Essen: der Kommission für Lied-, Musik- und Tanzforschung in der Deutschen Gesellschaft für Volkskunde e. For economic reasons, the Nazi regime for a long timeeven toleratedthe production and distribution of German as well as foreign records and films with jazz content.

Their repertoire overlaps 1930s swing, including French popular music, gypsy songs, and compositions by Reinhardt, but gypsy swing bands are formulated differently.Some big bands were moving away from the swing styles that dominated the late 1930s, for both commercial and creative reasons. Older prisoners, who had at first rejected'bourgeois' jazz music, recognized that these performances served not only to boost the morale of the prisoners, but also as camouflage for illegal meetings of the camp committee. In the first years of the war, the Swingjugend movement registered a comparably large influx of members and developed into a protest movement that the Nazi regime had to take seriously. It was on earlier on the West Coast and developed the audience that later led to Goodman's Palomar Ballroom triumph.

Goodman's success with "hot" swing brought forth imitators and enthusiasts of the new style throughout the world of dance bands, which launched the "swing era" that lasted until 1946. Despite all the campaigns of defamation and prohibition, as well as the incarceration of some jazz musicians and jazz fans,it cannot be said that there was no German jazz scene in the Third Reich.Depending on the particular camp and the specific situation of the camp, the function of jazz and jazz-influenced music in the Nazi camp system was extremely variable.