In late 2002, Jimmy was playing in the club band Mowgli with saxophonist Cleto Escobedo III, keyboardist Jeff Babko, and guitarist Toshi Yanagi. Cleto was asked by his childhood pal Jimmy Kimmel to form and lead a band for his new TV talk show. In response, the hornman turned to his Mowgli mates and added his dad, Cleto Escobedo Jr. (a ’70s sax legend in Las Vegas), and drummer Jonathan Dresel to round out the sextet.

Admits Babko, an L.A. session ace who doubles on trombone for the show, “We didn’t think Jimmy would want the gig.” He’s alluding to Earl’s rich resumé of recording and touring with Stanley Clarke, Chick Corea, and Robben Ford, releasing two solo discs, and maintaining the bass chair for Scott Henderson and Scott Kinsey’s L.A. fusion club blowouts. But the road-weathered Earl was more than ready for some steady local low end work, what with a wife and daughter waiting at home. A grateful Cleto offers, “Jimmy has an incredible, funky pocket, can play any style, and is always prepared. He’s also one of the nicest, most humble people I know, and I’m honored to share the stage with him every night.” We arrived early at show No. 501 to see the inner workings of late night TV’s latest “Earl of the Groove.”

What’s the band concept of the Cletones?
We were never given a specific stylistic direction or format to follow; we were just asked to cover some current hits along with the classics, and to be as versatile as possible. At this point, we’ve been thrown so many curveballs from all over the musical map that we’re ready for anything. Our repertoire ranges from AC/DC, Green Day, Foo Fighters, the Clash, and Audioslave to bass-heavy stuff like the Chili Peppers, Sly Stone, the Brothers Johnson, and James Brown. We’ve also had people like Isaac Hayes, Lionel Richie, George Benson, Al Jarreau, and Jon Anderson of Yes sit in with the band all night, which meant learning a whole bunch of their songs.

How would you describe your bass approach?
Pure support with a lot of bottom. I try to cop the general vibe, part, and bass sound of the songs we’re playing, but mainly I’m grooving. If it’s a style I’m less practiced in, I just jump in; I don’t think about or intellectualize it, I just hit the strings and stay in the moment. We all pretty much go for it, that’s the spirit of the band; because often there’s only time for a quick listen and half a run-through. Sound-wise, although I have room for more basses onstage, the Jazz Bass is my jack-of-all-trades instrument; it has a good solid tone for any kind of music. Having to change basses would change levels and make it tougher on our engineer, who really has our group sound dialed in. So, I’ve learned to cover the nuances of different styles by using my hands—changing touch, right-hand position, muting notes.

What’s unique about playing in a live TV house band?
The time factor; you have to hit hard right away. I take responsibility for the groove to be settled from the first note I play; it has to be in there, directed and focused. I try to nail it from the count-off. We only have a short amount of time on air, and if it’s unsettled you can hear it. Overall,  there’s a live side to the gig, performing for the audience and feeling their energy, but there’s also a studio aspect because the show is being recorded. I enjoy the challenge of it all.

Kimmel’s Bits

Jimmy Kimmel Live premiered in January 2003 and tapes 44 weeks a year, at the El Capitan Theater on Hollywood Blvd. Here’s Jimmy Earl’s typical timeline:

3 PM Arrives, meets band in the upstairs band hangout room to discuss the day’s music: bumps, guest walk-ons, and sound-alikes (for songs whose rights don’t clear).

3:30 Band hits stage to rehearse discussed music. (Earl has a huge book on his music stand, full of bass lines he transcribed, but he has yet to have to call in a sub.)

4 PM Jimmy Kimmel runs through opening monologue; band stands by in case of any additional music needs.

5 PM Artist rehearsal* on separate stage in the lobby or third stage outside, behind the theater.
(*Since the show’s inception, the Cletones have backed only Leann Rimes in 2003 and Sunshine Anderson in 2007.)

6 PM Dinner and maybe some pre-recorded music for bits, recorded either on the bandstand or in engineer Bart Chiate’s 2nd-floor music mixing room. (The band then hangs in the downstairs green room, which includes food, a bar, a pool table, and the night’s guests.)

7 PM Band reports to bandstand for crowd warm-ups, teasing with comedian Don Barris and announcer Dicky Barrett (former lead vocalist of the Mighty Mighty Bosstones), while providing game-show themes and other ditties.

7:45 Kimmel comes out for a quick crowd warm-up.

8 PM Show starts with the swing-feel opening theme (written by Cleto III and Les Smith). Music ensues for four commercial breaks, three guests, and—if a guest band doesn’t close the show—the closing theme, around 8:59.

By 9:20, Jimmy is heading for home.

Can Be Heard On

Robben Ford, Truth [Concord];
Scott Kinsey, Kinesthetics [Intuition];
Sarah Silverman, Jesus Is Magic [Interscope]

Earl’s Riser

Basses
White ’66 Jazz Bass or red ’66 Jazz Bass, Dean Markley SR2000 medium-light strings (he occasionally pulls out a sunburst ’73 Precision with Markley flatwounds).

Rig
Gallien-Krueger 800RB head and 410SBX 4x10 cabinet.

Effects
EBS BassIQ envelope filter, Dunlop MXR Phase 90, Klark Teknik DN100 DI Jimmy’s Jazz Bass goes to the house via the DI and a mic in front of the 410SBX. He uses only the right ear of his Future Sonics in-ears, so he can also hear the vibe in the room.