Dec. 19, 2009

We profiled this phenomenal and prolific quartet earlier as our Artist of the Week. In the world of contemporary jazz, they deserve a permanent label of Artists Extraordinaire. We caught up with master bassist for the group, the illustrious (and very active) Nathan East. In addition to being a most pleasant personality, he proved to hold a wealth of information that not only makes for good reading but for great understanding as to why Fourplay is and will be a frontrunner in jazz for as long as it cares to be.  Here now, for Fourplay, is Nathan East.

TSJR: We’ve always been interested in this answer: Tell us a little about Fourplay’s musical focus. Would you say that you’re more focused on reaching the smooth jazz audience, the fusion fans, or all of the above?

NE: Well, all of the above would be my first answer. However, I’d have to add that we try to have fun with our music and reach a non-denominational crowd (laughs). You don’t have to be a smooth jazz fan or an R&B or a fusion fan.  To me, that kinda locks you in to one thing and we like the universal approach.

TSJR: How do you make the decisions to play certain tunes at your concerts? Do you ever tailor your material to the audience or do you just do what feels right to Fourplay?

NE: Yes, well, we basically do what feels right. We have a certain set list of tunes, and we can swap one out for the other. Sometimes, we end up reading where we’re going to be, but a lot of times, we have a set that kinda flows from one tune into the next to establish a good pace and, if that’s working for us, then that ends up being the set for that tour.

TSJR: How do you guys write music together?  In other words, do you favor the traditional method of everyone physically getting together in the studio and working on a piece or do you prefer individually creating your respective parts and just sharing them with the others?

NE: Well, there’s no real one set way to do it. We’ve done it all ways, each guy working on his idea, but the thing that seems to be the most magical and gets the best result is when we’re all in the same room at the same time.

TSJR: Can you share with us the origin or inspiration of your latest release, Energy?

NE: Yeah, we were just inspired to convey to everyone that, after almost 20 years, the group is still energetic and enthusiastic about making music together. One of the things that I like about these guys is that any one of us can walk into the studio with just an idea, 8 bars, and everybody contributes so much that it turns out to be a great Fourplay effort that’s a lot of fun.
 
TSJR: On that album, there’s a track called “Capetown.” Was that inspired by your Capetown roots? If so, do you care to elaborate on those roots?
 
NE: Well, it was definitely inspired by a story about our ancestors who did a pilgrimage to South Africa, and my brother, my cousin, and I put our thoughts and stories together and came up with the lyrics. We just talked about the travel and how it took them about a month on the boat to get from the States to South Africa with the babies strapped to their sides and going out to do missionary work. So, we wanted to pay tribute to that.

TSJR: Were the vocals all Fourplay or did you bring in other vocalists?

NE: Well, I did most of the vocals but my brother and I brought in our kids. I have twins, and my brother has a son, and we had them do the backing vocals at the end. My twins are 9, and his son is 8. They’re great musicians, and they had a lot of fun in the studio. Every time they hear themselves, they get really excited (laughs).  It’s pretty exciting for all of us. It’s also nice to be able to include the family when telling such a story.
 
TSJR: As a standout bassist, was the bass always your instrument of choice?

NE: It was. The first instrument that I played was a cello. I played that in an orchestra for a few years in junior high school. I was actually inspired when I would watch those Charlie Brown Christmas specials and hear (Vince) Giraldi,  and that made me want to play piano.  Then they said, “Well, we don’t have piano, but we’ve got the cello, violin,  viola, or the upright.”  The upright was too big for me, and the others were too small; so, I said “The cello is perfect.” So, I graduated from that to the bass, and that’s where I’ve been hanging my hat ever since. It was something that called me out, and I felt that is was some kind of destiny that I would pick up the bass.

TSJR: Fourplay has obviously influenced or inspired other artists or groups. Who originally influenced or inspired Fourplay?
 
NE: Well, I know that the group had a very big respect for groups like the Modern Jazz Quartet, Weather Report, and I personally was inspired by Ron Carter, Ray Brown, Charlie Mingus, and, later, Jaco Pastorius who was one of the greatest bass players ever.  So, what happens is you hear a little bit of influence in all of that music, and we are very proud that we too have been an influence on others.

TSJR: You’ve each embarked on solo projects and/or pairings with other artists. For example, there’s Bob’s duet with Keiko Matsui and his work with David Sanborn; Nathan, there’s your work with Phil Collins & Eric Clapton;  there’s Larry with Steely Dan and Whitney Houston, and Harvey with Chick Corea & Stanley Clarke.  How have those separate projects and experiences helped you as a member of Fourplay?

NE: Great question.  Actually, what it does is, well, for me, it opens up the music for the influences to come in, and I always like the hybrids, the blending cultures and genres. So, if I just work with the British guys, my mind is a little more open to the rock genre as opposed to straight-ahead jazz.  So, one of the fun things about all of our experiences is that we like to blend all of the cultures and ideas, and it comes out to be this one particular thing. I think all those experiences add so much to the "pot."  For me, music is just one big collaboration. The great groups like the Beatles, the Police, MJQ, they all provide something.  It’s all the same 12 notes, but everybody approaches them differently.
 
TSJR: Speaking of the Beatles, how was it playing with George Harrison?

NE: Now that was an experience of a lifetime. I was so influenced by the Beatles, as were so many. It was such fun. He was such a pleasant and lovely human being.  Every time I’d go to England, he’d send a car for me. We’d hang out at his house, and he was just so generous. It was such a blessing to be in the room with such a legend.

TSJR: You’ve released a total of 10 albums and 1 compilation.  What is Nathan East’s favorite Fourplay album and why?

NE: I’d have to say the very first album we did because you could hear the excitement over the fact that these four guys were getting together, and it was so fresh, new, and magic, and everyone was just so thrilled about that. There was this pattern of excitement. Not that that ever goes away, but that honeymoon sound is definitely in that record. It’s like, even if we elect another Black president, there will never be that exact excitement. Once you do that “first,” that will always be the first.

TSJR: This question comes from a staff member, my daughter Chanel. A few years ago, we all attended the Capital Jazz Fest in MD, and you guys knocked out the crowd with a “freeze” move, where every member just froze in place, mid-song during Larry’s “Blues Force” tune, for about 4 minutes. My daughter wants to know: ”When and where did you first develop that move?” She’s been a disciple ever since. (laughs)

NE: Well, first of all, thank Chanel for me. (laughs) It’s ironic that people like it when we stop playing (laughter). It started with one small freeze and then it just started to grow. (laughs). We had a lot of fun with that one.

TSJR: In line with that question, what would you say have been your most memorable performances?

NE: Oh, wow. I guess it would be the last performance, which was at this beautiful brand new performing arts center in Modesto, CA, and I just remember thinking about how beautiful it was to be standing here next to these amazing musicians.

TSJR: Your last two shows were to be at the Birchmere in Alexandria today and Philadelphia tomorrow. We know that the current storm has canceled today’s show, and I would imagine tomorrow’s date in Philly, as well.  Besides taking a likely long-deserved rest, what lies ahead for Fourplay in 2010?
 
NE: Well, I’m thinking we will be recording our 12th album and touring in promotion of that album.

TSJR: Have you already laid down tracks for it?

NE: No, we’re still just writing it all now.

TSJR: What advice would you offer young aspiring musicians who are interested in smooth or contemporary jazz?

NE: Just listen to as much music as possible and be very passionate about what you’re doing.

TSJR: I understand that you’ve released a DVD called “The Business of Bass.” What is that all about, and where can one get it?

NE: You can go to NathanEast.com. There’s a tab for “Store,” and it’s available there. It’s about the business of music. I did interviews with Quincy Jones, Babyface, Phil Collins, members of Fourplay, and others and asked what they expect from a bass player and from a musician in general. They explained what it is they look for, and then we did a little jam session in the studio for the camera. It’s a behind-the-scenes look at what we do. I wanted it to be different from the normal tutorial where there’s one guy playing a few licks and chords.
 
TSJR: And finally, where can Fourplay fans find out more about the group?
 
NE: Well, there’s www.fourplayjazz.com. We’re also on MySpace at  www.Myspace.com/fourplayjazz, and we’re also on Facebook.

TSJR: Thanks so much for your time, Nathan. On behalf of Ronald and the rest of the Smooth Jazz Ride team, we wish you all the best and continued success with Energy and all future projects. By the way, Happy Holidays, and we look forward to seeing and hearing from you in 2010.

NE: Thanks so much for such a great interview. Happy Holidays to you, your staff and families, and to all our fans.

Fourplay. The definition in the TSJR dictionary is: (n) immeasurable quality and style.