While I don't follow it as closely as many of you, where are tomorrow's jazz musicians and why don't they have a forum to be heard?

Fifteen years ago I would not think much of it but it seems (to me anyway) these same musicians are trying to hang on still churning out music...much of it still very good, but I don't see many replacements at all. Who are the "under 40" musicians that will be the Jay Beckensteins and Russ Freemans and Bob Mintzers and Dave Weckls of tomorrow? (Ken, you too! )

Maybe I am just not aware? Does this worry anyone else that jazz will move to a more nostalgic or classic format? Yes, the music industry has changed but I don't see what I describe above happening in other formats.

EDIT: I don't mean the older musicians "trying to hang on" as derogatory. Bad choice of words. They are not hanging on, they are still making great music.

I think it's safe to say that any young jazz musician does have a forum to be heard. The thing is WE don't know their forum.
Most people in my area play blues, country or rock. But there is a jazz quartet, Amalgamation, whose CD I reviewed a few months ago. They're working on the next one.
But, I submit, they're mostly going to be school-based bands or small ensembles whose music is a secondary job, and they're limited to playing festivals and gigs in local nightclubs. Because of the way the music industry has changed since our "older" musicians came along, the younger artists are less likely to be discovered and gain any semblance of a national following.
There are a few exceptions: Hiromi (Chick Corea), Esperanza Spalding (Stanley Clarke). But since the major labels either don't touch jazz or only want a certain kind of jazz, a young band that does original music has to self-produce and self-promote. I'll help through my job when possible and of course with reviews. But they need somebody who can get them booked on Saturday Nite Live, The Tonight Show, Letterman, or any of the network morning shows.

There are plenty young guys who do jazz, e.g., the Bad Plus, Jason Moran, Brad Mehldau, Eldar, Medeski, Martin, and Wood, Robert Glasper, Happy Apple, Sex Mob, Fat Kid Wednesday, Dave Holland.

There are a lot of talented, creative people who also go into other music genres because they don't like jazz.

If the established musicians are having a harder time being heard, can you imagine the difficulties that aspiring and up and comers are having?

Part of the problem lies with promoters who don't want to risk booking talent that does not have a "guaranteed" fan base. They want to know that so-and-so is going to put butts in seats at shows. They won't risk their dollars on the untested. It's a sad but true reality in thuis genre.

For as much as I've come to dislike the Capital Jazz Fest over the years, I do like their yearly Capital Jazz Challenge that is part of the festival every year. Performers compete and are then judged by a panel of music and industry professionals. The winner of the competition gets to play at the main festival. I'm not sure of the requirements to enter, but it is a hugely popular event and we've seen some really good acts performing there. They come from all across the country to compete. The exposure they receive is enormous. Capital is huge on the east coast and has a long history, about 18-19 years I think. Capital is more than just the festival now; it's the Supercruise in October, and a 24/7 radio stream, so winning the challenge opens some doors for talented musicians.

I am aspiring to be a professional jazz musician. It concerns me though that the new generation coming now is more a hip-hop, rap, techno, and hard rock loving generation. There's not much interest in the Jazz department. But I guess that's where I'm gonna have to be creative as well as all the other artists. There are some big shoes to fill, but I guess it's like that in all generations.

Speaking of Esperanza, she was on PBS tonight.
All I can say is WOW.