Kyle Eastwood spends half his time creating the music for his father’s feature films and the other half developing the sound of his own successful jazz band. Words Rob AdamsWhen you've been brought up listening to jazz at home and being given backstage passes at jazz festivals because of your father’s influence, there’s a decent chance your decision to play jazz for a living won’t meet with parental disapproval.
So it was with Kyle Eastwood, whose father, actor-director Clint Eastwood wore his jazz fan credentials openly in producing and directing Bird, the biopic of jazz legend Charlie Parker, in 1988.
An eight-piece brass ensemble straight from Louisiana bring their own savoury brand of New Orleans jazz to the Spiegeltent, with the mission to “blow the roof off this tent”. What seems to be the whitest audience they have probably ever performed to happily consent to stand up, put their hands up and “get ready to party”. 
Brian Auger, acid jazz god and master of the Hammond, brings a flood of sentiment from the sixties in a room full of long-time admirers to the Voodoo Rooms with his Oblivion Express.
Few mediums are as good at evoking the spirit of the times as contemporary music. While this says very little about our current deficit of attention and obsession for youth, Swinging for Basie teases out the spirit, seduction and glamour of a musical genre formed from the melting pot the US in the 1930s. 
