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KYLE EASTWOOD - METROPOLITAIN

“Very sharp work. There’s no denying Kyle has imagination and skill.” –The Observer

“Thoughtful, contemplative, admirably understated and highly listenable.” –Evening Standard

Kyle Eastwood grew up in Carmel, California and is the eldest son of the Hollywood star Clint Eastwood. While doing his homework Kyle remembers listening to records of jazz stars such as Duke Ellington, Count Basie and Miles Davis playing in the house. Eastwood Senior had been attending the Monterey Jazz Festival since it began in 1958 and when his children were born it became a yearly family outing. Kyle's childhood had jazz as its soundtrack and he credits his father with introducing him to the joys of the bass line. Kyle's first memory of playing music was when Clint taught him how to play the left hand bass line of “Boogie Woogie” while he played the right hand solo over the top.

Studying film in the beginning, Kyle soon realized that jazz was his true passion. After years of paying his dues gigging around Los Angeles and New York, his debut album From Here to There was released on Sony in 1998. Showing his ability as an accomplished composer, Kyle started to get into films with a contribution to the score for Mystic River. The film later went on to win two Academy Awards.

In 2004, Kyle signed to Candid Records, one of the leading independent jazz labels in the UK, and released his second album Paris Blue. It resonates with swing, groove, and funk overtones. Kyle says, “My roots remain in jazz but I like adding all kinds of different flavors.” The album climbed to No. 1 on the French Jazz charts.

Not being satisfied with just a critically acclaimed record, Kyle continued to work heavily within the movie industry by composing three pieces of music for the 2004 blockbuster Million Dollar Baby which went on to win four Academy Awards.

Kyle’s third album Now was released in 2006. It features songs written by Ben Cullum and collaborations with BBC Jazz Award winner pianist Andrew McCormack, as well as other musicians that make up the who’s who of the London jazz scene. With tracks ranging from the post-modern jazz modalities of the title track, through the flirtatious melodies of “Let’s Play” to the moody electronic groove of “September Nights,” Now captured listeners worldwide.

In 2007 and 2008, Kyle delivered Now to live audiences on 3 continents. His performances with his live band have sold out venues and received the highest critical acclaim. Kyle has also managed to fit in composing soundtracks for a number of popular films by Clint Eastwood’s including Flags Of Our Fathers, Letters from Iwo Jima and Gran Torino.

Kyle Eastwood’s latest record, Metropolitain, is due to be released in June 2009 in the US. It was recorded in Paris and has formed from collaborations with some of the artists he admires most on the current scene: drummer Manu Katché, trumpeter Till Brönner, French star vocalist Camille and pianist Eric Legnini. Co-produced by Erin Davis (son of Miles) and Kyle’s long term writing partner Michael Stevens, the new album is set to capture the attention of the jazz world with its forward thinking style and stars which represent the cream of today’s jazz musicians followed by a worldwide tour in late 2009.

KYLE EASTWOOD - METROPOLITAIN

IN THE ARTIST’S WORDS

Metropolitain: My initial idea for this song was a funk bass line that ended up becoming the intro piano motif. Then came the chord changes which Michael Stevens and I wrote the main melody over. Erin Davis had some ideas for the general drum groove and the rest came together in the studio. I really love Camille’s contribution to the song.

Bold Changes: This is a song composed by Till Bronner. Beautiful. We rehearsed it for a couple of minutes and then recorded what you hear on the album, except for the electric bass at the beginning.

Black Light: The groove was an idea of Michael’s and the rest came together during band rehearsals the week before recording the album. I think it has a bit of an “In a Silent Way” vibe, one of my favorite Miles albums.

Hot Box: The main bass line was written by Martyn Kaine, a kind of “Meters”-esque thing. The rest was developed by Andrew McCormack, Michael Stevens and myself during rehearsals. It turned out as a real showcase for Manu Katche’s amazing drumming.

Bel Air: This song was written in Los Angeles at Bel Air Studio by Ben Cullum, Michael Stevens and myself. It features some great playing from French pianist Eric Legnini.

Samba de Paris: Another song that started from a bass line of mine. I really like the interplay of the musicians on this track, especially between Eric Legnini and Till Bronner.

Song for You: This is another tune initially composed on the electric bass with a bit of a nod to Jaco Pastorius’ “Portrait of Tracy.” I came up with the general melody and chord changes with harmonics on fretless bass and Ben Cullum wrote the beautiful melody on the bridge.

Rue Perdue: This one was primarily composed by Michael Stevens and myself. He came up with the heavy bass motif and I developed the bass melody section and Graeme Blevins and Graeme Flowers wrote a great horn arrangement. The tune also has some tasty drumming from Martyn Kaine. The title means ‘lost street.’

Le Balai: This song was composed mostly by my friend and trumpeter Graeme Flowers. Michael and I came up with a tricky little bass intro and arranged the rhythm section. Till Bronner plays a great trumpet solo and the tune closes with some fierce Rhodes playing from Eric Legnini. The title was suggested by Candid Records’ Alan Bates. It is French slang for the last metro train before closing time. Literally translated ‘the broom.’

Live for Life: This track was composed and sung by our friend Toyin whom Michael and I met at the Montreaux Jazz Festival last year. We loved her demo of the tune so we decided to record a version with my band for this CD. We did it “old school,” with all nine musicians playing live in the studio. What you hear is one take.

I’m really happy with the way this song and the whole album for that matter came out. We recorded it in four days and mixed it in five days. All the musicians stepped up and generously gave it their all. My deepest thanks to them all. —Kyle Eastwood

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