byJohn MacCalkies
Being the progeny of a superstar actor means you gotta be ready to dodge potshots from the pundits. Celebrity jazz offspring such as T.S. Monk, Ravi Coltrane and Joshua Redman have been accepted as personalities in their own right, but the bright lights of Hollywood can cast dark shadows. The jazz cognoscenti are suspicious of glitz and glamour, ascribing the characteristics of an iceberg to legitimate practitioners in their field of study: surface associations should represent a fraction of the total substance.
However, things are different in bassist Kyle Eastwood's case: the old man's consistency has earned him a rep as a quasi-serious actor, plus he has attempted to document the jazz tradition through films about Monk and Charlie Parker, as well as paying tribute to Johnny Mercer on the soundtrack to "Midnight in the Garden of Good and Evil." Inevitably though, articles about Kyle's music (this one no exception) kick off with cheesy references to Dad's movies ("Go Ahead Son, Make Our Day," "Any Which Way He Can" and "He'll Play Misty For You").
Does Kyle understand why "The Man With No Name" from spaghetti Western fame - ice(berg) cool but quick on the draw - could be seen as a role model for the jazz bassist?
"I never thought about it before but I see your point, though that's not exactly how my Dad is in real life," he answers.
But Eastwood senior is irrevocably laconic and laid-back, and it appears may have bequeathed some of his aura. A sense of timing is crucial to both musician and actor, and Clint is no premature ejaculator.
"Well I agree that timing is important. I see the bass foremost as a supporting instrument. If there are a lot of bass solos but the fundamental groove isn't there, forget it."
Do you find that journalists talk about how bad you aren't, rather than how good you are? "Not really, I know the name generates interest whether good or bad, I just hope people judge the music on its own merits."
Eastwood is a fine bass player, a solid professional, more concerned with being an effective anchor and producer for music than a questing soloist exploring untempered techniques. This is borne out by the format of his debut record "From There To Here," which features big band orchestrations inspired by the collaboration of Miles and Gil Evans - Eastwood is the ever-present pivot for the action, but rarely hogs the spotlight. Experience as a studio musician in LA working on film scores, including dad's "Unforgiven" and "In the Line Of Fire," have clearly influenced his sonic palette.
His father encouraged - but never pushed - him to become a player. Growing up in the Pebble Beach area, jazz was scarce outside the Monterrey Jazz Festival. In fact nearby Carmel has an ordinance prohibiting live music. Surely that wasn't one of Clint's instigations (he used to be mayor of Carmel)?
"That legislation was instated long before he took office. Carmel became a tourist trap when artists moved there, so the residents tried to protect themselves."
The first bassist to make an impression on Kyle was Bunny Brunel, who he saw with Chick Corea's band at Dante's in LA when he was 9 years old. At 16 he took up electric bass and jammed with soul and funk bands, but it wasn't until he'd spent a year and half at USC film school, wading through the gruntwork of movie-making, that he committed to music. He led a quartet in LA for 5 years, then, following the demographics of the jazz scene, headed east. Was a move to NYC mandatory?
"Well there are good musicians in LA but not many suitable venues," he says. "There's an energy and craziness in New York which makes things back west seem like slow motion. I haven't performed in Manhattan for several months, but there are plenty of places to play: Small's, Smoke, Cleopatra's Needle, The Zinc Bar and the Knitting Factory. You just have to bust ass and get a gig."
"From There to Here" casually references Eastwood's musical and geographical journey. It is an incognito debut from a marketing standpoint. Though it features Peter Erskine, Mark Isham, David Sanchez and vocals from Joni Mitchell, Diana King and Julie Fordham, none of these guest stars are advertised on the CD jacket. Energized tracks showcasing his LA group with pianist Matt McGuire and saxophonist Doug Webb mix with ambitious arrangements by Vince Mendoza.
Does Kyle share his father's predilection for printing first takes?
"Initial takes might be rougher, but they're usually fresher. We nailed most of the tracks in two or three takes. Julia's "In The Wee Small Hours" was a first take, but Joni had to overlay her vocals at another session because of scheduling difficulties." Kyle had already decided to record "Trouble Man" as an instrumental when Mitchell expressed interest in singing it. "It was hard to imagine what it would sound like, though of course I agreed to the suggestion. I think it came out great."
The Kyle Eastwood Quintet play June 3-6 at Jazz Showcase 59 West Grand, (312)670-2473.
copyright 1999 New City Communications, Inc.