| In the 1950s arose the stereotype of the melancholic, mostly black-dressed young existentialist, who oscillated between jazz-cafe and university. A general reorientation of ideology preceded the new style. Promoters were not only the American Rock ‘n‘ Roll records, but also the traditional jazz of Ken Colyer, Chris Barber and other dixieland aficionados. At that time, Paris became the second home of many black jazz musicians, because there was no discrimination. |
