Artist: Nathan East
Album: Reverence
Genre: Jazz, Funk, Soul
Release Date: 2017
Audio Format:: FLAC (tracks) 24 bit, 96 kHz
Duration: 01:02:18
Total Tracks: 13
Total Size: 1,30 GB

Tracklist:

01. Nathan East – Love’s Holiday (feat. Philip Bailey) (06:01)
02. Nathan East – Lifecycle (05:54)
03. Nathan East – Elevenate (05:25)
04. Nathan East – Serpentine Fire (feat. Philip Bailey, Verdine White and Ralph Johnson) (05:13)
05. Nathan East – Feels Like Home (feat. Yolanda Adams) (06:14)
06. Nathan East – Higher Ground (feat. Kirk Whalum) (05:06)
07. Nathan East – The Mood I’m In (feat. Nikki Yanofsky) (04:21)
08. Nathan East – Over the Rainbow (feat. Noah East) (03:11)
09. Nathan East – Shadow (feat. Chick Corea) (05:45)
10. Nathan East – Pasan (03:34)
11. Nathan East – Why Not This Sunday (feat. Ruben Studdard) (05:44)
12. Nathan East – Until We Meet Again (01:25)
13. Nathan East – True Love (feat. Kenya Hathaway) (US Bonus Track) (04:18)

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Nathan East’s newest release “Reverence” is the second solo release from Nathan. Artists on this latest release include: Eric Clapton, Phil Collins, Phillip Bailey and Yolanda Adams to name a few. This release features a cover of Earth, Wind & Fire’s “Serpentine Fire,” which was originally recorded with East’s brother Marcel in 1991 with Eric Clapton on guitar and Phil Collins on drums. Moogie, East’s longtime engineer, who mixed the original cinematic cover, discovered the track 25 years later, and after a long search for the tapes, finally uncovered them in Patti Austin’s basement. After the tape was digitally remastered, the three Earth, Wind & Fire members sang (Philip Bailey), played additional bass parts (Verdine White), and added percussion (Ralph Johnson) to the track, resulting in a daring, head-turning, cinematic journey. As a founding member of renowned contemporary jazz quartet Fourplay, Nathan East is one of the world’s most recorded session bassists. With over 2,000 album credits to his name and several GRAMMY-winning songs including “Get Lucky,” “Footloose” and “Change the World,” East has performed with artists including Daft Punk, Lionel Richie, Michael Jackson, Whitney Houston & Beyonce. He received a GRAMMY nomination for Best Contemporary Instrumental Album for his self-titled solo debut ‘Nathan East’ on March 2014 which hit #1 on the Billboard Smooth Jazz Albums chart and held #1 for a record-breaking 36 weeks on SmoothJazz.com.One inspiration for the title of bassist Nathan East’s second album for Yamaha — third if the Grammy-nominated Bob James collaboration The New Cool is counted — was the passing of Maurice White. The Earth, Wind & Fire leader is twice paid explicit tribute on Reverence. First, there’s a faithful version of “Love’s Holiday,” featuring Philip Bailey in support, with East’s bass in White’s lead role during the verses. A slick “Can’t Hide Love” fake-out and some other references are in the mix, too. Additionally, “Serpentine Fire” gets an ornate update with Bailey and EW&F partners Verdine White and Ralph Johnson. Phil Collins’ drums and Eric Clapton’s guitar are dredged from the master recording of an abandoned project, lost for 25 years, that was found in Patti Austin’s basement by East’s engineer. Given East’s continued predilection for uplifting wordless melodies, and the frequent use of bright horns, the uplifting spirit of EW&F flows through much of the album. The Ruben Studdard-fronted “Why Not This Sunday,” for instance, sounds like it could be a cover of something from the Faces era. The album’s balanced mix of originals and reinterpretations, including another nod to Stevie Wonder (with saxophonist Kirk Whalum), connects it with East’s 2014 release, and so does another duet with his pianist son Noah — the latter hopefully a recurring element of future recordings. Yolanda Adams and Nikki Yanofsky take lead vocal turns elsewhere, and Chick Corea is showcased on the subtly soaring “Shadow,” a throwback of sorts to late-’70s fusion albums like Secret Agent and Friends. East plays multiple bass parts on the majority of the songs, including a solo version of “Until We Meet Again,” the conclusion. –AllMusic Review by Andy Kellman