Jazz has always been two-faced--like Janus, the Roman gatekeeper. At the same time it peers backward to mine the tradition, jazz gazes forward to birth new ideas.

Fortunately, the advent of jazz coincided with the invention of modern recording technology--so we can now enjoy seven decades of records bearing witness to the evolution of our favorite music. Of course, today's artists are busy piling new material on the heap. And technology continues to shape the music that comes out today: new instruments, new recording technologies, and new modes of access. Even though improvised music is a beautifully imperfect human art, it can't help but be shaped by the changes going on in the world around it.

Of course, that's where we come in. We put out the word a few months ago that we wanted to know how today's artists are filling their ears, and their lists keep pouring in. Check out the March edition of Ten CD's I'm Listening to Now, and you'll have a chance to learn about the State of the Art. These jazzers listen to their share of the tradition (Mingus, Coltrane, Rollins) as well as modern jazz (Frisell, Swallow, Blake)--but also classical music, pop, and electronica. You know what they say: what goes in must come out. Maybe next time you listen you'll hear something new in today's progressive jazz. (And while you're in that particular neighborhood, stop by our interview section to learn a little more about your favorite musicians. We offer a solid dozen this month... 'nuff said.)

Along those lines, AAJ contributing writer Victor Magnani spent some time considering the State of the Art this month. His Where Is Jazz Today? story addresses a very difficult question, but Victor has the insight to frame the issue in context. He talks about popular vs. "art" music, the "new thing," and various external influences on jazz. In the end, he concludes that the music's rich influences will be the force that keeps moving it forward... a fertile plurality, if you will.

Some of the most exciting efforts to unite jazz with other forms of creative expression came to life over three decades ago, and this month we spend a moment like Janus, looking back on a spirit that endures today. While Chicago's Association for the Advancement of Creative Musicians (AACM) got quite a bit of critical attention, similar efforts in St. Louis were most ignored. Ben Looker digs deep to unearth the story of the Black Artists' Group (BAG). His report may not be something you can read over your morning coffee, but we heartily recommend taking the time to absorb his well-considered observations.

Finally, consider this: All About Jazz does not exist in a physical sense. Sure, there's a mainframe somewhere in Colorado that sends batches of electrons out to your computer. (And we most definitely have a large number of active, real live human contributors who each lend a personal angle to what we publish every month.)

But anywhere in the world where there's an internet connection, there's All About Jazz. Call us a bunch of hopeless romantics, but we like that idea a lot.