Frank Driggs and Chuck Haddix trace how Kansas City grew out of a frontier town into a buzzing, vibrant place full of good music, nightclubs, horse racing, slot machines, gambling joints, bank robbers and brothels. It has a slightly nostalgic feel, capturing the essence of an era passed by, a different way of life. This isn’t a criticism; it’s one of the strengths of the book, its value in recording a segment of vital history. In the epilogue we see this has disappeared, ‘…today, Kansas City is like a genteel elderly lady of former ill repute reluctant to discuss her notorious past.’ (233) The book is full of anecdotal stories, for example, nightclub owners on opening night, ‘giving a cab driver five dollars and the key to the front door with instructions to drive as far as he could and throw away the key,’ (7) due to the 24 hour opening. Women working in bars and restaurants were dressed like prostitutes; there was open prostitution in the red light district and a blatant disregard for drug and alcohol laws during prohibition.

Kansas City Jazz is steeped in history, and not just about the music, it brings American society alive in an entertaining manner; this book is never dull. Readers at times will smile at the humorous scenarios described, at others will be on the edges of their seats anticipating what happens next. With descriptions of smells of the ‘hickory smoke’ (26) from the BBQs it makes you feel as though are there in the hustle and bustle of the jazz age. The book has been meticulously researched from many 1930s Kansas City newspapers, a great deal of interviews over the years, books, and photos.

Musicians in the book, include amongst others, the Coon-Sanders Original Night Hawk Orchestra who had a staggering 37,000 listeners during the first year on radio. (22) John William “Blind” Boone with perfect pitch, whose realistic reproduction of noise in the song ‘Marshfield Tornado’ terrified the audience into thinking a tornado was actually occurring. (32) Bennie Moten is discussed as making a success of Paseo Hall and being an excellent fair band manager. Walter Page’s Blue Devils were joined by Ethel Waters for two weeks; later loud-volume vocalist Jimmy Rushing and trumpeter Oran “Lips” Page joined the group and then Count Basie. The interesting life and responsibilities of Mary Lou Williams are documented, as she had property stolen and moved through various husbands. Pianist Jay McShann and his friendship with Charlie Parker are discussed, as is the infamous jam session where a cymbal was thrown ‘and Bird, in humiliation, packed up his instrument and left,’ (166) which is given so much significance in Clint Eastwood’s 1988 film representation Bird.

Kansas City’s 18^th and Vine (also known as the Bowery) is described as the equivalent to New York’s Harlem, however, in 1929 there were a large number of successful professional African Americans in businesses, education and other professions. Members of baseball teams were highly respected. African Americans were still subjected to Jim Crow laws and weren’t played as frequently on the radio or recorded as often as white bands. The depression also hit African American music stores particularly badly.

All the bands from Kansas City traveled around and picked up new ways of playing music, to integrate in with their already existing style; it constantly evolved. Kansas City was also visited by many big names such as, Duke Ellington, and Louis Armstrong. There were band competitions and arguments over territory, but within the groups themselves, a great camaraderie.

There is a lot of information in this book; it’s quite a medley. Kansas City Jazz is an excellent read and an absolute must for students and researchers in the fields of American Studies, History and Music.