In 2001 Robbie Williams's album Swing When You're Winning consisted mainly of popular swing covers. The album sold more than 7 million copies worldwide. In November 2013, Robbie Williams released Swings Both Ways. Berrett, Joshua (1 October 2008). Louis Armstrong and Paul Whiteman: Two Kings of Jazz. Yale University Press. ISBN 978-0300127478– via Google Books.

Thereupon I had my portable record player, along with about one hundred records sent to me – English and American swing records. They got here, but I never received them. Schitli [Wilhelm Schitli, head of the detention camp] called for me and said that there was already something in my files about connections to English industrial circles. The records, therefore, had to be confiscated and would be stored along with my effects. Hasenbein, H., 1995. Unerwünscht – toleriert – instrumentalisiert. Jazz und Swing im Nationalsozialismus. In eitschrift für Sozialgeschichte des 20. und 21. Jahrhunderts 10. 38-52. Spring, Howard. "Swing and the Lindy Hop: Dance, Venue, Media, and Tradition". American Music, Vol. 15, No. 2 (Summer, 1997), pp.183–207. 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:Swing music is a style of jazz that developed in the United States during the late 1920s and early '30s. It became nationally popular from the mid-1930s. The name derived from its emphasis on the off-beat, or nominally weaker beat. Swing bands usually featured soloists who would improvise on the melody over the arrangement. The danceable swing style of big bands and bandleaders such as Benny Goodman was the dominant form of American popular music from 1935 to 1946, known as the swing era, when people were dancing the Lindy Hop. The verb "to swing" is also used as a term of praise for playing that has a strong groove or drive. Musicians of the swing era include Duke Ellington, Benny Goodman, Count Basie, Cab Calloway, Jimmy Dorsey, Tommy Dorsey, Woody Herman, Harry James, Lionel Hampton, Glenn Miller, Artie Shaw and Django Reinhardt. When he played, everything became quiet. He magically produced the sound of an entire band. […] Everywhere where Pechmann went, he reassured these frightened people. Between the poles of hot and sweet, middlebrow interpretations of swing led to great commercial success for bands such as those led by Artie Shaw, Glenn Miller and Tommy Dorsey. Miller's trademark clarinet-led reed section was decidedly "sweet", but the Miller catalog had no shortage of bouncy, medium-tempo dance tunes and some up-tempo tunes such as Mission to Moscow and the Lionel Hampton composition " Flying Home". "The Sentimental Gentleman of Swing" Tommy Dorsey made a nod to the hot side by hiring jazz trumpeter and Goodman alumnus Bunny Berigan, then hiring Jimmie Lunceford's arranger Sy Oliver to spice up his catalog in 1939. Kirchner, Bill, ed. (2000), The Oxford Companion to Jazz, New York: Oxford University Press, ISBN 978-0-19-518359-7. Walker, Leo (1972). The Wonderful Era of the Great Dance Bands. Garden City, New York: Doubleday. p.152.

Multi-genre mandolinist Jethro Burns is widely known for playing Swing, Jazz, and many other forms of the genre on the mandolin. He has produced many albums that feature Jazz rhythms and swing chord progressions. He is often considered "The Father of Jazz Mandolin".Harker, Brian C., 1997, Early Musical Development of Louis Armstrong, 1921–1928, unpublished PhD Dissertation, Columbia University, 390 p. plus Appendix 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.