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KC takes pride in its jazz history. So why is a rare film collection sitting in caves?  Kansas City Star

It’s Everything, and It’s Not Enough | All That Jazz (1979)  Bright Wall/Dark Room

Not Not Jazz movie review & film summary (2024)  Roger Ebert

A Conversation on Jazz & Hollywood  Jazz Times

We Are from Jazz review – zany Russian musical comedy  The Guardian

How jazz played out over Congo’s chaotic coup  The Brussels Times

Their Sounds Were Watching God  The Criterion Collection

Blackface 'Jazz Singer' still influencing modern cinema 90 years after release  ABC News

Experimentation with Sound  MoMA

Ask a Juilliard Professor: How Real Is Whiplash?  Vulture

The Film That Jazz Deserves  The New Yorker

The Jazz Legends Who Shaped Spike Lee’s Musical World  Brooklyn Museum

What The Jazz Singer Taught Me About Hollywood 'Romance'  The Atlantic

Detroit Jazz City Spotlights What Makes the City's Artists Unique  Hour Detroit Magazine

Film Review: “Sloane: A Jazz Singer” — Making the Most of Your Gift  artsfuse.org

Why my video essay about “All that Jazz” is not on the Criterion blu-ray  Roger Ebert

The Sound Of Film To Come: how jazz fell in love with the movies  The Guardian

Visual Jazz: Celebrating the Sights and Sounds of Dil Se  Roger Ebert

Ten More Jazzworld Movies To Stream While You’re Stuck At Home  downbeat.com

In 'Soul,' Jon Batiste's Music Helps Bring Pixar's First Black Lead To Life  NPR

Young jazz students become real musicians in film 'Chops'  The Florida Times-Union

You ain’t heard nothin’ yet: the moment Al Jolson sounded the birth of the talkies  The Guardian

The controversial 1959 film that could only have been made in Hyde Park  The University of Chicago

Watch Jazz | A Documentary Film by Ken Burns  PBS

Lensing the Newport Mob: 60 Years Later, A Deep Dive Into 'Jazz on a Summer's Day'  wbgo.org

“Whiplash” Gets Jazz All Wrong  The New Yorker

Myths of Cinema 5: Was ‘The Jazz Singer’ in 1927 the first ‘talkie’?  Workers' Liberty

“Bix” Is a Jazz Documentary That Resonates Far Beyond Its Subject  The New Yorker