All the above is true - On The Road and the Kerouac's first novel, The Town and The City (well the last couple of chapters) is pure '40's be-bop. 

Nor was On The Road scroll written in a mammoth benzedrine fuelled six day session, or dictated by the Holy Ghost, as Kerouac would have us believe. There were several versions and revisions along the way.

The whole Beat movement became a fad, even Alfred E. Neuman in Mad devoted a whole edition to the stereotypical Beat who had become a figure of derision and comedy back in 1958.

The classical Beatnik was deemed as listening to West Coast cool jazz, not the hard bop of the urbane black East Coast.

There is a Kerouac-jazz interface, but as much as I hate to say it, there is no real Ivy-Kerouac interface, at least one that worked.  Sartorially speaking, Kerouac was closer to Woody Guthrie than to Miles Davis. He did hang around in the clubs with Gillespie and Parker in the '40's. And Kerouac led me to jazz (well a deeper interest) that in turn riffed me onto Ivy.

Of course, as Burroughs liked to remind us, Kerouac sold more blue jeans than anyone and started the whole hippy shit, or at least some hippies stole some of his alcohol and benzedrine adled bop prosody and made it their own.

And let us not forget, that Kerouac's work - The Dulouz Legend - was written in spontaneous bop-prosody/be-bop poetics. As I've said before, Ivy is at its most powerful and intoxicating when allied with jazz.

The real Beats - Kerouac in his prime, was too filled with the Dharma to be derogatory to anyone.

There's not one word of hatred, or passage of pornographic violence in any the words of Dulouz Legend, and yet he was the outcast.

I'm not convinced that Kerouac spawned a whole new thing, the new thang, has been with us since at least the Romantics and of course, a lot longer before. Of course, the 'Trane started a whole new thing.