything that the bass player did.

Speaker 1 (01:45:14):
Wow, okay, are yeah deeper?

Speaker 2 (01:45:18):
And well you know it's it's it's like Aaron Schwartz
did with Reddit. He he wanted to make available legal
documents that usually people that are in MT studying, they
have to pay thirty five bucks to get a legal thing.
So so he kind of he started making those things

(01:45:38):
available and that's where he got in trouble. He got
sued by the government. But oh, it's it's one of
those things where you are we gonna are we gonna
keep it going, moving forward so that people can know
what would happened before, you know, because we don't want
them to forget about Natalie Cole and you know, Ella Fitzgerald.

(01:46:01):
You just don't want you know, Billie Holiday and and
you you want our youth to really have access to that.
You know, So if we put too many restrictions and
and again, you know, they'll they'll figure out a way
to monetize and get it. But I think to to
kind of put so many restrictions on everything, it's just
it's just rough, you know.

Speaker 1 (01:46:23):
Okay, warmer thing. Okay, give me three more because there's
too many, man, because be remiss.

Speaker 3 (01:46:31):
And I would hate how long I'm trying to remember
because those are two.

Speaker 1 (01:46:39):
I'm gonna have this. I'm gonna in the whole. But
you've also worked with NARDA. Michael Walden of course doing
his magic streak with Aretha and Whitney and whatnot. That's
you on saving all my love for you? Yes, dude,
that okay, what kind of base are you play on

(01:47:01):
on saving all my love for you?

Speaker 2 (01:47:03):
Because that white base, right, it's this white base right
behind me. It's a BB three thousand yamaha bass. Wow,
it's uh, Gene Page wrote, listen. Gene Page wrote all
those those notes too. Michael Masser was producing. We were
at Devonshire Studios. We you know that the greatest love

(01:47:23):
of all.

Speaker 1 (01:47:25):
Right behind me. But my question about saving all my
love for you though? And is that a five string bass?

Speaker 2 (01:47:33):
It's five string bass.

Speaker 1 (01:47:34):
Okay. That explains everything, because the thing is is that
even though I didn't, I didn't. I mean when when
when I don came out, I was fourteen years old,
but was it was in the eighties, yeah, eighty five.
And so for me though, when you get to the
last bridge, because the night is the night, good Field

(01:47:55):
and all right, you played in such a low register
there that I was like, there's no there's no base
that can actually pay like he's playing below uh an
e right, you were, and I never heard that, like
normally someone would would go to the upper register to

(01:48:17):
play it. But you went low with it and okay,
you played on a five string and I.

Speaker 2 (01:48:23):
Was I was actually shocked that because that was the
first kind of some of the first five string records
I was playing on, and I was kind of saying,
as is this really going to be cool? Or am
I going to get away with this?

Speaker 1 (01:48:34):
You know, because it was that was a risk. It
was unusual to hear because I just never heard a
base go that low before.

Speaker 2 (01:48:42):
Yeah, and okay, you know, I have to say, and
by the way, congratulations. You did an amazing job as
musical director for the Oscars and I appreciate that you have.
You know, to me, you brought the show into into
the current statement.

Speaker 1 (01:49:03):
Let's talk about something beyond nineteen fifty. No, but I'm
gonna tell you it seemed like on paper, it just
seems easy, like oh, quest love dj' di it. But man, oh,
the only reason why I know those three letters AFM. Yes,
of course we have an AFM here at the tonight show,
and we deal with the rigamarole of whatever. But yo,

(01:49:26):
they do not play in Los Angeles, and I thought
everything was going to be gravy, and then the AFM
rep came and was like he wanted to know every
song I was playing, and I guess the deal they
made was like, basically, if these are AFM Orchestra members,

(01:49:48):
then you have to pay a certain rate for this
and that. So it's it's really the night before I
had to redo and clear a whole bunch of songs
because you know, I plan on just playing like movie
themes and John Williams scores and not like do the
normal thing. And then the AFM guy was like, nope,
there are FM union members. We got to pay them
all like we were trying to find our way to

(01:50:11):
safety in a pandemic. And then like the last minute,
the guy's like, no, you must play. You must pay
all seventy members of the people who played the theme
the Rocky in order for you to play the song
out there. And I was like, no, we're not doing that.
So I had to get super super creative and it
was just like, Okay, I'm just going to play regular songs.

Speaker 2 (01:50:29):
Are most young musicians in the union, well, those those
particular things that you mentioned are going to be a
lot of the strength players that you know had had recorded.

Speaker 3 (01:50:40):
Those, right, That's what I was thinking.

Speaker 1 (01:50:41):
A lot of them aren't even living right, So the
generation do they know that money on the money goes
to the FM.

Speaker 2 (01:50:49):
But but it's it's great that if it's possible for
it to get to the people that they're a state deal.
But but they yeah, they will, they will come and
and check on you now. And you had access to
the tracks, right, I mean you yeah?

Speaker 1 (01:51:06):
Well for uh for as as was great by the way.
I took a risk and I was just like I
hit up Stevie. It was just like can I can
I get the master please? And you know wow, had
to explain like what I wanted to do and all
that stuff. And when he heard it, one, I didn't
know that Dean Parks was playing acoustic guitar on that.

(01:51:29):
And what's even funnier was you think you're bad? Stevie
didn't know that, and so he was sort of like,
you know, how did you make this? It's it's like
a country song. And I was like, no, that's that's
just Dean Parks. I just left you and Dean Parks
singing alone. He felt like we redid and did a
whole nother arrangement to it, and I'm like no, I
just I took what was there and just accented some
things and that sort of thing, but that's literally you know.

Speaker 2 (01:51:54):
It was really a beautiful person. And how great is
it that you can get the original master from Stevie
and be able to do that. You know, that's that's impressive.

Speaker 1 (01:52:04):
That's that's the perky. That's the perk of the job.
I enjoyed that.

Speaker 2 (01:52:07):
And I was with Dean Parks over the weekend and
it's we were playing. We went to a club and
sat in and I said, Man, it's not every day
we get to hear Dean Park stretch out like this,
you know. I mean he was he brought it and
here he is, you know, still doing it after all
these years.

Speaker 1 (01:52:23):
But he's another dream of mine. Yeah, he's I got
to meet him two years ago at the Oscars and
he's such a such a.

Speaker 2 (01:52:32):
Cool cat, very cool and but yeah, the original open
I'm going wait a second, I think A Mayor got
the track. Oh this is incredible. Yeah, yeah, I got
lucky work about working your magic.

Speaker 1 (01:52:48):
No, it was really great, Thank you, Thank you. Yo.
I know there's like forty nine other songs that I
can nerd out on and albums that you've played on.
But you know, the whole thing is that you. You
You're the You're the magic touch. And I really appreciate
you for coming on the show and man, talking to us.

Speaker 2 (01:53:09):
I was so excited that last night I kept looking
at my watch. Oh man, okay, it's only twelve more hours.
I'm so excited to come because listen, I mean, you've
you've met everybody. Come on, Michelle Obama.

Speaker 3 (01:53:23):
Man, I'm excited about it.

Speaker 1 (01:53:26):
Wait now now that you mentioned it, yo, you should
really because when I'm closing my eyes I thought I
was talking to Donnie Simpson for half a second. You
you really have you you have a future in voice over,
working it, but really have a future like that should
be your your your your pivot, Brenton.

Speaker 2 (01:53:47):
But it's a lot of fun. You know. I was
friends with Don la Fontaine, who was the Yes who
is the guy? Yes? Yes, family and I are still
very dear and very close. But he he's you have
great pipes. Wow, he had the voice of god. You know. Yeah.

Speaker 1 (01:54:05):
Well, I thank you very much for doing the show.

Speaker 2 (01:54:08):
And thank you guys, and no thanks man, this is music.

Speaker 1 (01:54:12):
Thank you for the music on what you're doing.

Speaker 2 (01:54:15):
It's it's very relevant. It's not irreal relevant very much,
so thank you very much, thanks for everything you do,
and congratulations on everything Disney collaboration and you know, thank
you everything.

Speaker 3 (01:54:29):
We're looking forward to the next generation of East shout
us and.

Speaker 2 (01:54:31):
Noah, okay, now right, yeah, well listen, it's been a joy,
pleasure and a honor and uh let's uh, let's keep
it going a show.

Speaker 1 (01:54:43):
Well you heard it from the horses, mount ladies and gentlemen.
That was Nathan East and on behalf of Fontillo. Like,
my name is quest Love and this is pust Love
Supreme and we'll see you on the next go round
the next episode of Love Supreme. All right, yoh, what's up?

Speaker 5 (01:54:58):
It's is Sponte. Make sure you keep up with us
on Instagram at QLs and let us know what you
think and who should be next to sit down with us.
Don't forget to subscribe to our podcast, all right, peace.

Speaker 1 (01:55:16):
What's Love Supreme is a production on iheartnet Radio. For
more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,
or wherever you listen to your favorite shows.

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Laiya St. Clair

Questlove

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