DescriptionThis thesis explores my assertion that the swing era John Kirby Sextet is one of the most unjustly overlooked influencers and progenitors of Bebop, Cool Jazz and Third Stream Jazz. Their singular knack for writing and performing intricate, methodical arrangements and compositions, their consistent individuality, their tightly controlled limits on solos without sacrificing creativity, the insistent swing of the rhythm section, the harmonic daring and acrobatic virtuosity of the soloists all combined to leave an astonishing imprint on Jazz music. The beginnings of Bebop can clearly be heard in the solos of Charlie Shavers and Billy Kyle. As well, the three-man rhythm section, sans guitar, and the multiple examples of tempi too fast for dancing are harbingers of the Bebop style to come. The tuxedoed and controlled style of performance presaged the suits and control of the Modern Jazz Quartet. Their explorations and mining of classical themes and counterpoint predate the Lennie Tristano efforts of the middle forties. This is all during the heyday of large jazz groups, rampant institutionalized racism, an ASCAP ban, a recording ban and a world war. Their body of recordings is nothing short of incredible and in this work I hope to point out exactly why I feel that way.