Nye, Russell B., 1976, Music in the Twenties: The Jean Goldkette Orchestra, Prospects, An Annual of American Cultural Studies 1:179–203, October 1976, DOI: 10.1017/S0361233300004361 Walker, Leo (1972). The Wonderful Era of the Great Dance Bands. Garden City, New York: Doubleday. p.152. Muth, Wolfgang: „Rhythmus” – Ein internationales Jazzorchester in Buchenwald. In: AG Jazz Eisenach (Hg.): 25 Jahre Jazz im Klubhaus AWE. Eisenach 1984 , 10-15, quote on 12. Sometimes even SS members were in the audience, looking for a distraction. Even those prisoners who did not have the energy or opportunity to be present at such concerts were, after a note from Štancl, thankful for the encouragement and variety: 'I cannot think of a single appearance in front of the comrades which was not well-received, with satisfaction and even a certain amount of thankfulness.' All members of the Sing Sing Boys were released under the auspices of a prisoner amnesty program by spring 1943.

They liked it and were happy about the variety it brought whenever we sang 'In the Mood' or 'Bei mir bist du schoen' or 'A Tisket, a Tasket' or whatever. 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. Sustained by professional and amateur musicians, jazz bands, and also by enthusiastic swing fans and record collectors, it is more accurate to say that the development of jazz was severely encumbered by political conditions. This made the jazz scene increasingly dependent for its survival upon the loopholes of Nazi cultural policy. Such loopholes existed because the cultural politics of the Third Reich vis-a-vis jazz and jazz-related music was characterized by the coexistence of contradictory and ambivalent measures, for which no unified strategy existed. Depending on the inner dynamic of Nazi ideology and foreign policy developments, Nazism’s response to jazz oscillated between prohibition for ideological reasons, and toleration and appropriation for economic and market-driven considerations. This explains why the Nazis did not decree an all-encompassing, nationwide ban on jazz, nor issue any corresponding law. Jazz in the Camps

When he played, everything became quiet. He magically produced the sound of an entire band. […] Everywhere where Pechmann went, he reassured these frightened people. Due to its special position as a 'show camp', Theresienstadt had at its disposal an extraordinary amount of cultural freedom and a high-standing –both quantitatively and qualitatively – musical life. Alongside numerous performances of classical music, there were regular jazz concerts. The jazz combo of the clarinetist and saxophonist Bedrich 'Fritz' Weiss was one of the first music groups to be formed there. Besides this, the incarcerated jazz and dance musicians accompanied cabaret shows and grouped together to form various bands. The most famous of these was the Ghetto-Swingers, which matured from a Czech amateur band under the leadership of the pianist Martin Roman to become an big band. Their music was often rejected by older camp inmates, while younger ones like Klaus Scheurenberg considered the musicians a sensation. In 2001 Robbie Williams's album Swing When You're Winning consisted mainly of popular swing covers. The album sold more than 7 million copies worldwide. In November 2013, Robbie Williams released Swings Both Ways. In November 1939, a group of students from Czechoslovakia founded a vocal octet called the Sing Sing Boys in Sachsenhausen. One part of their programme consisted of well-known musical dance numbers of film melodies in a swing arrangement. Beyond that, they used compositions in the jazz idiom from their musical leader Karel Štancl as well as satirical songs from the Liberated Theatre in Prague, which had been closed in 1938 due to its antifascist leanings. These songs contained the heavily jazz-influenced melodies of Jaroslav Jezek, and their performance was prohibited by the German occupiers. Josef Sárka described the concerts of the Sing Sing Boys in a letter: Gensler, Andy (6 June 2016). "Squirrel Nut Zippers Reissuing 'Hot' - Listen to Unreleased 1991 Song 'The Puffer': Exclusive". Billboard . Retrieved 14 June 2017.

VR: Vertical roof unit designed for general ventilation High efficiency motors. Standard Temperature. eVertical DVC: Designed for elevated ambient temperatures operating up to 120°C. Ideal for kitchen extract with the motor out of airstream. High Temperature. Considine, J. D. "The missing link in the evolution of JUMP BLUES". Baltimoresun.com . Retrieved 23 February 2021.

Berrett, Joshua (1 October 2008). Louis Armstrong and Paul Whiteman: Two Kings of Jazz. Yale University Press. ISBN 978-0300127478– via Google Books.

Swing המותג המוביל במאווררי תקרה איכותיים, מעוצבים ועמידים. כמותג מוביל , חרטנו על דגלנו ערכים של חדשנות, יצירתיות, יעילות But precautions had to be taken so that the performance of hated jazz melodies was not accidentally discovered by an overseer: 'Sometimes at night, after lights out, we were quite precocious and would cover the windows with our bed sheets and then we would sing.' This popularity and even a performance in a propaganda film about the camp could not, however, protect the Ghetto-Swingers from deportation to Auschwitz-Birkenau. Those who had survived the selection formed the core for the newly-founded camp band. Guitarist Coco Schumann talked about this in an interview: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. On the one hand, it was an essential component of illegal and/or tolerated camp culture; on the other, it was a means of propaganda and distraction for the henchmen of the Nazi regime. In their own field of responsibility, individual SS members hardly bothered themselves about the music guidelines of the regime. And so it came to pass that even the SS- Rottenführer (an SS leader) Pery Broad jammed together with Dutch jazz musicians in the men’s section of Auschwitz-Birkenau. Only through such varying motivations could the scorned jazz 'survive' in, of all places, the Nazi camps. Likewise, the saxophonist Miroslav Hejtmar summarized of his performances with the Buchenwald jazz orchestra Rhythm: Ritter, F. ed., 1994. Heinrich Himmler und die Liebe zum Swing. Erinnerungen und Dokumente., Leipzig: Reclam. Dregni, Michael (2004). Django: The Life and Music of a Gypsy Legend. Oxford University Press. ISBN 0-19-516752-X. Blowin' Hot and Cool: Jazz and Its Critics, by John Remo Gennari, PhD (born 1960), University of Chicago Press (2006), pg. 58; OCLC 701053921 Kuna, M., 1993. Musik an der Grenze des Lebens: Musikerinnen und Musiker aus Böhmischen Ländern in Nationalsozialistischen Konzentrationslagern und Gefängnissen, Frankfurt/M.: Zweitausendeins.

In 1927 Armstrong worked with pianist Earl Hines, who had a similar impact on his instrument as Armstrong had on trumpet. Hines' melodic, horn-like conception of playing deviated from the contemporary conventions in jazz piano centered on building rhythmic patterns around "pivot notes". His approaches to rhythm and phrasing were also free and daring, exploring ideas that would define swing playing. His approach to rhythm often used accents on the lead-in instead of the main beat, and mixed meters, to build a sense of anticipation to the rhythm and make his playing swing. He also used "stops" or musical silences to build tension in his phrasing. [11] [12] Hines' style was a seminal influence on the styles of swing-era pianists Teddy Wilson, Art Tatum, Jess Stacy, Nat "King" Cole, Erroll Garner, Mary Lou Williams, and Jay McShann.

Spring, Howard. "Swing and the Lindy Hop: Dance, Venue, Media, and Tradition". American Music, Vol. 15, No. 2 (Summer, 1997), pp.183–207. Hasenbein, H., 1995. Unerwünscht – toleriert – instrumentalisiert. Jazz und Swing im Nationalsozialismus. In eitschrift für Sozialgeschichte des 20. und 21. Jahrhunderts 10. 38-52.