Yet since jazz criticism has a history that can be tracked and traced right along with the growth and development of the music, there's no need to stay confined to the past 40 or so years. "How has race played into the way jazz has been covered over the past 100+ years of the existence of the art form?" is one question that has now arisen.
Fortunately, there's a scholar who has researched jazz letters and the history of jazz criticism and has written the thus far definitive work on the critical discourse of jazz from the 1930s to the turn of this century: John Gennari. His book is Blowin' Hot and Cool: Jazz and Its Critics (University of Chicago, Press, 2006.) He's an Associate Professor of English and ALANA U.S. Ethnic Studies at the University of Vermont.
John Gennari and I first met in the late 1990s through the Jazz Study Group (JSG) at Columbia University. I was a grad student in a doctoral program in American Studies at New York University at the time. The Jazz Study Group was founded by Robert G. O'Meally, an English and Comparative Literature professor at Columbia whose scholarship has included a focus on jazz since he earned his Ph.D. at Harvard in 1975. From 1995-2006, the Jazz Study Group held quarterly meetings, mostly on the Columbia campus. Personally, I most enjoyed the occasions when the small group of about 30 of us would meet in the spacious yet cozy book- and CD/LP-lined apartment of Prof. O'Meally and his wife Jacqui Malone, a historian of American dance.
Very relevant to the conversation you are about to read is the following goal of the JSG: "to cultivate and strengthen the then-budding interdisciplinary field of jazz studies at a crucial point in its emergence as a discrete area of scholarship within the context of African American and American Studies."
Gennari's Blowin' Hot and Cold is a prime example of this interdisciplinary direction of jazz studies.