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Everyone can agree on the importance that New York, New Orleans and Kansas City have had in the origination and development of jazz.

But in Mark Stryker’s wonderful new book ‘Jazz From Detroit’, he makes a persuasive case that the Motor City should get equal billing alongside that formidable triumvirate.

They say you shouldn’t judge a book by its cover. But this one is every bit as dynamic and effervescent as Elvin Jones’ drumming.

And you’d better have your notebook ready and laptop/hi-fi primed because every page brings two or three recommended albums that you’ll be wanting to investigate.

The book explains how Detroit’s exemplary educational structure, sense of community and proliferation of live music venues continue to produce quality jazz musicians. It’s littered with interesting photos and there are recommended recordings at the end of each chapter.

But the meat and potatoes of ‘Jazz From Detroit’ is the portraits of players born and/or nurtured in the city, including Yusef Lateef, Milt Jackson, Kenny Burrell, Donald Byrd, Ron Carter, Kenny Garrett, Geri Allen , the Jones brothers (Elvin, Thad and Hank) and Joe Henderson.

Stryker is not afraid to pinpoint exactly – in technical and memorable terms – how each player has used his/her instrument to exclusively communicate his/her ideas. Of Milt Jackson, he writes:

Timing is everything in jazz, and Jackson’s control of rhythm was legendary. He created drama through relaxation and contrast. He’d strike notes behind the beat and then dart ahead, climbing over the top of the pulse, before retreating to the backside of the beat. He personalized each note with its own articulation.

Of Ron Carter, he writes:

Carter is easy to identify by the depth of his tone, legato strut of his walking lines, skip-a-dee-do triplet embellishments, and marriage of harmonic and adventure and clarified melody.

Any fan of Carter’s playing will ‘hear’ it when reading those words.

But if most of ‘Jazz From Detroit’ is effusive in its praise, Stryker’s not afraid to highlight his red lines – for example, this writer is with him on his view of Donald Byrd’s jazz/funk material.

There’s always a lot to learn about the development of jazz and some of its more unsung players. Stryker’s vital, crackling approach is as incisive as a great solo, and the book will be as useful to jazz fans as it will be for relative beginners, or those just interested in finding out more about the city of Detroit. Highly recommended.

‘Jazz From Detroit’ is published by the University of Michigan Press.