He indicates where the separation lies between the present book and the projected second volume on the next period of jazz, the Swing Era.

He summarizes the "Origins" chapter by observing, "Many more aspects of jazz derive directly from African musical-social traditions than has been assumed."

For both the varied locations and the commonality of blues, Schuller details as examples developments in Denver and Springfield, Ohio, as well as New Orleans.

This group included King Oliver, Freddie Keppard, Louis Armstrong, Jelly Roll Morton, Sidney Bechet and Bennie Moten.

Despite having these recordings in hand, Schuller is unwilling to extrapolate historically back to what earlier jazz would have sounded like, preferring to rely on written and verbal reports.

After some reflections on the role of composition in what is most often an improviser's art, Schuller examines the life and work of "the legendary Ferdinand Joseph ('Jelly Roll') Morton... the first of that precious jazz elite: composer."

Sandwiched between opening and closing titled sections on Bix Beiderbecke and Bessie Smith are treatments of clarinetists, brass players, and Harlem pianists.

As an indication of the latter's virtuosic creativity, a transcription of his improvised duet with the clarinetist Omer Simeon occupies 32 bars spread over two full pages.

The chapter discusses these bands and musicians more briefly, including McKinney's Cotton Pickers, Charlie Johnson's Paradise Ten, and the Missourians.

In the discussion of Kansas City jazz in the 1920s, Schuller observes that the region was the birthplace of ragtime, an important popular music in the area.

Schuller concludes his discussion by analyzing Moten's 1932 Camden recording session, which puts the listener "in the world of the Basie band of later years," and "produced a rhythmic revolution comparable to Armstrong's earlier one."

The book closes with the transcript of an interview that Schuller conducted with the Denver violinist and band leader George Morrison.

Morrison describes playing jazz in Denver before 1920, employing figures who became important later, such as Andy Kirk and Jimmie Lunceford.

The interview backs up Schuller's contention that early jazz was widespread, beyond just the urban centers often associated with its beginnings.