I guess that bassist Kyle Eastwood should be congratulated on his emergence from the giant shadow cast by his father, the movie actor/director Clint Eastwood and for establishing a career and strong identity for himself in a completely different discipline. Having said that this album is something of a disappointment.

I’ve not heard “Paris Blue” Eastwood’s debut for Candid but understand that it earned a considerable amount of critical acclaim. I suspect that the new album may not fare so well with the critics but it may be that Eastwood is trying to capture more of a crossover market.

When I first received this album I was looking forward to hearing it. The largely British line up incorporates quality players such as saxophonist Dave O’Higgins plus rising star Andrew McCormack on piano. The great Manu Katche drums on a number of tracks but despite the stellar line up the music is surprisingly tepid. Much of he blame for this appears to lie with Eastwood’s chief collaborator guitarist/keyboardist Michael Stevens who also produces and coats everything in a glutinous synthetic mush with his syrupy keyboards and unimaginative programming. Along with Eastwood he has a hand in all the original compositions on the record. Sadly much of the album sounds like the slick and ultimately vapid fusion purveyed by the GRP label in the 1980’s.

The title track opens the record but seems to embody all the albums problems. Eastwood and Katche set up a great groove and there is some pleasantly funky piano from John Beasley but the overall glossiness of the piece prevents it really catching fire.

Worse is to come with the introduction Jamie Cullum’s older brother Ben on vocals. His saccharine, over earnest pop soul vocals sound as if he should be fronting a boy band rather than appearing on what is nominally a jazz record. “I Can’t Remember” is partially redeemed by McCormack and some tasty horn parts from O’Higgins and trumpeter Graeme Flowers but “Leave It” is poppier still. The lyrics to both songs, presumably by Cullum are standard love song banalities.

A cover of Sting’s “Every Little Thing She Does Is Magic” sung by Cullum adds nothing to the original and this leaves “Let’s Play” as the most successful of the album’s four vocal tracks. This has an insistent slightly sinister beat that is matched by the lascivious lyrics and a less sugary vocal.

Of the instrumentals “September Nights” has another strong Eastwood/Katche groove with some lyrical fretless bass from the leader and probing piano from Beasley. Steven’s sequenced keyboards provide a textural backwash. Atmospheric if a little bland.

More successful is the funk strut of “Nasty Girl” with it’s exuberant horns and yet another walloping groove from Katche and Eastwood. Trumpeter Flowers had a hand in the writing and this is undoubtedly the best track thus far.

“Eastern Promise” features O’Higgin’s hand in the writing and he and Flowers again show up well as the piece unfolds.

“Song For Ruth” is dedicated to Eastwood’s grandmother and features lyrical piano from Beasley and some soulful soprano from O’Higgins who again co-writes. Eastwood adds some liquid electric bass lines. This is probably the best cut on the record with a memorable theme and the best soloing we’ve heard so far.

The closing “How Y’all Doin’” is a return to the funk idiom and is an invigorating way to finish. Doug Webb plays some fine bluesy tenor and combines well with Flowers. Having played electric bass virtually throughout Eastwood demonstrates his ability to make a groove on the acoustic instrument. British drummer Ralph Salmins drives things along energetically.

The album finishes strongly but it can’t redeem some of what has gone before. It may be that one of Cullum’s vocal tracks becomes a surprise hit but his presence on the album spoils it for me. The instrumentals show up better, particularly the closing four tracks but even some of these seem overproduced.

Eastwood is a fine electric bass player who can solo fluently and lay down one hell of a groove. It’s just a shame that on this album he hasn’t put these talents to better use because he has genuine ability and potentially there is far better music to come from him than this.

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