• Kansas

  / Cultural life
• Paul Whiteman
• blues

  / Influence: The mother of all music
• Alan Lomax
• What’s the Difference Between Blues and Jazz?

• instrumentation

  / Arrangement and transcription
• improvisation
• syncopation

• Cannonball Adderley
• Henry Allen
• Louis Armstrong
• Art Ensemble of Chicago
• Albert Ayler
• Mildred Bailey
• Chet Baker
• Charlie Barnet
• Count Basie
• Louie Bellson
• Edward Joseph Blackwell
• Art Blakey
• Jimmy Blanton
• Buddy Bolden
• the Boswell Sisters
• Clifford Brown
• Ray Brown
• Dave Brubeck
• Don Byas
• Cab Calloway
• Harry Howell Carney
• Benny Carter
• Charlie Christian
• Buck Clayton
• Nat King Cole
• Aaron Copland
• Tadd Dameron
• Miles Davis
• Wild Bill Davison
• Johnny Dodds
• Kenny Dorham
• Duke Ellington
• Johnny Griffin
• Ferde Grofé
• Lionel Hampton
• Milt Hinton
• Art Hodes
• Billie Holiday
• Milt Jackson
• Keith Jarrett
• Bunk Johnson
• J.J. Johnson
• James P. Johnson
• Lonnie Johnson
• Jo Jones
• Philly Joe Jones
• Jackie McLean
• the Mills Brothers
• Charles Mingus
• Hank Mobley
• Little Brother Montgomery
• Wes Montgomery
• Lee Morgan
• Gerry Mulligan
• Jimmie Noone
• King Oliver
• Walter Page
• Jaco Pastorius
• Oscar Peterson
• Sammy Price
• Buddy Rich
• Sonny Rollins
• Wayne Shorter
• Horace Silver
• Zoot Sims
• Rex Stewart
• Art Tatum
• Sarah Vaughan
• Chick Webb
• Ben Webster
• Dicky Wells
• Randy Weston
• Cootie Williams
• Mary Lou Williams
• Teddy Wilson

• Chicago

  / The arts
• Harlem Renaissance

  / Black heritage and American culture
• Kansas City

  / The contemporary city
• Los Angeles

  / Music and dance

• United States

  / Popular music
• Western music

  / Popular music
• Western dance

  / Latin-American and jazz dances
• popular art

  / Popular music
• theatre music

  / Romantic expansion
• New Orleans

  / Cultural life

• circular breathing
• double bass
• saxophone
• wind instrument

  / In jazz

General histories of jazz

Marshall Winslow Stearns, The Story of Jazz (1956, reissued 1976), is ideal for the newcomer to the music; Nat Shapiro and Nat Hentoff (eds.), Hear Me Talkin’ to Ya (1955, reissued 1992), is a colorful history of jazz in musicians’ own words; Joachim E. Berendt, The Jazz Book, 6th ed., rev. by Günther Huesmann (1992; originally published in German, 1954), is comprehensive. Rudi Blesh and Harriet Janis, They All Played Ragtime, 4th ed. (1971); Samuel Barclay Charters, Jazz: New Orleans, 1885–1963, rev. ed. (1963, reprinted 1983); and Samuel Barclay Charters and Leonard Kunstadt, Jazz: A History of the New York Scene (1962, reprinted 1984), are all highly recommended for information about the musical precursors of jazz and jazz’s early years. Mezz Mezzrow and Bernard Wolfe, Really the Blues (1946, reissued 1993), is a fascinating personal history of the halcyon early decades of jazz.

Specific topics

Gunther Schuller, Early Jazz: Its Roots and Musical Development (1968, reissued 1986), and The Swing Era: The Development of Jazz, 1930–1945 (1989, reissued 1991), offer comprehensive, detailed technical analyses of the music. George T. Simon, The Big Bands, 4th ed. (1981), is a largely anecdotal history; and Albert McCarthy, Big Band Jazz (1974, reissued 1983), is the most thoroughly researched book on the subject. Barry Ulanov, Duke Ellington (1946, reprinted 1975); Stanley Dance, The World of Duke Ellington (1970, reprinted 1981); and Mark Tucker (ed.), The Duke Ellington Reader (1993), examine jazz’s greatest composer. Lawrence O. Koch, Yardbird Suite: A Compendium of the Music and Life of Charlie Parker, rev. ed. (1999), is a brilliant and detailed exploration of Parker’s art. Leonard Feather, Inside Jazz (1997; originally published as Inside Bebop, 1949), was the first knowledgeable book about the bebop revolution. Eric Hobsbawm (Francis Newton), The Jazz Scene, rev. ed. (1993), presents a highly intelligent, objective view of postwar jazz. Winthrop Sargeant, Jazz: Hot and Hybrid, 3rd ed. enlarged (1975), and Frederic Ramsey, Jr., and Charles Edward Smith (eds.), Jazzmen (1939, reprinted 1985), were pioneering efforts in developing critical views of jazz and its performers. André Hodeir, Jazz: Its Evolution and Essence, rev. ed. (1980; originally published in French, 1954), was the first serious analysis of the music. S. Frederick Starr, Red and Hot: The Fate of Jazz in the Soviet Union 1917–1991, updated ed. (1994), is a fascinating study.

Collections of essays

Whitney Balliett, The Sound of Surprise (1959); Martin T. Williams (ed.), The Art of Jazz (1959, reprinted 1981); Max Harrison, A Jazz Retrospect, 2nd ed. (1991); and Gary Giddins, Riding on a Blue Note (1981), are superb, stimulating, wide-ranging collections of essays. Ralph Ellison, Shadow and Act (1964, reissued 1995), includes moving and insightful personal essays on jazz.

Reference works

Barry Kernfeld (ed.), The New Grove Dictionary of Jazz, 2 vol. (1988, reissued 2 vol. in 1, 1994); Leonard Feather, The Encyclopedia of Jazz (1955, rev. 1960, and reprinted 1984), The Encyclopedia of Jazz in the Sixties (1966, reprinted 1986); Leonard Feather and Ira Gitler, The Encyclopedia of Jazz in the Seventies (1976, reprinted 1987), The Biographical Encyclopedia of Jazz (1999); and John Chilton, Who’s Who of Jazz, 5th ed. (1989), are indispensable reference works.

Discographies

Len Lyons, The 101 Best Jazz Albums (1980), offers balanced recommendations for a basic record library. Brian Rust (compiler), Jazz Records: 1897–1942, 5th rev. and enlarged ed., 2 vol. (1982); Jørgen Grunnet Jepsen (ed.), Jazz Records: 1942–1969, 8 vol. in 11 (1963–70); and Jan Leder (compiler), Women in Jazz: A Discography of Instrumentalists, 1913–1968 (1985), are valuable discographies.