The driver’s door closes with a satisfying thunk. Kyle Eastwood opens his eyes, closed to allow him to take in the all-important first auditory impression of the W 111 without any visual distractions. He’s now trying to find the right words to characterise the 280 SE 3.5 Cabriolet, which dates back to 1970. They include powerful and luxurious, classic and elegant. “If I had to reduce my first impression to just one word, it would be quality,” says the jazz bass musician, 51, whose whole life has been focused on sound. Born in the US, he learned to play the piano as a small boy, followed by the guitar at twelve and soon afterwards by the double bass. He owes his talent and passion both to his grandmother, who was a singing teacher, and to his parents, who took him along with them every year to the Monterey Jazz Festival. “One advantage of having Clint Eastwood as your father is that you get to go backstage at such events,” says Kyle, whose father introduced him to jazz legends such as Miles Davis and Sarah Vaughan
