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...enthusiasms. What it with jazz and the French? Why were they the first people outside America to take it seriously (more seriously than the Americans themselves)? Why did so many black American musicians visit France or live there between 1920 and 1960? How did all this affect French culture generally?

It would be pleasant for jazz fans such as myself to imagine that this is just another example of the superior insight of the French recognising the intrinsic virtues of jazz as an art form--and of their Parnassian disregard for matters of race. Fortunately, for all of Nettelbeck's love of both jazz and the French, he lets us know that it was never so simple. His recognition of the complexity of such issues starts with his definition of jazz itself, where he refuses to submit to any particular creation story (upriver from New Orleans, for example) or to any restrictive definition of its most important elements. To judge from the book as a whole, however, it is clear that the author values its emphasis on improvisation and musical freedom most.

According to Nettelbeck, the story of jazz and the French began with the enthusiastic French reception of the mixed-race New Orleans composer Louis Moreau Gottschalk in the...

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