Hugues Panassié (27 February 1912 in Paris – 8 December 1974 in Montauban) was a French critic, record producer, and impresario of traditional jazz. Career Panassié was born in Paris. When he was fourteen, he was stricken with polio, which limited his extracurricular physical activities. He took up the saxophone and fell in love with jazz in the late 1920s. Panassié was the founding president of the Hot Club de France in 1932. He produced recording sessions in New York featuring Mezz Mezzrow and Tommy Ladnier from November 1938 to January 1939. During World War II, the Germans occupied the northern half of France beginning June 1940. The Nazis regarded jazz as low music — music from an inferior people. Jacques Demêtre, in the 2014 book by Steve Cushing, Pioneers of the Blues Revival, said that people had expected the Germans to ban jazz entirely. But instead, they only banned American jazz and American tunes. Demetre explained that many American standards were in French with alternate titles. Panassié, for example, managed to keep broadcasting American jazz on his radio station submitting to censors obtuse French translations of American song titles, and even relabeling records. Panassié's friend Mezz Mezzrow describes a particular example in his 1946 autobiography Really the Blues: "[The Nazi censors] were shown a record labeled "La Tristesse de Saint Louis," which translates the "Sadness of Saint Louis," and Panassié offered the explanation that it was a sad song written about poor Louis the Ninth, lousy with that old French tradition. What Cerberus didn't know was that underneath the phony label was a genuine RCA Victor one giving Louis Armstrong as the recording artist and stating the real name of the number: "The Saint Louis Blues." Selected controversies In a changing world of jazz, Panassié was an ardent exponent of traditional jazz — strictly Dixieland. He harbored a particular love of style similar to that of Louis Armstrong from the 1930s. Panassié criticized West Coast jazz as inauthentic, partly because most musicians were white and also sounded white. In his book, The Real Jazz, Panassié ranked Benny Goodman as a detestable clarinetist whose sterile intonation was inferior to black players Jimmy Noone and Omer Simeon. Mezz Mezzrow became Panassié's lone example of a white musician who played jazz authentically. Panassié dismissed bebop as "a form of music distinct from jazz." In 1974, he accused Miles Davis, Archie Shepp, Pharoah