Pourquoi la philosophie s'est-elle si souvent satisfaite au mieux de meconnaitre le jazz et, au pire, de le mesentendre (Adorno) L'une des reponses serait que l'irruption du jazz, au debut du XXe siecle, reimporte des valeurs - oralite, imitation, priorite du corps sur le signe, unite du sens et de la voix - que l'Occident s'est efforce de congedier des l'origine de la philosophie occidentale.Deux mille cinq cents ans plus tard, apres une lente maturation au sein de la communaute afro-americaine, le jazz consacre des themes esthetiques et ontologiques auxquels les nouvelles techniques de communication et de diffusion assurent un retentissement planetaire. Why has philosophy so often been content to underrate jazz at best, and at worst, misunderstand it ? - Adorno) One answer might be that the eruption of jazz in the 20th century reintroduced values - its orality, imitation, priority of body over symbol, meaning and vocal unity - that the West had been trying to dismiss from the very beginnings of Western philosophy. Twenty five hundred years later, following a long maturation process inside the Afro-American community, jazz is consecrating aesthetic and ontological themes that are assured global impact through the use of new communication and broadcasting techniques. Christian Bethune, whose Doctorate is in Philosophy, is currently teaching at Academie de Clermont-Ferrand. A long-time columnist with Jazz Magazine, he has also published many articles in Cahiers du Jazz, Revue d'esthetique, Art Press, Papel do Jazz and Copyright Volume, as well as several books on jazz and rap.