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The popularity of jazz musicians by black artists has experienced particularly high levels of advancement in Kansas City throughout history. “For a brief period from the late 1920s through the late 1930s, Kansas City was a mecca for Midwestern and southwestern black jazz musicians. Some extraorginary music resulted from the healthy competition and collegiality that grew among musicians of significantly different backgrounds and styles. Among the musicians who marked the sound of Kansas City then were Bill “Count” Basie, Bennie Moten, Lester Young, Eddie Durham, Jesse Stone, Walter Page, Oran “Hot Lips” Page, Mary Lou Williams, Eddie Barefield, Henry “Buster” Smith, Ed Lewis, Jimmy Rushing, Joe Turner, Pete Johnson, Jay McShann, Claude “Fiddler” Williams, Dick Wilson, and Charlie Parker. It is an extraordinary role call for a relatively small city of the period,” (Pearon 182). With consideration for these individuals, it is apparent that the most significant time period in Kansas City history, in regard to the spread of black jazz music, is the 1920s and 1930s.

One of the most indirectly responsible musicians who aided in the spread of black jazz music in Kansas City is Bill “Count” Basie, a character who “deserves to be [known by] anyone claiming to have more than a passing interest in the historical development of jazz,” (Dunford 321). He was the “most important piano player and the most important band leader to