Without question, jazz music is a powerful vehicle for human expression. Everywhere we look or open our ears; we can discern the emotional, creative, and musical effects of this particular mode of human expression. Interestingly though, when we are discussing jazz music, we are also moving into the realm of controversy.

Jazz is the repository of how our ancestors were able to maintain life’s energy in the face of inhuman treatment by one group of humans, toward another group. The Holocaustic aberration of slavery is contained within jazz music, in other words, jazz is the symbolic record of our evolution as a people, that describes our development from bondage to freedom. Thus, this particular musical creation has the potential, any time that is heard, played, or talked about, to bring forth very intense reactions. Jazz music serves as a societal mirror.

If you look back at what we now consider a golden age in the music, the 50’s and 60’s, you think of more than music. You think of integration, the civil rights movement, you think of a kind of bohemian outsiderism. The problem jazz faces right now is that if you say “jazz” to somebody, they don’t have something obvious in the present culture they can connect it with. What is it saying? [It needs] something obvious in the present culture they can connect it with.

As jazz musicians, this is a central issue that we have to struggle with. Without getting into the tired rhetoric of the jazz wars, I do think it’s imperative that we try to connect our music to our own culture, our own experience of the world, our own lives. This is what makes the music of the 50’s, and 60’s so powerful, that it was speaking directly to the issues of the day. If you want to see jazz band you should look for soundgrove music here.

If jazz has become a niche market in the music industry (and it is), a contributing factor for its slide into cultural irrelevance is a failure to promote and support new artists. No matter what sub-genre of jazz you love, across the board there is no sustained effort to develop a roster of first-tier talent in jazz.
For jazz not only to thrive, but survive, it must begin to create its own superstars who can deliver a much-needed shot of adrenalin to the flagging art form, but possess skills in social media and marketing, creating a global brand, and finding new forms beyond record sales, radio play and live gigs in fewer clubs and concert halls to reach the new breed of jazz fans.
At this time we need to give serious attention to how we alienate ourselves from one another. About our various musical expressions, we have placed value judgments on what is “good” music. Through the judging process, we have created the quilt, repression of the spirit, ambivalence, and apathy. The community as a whole cannot afford to be at odds. Creative and realistic dialogue is needed between parents, musicians, teachers, and students. In other words, we have great need to create acceptance of ourselves and to embrace our collective creation.

Jazz people are passive people. They don’t spread the word. Jazz is about emotion and sweat and pouring originality into every guitar lick, every swinging outro. And it’s about spontaneity. Watching a live jazz show is unlike attending a rock or hip-hop gig. Jazz musicians live and die by improving, so they’re constantly throwing curveballs at our earholes.

It’s the kind of music for spontaneous music lovers. And it will only survive if people turn off the radio drivel that all sounds the same and return to an art form.

Here is interesting article on jazz relevance to the real world by wikipedia.