Israels recounts his decision to leave Bill Evans's trio to deepen his musical education and develop as a composer-and his choice to not rejoin the trio in Evans's last years. Citing such developments as the dominance of conservatory training and ill-advised crossover attempts with classical and pop, he also gives an impassioned but unsentimental account of how jazz lost its primacy in the pantheon of American music, even though it is America's most distinctive contribution to world music. He explores the obstacles that today's best young jazz musicians face following the giants of earlier generations and the dwindling opportunities to make a living as a musician. But despite it all, Israels argues that jazz's enduring and rich legacy will not be lost and shows how it can be not just sustained but broadened in the years to come.
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