"Then Roach, Morrison, and I and the boy went out on to the terrasse with the panorama splendide in the late twilight and pulled up chairs around a couple of tables. The clarinetist put his feet up on his table, tilted his chair back, and announced that he was going to play "Dans l'Ambiance" - or, as he translated it, "Een de Mud." Then he lifted the clarinet to his lips and played "In the Mood"... [it] sounded better than any other music I've ever heard. The clarinet gloated over the routed Ostrogoths. The thin sound, wriggling up toward the old Tower, woke birds that had turned in for the night. M. Bertrand's son, a slight youth of eighteen, said the Germans had disapproved of jazz, regarding an interest in it as evidence of Allied sympathies, and had forbidden it to be played  in public places. The zazous, or hepcats, however, were not discouraged by this from playing at dances but, instead, amused themselves by working out musical arrangements that began as Viennese waltzes, then switched to jazz and back again before any Germans present could call  the turn. The zazous also affected le genre jazz in their clothes, the Bertrand boy said; they wore what Americans call zoot suits. There was nothing much l'Occupant could do about that."

- A.J. Liebling, Normandy Revisited, 1955.