Jazz Hot

This article is about a French language jazz magazine. For the song from the musical, Victor Victoria, see Le Jazz Hot!
Jazz Hot
La revue internationale du jazz depuis 1935
(the international journal of jazz since 1935)

Jazz Hot cover, Winter 2011, Issue 658
Billy Harper on the cover
At the top: logo designed in 1935
Editor-in-chief Yves Sportis
Frequency Quarterly
Format Print
Digital
Mobile device
Publisher Jazz Hot Publications
Charles Delaunay
(1947–1980)
Founder Hugues Panassié
Charles Delaunay
Year founded March 1, 1935 (1935-03-01) – 1st series
October 1, 1945 (1945-10-01) – 2nd series
First issue March 1, 1935 (1935-03-01)
Company Jazz Hot Publications
Based in Marseille office
   48 Avenue de la Rose
   13013 Marseille, France

Paris office
   66, rue Villiers-de-L'Isle-Adam (fr)
   75020 Paris, France
Language French
Website www.jazzhot.net
ISSN 0021-5643

Jazz Hot is an influential French quarterly jazz magazine published in Marseille, in the South of France on the Mediterranean coast. It was founded March 1935 in Paris.

Early history

Hugues Panassié, Red Prysock, and Tiny Grimes, New York, New York, between 1946 and 1948 (William P. Gottlieb photo)
Acclaimed vanguard journalism

Jazz Hot is acclaimed for having innovated scholarly jazz criticism before and after World War II — jazz criticism that was also distinguished with literary merit, and in some articles, pre-1968, with leftist political views. Several of its early contributors are credited for helping intellectualize jazz journalism and, in turn, helping jazz gain serious attention, particularly from fine arts establishments and institutions.[1][lower-roman 1] Jazz Hot has played an integral role integrating jazz into a French national identity.[2]

Publication frequency

From inception of the First and Second Series, until November 2007, Jazz Hot was published monthly, but irregularly, typically combining months in the summers and sometimes the winters. Beginning with Issue N° 649, Fall 2009, Jazz Hot, has been published quarterly, regularly.

Pre-War Series, Original Series, First Series

The pre-war series — March 1935, Issue N° 1 to July–August 1939, Issue N° 32 — is referred to as the "First Series" or the "Original Series" or the "Pre-War Series." The First Series was bilingual, in French and selectively in English.

Post War Series, New Series, Second Series

The Post-war series, beginning with Issue N° 1 in October 1945, was initially referred to as the "Second Series" or the "New Series" or the "Post-World War II Series." The Second Series was and still is in French only.[3]

Distinction as world's oldest jazz publication

Although the American jazz magazine Down Beat was founded four months before Jazz Hot, it was not exclusively a jazz magazine at the time. Ergo, Jazz Hot holds the distinction of being the oldest existing magazine in the world devoted exclusively to jazz. But the distinction has two caveats.

  1. Oldest does not mean longest running; publication of Jazz Hot was interrupted during World War II, giving way to jazz magazines that have been published without interruption.
  2. The issue sequence of the pre-war series, from March 1935 to July–August 1939, numbers 1 through 32, is independent from the issue sequence of the post-war series, which begins October 1945 with issue 1, which clouds the connection between the two series.
1935 — Founded as a Dixieland revivalist club publication

Jazz Hot was first published March 1935 in Paris on one page in the back of a program for a Coleman Hawkins concert at the Salle Pleyel on February 21, 1935. At its inception, Jazz Hot was the official magazine of the Hot Club of France, an organization founded January 1934 by Panassié as President and Pierre Nourry as Secretary General.[2][4][lower-roman 2] In August 1938, the club was dissolved and reestablished with Panassié as President and Delaunay as Secretary General.[5] The club was primarily interested in Dixieland recordings, revival of Dixieland — which had lost popularity due to the swing craze of the 1930s — record listening sessions, and camaraderie among like-mined enthusiasts. Panassié and Delaunay were the founders of the Jazz Hot.

Before World War II, Jazz Hot was instrumental in the club's efforts to curate, restore, and import live and recorded Dixieland. The magazine endured under the auspices of the Hot Club of France for 45 issues — the entire 32 issues before World War II and first 13 consecutive issues after World War II — until February 1947, when it became privately owned and headed by Delaunay.[6][7][8]

Jazz Hot during World War II

Jazz Hot suspended publication — the last being July–August 1939, Issue N° 32 — for 6 years, 1 month. Panassié spent the war years at his chateau in the unoccupied zone of Southern France and Delaunay, using the Hot Club as cover, gathered intelligence that was transmitted to England. He also traveled around France, organizing concerts and giving lectures on music — all sanctioned by the Propaganda-Staffel. Unable to publish Jazz Hot, Delaunay issued clandestine, one-page publications:

1946 — Dispute over the definition of jazz
Panassié's view
Panassié, editor-in-chief since the founding of Jazz Hot before the war, was adamant his entire life that "authentic jazz" was strictly Dixieland of the 1920s and Chicago-style jazz — or hot jazz similar to the style of Louis Armstrong and others. Panassié further insisted that "real jazz" was the music of African Americans and that non-African Americans could only aspire to be imitators or exploiters of African Americans.[10][11]
“ In music, primitive man generally has greater talent than civilized man. An excess of culture atrophies inspiration.

For music is, above all, the cry of the heart, the natural, spontaneous song expressing what man feels within himself.		 ”
— Hugues Panassié [12][13][14]
When Panassié first heard a bebop recording of "Salt Peanuts" in 1945, he ardently refused to accept it as jazz and frequently admonished its artists and proponents. He harbored the same objections to cool and other progressive jazz. His refusal to accept new genres of jazz as "real jazz" lasted his entire life.
Panassié vigilantly argued that real jazz was innately inspired. He praised so-called black rhythm over white harmony and innate black jazz talent over white jazz mastery. As one musician put it, "If a black man knows some [stuff], that's talent. If a white guy knows the same [stuff], he's smart.[15] For Panassié, Dizzy and Parker's foray into bebop, despite the fact that they were African Americans, represented a betrayal to African American jazz musicians and a departure from jazz itself because bebop required learned musicianship, which, according to Panassié, contaminated jazz because it was white music.
Panassié also strongly argued that jazz was an art that should not be contaminated by commercialism. Panassié furthermore was one of the most hostile critics of swing, which emerged in the 1930s.[16]
From June 22, 1940, to November 11, 1944, Germany occupied Northern France. Panassié spent that time safely at his family's château in Gironde[17] in the unoccupied zone of Southern France, isolated from developments in jazz. Bebop began to develop in Harlem late 1939. The outrage by Panassié began when Delaunay, in 1945, sent him a 1944 Musicraft bebop recording of Dizzy Gillespie's "Salt Peanuts," a 1943 composition by Gillespie and Kenny Clarke.[9][18]
Panassié's views ceased to reflect the views of Jazz Hot when he left the magazine in 1946. But, because he was a co-founder of Jazz Hot and because he set a standard for covering jazz as editor-in-chief of Jazz Hot, he is closely identified with Jazz Hot, even today in 2016.
Delaunay's view
Delaunay, who spent World War II years in Paris, had been following developments in progressive jazz, namely bebop and cool jazz. Delaunay also saw economic potential given that jazz in post-war France was big. Delaunay had been speaking of tolerance for modern jazz and "old white traditionalist" such as Eddie Condon and Jack Teagarden.
“ Jazz is more than just Dixieland or just re-bop ... It's both of them and more. ”
— Charles Delaunay, August 1946 [19][20]
Schism between hot clubs

Panassié, who through November 1946, had been editor-in-chief of Jazz Hot and President of the Hot Club of France, was furious over Delaunay's views in support for new jazz and threw him out as Secretary General of the Hot Club. Panassié declared a schism in the Association of Hot Clubs movement. A few regional clubs sided with Panassié but the Hot Club in Paris sided with Delaunay.

Charles Delaunay on 52nd Street, Manhattan, October 1946 (William P. Gottlieb photo)
1946 — Jazz Hot separated from the club, privatized, and began adding current and forward jazz

In the November 1946 Delaunay, André Hodeir, and Frank Ténot formally declared Jazz Hot's independence from Hot Club of France. In December 1946 (Issue N° 11), the cover featured a full-page photo of Dizzy Gillespie and the erstwhile words on the cover, "Revue du Hot Club de France," disappeared. Henceforth, Delaunay was the publisher, Hodeir, editor-in-chief, Ténot, editorial secretary, and Jacques Souplet (fr), director. Jazz Hot's registered office was 14, rue Chaptal (fr), Paris 9e[lower-alpha 1] Delaunay remained as the financial backer for 34 years — until 1980.

Jazz scholar Andy Fry wrote that the dispute was less about traditional jazz vs. modern than it was about closed and open notions of jazz tradition; and it involved a "healthy slice of professional jealousy."[Fry 1] Jazz Scholar Matthew F. Jordan wrote that the split had begun, not over whether "jazz" was a threat to true French culture, but over authority over the definition of jazz and commercial control of what, by then, had become immensely popular and marketable form of mass culture.[21]

Nonetheless, privatizing Jazz Hot and establishing a new openness to evolving jazz redefined the publication as a comprehensive jazz magazine — expanding its coverage in multiple countries and cities, rather than maintaining the erstwhile fan club publication of a revivalist niche style of jazz, for which a prime locus — a hotbed for a latent genre — was France.

1946 — Panassié resigns from Jazz Hot

December 1946, Panassié resigned as editor-in-chief of Jazz Hot, claiming that "our correspondent in the United States, Franck Bauer (fr), was used to compare Bunk Johnson to Louis Armstrong!"[22] Jazz Hot — beginning with December 1946 issue, Vol. 12, N° 11 — removed Panassié's name as director from the masthead.

Bebop and cool

Beginning December 1946 (Issue N° 11), Jazz Hot began to add coverage of evolving jazz, which at the time consisted of so-called progressive jazz — bebop from New York, cool from Los Angeles, gypsy from France. Notable contributors included Lucien Malson (fr) (born 1926) and André Hodeir (1921–2011). Other influential magazines, notably Down Beat of Chicago, had been publishing articles that extol bebop as serious music since 1940. Down Beat had risen through the 1940s on the tide of big band swing, which declined in the late 1940s. Bebop, however, continued to develop and spread globally into an essential jazz mainstay that endures today, but has never been big in a commercial sense.[23][24][25]

Weak tastes for swing and white big bands in France

Roscoe Seldon Suddarth, once an American diplomat, wrote a masters thesis, "French Stewardship of Jazz: The Case of France Musique and France Culture." In it, he stated that the French never developed a strong taste for swing white bands such as Glenn Miller, Tommy Dorsey, Benny Goodman. He and other historians attribute this to the fact that the French were cut off from American music during the war. And also, the French developed a preferences — strongly expressed by Panassié, Delaunay, and Vian — for African American musicians. Brubeck, hugly popular in America, never caught on in France. His use of formal his training in jazz offended Hodier and Delaunay. According to Suddarth, Vian was so offended by it that he refused to distribute his recordings, and also, for similar reasons, refused to distribute those of Stan Kenton.[26]

1948 — absorbed Hot Club Magazine of Belgium

Jazz,[27] a magazine published by the Hot Club of Belgium, ran from March to November 1945, Issues 1 through 13. After a 1-month hiatus, it resumed January 1946 under the name Hot Club Magazine: revue illustrée de la musique de jazz[28] and ran to August 1948, Issues 1 through 29. Carlos de Radzitzky (fr) (1915–1985) was editor-in-chief of Hot Club Magazine. Beginning November 1948, the publication was absorbed and appeared as a two-page insert in Jazz Hot from November 1948 to October 1956.[29] The Hot Club of Belgium was founded April 1, 1939, by Willy De Cort, Albert Bettonville (1916–2000), Carlos de Radzitzky, and others. The club disbanded in mid-1960s.[30]

Subsequent back and forth criticism between Panassié and Jazz Hot

In October 1947, Boris Vian, a Sartre protégé, contributed an article to Combat, a leftest daily underground newspaper established in 1943, mocking Panassié[21][31][32] In 1947, Delaunay co-edited some essays, collectively called "Jazz 47." It was published in a special edition of the French publication, America. The article appeared under the auspices of the Hot Club of Paris, but apparently without getting approval from the club. It included essays by Sartre, Robert Goffin, and Panassié, but Panassié was not invited to be an editor.[33]

Free jazz and avant-garde

Jazz Hot greeted the arrival of free jazz scene in New York, and the European free jazz movement, with much fanfare, devoting considerable space to the movement beginning in 1965, and throughout the peak of the free jazz movement, from about 1968 to 1972. Leading critics included Yves Buin (fr) (born 1938), Michel Le Bris (fr) (born 1944), Guy Kopelowicz, Bruno Vincent, and Philippe Constantin (fr) (1944–1996).[34]

Media format

Beginning with Issue N° 647, November 2008, Jazz Hot went online.

Related publication launches

Launch of La Revue Du Jazz

Panassié launched La Revue Du Jazz: "Organe Officiel Du Hot Club De France," in January 1949 (Issue Issue N° 1) (OCLC 173877110, 4979636, 19880297). Panassié was editor-in-chief.

Launch of Bulletin Du Hot Club De France

Bulletin Du Hot Club De France was launched January 1948 (ISSN 0755-7272, ISSN 1144-987X). As of December 2016, the publication has endured 68 years as the official magazine of the Hot Club of France.

Selected contributors

Pre-World War II Contributors
French language
                     Boris Vian (1920–1959), a protegé of Jean-Paul Sartre, and a novelist, poet, playwright, songwriter, jazz trumpeter, screenwriter, and actor, made his first contribution to Revue du Hot Club de France March 1946, Issue N° 5. A 1994 New York Times article stated that, "like many old-time French fans, Vian thought a white person could not play jazz, except for French white persons."[35] Outside of Jazz Hot, Vian published works under twenty-seven pseudonyms, and translated a great deal of American fiction, including works by Richard Wright, Raymond Chandler, and Ray Bradbury.[36]
Marcel Zanini (born 1923), correspondent
Frank Ténot (1925–2004) was one of the critics who, in 1946 with Vian, began to question Panassié's nostalgic definition of jazz[21]
Lucien Malson (fr) (born 1926)
Carlos de Radzitzky (fr) (1915–1985) was a Belgian music critic
Pierre Nourry was one of the original contributors in 1936; in 1934, Panassié and Nourry, both co-founders of the Hot Club of France became President and Secretary General, respectively, of the club; Nourry, an impresario, is credited for inviting, in 1934, Django Reinhardt and Stéphane Grappelli to form the Quintette du Hot Club de France with Reinhardt's brother Joseph Reinhardt and Roger Chaput on guitar, and Louis Vola on bass,[9] when all of them were virtually unknown.[lower-roman 2]
Jacques Bureau (fr) (1912–2008) was one of the original contributors in 1936; was also a co-founder of the Hot Club of France
Many musicians contributed, including Andre Ekyan (fr) (1907–1972), Claude Luter, Henri Renaud, Maxim Saury (fr) (1928–2012)
English language
Stanley Dance (1910–1999), who had been profoundly influenced by Panassié, wrote an article on Teddy Wilson in the first issue of Jazz Hot in March 1935; in 1946, he married Helen Oakley, Jazz Hot's correspondent in the U.S.; from 1948 until his death in 1999, he wrote for the Jazz Journal; in the 1950s he coined the term mainstream to describe those in between revivalist and modern, or alternatively between Dixieland and bebop
Helen Oakley (née Helen Margaret Oakley; 1913–2001), married Stanley Dance in 1946
John Hammond (1910–1987)
George Frazier (1911–1974)
Walter Schaap (né Walter Eliott Schaap; 1917–2005) became jazz-crazed while an undergrad at Columbia University; in 1937, he studied at Sorbonne; while there, he collaborated with Panassié and Delaunay; his son, Phil Schaap, is a popular jazz host on WKCR in New York City[37] Swiss conductor Ernest Ansermet, the first classical music professionals to take jazz seriously wrote a seminal article in 1919, "Sur un Orchestre de Négre," in the October 1, 1919, issue of La Revue Romande. Nineteen years later, Jazz Hot published it in French and English; Schaap translated it to English[lower-alpha 2]
Leonard Feather (1914–1994)
Preston Jackson (1902–1983) wrote a regular column for Jazz Hot in the 1930s
Ira Gitler (born 1928)
Post-World War II contributors
French language
Franck Bergerot, journalist with Jazz Hot, 1979 to 1980 and 1984 to 1989
Arnaud Merlin (fr) (born 1963) was a journalist at Jazz Hot beginning in the mid to late 1980s
Albert Bettonville (1916–2000), co-founder of the Hot Club of Belgium, was, with Radzitzky (fr), the most important Belgian jazz critic[38]
Lucien Malson (fr) (born 1926) wrote for Jazz Hot from 1946 to 1956
Jacques Demêtre — (né Dimitri Wyschnegradsky; born 1924 Paris) Frenchified his name to Dimitri Vicheney, but wrote under the pseudonym Jacques Demêtre (his father was composer Ivan Wyschnegradsky); he is one of the earliest musicologists in the world to analyze Chicago blues artists; some historians credit him as the discoverer of post-war Chicago blues; his articles on the Chicago blues spanned from the 1960s to the 1970s; he left Jazz Hot in the 1970s and later contributed to Soul Bag (fr)[8]
Jean-Christophe Averty (fr) (born 1928), who works primarily in radio and TV, wrote some articles for Jazz Hot, notable two about Sidney Bechet in May 1960 and May 1969
Laurent Goddet was a prolific contributor, notable articles include one 1976, "Free Blues: Don Pullen;"[lower-alpha 3] His father was Jacques Goddet, sports journalist and director of Tour de France from 1936 to 1986
Jacques D. LaCava, PhD, researched the Chicago blues and went on write and produced the 1986 French documentary film, Sweet Home Chicago
Publishers
1950s Éditions Jazz Hot
1991 Société Jazz Diffusion
1991–current Jazz Hot Publications
Editors-in-chief (rédacteurs en chef)
1935–1939 &
1945–1946		 Hugues Panassié, a prolific and influential jazz critic, sought to define "true jazz" for France as being strictly Dixieland. And, to that end, he ridiculed some of the leading jazz musicians of the day. When describing Louie Bellson, he said, "Lou's playing is sometimes infected with "progressive" effects. Panassié also ardently expressed the view that jazz played by whites was artificial jazz, though he lauded a few whites for their ability to replicate "true jazz." When he wrote of white jazz musicians, he often pointed out that they were white. He described Buddy Rich, for example, as "a remarkable technician and one of the best white drummers." Jazz critic Leonard Feather wrote that Panassié was stoking a reverse discrimination. Feather called it "Crow-Jim" and likened French jazz fans to racists of the South in the U.S. Panassié resigned under pressure as editor-in-chief, but he had a following and continued to lead the anti-bebop wing of the French establishment.[39][Fry 2][lower-alpha 4][40][41]
1947–1951 André Hodeir began writing about jazz in the 1940s; he was editor-in-chief of Jazz Hot from 1947 to 1950. He was an early proponent of bebop. Down Beat called Hodeir’s first compilation of jazz writings, written in the early 1950s, Jazz: Its Evolution and Essence, "the best analytical book on jazz ever written."[42] Hodeir was also one of the major composers in France in the 1950s.
195?–1954 Jacques Souplet (fr) became editor-in-chief in the early 1950s, but left in 1954 to work for Barclay Records. He founded Jazz Magazine to make sure Barclay's new releases would be reviewed — Jazz Hot had been ignoring many of them.[35]
1965–1968 Philippe Koechlin (fr) (1938–1996) became a columnist for Hot Jazz in 1958. With great success, Koechlin published of 30,000 copies of a special issue of Jazz Hot in the summer of 1966, titled "Rock & Folk," which featured a photo of Bob Dylan on the cover and contained articles about the Rolling Stones, Antoine, Chuck Berry, Nino Ferrer, and Eddy Mitchell.[43] In the 1960s, it became difficult for Jazz Hot to keep up with the developments in New York.[lower-alpha 5]
1968–1969 Michel Le Bris (fr) (born 1944),[26] who became editor in May 1968, had been a protégé of Delaunay. His authority had been sharply curtailed late 1968 by Delaunay, who became alarmed that the magazine had become too political. Le Bris was, at the time, a member of Gauche prolétarienne and was sympathetic to protests. Le Bris was fired in December 1969, but went on to become editor of Gauche prolétarienne's publication, La Cause du Peuple (fr).[43]
1982??–19?? Yves Sportis became editor of Jazz Hot in the mid-1980s, and moved the head office from Paris to Marseille, in the South of France on the Mediterranean coast.
1988–1990 Jean-Claude Cintas became editor of Jazz Hot in 1988.

Extant copies and archival access

Greenwood Press
Worldcat
Fédération internationale des hot clubs.; Hot Club de France.
Jazz Hot/Editions de L'Instant
Jazz-Diffusion
Unnamed publisher
L'Annuaire du jazz; supplément de la revue Jazz-hot
Library of Congress
National Library of France

Other external links

Earlier jazz magazines

Music magazines that covered jazz

References

Notes
  1. ↑ According to Scott DeVeaux, the "jazz as high art" movement did not reach its zenith until the 1950s, when a scholarly and journalistic effort was made to classify bebop as a legitimate art form, placing bebop at the peak of a stylistic evolution. ("Caught Between Jazz and Pop: The Contested Origins, Criticism, Performance Practice, and Reception of Smooth Jazz," doctorate dissertation, by Aaron J. West, PhD, University of North Texas, 2008; OCLC 464575154)

  2. 1 2 Pierre Nourry was called up by the French Navy and later moved to Algeria in the mid-1930s. When the Club Hot Club of France was re-established in 1938, Delaunay assumed his role as Secretary General. (Dregni)

––––––––––––––––––––

Citations from Jazz Hot
  1. ↑ Cover: "Jack Diéval" (fr), Jazz Hot, Vol. 17, Second Series, November 1947
  2. ↑ "Sur un Orchestre Négre," by Ernest Ansermet, translated by Schaap, Jazz Hot, Vol. 4, Issue N° 28, November–December 1938, pps. 4–8
  3. ↑ "Free Blues: Don Pullen" (translated by Mike Bond), Jazz Hot, Issue N° 331, October 1976
  4. ↑ "Préjugés" (translated by Jean-Jacques Finsterwald), Jazz Hot, Issue N° 45, June 1950, pg. 11
  5. ↑ "Courrier" (Letters to the Editor), by Alain Lejeune, Jazz Hot, Issue N° 207, March 1965, pps. 15–16

––––––––––––––––––––

Secondary sources
  1. ↑ Blowin' Hot and Cool: Jazz and Its Critics, by John Remo Gennari, PhD (born 1960), University of Chicago Press (2006), pg. 58; OCLC 701053921
  2. 1 2 Making Jazz French: Music and Modern Life in Interwar Paris (2nd printing), Duke University Press, by Jeffrey H. Jackson (2004), pg. 160; OCLC 265091395
  3. ↑ "Jazz Periodicals: Greenwood Press, 1930–1970," Center for Research Libraries Reference Folder
  4. ↑ "Hot Club de France," Oxford Music Online; OCLC 219650052, 644475451
  5. ↑ Charles Delaunay et le Jazz en France dans les années 30-40 (Charles Delaunay and the Jazz in France in the Years 30–40; in French, adopted from Legrand's 2005 doctoral dissertation; OCLC 723055178, 552534701), by Anne Legrand, PhD, Éditions du Layeur (2009), pg. 239; OCLC 629704167
  6. ↑ "French Critics and American Jazz," by David Strauss, Notes, Autumn 1965; pps. 583–587
  7. ↑ " Le Hot — The Assimilation of American Jazz in France, 1917–1940," by William H. Kenney III (born 1940), Mid-America American Studies Association, Vol. 25, No. 1, Spring 1984, pps. 5–24
  8. 1 2 "Four Decades of French Blues Research in Chicago: From the Fifties Into the Nineties," by André J.M. Prévos, Black Music Research Journal, Vol. 12, No. 1, Spring 1992, pps. 97–112
  9. 1 2 3 Django: The Life and Music of a Gypsy Legend, by Michael Dregni, Oxford University Press (2004); OCLC 62872303
  10. ↑ "Louis Armstrong — A Rhapsody on Repetition and Time," by Jeffrey W. Robbins, from the book, The Counter-Narratives of Radical Theology and Popular Music: Songs of Fear and Trembling, Mike Grimshaw (ed.), Palgrave Macmillan (2014), pg. 95; OCLC 870285614
  11. ↑ Bourbon Street Black; the New Orleans Black Jazzman, by Jack V. Buerkle & Danny Barker, Oxford University Press (1973); OCLC 694101
  12. ↑ Le Jazz Hot (the book), by Hugues Panassié, Éditions Correa (fr) (1934); OCLC 906165198
  13. ↑ "Jazz," Race and Racism in the United States ("Jazz" is in Vol. 2 of 4), Charles Andrew Gallagher (born 1962) & Cameron D. Lippard (eds.), Greenwood Press (2014), pg. 628; OCLC 842880937
  14. ↑ The Real Jazz (1st ed.), by Hugues Panassié, Smith & Durrell, Inc. (1942); OCLC 892252
  15. ↑ "Doubleness and Jazz Improvisation: Irony, Parody, and Ethnomusicology," by Ingrid Monson, Critical Inquiry, Vol. 20, No. 2, Winter, 1994, pps. 283–313; OCLC 729035395, 208728269, ISSN 0093-1896
  16. ↑ "'Moldy Figs' and Modernists: Jazz at War (1942–1946)," by Bernard Gendron, Jazz Among the Discourses, Krin Gabbard (ed.), Duke University Press (1995), pg. 52 of pps. 31–56 (see end note 11); OCLC 31604682
  17. ↑ "Decazeville. Gironde a Attiré Près de 150 Personnes," La Dépêche du Midi, October 4, 2013
  18. ↑ Swing Under the Nazis: Jazz as a Metaphor for Freedom, by Mike Zwerin, First Cooper Square Press (2000), pg. 135; OCLC 44313406
  19. ↑ "Delaunay On First Visit to America," by Bill Gottlieb, Down Beat Vol. 13, No. 18, August 26, 1946, pg. 4
  20. ↑ More Important Than The Music: A History of Jazz Discography, by Bruce D. Epperson (born 1957), University of Chicago Press (2013), pg. 57; OCLC 842307572
  21. 1 2 3 Le Jazz: Jazz and French Cultural Identity, by Matthew F. Jordan, University of Illinois Press (2010), pg. 238; OCLC 460058062
  22. ↑ Delaunay's Dilemma: De La Peinture Au Jazz, by Charles Delaunay, Mâcon: Editions W (1985), pg. 161; OCLC 17411790, 842166067
  23. ↑ "On the Corner: The Sellout of Miles Davis," by Stanley Crouch (1986), from the book, Reading jazz: A Gathering of Autobiography, Reportage, and Criticism From 1919 to Now, Robert Gottlieb (ed.), Pantheon Books (1995); OCLC 34515658
  24. ↑ "Comparing the Shaming of Jazz and Rhythm and Blues in Music Criticism," by Matthew T. Brennan, PhD, University of Stirling (2007)
  25. ↑ "About Down Beat, A History As Rich As Jazz Itself," Down Beat (2007), pg. 7 (retrieved May 19, 2015)
  26. 1 2 French Stewardship of Jazz: The Case of France Musique and France Culture (master thesis), by Roscoe Seldon Suddarth (1935–2013), University of Maryland (2008); OCLC 551767714
  27. ↑ OCLC 1789466, 183295612
  28. ↑ OCLC 5358361, 780289758, ISSN 2033-8694
  29. ↑ "Les Annes-Lumiere (1940–1960)" (chapter 3), by Jean-Pol Schroeder, Dictionnaire du Jazz: à Bruxelles et en Wallonie, Pierre Mardaga (fr) (1991), pg. 36 (article: pps 27–44); OCLC 30357595
  30. ↑ "Hot Club de Belgique," by Robert Pernet (de) (1940–2001), Grove Music Online (retrieved June 17, 2015); OCLC 5104954637
  31. ↑ "Book Review: Le Jazz: Jazz and French Cultural Identity," by Bruce Boyd Raeburn, PhD: The Communication Review, Vol. 15, N°1, 2012, pps. 72–75; ISSN 1071-4421
  32. ↑ "Le jazz en France," by Boris Vian, Combat, October 23, 1947
  33. ↑ "Jazz 47," Robert Goffin & Charles Delaunay (eds.), America (periodical, special edition), Paris: Éditions Seghers (fr), N° 5, March 1947; OCLC 491593078, 858132265, ISSN 2018-5693
    Essays:
    1.  "Nick's Bar," by Jean-Paul Sartre
    2.  Jean Cocteau
    3.  Frank Ténot
    4.  "Origins of Jazz and Jazz and Surrealism, by Robert Goffin
    5.  "Jazz Greats," by Hugues Panassié
    6.  "Méfie de l’orchestre" ("Beware of the Orchestra"), by Boris Vian
    Design, artwork, and photos:
    a)  Lithographic plate by Fernand Léger
    b)  Photos by Jean-Louis Bédoin
    c)  Other and artwork by Jean Dubuffet and Félix Labisse
  34. ↑ Music and the Elusive Revolution: Cultural Politics and Political Culture in France, 1968–1981 by Eric Drott, University of California Press (2011), pps. 118–119; OCLC 748593760
  35. 1 2 "An Empire Built on Jazz," by Mike Zwerin, New York Times, November 23, 1994
  36. ↑ "Prince of Saint-Germain: How Boris Vian Brought Cool to Paris," by Daniel Halpern (born 1945), New Yorker, December 25, 2006, pps. 134–138, and January 1, 2007, pg. 134; OCLC 203857235, 230879652, ISSN 0028-792X
  37. ↑ Best Music Writing 2009, by Daphne Carr & Greil Marcus, Da Capo Press (2009), pg. 52; OCLC 316825636
  38. ↑ "Visiting Firemen 18: Louis Mitchell" , (Reference note 9), by Robert Pernet (de) and Howard Rye, Storyville, 2000–2001, pg. 243 (article: pps. 221–248); ISSN 0039-2030
  39. ↑ Chasin' the Bird: The Life and Legacy of Charlie Parker, by Brian Priestley, Oxford University Press (2006); OCLC 61479676
  40. ↑ Down Beat, March 9, 1951, pg. 10
  41. ↑ The Rise of a Jazz Art World, by Paul Douglas Lopes, Cambridge University Press (2002)
  42. ↑ The Biographical Encyclopedia of Jazz, Leonard Feather & Ira Gitler (eds.), Oxford University Press (1999), pg 92; OCLC 38746731
  43. 1 2 "East Meets West at Jazz Hot: Maoism, Race, and Revolution in French Jazz Criticism," by Tad Shull (né Thomas Barclay Shull, Jr.; born 1955), Jazz Perspectives, Vol. 8, No. 1, April 2014, pps. 25–44; OCLC 5686458242, 5688435200, 5712619757, ISSN 1749-4060
  44. ↑ Stephane Grappelli: A Life In Jazz, by Paul Balmer, Bobcat Books (2010), pg. 59; OCLC 227278674

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Citations attributed to Andrew Fry
  1. ↑ "Remembrance of Jazz Past: Sidney Bechet in France," by Andy Fry, PhD, The Oxford Handbook of the New Cultural History of Music, Jane F. Fulcher (ed.), Oxford University Press (2011), pg. 314 of pps. 307–331; OCLC 632228317, 5104771002, 808062796

  2. ↑ "Beyond Le Boeuf: Interdisciplinary Rereadings of Jazz in France" (reviews), by Andy Fry, Journal of the Royal Musical Association, Vol. 128, No. 1, 2003, pps. 137–153; OCLC 4641333338, 5548341388; ISSN 0269-0403
    Review of:
    Harlem in Montmartre: A Paris Jazz Story between the Great Wars, Music of the African Diaspora, by William A. Shack, University of California Press (2001); OCLC 45023134

    Le tumulte noir: Modernist Art and Popular Entertainment in Jazz-Age Paris, 1900–1930, by Jody Blake, Pennsylvania State University Press (1999); OCLC 37373655

    New Orleans sur Seine: Histoire dujazz en France, by Ludovic Tournès, Librairie Artheme Fayard (1999); OCLC 41506608


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