Abstract
The thread of race runs throughout the business, culture, and aesthetics of jazz. Just as jazz has been called a typically American music, it shares the typically American problem of racial tensions that accompany its more positive aspects of freedom and diversity. This isn't to say that all interactions between black and white jazz figures were negative; if anything, jazz helped foster relation ships between groups that might not have collaborated otherwise. However, the fact remains that the time period in question?from 1950 to 1970?was a difficult and critical juncture for race relations in the United States.1
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