Bergmeier, H.J.P., 1998. Chronologie der deutschen Kleinkunst in den Niederlanden 1933–1944., Hamburg: Hamburger Arbeitsstelle für Deutsche Exilliteratur. Schumann, C., 1997. Der Ghetto-Swinger: Eine Jazzlegende Erzählt 2nd ed., Munich: Deutscher Taschenbuch Verlag. Ritter, F. ed., 1994. Heinrich Himmler und die Liebe zum Swing. Erinnerungen und Dokumente., Leipzig: Reclam. Russell, Ross, Jazz Style in Kansas City and the Southwest, Berkeley, CA, University of California Press, 1972, 291 p. Pohl, R., 1986. Das gesunde Volksempfinden ist gegen Dad und Jo“. Zur Verfolgung der Hamburger ‚Swing-Jugend. In Zweiten Weltkrieg. In: Verachtet – verfolgt – vernichtet – zu den ‚vergessenen‘ Opfern des NS-Re­gimes. Hg. von der Projektgruppe für die vergessenen Opfer des NS-Regimes in Hamburg e.V. Hamburg, pp. 15-45

Walker, Leo (1972). The Wonderful Era of the Great Dance Bands. Garden City, New York: Doubleday. p.152.HR: Horizontal roof unit designed for general ventilation. High efficiency motors. Standard Temperature. In the French prisoner camp in Perpignan in 1942, for example, the Viennese Erich Pechmann, imprisoned because of his Jewish faith, sang blues pieces and, in addition, imitated instruments with his voice. Using only these simple methods, as Fred Wander relates, Pechmann was able to boost the morale of his fellow prisoners: Berrett, Joshua (1 October 2008). Louis Armstrong and Paul Whiteman: Two Kings of Jazz. Yale University Press. ISBN 978-0300127478– via Google Books.

These appearances were regularly planned. Saturday, Sunday, but also spontaneously, when the oldest camp prisoners came to visit for example. Or during recreational time, when there was no trouble brewing in the camp and it was unlikely that the SS would enter the camp. Muth, Wolfgang: „Rhythmus” – Ein internationales Jazzorchester in Buchenwald. In: AG Jazz Eisenach (Hg.): 25 Jahre Jazz im Klubhaus AWE. Eisenach 1984 , 10-15, quote on 12. Though ostracized by the Nazi regime as 'degenerate', reports by historical witnesses and survivors substantiate the claim that jazz, as well as jazz-related music, could be heard within numerous Nazi camps. That such reports do not constitute the exception is made clear by similar activities of prisoners of war, in camps for foreign civilians and forced labour camps, in police detainment camps, in the internment camps of Vichy France, in the Dutch transport camp Westerbork, and in the ghettos of Łódź, Warsaw and Vilna, not to mention the equally secret jazz sessions of the members of the Swingjugend in youth detention and concentration camps. A few examples should serve to make the spectrum of these jazz activities clear.

Another modern development consists of fusing swing (original, or remixes of classics) with hip hop and house techniques. "Swing house" was particularly popular during the late 1980s and early 1990s. Influences incorporated into it include Louis Jordan and Louis Prima. Electro swing is mainly popular in Europe, and electro swing artists incorporate influences such as tango and Django Reinhardt's gypsy swing. Leading artists include Caravan Palace and Parov Stelar. Both genres are connected with a revival of swing dances, such as the Lindy hop. Considine, J. D. "The missing link in the evolution of JUMP BLUES". Baltimoresun.com . Retrieved 23 February 2021. Kirchner, Bill, ed. (2000), The Oxford Companion to Jazz, New York: Oxford University Press, ISBN 978-0-19-518359-7. Hejtmar, M., Rhythmus hinter Drähten [Rhythm behind barbed wire], Weimar: archive of the KZ-Gedenkstätte Buchenwald.