During the Cold War, a myth of freedom in jazz was fed by American political power, as well as by mass culture, spurring people to consume life style with the anti-American phobia of the communist regime. These factors created sometimes heroic picture of this genre in many articles mentioned in publications. The best Hungarian jazz theoretician, János Gonda, also thinks that jazz was a symbol of the opposition, but in his normative assertion, in which political leadership paid more attention to jazz, moderately is reinforcing the myth of jazz, if we take in consideration the real influence of jazz and jazz musicians who have been seen. Hungarian jazz scene lost the edge of bourgeois revolting attitude against ruling regime after 1956, when it got under control of the cultural politics. In comparison with other genres (such as beat and rock) has been found neglected quantity of writings about jazz scene, because police did not think that they were a serious jeopardizing source, which would come up as a preventive job from the standpoint of communist party. In spite of the situation, the documents from police require further research. It is a tragic irony in history of Hungarian jazz after 1956, when the political leadership finally gave the green light to this genre, that potential funs already had been dispersed. It is important moment, because the social base of jazz until 1950; especially in Budapest and in bigger cities was large, but jazz became again illegal until beat fever broke out.