When it comes to talking about contemporary mainstream Black American culture and its love/(mostly) hate relationship with jazz, spooky analogies such as “The Spook Who Sat By the Door,” “The Colored Section” (an original option for the title of this blog) and “Invisible Man/Magic Negro” constantly pop up.

Why? Because to put it bluntly mainstream Black outlets treat jazz like a n*gger.  Jazz becomes its favorite go-to n*gger (Magic Negro) when it comes to celebrating the greatest of Black American achievement (e.g. Black History Month) or wanting to brand a music event as “jazz” in the name of sophistication (and still not have one bona fide jazz artist on the bill), and then gets constantly dissed  (The Spook Who Sat By the Door) when it comes to receiving regular shine.  That’s until some jazz legend dies and everyone rushes to concoct some grand appreciation/obituary. It’s the equivalent of the Grammy’s routine practice of ignoring some musicians high artistic achievements  — Everyone all together say: Marvin Gaye, India.Arie, George Clinton, John Coltrane, Max Roach, Mary Lou Williams, Donny Hathaway, the Roots, Betty Carter, and the list goes on and on — then waiting until they’re damn’ near dead to honor them with a condescending Lifetime Achievement Award.    

From just about all Black mainstream outlets, jazz got roundly ignored last April, which is Jazz Appreciation Month. Now two months later, during Black Music Month, jazz becomes that all-too familiar footnote, an obligatory historic reference with hardly any noteworthy commentary on the current generation who are pushing the genre forward – and in many cases – more forward-thinking than our beloved R&B and hip hop.

Yeah, I know the money jungle argument. Jazz’s audience is dwindling. Jazz’s record sales are down. It’s the hip-hop generation.  Well people, here’s a news flash: Just because a music doesn’t sell, doesn’t mean that it’s artistically dead and not worthy of considerable and more importantly consistent coverage.

And for those young guns out there, who believe that hip-hop will never die, you’re right hip-hop will never die. Still, don’t count on it as the forerunner of global culture. Forever is a long time. And trust this – things fall apart.

So while we celebrate Black Music Month, peep these young, gifted jazz artists, who’ll make sure that jazz will be alive and well in the 21st century – with or without Black mainstream support.

Esperanza Spalding
Gifted bassist/singer, who at age 23 became the youngest faculty member of the prestigious Berklee College of Music. Cop her discs, Junjo and Esperanza, immediately.

Robert Glasper
Pianist/composer known for his equal love and knowledge of hip hop (especially J Dilla), R&B and gospel as his acumen in jazz, he’s the music director for Mos Def’s Big Band, which will be playing at Carnegie Hall this month as part of the New York City’s JVC Jazz Festival. Check out Glasper’s disc, Mood, Canvas and In My Element.

Jaleel Shaw
Fantastic young alto saxophonist, shining bright with sophomore, self-released disc, Optimum.

José James
The best new jazz vocalist of 2008, rocking a killer debut disc, The Dreamer that appeals to both jazz aficionados and hip-hop heads alike.

I know that I missed a rack of other young talented jazz artists worthy of Black mainstream media’s attention. So people, help me get the roll call going? What other young jazz talent should get their shine just like Lil Wayne, Chris Brown and Rhianna are getting theirs?

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