a new path in trying to forge new ground,” he lamented. “Now as an older guy, I realized that those guys in the eighties made sure that young musicians had a certain type of pedigree, and understood the history of this music. They ended up creating a generation of younger musicians who were born in the eighties, who are well informed and understand the history of the music.” Scott’s previous records, including Anthem and Rewind That, capture the tradition in transition, while drawing equally from rap and rock stylings. He takes that blending to a higher level on his forthcoming two-CD release, Christian aTunde Adjuah, with a new concept he calls “stretch music.” “It’s a second-generation type of fusion: an improvisational form that acculturates other musical forms into a jazz context,” he says.
"The younger musicians are tearing down those barriers that separate the music. There's folk jazz, world jazz, African and Latin feel. It's not new for jazz to open its arms to different styles and forms of music. " says 40-year-vocalist Gregory Porter, who garnered a Grammy nomination for his 2010 CD, Water, and recently released an impressive follow-up, Be Good, an elegantly produced soul-on-jazz disc, featuring renditions of Billie Holiday’s “God Bless the Child,” the Cannonball Adderley-classic “Work Song,” and Porter’s Big Apple bouncy, “On My Way to Harlem.” “I'm doing what is in the tradition of jazz. I draw from a lot of influences,” he says: “Etta Jones, Abbey Lincoln, Joe Williams, Nat King Cole, Andy Bey, Leon Thomas, as well as Donny Hathaway, Curtis Mayfiield , James Brown, Sam Cooke and Marvin Gaye. I grew up with country gospel blues … I'm coming forth with my own personal musical charisma, my own voice. That's what's happening with Glasper, Esperanza, and Christian … they're listening to their own voices.”