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This fact came to me early, early enough for me to realize, as a young and eager 18-
year-old, that my newfound obsession with the music of Charlie Parker, Miles Davis,
and John Coltrane would not be enough—that for me to be able to actually play this
music someday, I needed to connect with its tradition, history, and development. I
needed to immerse myself in this language so that I could understand it and eventually
assimilate it. Immersion, imitation, and assimilation: This has been my process ever
very point, one that my most memorable instructors repeatedly impressed upon me:
“Make sure the foundation is there before you start building,” “Learn how to walk before
you run,” and countless other metaphors that basically all meant the same thing: You
need to study the tradition to develop a personality as a Jazz musician. I’ve observed
that, for the most part, the current generation of aspiring Jazz musicians does not seem
to feel the way I do about this. They seem to be more aware of the present state of this
music than of its past, and they want to be part of what’s out there now. Granted, most
of the students I work with are half my age, so a generational divide might be the culprit
here, but I find that hard to believe. Could things really change that much over a 20-year
I look back at what my priorities were while attending college in the late ’90s: Practicing
my instrument, transcribing solos, learning tunes, playing with others, and listening to
for my ideas, not an obstacle. I transcribed because it was the most effective way to
tunes and playing sessions made sense to me because Jazz is collective music by
nature, so the bigger my repertoire, the more chances I would have to connect with
other musicians.
For the most part, I don’t see these priorities reflected in many of my students. Solo
transcription, for example, is not a big part of their routine. Instead, the need to
an early age. There’s not a lot of attention given to the traditional Jazz repertoire either,
and the emphasis is on writing original music and even on recording albums as leaders
(things that didn’t even cross my mind when I was their age). Again, the focus here lies
heavily on what is around us (and, potentially ahead of us) instead of on what came
before us.
But learning from our elders is not a new concept. If we take a quick glance at history,
we notice that a great majority of the musicians we admire (in Jazz or any other style of
music) were inspired by music that came before them, and that they developed their
saying I’ve heard many times, seems to my eyes to be truer by the minute.
As is often the case, there is a flip side to the perspectives I’ve laid out above. I’ve
always been skeptical of the assumption that most things change for the worse, and
that things used to be better then than they are now. Some of my peers are constantly
reminiscing about the past and about how great things used to be “back in the
day” (anywhere between 10 and 40 years ago), but I would hate to be that guy. Instead,
I’ll try to adjust my perspective and think about potential reasons for this generational
disconnect.
For starters, the Jazz world changes all the time and very rapidly. It is certainly very
different now than what it was like 20, even 10 years ago, so the current generation of
upcoming Jazz prospects might just be adjusting to the world around them. For most of
these young musicians, landing a high-profile gig is almost impossible, mainly because
these types of gigs are not around anymore. Far gone are the likes of Art Blakey, Betty
Carter, Elvin Jones, and other legendary Jazz figures, who customarily hired younger
musicians and whose bands became rites of passage for some of today’s leading
figures. Older musicians often follow a different formula these days: Instead of bands,
they have “projects,” or ensembles that are connected to a specific recording, only to be
replaced by another ensemble once the next recording comes along. In addition, there
are very few working bands in the Jazz world, and the ones that do exist are tightly knit
units, keeping the same members for very long periods of time. So it is understandable
that, instead of trying to land a (nonexistent) high-profile gig, young musicians have to
assemble bands and make records as leaders, creating their own outlets for their
On the other side of the spectrum, the powers that be in the Jazz world today—not the
musicians themselves, but the majority of the Jazz press and, by extension, most Jazz
figures of today are not necessarily accomplished “instrumentalists,” artists who paved
their way through the scene as bonafide sidemen before developing their own
develop a personality early and for the most part independently, and who are as
comfortable writing grant proposals as they are in a performance situation. So, directly
or indirectly, the Jazz world encourages young musicians to develop their personalities
early on, grow their careers with a self-made mentality, and be more in synch with
With that said, could it be that this generation is not neglecting the past, but just reacting
I’m lucky to say that I frequently get the chance to interact with incredibly talented young
Jazz students and upcoming musicians, both at New England Conservatory, where I
have been teaching for 8 years now, and at other institutions. During our interactions, I
emphasize the fact that my road to becoming the musician I am today is not the road,
confident that this young generation of musicians will forge its own path, and that it will
find its own unique way to connect the tradition of this music with the present. Jazz, one
way or another, will become their music. And I, for one, can’t wait to see what the future
holds for them, for this music, and for all of us.
A multiple Grammy® nominee and Guggenheim and MacArthur Fellow, Miguel Zenón is
one of a select group of musicians who have masterfully balanced and blended the
often-contradictory poles of innovation and tradition. Widely considered one of the most
efforts on perfecting a fine mix between Latin American folkloric music and jazz. Born
and raised in San Juan, Puerto Rico, Zenón has recorded and toured with a wide
variety of musicians including Charlie Haden, Fred Hersch, Kenny Werner, Bobby
Hutcherson and Steve Coleman and is a founding member of the SFJAZZ Collective.
His 10th recording as a leader, Típico was released in February 2017 to wide critical
acclaim. Zenón has been on faculty at New England Conservatory for eight years.
https://www.huffingtonpost.com/entry/jazz-tradition-
innovation-and-the-generational-
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