Heading into their third decade of making multi-faceted recordings that perfectly blend pop accessibility, rhythmic R&B and colorful jazz improvisations, Fourplay in 2010 issued a challenge to their listeners on their second Heads Up date: Let’s Touch The Sky. This project marked the group’s first with Chuck Loeb, a veteran jazz guitarist whose resume includes everyone fromStan Getz and Steps Ahead to a two decade catalog of contemporary and traditional jazz solo recordings. Joining founding members Bob James(keyboards), Nathan East (bass/vocals) and Harvey Mason (drums/percussion), Loeb follows in the formidable footsteps of founding Fourplay guitarist Lee Ritenour andLarry Carlton, who toured and recorded with the group for 12 years. Six of the supergroup’s 12 recordings since 1991’s self titled debut have hit #1 on Billboard’s Contemporary Jazz Albums chart.

The title of their highly anticipated new album Esprit De Four reflects the continuing symmetry and expansive creativity that defines Fourplay with Loeb in the guitar chair. One of the highlights is the poignant “Put Our Hearts Together,” which James and his daughter Hilary James penned as a tribute to the victims of the devastating tsunami that struck Japan in March 2011. The vocal is by superstar Japanese pop singer Seiko Matsuda.
JazzMonthly recently spoke with Loeb and Mason in separate interviews.

JazzMonthly: (to Chuck Loeb): The new album has a clever title Esprit De Four. Why is that a perfect title for the new album and how does it reflect the Fourplay aesthetic today?

Chuck Loeb: Basically it reflects how we were all feeling during the recording process and lately with the band in general—just the camaraderie that has developed. We’re hitting all the cylinders, thinking the same way. “Esprit de corps” is the motto of the armed forces and the title of the album started as a play on words that became a quip we kept saying in the studio. For us, it refers to the feeling we have on the road and when we are recording and promoting our albums, a feeling of togetherness that’s very special. This album was a more fulfilling experience for me because Let’s Touch The Skyhappened within a few months of my joining, and I had almost no time to prepare. I was just getting my feet wet. Going into Esprit De Four, I had spent a lot of time on the road with these guys and feel more at ease and comfortable with my role in the band. I’m broken in now. Bob, Nathan and Harvey made me feel welcome and encouraged me to be myself from the start, and now I’m starting to feel like I’m doing that.
JazzMonthly: Tell me about how you came to join the group when Larry Carlton left. Had you worked with the others before? You’ve always had a very busy solo career, so how were you able to open enough time into your schedule to become a recording and touring member?

CL: I swear, it had nothing to do with me visiting Larry and threatening him (laughs). A few years before I joined, they thought Larry was going to have a conflict making one of their gigs and they called me to sub. I had been such a big fan of Larry and also Lee’s work in Fourplay so I was very flattered. Larry ultimately did that gig, but since Bob and I were longtime friends and had worked on a lot of projects together, I was the first guy they called when Larry decided to move on. When they called to schedule a conference call a few years ago to discuss me joining the band, it didn’t take me long to say yes. The timing was perfect because I was starting to record on my own indie label Tweety Records and wanted to pursue more traditional jazz in my solo work. Joining Fourplay allowed me to do that while still having an outlet to write and play contemporary jazz with one of the genre’s premier groups. It’s like having the best of both worlds, having the opportunity to do my own projects and also collaborate with three of the best musicians on the planet. I didn’t know Nathan and Harvey the way I knew Bob, but I had so much respect for them as artists and musicians. Everything clicked very quickly.
JazzMonthly: How do you feel you have lived up to the band’s expectations and those of the fans? What were some of your early challenges once you joined?

CL: There was no pressure from the other guys, but I put a lot on myself. I had so much respect for my predecessors and so I wanted to make sure I could measure up. It’s hard to generalize the fan response but I felt good reading emails and Facebook posts about me being the perfect choice. When I’d see the occasional disapproving note I would put it out of my mind. I can only do my best and bring what I have to the table. The guys made it clear that they didn’t want me to imitate Larry or Lee, but come in fresh with my own contributions. Despite that, I remember when I would be playing one of their classic tunes, I was thinking about how Lee or Larry might approach it. In recent years, Larry had that swing, groove and time, incredible expression and touch. It was my wifeCarmen (Cuesta) who finally said, just be yourself, relax and have fun. Now I’m completely at ease. If anyone misses Larry and Lee, well, all I can say is, I miss them too. But I’m here making my own contribution.

JazzMonthly: What have been some of the highlights recording and playing live with Fourplay? What do you think you bring that is unique?

CL: One of greatest things about being a composer is thinking about who will play it. When I bring a tune to Bob, Nathan and Harvey, it’s not only awe inspiring, it keeps me on my toes as a writer. The greatest thing is to take material into the studio and see what they will do with it. The opening track on the album is “December Dream,” which we built into a long suite. Each guy kind of attacked my original tune and brought unique elements to it. In the middle Bob and I are doing a fugue section, a contrapuntal part which Bob came up with spontaneously in the session. Harvey delved into his classical percussion background and came up with a syncopated orchestral part, so that it almost sounds like a Stravinsky piece with doubled and tripled snare drum. Nathan sang a lot but also included a killer walking bassline. I could never imagine these elements until they came up with them. As for what I bring that is unique, I think maybe more of an emphasis on challenging, more “notey” jazz fusion and compositions that lean more jazz than pop. My background includes working with Stan Getz and Michael Brecker and others who have challenged me on the traditional and fusion jazz front. In turn, the Fourplay guys like the challenges I bring into the mix with my compositions.

JazzMonthly (to Harvey Mason): As a founding member of Fourplay, what’s your take on the title Esprit De Corps?

Harvey Mason:  As you can tell from the title and artwork, we’re bonded together and there’s the “all for one, one for all” unity of 21 years together. They’re all great guys and we’re probably tighter now than ever. Chuck definitely fits right into our flow. Each time we record is a unique experience. We “audition” songs for each other and that’s the nervous time. But Chuck as our newest member gets to present his material first and he was so excited to do it. Like he said, “December Dream” took us back to the drawing board and set a high bar which took our creative sensibilities to a whole different place. We were all scrambling back into the musical archives in our memory to come up with ideas that could do justice to what he brought in. The process of building songs is a discovery and love affair at the same time, and it’s an amazing process that is always fresh and exciting. Because all of us have been both leaders and played supporting roles for other artists, we know when to lead and when to be step back. All those tools work together here in an unselfish and giving environment. That’s always been our aesthetic, giving everything we have to each other.
JazzMonthly: Once Larry left, how did you guys decide Chuck was the guy, and what do you think Chuck has brought to the group creatively?

HM: Chuck was the only choice. Bob had worked with him in the past and Nathan and I had heard his records and seen him play. Every time I would hear a great guitar tune on the radio, it turned out to be Chuck. I love the way he plays, and he’s very well rounded as a composer, producer and creator of a great sound. He’s also an equally wonderful human being and the perfect fit for a band like ours that is not content to rest on its laurels and wants to continue to explore. His flexibility is amazing and he’s brought an exciting energy to our new tunes and to many of our older songs when we play live. His fresh approach has driven us all to perk up, and it has pushed us to meld together again around his playing. That’s what we do best.
JazzMonthly: How do you think changing guitarists three times has influenced the band’s sound over the years?

HM: I believe it’s had a great impact. With Lee, we played a little sweeter. With Larry, it was bluesy, raw and not as slick and refined, but in a daring way. With Chuck, we get a sound that’s refined and sophisticated and very diverse. He covers every area so well and brings more of that jazz fusion influence from his days with Getz and Steps Ahead. Now that he’s opened us up to that arena, we’re flying all over the place!

JazzMonthly: I know that Fourplay launched out of the sessions you, Bob, Nathan and Lee did for Bob’s 1990 album Grand Piano Canyon. When you decided to join forces as a group, what was your collective goal at the time? Has that evolved?

HM: From the beginning, we wanted to be like the Modern Jazz Quartet, which spun off from Dizzy Gillespie’s Big Band and then became a working ensemble for the next 40 years. We didn’t want to make it a one-off all-star project. The idea was to be around for a long time, and so far we’ve pulled it off. It all started pretty simply. The Grand Piano Canyon project was flowing so well that Bob just asked us, hey, would you guys like to be in a band, and we all said, sure. No one balked for a minute. Bob told Warner Bros. President Mo Ostin what we wanted to do and he supported us fully. We signed a deal, got in the studio to record our first album and it went platinum. We got off to a great start.
JazzMonthly: What makes the chemistry work? How do you stay excited, focused and creative, and after over 20 years, what keeps you guys motivated and coming up with new musical adventures and ideas?

HM: First of all, it’s about respect. Everyone in this band is a gentleman. Everyone respects the others’ feelings. We may not agree on everything, but we do things democratically and you win some, you lose some. We discuss our differences and get through them. To tell the truth, it’s like a marriage. Like I mentioned at the beginning of this interview, there’s a feeling of teamwork and camaraderie.

I love these guys. We go our separate ways between albums and tours but can’t wait to get back together for the next go-round. It’s easy when you have the same goal, and we travel well. Above all, it’s fun…we stay in nice hotels with a nice crew, go out to dinners together, have a good time and enjoy each other’s company. We share new ideas, gadgets, apps, drink fine wine, write songs and make videos. Being on the road was something of a new experience when Fourplay first started. I was a studio guy and loved the stability of that.

I had done one world tour with Carole King and various dates with Bob, but otherwise I was pretty grounded and happy in my career. It was a little scary at first giving up a lot of that work, but even after 20 years on the road, it’s fresh and exciting and doesn’t beat me up. I get to meet fans of mine who say they have been listening to my recordings for years but didn’t think they’d ever get to see me play live. So that’s fulfilling. I think for my career, Fourplay came along at just the right time. These guys know how to make records.
JazzMonthly: Are there any recent experiences with Fourplay that stand out for you?

HM: Yes, last December, we played for the first time with a Japanese symphony orchestra in Tokyo. We did a 14 camera video shoot of the show in HD, and the video just came out. I had played on many soundtracks so I adapted well to having all the brass, strings and woodwinds behind me. It was great to hear these songs we had been playing so long orchestrated like this. I’m sure there are many more exciting experiences we’ll have in the future. No matter how busy we are in our solo careers, Fourplay is everyone’s priority and we can’t wait to see what’s next. That Esprit De Four makes it all happen.

With more than 20 years together and a dozen records under their belts, Nathan East and the members of Fourplay show no signs of slowing down.

The quartet’s latest release, Esprit De Four, continues the trend of exceptional musicianship and songwriting prowess that’s become a staple of the smooth jazz super group. There are amazing grooves and melodies in “Firefly,” “All I Wanna Do” and the beautiful “Put Our Hearts Together,” which was written as a tribute for the people of Japan following the devastating tsunami.

Alongside Chuck Loeb (guitar), Bob James (keyboards) and Harvey Mason (drums), East shows why he’s one of the most in-demand bassists in music today.

East also is no stranger to music royalty. He’s performed alongside Eric Clapton, George Harrison, Barry White and Kenny Loggins, among many others. He was part of the Badsessions with Michael Jackson and Quincy Jones, played for presidents and the Pope, performed at Live Aid, toured all over the world dozens of times and even co-wrote the No. 1 song “Easy Lover” with Phillip Bailey and Phil Collins. Not bad for a guy who started out playing cello in the orchestra.

I spoke with East about Esprit De Four as well as his early years and tenure with Slowhand. We also discuss an encounter with the divine and more in this exclusive interview. His life and journey in music is a story worth telling.

GUITAR WORLD: What makes smooth jazz such a great musical genre?

I always avoid trying to do too much labeling. Personally, when I create music, I’m not thinking about any specific genre. I just come up with something that’s a hybrid of the things that have influenced me. When I create, I try to bridge the gap between genres.

What inspires you to do a Fourplay project?

We enjoy each other’s company and try to come together every year and a half or so to make a record. Whenever we do come together, we always ask the question: “What’s our spark?” Fortunately, we don’t have to worry much because everyone comes in with at least a few songs and ideas rolling around in our heads.

On Esprit De Four, the song “Put Our Hearts Together” is very powerful.

That song was written for the people in Japan following the disaster and it really has touched a nerve over there. Chuck [Loeb] and I were actually saying that would have been another good title for the record. Although it’s called Esprit De Four, “Put Our Hearts Together” really describes the spirit that we have and also in trying to help our people who are in need.

Were you always a bass player?

My first instrument was actually a cello. I played that in the orchestra for three years before I discovered the bass. And once I did that, there was no turning back. It was the love of my life!

Who were some of your influences?

When I first started playing, I was all over the map. I was listening to The Beatles, Motown, Cream and Hendrix. Wes Montgomery was one of my biggest, earliest influences. After Wes, I discovered the music of Quincy Jones, Herbie Hancock, Miles Davis and George Benson. When I started playing in bands, I was influenced by groups like Earth, Wind and Fire; Tower of Power; Chicago, Kool and The Gang; and Blood, Sweat and Tears.

What were some of your early gigs?

My first “big time” gig was with Barry White. He hired our entire band to go on tour with him. So, here I was, 16 years old, and playing at the Apollo Theatre, Madison Square Garden, the Cobo Arena in Detroit and the Kennedy Center in Washington, D.C., and I thought: “You know what? This is IT!” [laughs]. From there, I met Hubert Laws, who invited me to come to the Philippines with him and I wound up also playing with him at the Hollywood Bowl. Then John McLaughlin called me, then Phil Collins, who called me in to record on Phillip Bailey’s record.

Tell me the origin of the song you wrote with Phil Collins and Phillip Bailey — “Easy Lover.”

I remember we were in the studio in London and had pretty much finished the album. Phillip expressed to me that we still needed that one, undeniable single for the record label (CBS) to release. I went to the piano and started playing the basic changes to the song and in about 20 minutes we had the music written. We recorded what we considered a rough demo of the song that night and the next morning when we came back in to listen to it, we all loved the track!

Phil Collins came up with a working title “Choosy Lover.” He took the track home and came back with full lyrics to “Easy Lover.” Phil’s voice sounded so good as he sang the lyrics to us that we all had the same epiphany, this should be a duet with both Phils! They worked out their parts, went into the vocal booth, sang the song and the rest as they say is history. I also have to give credit to George Massenburg [engineer] and the brilliant guitar performance by Daryl Stuermer as well.

Tell me about your experience at the Live Aid event in 1985.

I was playing with Kenny Loggins at the time, and it was amazing to be a part of such an epic concert. Just looking out from the stage at an ocean of people filling the stadium was electrifying. It was also where Phil introduced me to Eric Clapton. Collins and Clapton were scheduled to perform directly after us so when we finished, they were standing on the side of the stage. As I walked off Eric said to me, “Sounded great, wanna go hang out later?” Not only did we hang out, but we wound up touring and making records together for the next 20 years!

How would you describe your time with Clapton?

It was the brotherhood. We’ve grown to be very dear, close friends over the years, and he truly is one of those artists who not only became a friend, but also a role model. He’s just very creative and passionate about every note he plays.

Clapton is preparing a new tour for next year. Will you be taking part?

Not at the moment. I am juggling my schedule a bit now so that I can tour with Fourplay and Toto next year.

What are some of the things you treasure most about your days with Clapton?

Oh my, there are so many treasured experiences with EC! We played the Royal Albert Hall in London over 100 times; we’ve been all around the world numerous times and had a lot of laughs both on and off the stage. I remember playing with him in South Africa for 100,000 people. That sight was just amazing.

One of the most heartfelt moments was when we were with his grandmother Rose at her home in Ripley the day she made her transition from this life. She was so dear, like a grandmother to me as well. I’ll never forget just being there recalling all the good times we had together. Of course, the MTV Unplugged experience is something I will always treasure.

Out of that came the classic “Tears in Heaven” dedicated to his son Conor.

One moment where I feel like a little miracle took place was when we played Alpine Valley just outside of Chicago. We performed two nights there and traveled to and from the shows in four separate helicopters. On the second night, one of my friends (a fellow private pilot) offered to fly me back to Chicago in his airplane. I took him up on the offer and also invited Greg Phillinganes along for the ride. That left two seats available on our helicopter, and that’s when Stevie Ray Vaughan took one of those seats. The ill-fated chopper would never make it back to Chicago. It was such a tragic event and the darkest day of my life. It definitely felt like there was some major divine intervention going on my behalf, and I’m just thankful to be here having this conversation with you.

Tell me a little about your role in the upcoming Toto tour and other projects.

Toto has been touring in support of their bassist, Mike Porcaro, who has ALS, and I was asked to fill in for him. A portion of the tour revenue goes to help Mike and his family with medical expenses. Next year is the band’s 35th anniversary and they’re planning a pretty expansive world tour. I’ve also started an online School of Bass Guitar in partnership with ArtistWorks.com designed to teach students from all around the world.

Recording-wise, I’ve been writing and producing new music for the forthcoming Anita Baker CD scheduled for release in January 2013. Other projects include the new Daft Punk CD, Steve Lukather’s solo record and work with David Foster on a new Andrea Bocelli album. But I’m most excited to announce that I have signed on with Yamaha Entertainment Group, a new label, to record my very first solo album. It’s finally going to happen! I really look forward to finally getting on the board as a solo artist … like my fellow bandmates!

Have you ever given thought to writing a book about your experiences?

Absolutely! That’s another thing in the works. Having such memorable experiences like George Harrison’s last tour, playing for the Pope and for three presidential inaugurations; there are a lot of fun stories I’d like to document and share with the world … and the grandkids whenever they come along!

What do you find most amazing about music?

You never know who is listening. We just got back from Nigeria and couldn’t believe how many people were aware of our music. You’re halfway around the world and it still amazes me to this day: the power of music and how it reaches people.

James Wood is a writer, musician and self-proclaimed metalhead who maintains his own website, GoJimmyGo.net. His articles and interviews are written on a variety of topics with passion and humor. You can follow him on Twitter @JimEWood.

Get out of town!

It was while earning his degree in music at UC San Diego in the late 1970s that budding bass guitar great Nathan East received perhaps the best advice anyone has given him.

“My two mentors were Bert Turetzky, who I rigorously studied upright bass with, and Cecil Lytle, who really took me under his wing,” East, also a Crawford High School graduate, recalled. recalled. “They were two of the best teachers I ever had. Bert’s big advice for me was to move to Los Angeles and to jump in with both feet.”

Given how fruitful his subsequent career has been, it might appear to casual observers that East jumped in with far more than just two feet.

After heading to Los Angeles in 1979, he quickly became one of the most prolific, diverse and in-demand bassists anywhere.

It’s a status he has maintained ever since, whether touring the world with Eric Clapton for nearly 20 years, accompanying a slew of legends at President Obama’s inauguration concert or serving as the musical director for music legend Quincy Jones’ recent all-star career retrospective concert at the Hollywood Bowl.

“To this day, I’m way busier than I ever thought would be possible,” said East, whose recent credits include recording sessions with Stevie Wonder, Michael Bublé and Daft Punk.

“In the busiest of times, I can remember doing as many as 28 (recording) sessions in a week. Even when I (only) averaged three sessions a day, that still came out to more than 700 a year.”

But it is the quality of his performances, not their quantity, that has helped East stand out for more than 30 years.

“Musically, Nathan is in (my) Top 3 as a bassist,” Clapton said in a 2005 U-T San Diego interview. “He’s the most supportive and caring musician I’ve met.”

He is also an accomplished vocalist. During East’s long tenure in Clapton’s band, he would perform lead vocals on the Blind Faith classic “Can’t Find My Way Home” (a role originally handled by Steve Winwood).

East performs two shows in San Diego with the pop-jazz band Fourplay on Friday, Nov. 2, at downtown’s all-ages Anthology. He co-founded the chart-topping group in 1991 with keyboardist Bob James, drummer Harvey Mason and guitarist Lee Ritenour (whose role is now ably filled by Chuck Loeb).

The veteran bassist’s ability to play with skill, sensitivity and just the right touch are key reasons he has thrived for so long. The fact that he is widely regarded as a genuinely nice guy is another. Then there’s his impressive versatility, which has enabled him to shine whether playing with such jazz luminaries as Herbie Hancock and Wayne Shorter or with Rock and Roll Hall of Famers like George Harrison and Rod Stewart.

Yet, it’s likely that many pop music fans are familiar with East’s impeccable bass playing even if they don’t recognize his name. That’s because he has made indelible contributions to such ubiquitous songs as Clapton’s “Tears in Heaven,” Michael Jackson’s “Bad,” Kenny Loggins’ “Footloose” (which he performed with Loggins at the 1985 Live Aid concert) and the 1984 Phil Collins/Phillip Bailey hit, “Easy Lover” (which East co-wrote).

Then there are his memorable performances on albums by everyone from B.B. King, Bob Dylan and Barbra Streisand to Aretha Franklin, Beyoncé and rock guitar hero Joe Satriani.

“I diversified early on,” East, 56, said. “I didn’t ever want to be known for doing just one thing and, then — if it dried up — it would be over. It’s fun to keep your hand in the jazz world, the R&B world, the pop world, the rock world, and anything in between.

“Fourplay just got back from a week (long) ocean concert cruise, then we went to play in Aruba. The next day I was in a (Los Angeles) studio with Burt Bacharach, who is working on an album with (longtime Elton John lyricist) Bernie Taupin. In Aruba, I ran into Chaka Khan, who said she needs (new) songs, so I’ll try to write for her.

“I’m also producing the title track for the new Anita Baker album. You just do what you do and don’t look back. I feel very blessed, because it still keeps going.”

East’s formidable talents were already evident when he was barely a teenager.

It was then that he co-founded Power, a jazzy San Diego funk band that also featured such precocious talents as keyboardist Carl Evans, Jr., and saxophonist Hollis Gentry, III. By the time he was at UCSD, East was a member of The People Movers, one of San Diego’s top cover bands.

His bass playing was so accomplished that, just weeks before graduation, he was offered a position in the then-latest band led by fusion jazz guitar giant John McLaughlin.

“It was very difficult to turn down and everybody thought I was absolutely nuts not to play with McLaughlin,” East recalled.

“But my grandmother said: ‘If you don’t do but one thing for me, finish school.’ I ran into John this year at the Montreux Jazz Festival in Switzerland, and he looked and sounded great. Every now and then, I wonder what my path would have been like if I’d accepted his offer 33 years ago.”

East, who lives in Los Angeles with his wife and two children, happily continues to play on numerous albums that cover the gamut of contemporary styles. But he laments some of the transformations that have reshaped the music business.

“The industry has changed a lot and so has the playing field,” he said. “There are not many CD stores left. A friend of mine was trying to find the latest Fourplay album and went to four places. He wound up finding it at a Barnes & Noble store. That’s the sad thing: In less than 30 years, we’ve lost the CD.”

The decline of the CD — and, with it, album sales — has had a tangible impact on Fourplay, whose self-titled 1991 debut topped Billboard magazine’s Contemporary Jazz Album charts for 33 weeks.

“Our first CD sold over 1 million copies and the next two both went gold, which is 500,000 copies each,” East said. “There’s no doubt that, for everybody, the numbers aren’t what they used to be.”

Concurrently, the smooth-jazz market that Fourplay once dominated has all but evaporated as a force on radio, with only a handful of stations in the country still maintaining the format. San Diego’s KiFM, a national smooth-jazz pioneer, last year shifted to a pop-vocal format. A growing number of smooth-jazz performers have in turn shifted to a more straight-ahead jazz style.

But there may be a silver lining. Smooth-jazz had become increasingly rigid and artistically stifling, even for a band whose members are accomplished as East and his colleagues. The format’s commercial decline has had a liberating effect on Fourplay, whose 12th album, “Esperit De Four,” was released last month.

“It definitely frees us up, when you no longer have that element of commerce hanging over your head. So, creatively, it’s a bonus,” East said.

“The first song on our new CD is more than seven minutes long, so there are no rules (now). We get to make music we absolutely love, and there’s no one saying: ‘Oh, you have to add sax to this song’; or ‘It can’t be longer than three minutes and forty seconds;’ or ‘No solos!’ We’ve taken off all those restrictions, so — artistically — it opened things right up.

“Why did the (smooth-jazz) format die? Because they didn’t want music anymore. The format got so narrow, it disappeared.”

The Album: The essence of Michael Jackson’s solo career is his trilogy of work with Quincy Jones, where in less than a decade they unleashed three wildly successful albums on the world: Off The Wall, Thriller(the biggest seller in history) and Bad. This week sees the release of the 25th anniversary edition of Bad, a box set that includes an additional bonus CD of demos and remixes, and a DVD of Jackson’s 1988 sold out concert at London’s Wembley Stadium at the height of Michael-mania.

Perhaps emboldened by the success of his own songwriting on Off The Wall and Thriller, Jackson seemed intent on writing the entire Bad album himself. What he failed to realize was that his previous writing worked so well because it was heard in full-album context with other songs written by some of the best in the business. Therefore, while Wall and Thriller featured a full six tunes written by Rod Temperton, and a bunch more by the likes of Stevie Wonder, Paul McCartney, David Foster, Carole Bayer Sager, Quincy Jones and others, that successful formula was all but missing on Bad, and the result was a fairly one-dimensional sounding album. Yes it did sell 8 million copies, and musically it certainly has its moments– “Man In The Mirror”  (one of only two songs on Bad that Michael didn’t write) remains one of his best ever– one could argue that Michael could have sequeled  Thriller with a CD of white noise and still reached platinum status. It would seem Quincy took a backseat for this outing, perhaps understandably so considering MJ’s global explosion at the time, but artistically questionable in hindsight.

Sonically, the new Bad 25 offers a well-done remastered version of the original, yet for all it’s clarity and punch there is a still a rather dated quality to the heavy synth and drum machine arrangements. A nice surprise is the additional CD of bonus tracks, as we hear unreleased songs in various stages of completion that Jackson had been working on for possible inclusion on Bad. These too are all written by Michael, but his songs like “Free”, “Abortion Papers” and “I’m So Blue”, had they been finished, probably would have been better choices than several of the songs that appear on the original. There are also three brand new remixes, the best of which is a “Bad” remix by AfroJack featuring Pitbull. Of course, what’s a dance mix without Pitbull these days, but to hear him on a 25 year-old Michael Jackson track is truly something else indeed.

The real bonus of this deluxe set is the DVD concert at Wembley. The show was taped in July 1988, in the middle of MJ’s 16-month global tour in support of Bad. The concert is filmed well, the audio is excellent thanks to the original multi-track recording of this show and the 5.1 audio version included in this release. Michael and his band are on fire (no, not Coke-commercial fire), and the concert is a spectacular event, as the gang run through songs from every era of Michael’s career from early Jackson 5 hits to the then-current radio staples ofBad.

The Bassists: Synth bass dominates here, with much of the work expertly handled by Greg Phillinganes. Only one track uses bass guitar, which is  “I Just Can’t Stop Loving You”, and as always Nathan East offers a perfect supporting low end performance. The Wembley DVD features bassist Don Boyette, and he delivers big time. Boyette also gets the opportunity to stretch out for an extended solo midway through the set, as the band takes a 10-minute jam while Michael is backstage for a wardrobe change.

Best New Tracks: “Abortion Papers”, “Don’t Be Messin Round”, “Free”, Bad remix (Afrojack feat. Pitbull).

Michael Jackson: Bad 25th Anniversary Deluxe Edition (MJJ/Epic Records) / Bassists: Nathan East, Don Boyette available at Amazon.com

NOTE: View Slideshow of concert here.

There is always a sense of relief and joy when something is finally finished. For the band Toto,their performance at Talking Stick Resort on Sunday, September 23, 2012 was their final show for 2012. Given the smiles of all the members of Toto throughout the night, they were either relieved that there were no more gigs for the year or they really enjoy playing music with one another.

A Toto sighting in Scottsdale is a rare occurrence, the band having last played in the Phoenix area ten years ago. Rarer still is getting original Toto members, session guitar legend Steve Lukather, keyboardist David Paich and keyboard player Steve Porcaro together live. Porcaro took a twenty four year hiatus from performing live with Toto. Paich had stopped touring in 2005. Their reuniting in 2010 and bringing back their high school friend, singer Joseph Williams, who was with the band in the late 1980’s, was a Toto fan’s dream.

With blue flood lights shooting out and blinding the audience, Toto took the stage. Lukather, accustomed since the early 1990’s in being the spokesman for the band, was center stage, his chords that open “Only the Children,” bringing the crowd to their feet. Paich in his top hat and striped coat was on an elevated platform with his keyboards stage right. Across the stage from him, Porcaro, also elevated, played his keyboards in animated fashion. Williams walked the stage belting out the lyrics and the tone was set for the next hour and forty five minutes.

Toto is like the New York Yankees, except people outside of New York City like Toto. The band is blessed with talent that is unmatched from each member of the band. When one great Yankee goes down, he is replaced by another great. So it is with Toto. Tragically lose drummer Jeff Porcaro, replace him with sought after session man Simon Phillips. Have bass player Mike Porcaro become ill, ask Grammy award nominee, bass player extraordinaire Nathan East to come on tour. Lose one of your background singers close to the end of your tour. Call on accomplished singer Amy Keys to come aboard. The great just become greater.

With such a stacked line up, which also included Mabvuto Carpenter on backup vocals, every song was stellar. Vocally, everyone stayed within their range. When Paich took on a lead vocal, he was content to cover the lower range and allowed Williams to hit the high notes. Lukather sounded solid despite some technical problems. Keys and Carpenter helped add to the trademark Toto harmonies.

But there is a reason that the members of Toto are sought after session musicians. Witnessing Lukather, who has appeared on over 1,500 albums, play was jaw dropping. Song after song his effortless solos were a highlight. Paich and Porcaro both were masters of their keyboards. East’s bass work was a marvel. That they bounced around with smiles on their faces as they played made the experience even more enjoyable.

As expected, hit songs like “Rosanna,” got the fans up, dancing and singing along. But even slower numbers such as the Steve Porcaro written “Human Nature,” had the audience singing the chorus.

Once Paich hit the chords that begin the underrated “Manuela Run,” the pace for the rest of the evening never slowed. Despite being more of a vocal song on record, “Stop Loving You,” turned into an instrumental delight as well, with Lukather and East exchanging licks and Phillips showing that his drumming isn’t always in the background with a nice solo.

With the regular set closer, “Hold The Line,” the whole audience was up, much better to appreciate the sing off between Keys and Williams as they fired the lyrics back and forth at each other. In a night of highlights, this was the highest.

As the band returned for the encore, Porcaro and East pretended to switch instruments and Lukather asked the crowd what they wanted to hear. The majority yelled out “Africa,” and for the next twelve minutes, the audience was treated to another incredible version of another incredible Toto song.

Toto finished with “Home of the Brave,” Lukather’s guitar work once again on display and the band perhaps even more animated than they had been to start the show. Whether it was relief or happiness, these performers appeared to be having the time of their lives.

Sadly, Toto won’t hit the road again until 2013 and when they do, it will be in Europe where Toto remains a huge draw. If you’ve been holding out on that European vacation, perhaps it would be wise to look at Toto’s tour dates next year and plan accordingly. Ten years is much too long to wait to see Toto again.

Set List: Only the Children | Hydra | St. George and the Dragon | Rosanna | Human Nature | Pamela| I Won’t Hold You Back | Manuela Run | Stop Loving You | Hold The Line | Encore: Africa | Home of the Brave

(Risskov, 25 September 2012) One of the main acts at Bass Player Live 2012 will be bass legend Nathan East, who will be giving an unusual session at the event. Apart from playing, he will also be showing how he sculpts his bass tone to absolute perfection by creating dedicated Bass TonePrints live on stage, Saturday October 20th from 2.30 pm – 3.30 pm.

Bass TonePrints are custom-tweaked effect settings for TC Electronic’s range of TonePrint-enabled effect pedals as well as the BG250 Bass Combo and BH250 Bass Head, created by some of the greatest bass players around. Via an advanced software editor, the TonePrint artists get access to loads of effect parameters that are not available on the physical pedals. They even get to specify the range of each knob, 12-o’clock position values and how various parameters may affect each other. In short, loading a Bass TonePrint is like getting a completely new and personal effect pedal – a signature pedal. Only with the twist that the artist name on the pedal can be swapped at any given time.

Nathan East Plays through a TC Electronic Blacksmith bass amp, two RS410 bass cabinets and uses the two TonePrint pedals: Flashback Delay and Corona Chorus. In fact, he has already created a Bass TonePrint for each of these pedals, but the expandable nature of the TonePrint concept allows for unlimited creation of new Bass TonePrints.

All Bass TonePrints can be downloaded from TC Electronic’s website free of charge, or beamed to the pedals via the TonePrint App for iPhone and Android.

Where:
SIR REHEARSAL STUDIOS
6465 Sunset Boulevard
Hollywood, CA, 90028

When:
Saturday October 20th
2.30 pm – 3.30 pm

Nathan East is considered a legend in the bass world. Born in Philadelphia and raised in San Diego, Nathan eventually became a mainstay in the L.A. studio scene. He has recorded with Whitney Houston, Madonna, Elton John, Beyoncé, Michael Jackson, Lionel Richie, Stevie Wonder, Barbra Streisand, Quincy Jones and countless others. He has also done extensive tours with Kenny Loggins, Al Jarreau, Phil Collins and Eric Clapton.

East is a founding member of Fourplay, with Bob James, Lee Ritenour and Harvey Mason. To date, the band has earned six GRAMMY nominations. Nathan was also named “Most Valuable Player” in the bass category of the International Rock Awards and is a three-time recipient of the National Smooth Jazz Award for Bassist of the Year. The National Academy of Recording Arts & Sciences (NARAS) has awarded Nathan “Emeritus” status for winning the most consecutive years as MVP Bassist. East was also awarded a Congressional Record in recognition of his talents and services to the global music community.

FBPO: Let’s start from the beginning. Tell me about your musical upbringing. I understand you come from a pretty big family.

NE: Yes, a pretty big family and we basically all gravitated toward music. I don’t know if that was just because there was a piano in the house. I think we were just exposed to a lot of music and everybody sort of picked up an instrument or sang or played. It was kind of a natural progression.

I was in bands with my brothers. I played cello in junior high school and then switched to bass in high school. My older brother was in the stage band and when they rehearsed, I used to listen outside the door to the bass and just dream about playing with them until one day I finally got the opportunity to sit in with the band. Needless to say, it was magic! My older brothers and I were also playing in many of the churches in the San Diego area. From there I knew that this is what I really wanted to do.

Early on, I had some good calls—Barry White hired our entire band to tour the U.S. with him. So there I was, 16 years old and touring with a full-on hit act, playing places like Madison Square Garden and the Apollo Theater. Then I got a call a couple of years later from John McLaughlin to tour with him at the recommendation of Billy Cobham. After that, I moved to L.A., where I met Hubert Laws and, not only did I have the opportunity to write and record with him, but he invited me to play a bass and piccolo duet with him at the Hollywood Bowl! I’ll never forget how exciting that was. Soon after, I was doing lots and lots of recording sessions in the L.A. area.

FBPO: With so many instruments being played in your house—guitar, flute, French horn, you mentioned you yourself play the cello, what was it about the bass that attracted you to that instrument?

NE: The first thing was that there was one readily available at the church. I noticed a bass sitting on a stand at the altar and picked it up and started playing it. It was easier than guitar because it only had four strings, so that attracted me. The other thing that was attractive was just how, all of a sudden, I could color the shape and sound of the music from the bottom end, depending on what notes I chose to play. It just made everything sound cool.

FBPO: Who were your influences as a young student of bass?

NE: Well, I listened to a lot of radio back then. There was James Brown’s band, which was always so tight. It was almost like you couldn’t even imagine being that good. I listened to a lot of bands, like Earth, Wind & Fire and, of course, the Beatles became a big influence. Then bands like Chicago and Tower of Power and Blood, Sweat & Tears were all big influences. I listened to and learned much of their music. Kool & the Gang, Cream, Vanilla Fudge, War, Santana… There just seemed to be a lot of bands back in the day.

FBPO: It sounds like you were more interested in the bands as a whole than, say, Bernard Odum or Paul McCartney or Verdine White or Rocco Prestia and the other bass players in those bands that you mentioned. Is that right or were there some bass players that really got your attention?

NE: The band as a whole definitely started to catch my attention, but then I started paying attention to those great bass players and great bass lines. I started to pick up on the Verdines of the world and Larry Graham of Sly & the Family Stone, and of course Jack Bruce in Cream. There were all these great bands and then I’d find these stars that were in the band. It became a quest to be good enough to be in a band.

FBPO: You toured with Barry White when you were just 16 years old. Was that a defining moment when your career really began to take off? When you said, “This is for real, this is really going to happen!”?

NE: The Barry White opportunity was definitely a turning point because to see the inside of the Apollo Theater or the Kennedy Center in D.C. or Cobo Hall in Detroit, Madison Square Garden, when you’re 16, you’re just saying to yourself, “Wow, this is Big Time, This is it!” From there, I also pursued a music degree in college because I always knew in my heart that education was going to be an important thing, an official, proper, legitimate education. Of course there’s the school of hard knocks in the street, you know, but I was glad also to go to UCSD and get my official Bachelor of Arts degree in music.

FBPO: Did you study with Bert Turetsky?

NE: Yes I did! He was everybody’s main man and a legend at UCSD. There was also another professor named Cecil Lytle who became the piano guru there. He had won the International Franz Liszt Competition. In fact, I just mentioned his name today here in Budapest as we drove past a huge statue of Franz Liszt. Between Lytle and Turetzky, my two mentors, it was a very powerful education. When I started my Master’s program, Bert pulled me aside and said, “I think it’s time for you to move to L.A. and make some money. You don’t want to be a professional student all your life.” I am forever grateful for his words of wisdom and followed his advice!

FBPO: Were you playing upright at all, or just electric?

NE: I was playing upright as well, in college and in one of the local orchestras.

FBPO: I guess that was somewhat of a natural transition from the cello. Did you study with the bow, Simandl and all of that?

NE: Yes, Simandl, Dragonetti, everything.

FBPO: Do you ever play upright anymore?

NE: I do. I play it with Fourplay. I haven’t been doing too much “legit” work, but it’s something that I really enjoy and just another great instrument to have in the arsenal.

FBPO: Do you play German bow or French bow?

NE: I’m more comfortable using the French bow technique.

FBPO: Breaking into the L.A. studio scene is no easy task. I think the first time I had heard of you was when you were profiled in Guitar Player magazine around 1985 and you said, “Just learn the rhythms and the notes will take care of themselves!” How did you break into that scene? Was it on the recommendation of Bert Turetsky or a combination of some other things that led up to that?

NE: A few things actually happened. One was meeting Patrice Rushen, who came down to San Diego and heard me and invited me to play some gigs with her. When you meet players that like you, they are usually happy to spread the word around town.

The other thing was that by playing with Barry White, I started to get called for all of his records. Gene Page was the arranger for all of Barry White’s records. Gene heard me and he could see that I could read music and interpret it, so he started using me on all of his projects. He was the top arranger in L.A. and very busy. It was a bit of a good timing and my good fortune to have met him. Gene also became a mentor for me.

I’ll never forget one of the first sessions I did for Gene Page, I looked over and Ray Parker and Lee Ritenour were playing guitar, Ed Greene was on drums and Sonny Burke on piano and Willie Bobo on percussion. These were all the heavyweight session cats! The next thing you know, they were recommending me for other sessions. In a very short time, news traveled and my phone started ringing off the hook. I was answering the calls and running around to the studios as fast as I could!

FBPO: What advice do you have for the young, wannabe studio musicians today? Things are so different today from the scene you just described. What would you say to those people?

NE: You need to be fully committed and, even then, there are no guarantees. Right now, I’d just say plan on a lot of hard work and having to go through the fire because it’s a completely new day now. You need to have absolutely everything in your arsenal that you can have. You have to be able to read, play and interpret different genres and styles. For bass, you need to be playing upright, electric and synth bass. You just have to bring it, and get as much education as possible.

FBPO: Right. The studio scenes in L.A. or New York or Nashville are not even close to what they were a couple of decades ago.

NE: Absolutely. Now you have to be very creative to figure out how to break in. We have this conversation every day. Who are the new young guys coming up behind the veterans? We used to do twenty-five to twenty-eight sessions a week and there just isn’t that volume of work anymore. You need to have something very special going on. My best advice is to get a good education with a broad frame of reference so that you can work in a wide variety of genres. I really wanted to be diversified.

FBPO: How did the Eric Clapton gig come about?

NE: I believe we were destined to work together. We were introduced to each other in a pub in England by Phil Collins when Phil was producing his Behind The Sun album. Shortly after that I played Live Aid in 1985 with Kenny Loggins and as I was coming off stage, Eric was standing there about to go on with Phil and pulled me aside and said, “Man, you sounded great! Do you want to hang out later?” We hung out a little bit and he asked me to join his band. We made a record called August in 1986 that Phil Collins produced and played on. I remember being in Ocean Way Studio in L.A. performing these songs as if we were on stage when Eric’s manager, Roger Forrester, came in and said, “I’ve got a half-dozen dates in Europe that include the Montreux Jazz Festival and Royal Albert Hall if you’re interested.” Well, those few dates led to at least twenty years of jetting around the globe, numerous recording projects together, more than a hundred shows at the Albert Hall and the best time you could ever imagine! We’re talking Living the Dream!

FBPO: Tell me something about Eric Clapton, the man.

NE: Eric is very interesting because his life is an open book. And what a life! He’s really one of the most kind, passionate, down-to-earth guys I know. You have this big blues and rock icon on one hand, and a quiet family guy on the other. When Eric is in L.A., he’ll stop by the house and play with the kids. He has young children of his own and really enjoys the simple things in life—a good meal, being with family—it’s really a joy to see such an iconic figure be so grounded.

We’ve laughed together and sometimes cried together, like when his grandmother Rosie died. She was really more a mother to him and very dear to my heart. We were with her when she passed peacefully at home, which was very sad. We’ve been through a lot together. I remember he signed a picture to me that said, “To the brother I never had,” and I just thought we will be friends for life.

FBPO: That’s beautiful. You mentioned Lee Ritenour. Tell me about Fourplay and how that band came to be.

NE: My very first trip to Japan, in 1981, was with Lee and his band and we hit it off right away. Don Grusin was on keys, Alex Acuña on drums, and I was thinking, “These guys are my heroes and I’m actually traveling and playing with them!” Little did we know that ten years later, Bob James would call Lee and Harvey Mason and say, “I’m doing my solo album. Who should I get to play bass?” and both guys said, “Call Nathan East.”

When the four of us played in the studio, Bob could see the magic was happening. He said, “Listen, I have an executive position at Warner Bros. records and I think I can get us a deal. What do you think about forming a band?” That was more than twenty years ago and we’re still together, going strong, having a great time and what a wonderful adventure it has been!

FBPO: I’ve always enjoyed that group.

NE: Thank you, me as well.

FBPO: I understand you played with George Harrison for his final tour. What was it like performing with a Beatle?

NE: In a word…surreal! You can only imagine that it’s one of the highest honors any musician in the pop world could ever wish for! It was so much fun playing “Tax Man,” “Something,” “Here Comes the Sun” and all of his FAB music in these huge 80,000-seat stadiums! Not only was it a rare opportunity to stand on stage and perform next to a Beatle, but George also became a very dear friend. He used to send a car for me when I arrived London to bring me out to his house in Henley-on-Thames and just hang out. When we toured Japan, it just happened to be my birthday and he threw me a big party and insisted on taking me shopping at the local Versace store! I still have the beautiful leather jacket he gave me—a treasure. After George made his transition from this life, his wife Olivia told me that she was cleaning out his little meditation room at home and discovered a thank you note that I had written him among only a few articles. George touched our hearts in a very special way and I miss him dearly.

FBPO: Tell me about the new instructional bass series you’re doing for ArtistWorks, with John Patitucci and Missy Raines rounding out the bass faculty.

NE: It was one of those things that came to me again. It was nice to be on the receiving end of the phone call from David Butler, who was one of the main partners at a little company called America Online! When he retired from AOL, he wanted to learn guitar, but couldn’t travel to where his teacher was, so he had this idea of taking lessons online. He later came up with this brilliant company (ArtistWorks) and this concept that would allow you to not only get the instruction, but to be able to engage in video exchanges with your instructor.

When I got the call to be involved, they told me John Patitucci was one of the teachers and that was enough validation for me! I knew it was a serious endeavor. Billy Cobham was the drum instructor and Luis Conte was teaching percussion. Also involved were teachers like Martin Taylor, all people that I know and respect. I’m a big proponent of education and this seemed like a great program. I’ve done instructional DVDs, but there’s no interaction; you just buy it, put it on and watch it. With ArtistWorks, I videotaped tailor-made lessons for beginner, intermediate and advanced students. Then when my students view the lessons, they can actually send me videos of them playing. I’m able to critique from the road or my studio to help save my students a lot of time where otherwise a bad habit could develop for a few years before it gets fixed.

FBPO: How do you keep up with that? You’re going to be in demand because you’re all very high profile, so I can just imagine you being deluged with countless videos and critiques. How will you manage that?

NE: Actually, I’m starting to prepare for if that happens because the site has just been launched and people are just figuring out how it works. The way the program is set up, we can video our responses from on tour or wherever we are. You know, the concert is two hours, so you’ve got twenty-two hours in the day left. Instead of surfing Facebook or Twitter, it’ll be my time to go on and check out what my students are doing in their videos and jump in there and respond.

A lot of times, there are five or six general questions that everybody might ask, so what we like to do is invite students to look at the other video responses and their question might be answered. The model seems very effective and I really look forward to this worldwide educational experience where, not only can I share some of the wisdom from my years of experience in the business, but actually be able to exchange videos with and meet students from around the world.

FBPO: That’s great. I wish you well with it. People are fortunate to have your ear.

NE: Thank you. Something like this would’ve come in handy when I was growing up. I used to read every article I could about my heroes. Anything I read about Chuck Rainey or James Jamerson or any recording I saw them on, I would buy. I think it’s an investment and if you’re really serious about wanting to play the bass guitar, it’s a great investment in your future.

FBPO: What else is keeping you busy these days?

NE: We are about to release a new Fourplay record. I think it’s our 13th CD now in twenty years. It’s called Esprit De Four and coming out September 18. We’re all really excited about sharing our new music with the world.

FBPO: Who are you touring with right now?

NE: I’m in Europe right now touring with Toto.

FBPO: That’s got to be a fun gig!

NE: Every note is fun! I’ve been having the best time touring Europe with the guys—David Paich, Steve Porcaro, Steve Lukather, Joseph Williams, also Jenny Douglas and Mabvuto Carpenter. These are top musicians and playing with them is an absolute joy. We just came off of a great gig in Switzerland all saying, “Wow, how much fun was that!”

I also just produced and co-wrote with Anita Baker for her new CD, Only Forever, which will be released on October 23rd. This is her first CD in eight years and I’ve pretty much been involved with all of them from the very beginning. Anita said, “You know, you’ve been there behind the scenes the whole time. I’d like to ask you to produce this next one coming up.” We’re really excited about that. Her records, to this day, really hold up because she’s always been true to music and not just a fad or a particular style that was popular back in the day. When you listen to her music, all of her albums have this timeless feel about them. It’s just good music, so for me it was a great opportunity, not only to play and work with her, but to be able to write songs that have more than just two chord changes.

FBPO: How about the future? You’ve already done so much. What else would you like to do that you haven’t already accomplished?

NE: I’ve been offered a recording deal by Yamaha Entertainment Group and they’re pushing for me do a Nathan East album. I’ve been blessed to work with so many major artists, like Phil Collins, Eric Clapton, Stevie Wonder, now Toto and Fourplay, and I’ve been involved in a lot of wonderful musical situations. I think it’s time to actually gather what I’ve learned and put that energy into a project of my own and maybe even call in a few favors from those guys to come in and play on my record.

FBPO: Please do it!

NE: [Laughs] Yamaha just formed this company. I think it’s a really good idea because they have a lot of artists, like Elton John, Michael McDonald and Sarah McLachlin, in their musical family and a pretty substantial worldwide outreach. I think it was a smart move for them to start a label because now they can actually provide music and not just instruments.

FBPO: We would all look forward to that. I speak on behalf of not just bass players, but of musicians and music lovers everywhere.

NE: I really appreciate it because I have lots of music inside me that I would like to get out and I think this is the perfect opportunity.

FBPO: What would you be if you weren’t a bass player?

NE: I’m actually a private pilot and love flying airplanes. Like music, piloting airplanes is one of those jobs that you can say beats working for a living! I also love photography.

[Bass Musician Magazine]

Legendary Bassists Nathan East & John Patitucci Debut Interactive Online Bass Schools at ArtistWorks… ArtistWorks, the first collaborative, global learning community comprised of master musicians and ambitious amateurs, announces the June 29^th launch of the online, interactive Bass Super School featuring the Rock & Pop Bass School with GRAMMY^TM award-winning Rock/Pop/R&B bassist Nathan East (Eric Clapton/Stevie Wonder/Fourplay), the Jazz Bass School from GRAMMY^TM award-winning Jazz bassist John Patitucci (Chick Corea/Herbie Hancock/Sting) and the Bluegrass Bass School from 7-time International Bluegrass Music Association (IBMA) award-winner, Missy Raines. The new ArtistWorks Bass Campus offers the everyday bass player unprecedented access to a “triple threat” of the world’s top bass players in three distinctly different musical genres and playing styles.

By Michael Katz

In 1970, when I started collecting jazz albums, one of my first was Quincy Jones’Walking In Space.  I’d heard the title tune from the show Hair on the radio, along with the killer version of Benny Golson’s “Killer Joe.” I’d recognized many of the soloists: Hubert Laws, Freddie Hubbard, Toots Thielemans. But who was this Quincy Jones guy? I thought I’d discovered someone. Of course, he’d already had a career most people would envy by that time. The big bands, the film and TV scores, the work with Sinatra and Basie. And he was just getting started.

But it was the diversity and continued vitality of his life that dominated the evening. His Global Gumbo All-Stars ranged from nine year old pianist Emily Bear and seventeen year old jazz vocalist Nikki Yanofsky to veteran Brazilian percussionist Paulinho Da Costa. The sounds were Brazilian and Cuban and Japanese; jazz, blues,  rhythm and funk.  ”Fly Me To The Moon” to “Moonwalk.” All of them brought together by the man who has seemingly been everywhere and done everything in music, with an unerring sense of what will touch the public consciousness.

An impressive group of female vocalists assembled to perform “Miss Celie’s Blues” from The Color Purple. Gloria Estefan, Patti Austin, Siedah Garrett, Nikki Yanofsky (with Emily Bear on piano) were spirited as a group, then shone individually throughout the program. Seiko Matsuda performed “Sukiyaki” in lovely fashion.

Throughout the evening, Quincy Jones lent his own observations to the proceedings. He noted poignantly that when Jackson passed away, he was the same age as Quincy was when he producedThriller.  Jones then left the Thrillertribute in the hands of the songwriters. Steve Porcaro, assisted by old friends and bandmates David Paitch and Steve Lukather performed a rousing “Human Nature” and Siedah Garrett shone in her rendition of “Man In The Mirror.”

From a jazz standpoint, Quincy saved the best for last. He led the band in the Dizzy Gillespie/Chano Pozo classic “Manteca,” with special guest stars Arturo Sandoval providing ear-shattering trumpet cadenzas and Andy Garcia sitting in on bongos. Andy Martin contributed a rousing trombone solo and Alfredo Rodriquez gave another demonstration of his fireworks. It reminded one of how much Quincy Jones’ heart and soul remains in the large jazz ensembles.

To close the show, Q led the audience in a type of benediction, the crowd holding hands and repeating pledges to care for each other, strive to make the world a better place – the biggest applause came from his plea to halt the “dumbing down of the culture” and the biggest laugh his plea for others to “stop stealing music.”  It uplifted the entire crowd. For a few moments everyone could feel like ingredients in the Quincy Jones Global Gumbo, a singular achievement in today’s fractured world.

(Original story can be found here: http://irom.wordpress.com/2011/09/09/live-music-quincy-jones-global-gumbo-all-stars-at-the-hollywood-bowl/ )

“This is what you get for coming to see an old dude who’s got 61 years of music,” teased Quincy Jones halfway through a rare, live concert (Sept. 7) at the Hollywood Bowl in Los Angeles. Billed as “Quincy Jones featuring the Global Gumbo All-Stars and Friends,” the occasion celebrating a diverse career ranging from Ella Fitzgerald to Michael Jackson and points in between was remarkably the first time the music icon had performed at the venue with a band under his name. And the evening certainly didn’t disappoint.

With a Southern California-patented warm summer night adding to the evening’s chilled-out ambience, Herbie Hancock introduced the 78-year-old Jones. Then the man himself got the ball rolling as his All-Stars big band, featuring such well-known musicians as bassist Nathan East, percussionist Paulinho Da Costa, sax man Ernie Watts and drummer/producer Gregg Field, re-ignited early Jones recordings “Killer Joe” and “Kingfish.” From there, the engaging trip down memory lane traversed a host of milestones in Q’s storied career as an artist, musician, producer, arranger and composer for film and TV. Providing accompaniment in the time tunnel: Frank Sinatra Jr. (“Fly Me to the Moon”), James Ingram and Patti Austin (“Baby Come to Me”), The Brothers Johnson (“I’ll Be Good to You”), Toto’s David Paich, Steve Porcaro and Steve Lukather (“Human Nature”) and Siedah Garrett (“Man in the Mirror”) in tribute to Michael Jackson, Gloria Estefan (“Home” from “The Wiz”) and Arturo Sandoval (“Manteca”) with actorAndy Garcia playing some mean bongos.

Like a proud papa, Jones ushered several young talents to the Bowl stage as well, including Canadian teen jazz-pop singer Nikki Yanofsky, Cuban pianist Alfredo Rodriguez and Rockford, Illinois nine-year-old piano prodigy Emily Bear. Rocking out to the rhythms while conducting the band, Jones also kicked back and watched the show with his self-described “family” of performers courtesy of an onstage living room (two leather couches, accented by low-lit table lamps), positioned to the right of the band. Talk about a party within a party.

After asking the audience to hold hands as he led a group prayer (“stop the dumbing down of culture”; “if you can see it, you can be it”), an emotional Jones declared: “This is one of the highlights of my whole life tonight. I wish we had three more days here.”

Among those spotted in the audience during the nearly three-hour concert, which was also recorded (maybe for a possible DVD?): Concord Music exec. VP John Burk, “Tonight Show with Jay Leno” music director Rickey Minor and comedian/actor Sinbad.

(Original story can be found here: http://www.billboard.biz/bbbiz/industry/backbeat/backbeat-quincy-jones-six-decade-musical-1005345962.story)