Following World War I, a number of American expatriates settled in Paris and began to build up a jazz scene. France did not suffer from racial discrimination as much as the US, so a mixture of musical styles from different cultures began to emerge.
As with Brazil, the French were at first concerned it was too American of an influence before "making it their own." Although in the case of the French the adjustment proved faster as by the 1930s jazz had become acceptable. Between the 1930s and 1950s, the biguine, a style of jazz from the French Caribbean was popular among dance orchestras. Lacking recognition at home, several biguine artists from Martinique moved to mainland France, where they achieved greater popularity in Paris, especially in the wake of the colonial exhibition in 1931. Early stars like
Alexandre Stellio and
Sam Castandet became popular in Paris. An important event in that is the creation of the 
Starting in the late 1940s the Le Caveau de la Huchette would become an important place for French and American jazz musicians. Many American jazz artists have lived in France from Sidney Bechet to Archie Shepp. These Americans would have an influence on French jazz, but at the same time French jazz had its own inspirations as well. For example, Bal-musette had some influence on France's form of Gypsy jazz. Similarly, the violin, and to an extent the guitar, were traditionally more popular in French jazz than American. Related to that, Jean-Luc Ponty and Stéphane Grappelli are among the most well-respected violinists in the history of jazz. That stated, the violin is also popular in Eastern European jazz.