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Five years after jazz premiered in Western Europe, it also debuted in the Soviet Union and, within a short period, developed into a popular form of music. The Stalinist regime’s attitude toward jazz, a musical style with strong connotations of freedom, moved from censorship and restrictions to state sponsorship. Domestic, foreign, economic, and ideological factors were responsible for this shift. However, throughout the entire Stalinist era, jazz remained an element of Soviet cultural life. The Development and history of jazz in the USSR between 1920 and 1953 was in constant flux between prohibition, censorship and sponsorship. First and foremost, it was dependent on domestic, foreign, economic and ideological factors. Because of the political and social uproar after the OctoberRevolutions, jazz only arrived in the beginning of the 1920s, about five years later than the rest of Europe. This (jazz) was initiated by Valentin Parnach, who first came into contact with jazz at a concert of the American band Louis Mitchel Jazz Kings during his exile in Paris in 1921. He returned to Moskow a year later with a complete set of instruments. October 1, 1922 marks the birth of Soviet jazz, when Parnach and his band with the unwieldy name of Pervyj v RSFSR ėkscentričeskij orkestr – džaz-band Valentina Parnacha gave their first concert in Moskow. There are no extant recordings of the group, but critics described the music was as ‘din’ (Lärmmusik) in the style of the Italian futurists. Notwithstanding the negative reviews, a first cultural interest in jazz developed, especially because Parnach’s initiative coincided with New Economic Politics (NEP), wherein private initiatives were permitted into Soviet economic policies. This was not without effect in the cultural sector. Shortly thereafter, a brief boom in jazz was instigated by a few performances of American bands. Visually, the most engaging performance was the “Neger-Operette” Chocolate Kiddies (Šokoladnych rebjat) by Sam Wooding in 1925, which visited the Soviet Union after other engagements in Western Europe. Criticism focused on the visual aspects of the performance and the fact that all parties were black. “But it is not important how blacks play, how they dance, sing and thinkthat all is of no importance. What is important is that they are all black.” The Benny Peyton Jazz Kings also had a performance, which was more successful because they played another kind of jazz. Wooding played a symphonic sweet-jazz, Peyton a rather improvised hot-jazz. This was a distinction that became significant to the politicization of jazz in the 1930s, when two kinds of jazzbourgois versus proletarianwere defined. The founding of the Amadžaz under the direction of Aleksandr Cfasman marks the beginning of professional Soviet jazz. Amadžaz was founded by the Association of Authors of Moskow (Associacija

Vilified, Venerated, Forbidden: Jazz in the Stalinist Era