| International | |
|---|---|
| National | |
| Artists | |
David Eyges | |
|---|---|
| Birth name | David MacAulay Eyges |
| Born | November 6, 1950 San Francisco, California, U.S. |
| Genres | Jazz |
| Occupation(s) | Musician, composer, record producer |
| Instrument(s) | Cello, electric cello |
| Years active | Mid-1970s–present |
| Labels | MidLantic |
David MacAulay Eyges (born November 6, 1950) is an American jazz cellist, composer, and record producer.
Eyges was born in San Francisco on November 6, 1950.[1] His family settled in Belmont, Massachusetts, in 1953.[1] He began playing the piano aged five and had cello lessons from age 11.[1] In 1968–69 he studied at Boston University, and he was awarded a BA for cello studies by the Manhattan School of Music in 1972.[1] Encounters with blues musicians in Cambridge, Massachusetts, were an important influence, as Eyges sought to transfer elements of their music to the cello.[1]
"Eyges worked for a few years in various concert orchestras and theater ensembles, sometimes earning fees providing background music for commercials."[1] His recording career began in 1974, with vibraphonist Bobby Paunetto.[1] Eyges's debut album as leader – The Captain – came three years later.[1] He married in 1976 and a son was born in 1984.[1]
From 1987 Eyges specialized in playing a Tucker F. Barrett solid-body electric cello.[1] He commented that, in addition to being able to produce a variety of colours from the instrument, it had two advantages over an acoustic cello: "volume, because playing an acoustic instrument with a fierce drummer just doesn't make it; and transportability, since I can safely put it in the baggage compartments of planes and trains."[2]
Eyges's playing influenced later generations of creative cellists, who appeared from the 1990s.[1] He formed MidLantic Records in 2002 and produced albums for the label, as well as continuing to play.[1]
Jon Pareles noted two facets of Eyges's playing in 1983.[3] When plucking, his trio (James Emery on guitar and Sunny Murray on drums) was bluesy and "Eyges treated his cello as a percussive instrument".[3] When bowing, "the pieces called for long-breathed melodies".[3]
