A treasure trove of history, deeply researched and often tightly annotated. * The Georgetowner * [ The authors] give the reader an excellent survey of the extent of jazz activity and its impact on the national and international scenes. . . . Its a wonderful overview of a city known for many things, but whose imprint on jazz hasnt gotten anywhere near the attention it deserves until the publication of this outstanding book. * The Tennessee Jazz & Blues Society * The book tells us much about the city beyond geography. Its as 'Official Washington' a book about jazz as one could imagine: wonky, think-tanky, visiting-scholar-y. Its jazz as White Paper. . . . If this sounds like a criticism, rest assured that it is not. The book is precisely what it aspires to be, and a success on its own terms is a success, period. Besides, whos to complain that historians and history nerds want to give more attention to jazz? . . . It is ultimately a cornerstone: an essential reference for more narrative, perhaps lively histories. * Washington City Paper * The book is as digestible as it is illuminating. . . . As DC Jazz functions as an essential scholarly anchor, it succeeds at illustrating the resilience of the city's jazz landscape amid sometimes challenging social climate. * DownBeat * Takes readers on a relaxing stroll through D.C., visiting venues that first featured jazz musicians to welcoming audiences: The Crystal Caverns, later renamed the Bohemian Caverns, One Step Down and Blues Alley would become legendary hotspots within their own rights. Some artists would go on to perform at much larger, prestigious venues in the District like the Kennedy Center, whose jazz program, currently under the direction of musician/composer Jason Moran, owes its roots to pianist and composer Dr. Billy Taylor. * The Washington Informer *