I like pondering the future trends of music when I explore new artists and see live music. No one really knows or has any way of truly knowing what will come. As a musician with a background and love for jazz, I sometimes worry about how I will be able to explore that style in my music in way that is relevant as years go by.

In 2012, I started writing my Thesis about glitch and jazz for my MFA. It was about the under-explored musical atmosphere created when acoustic instruments are combined with glitch. Not only that, but I was interested in systems of music that also incorporated improvisation, alongside the glitch. Looking back, I think I was just scratching the surface, and did not fully grasp what potential that music contained.

Later in the fall of 2013, I discovered a Sweedish composer who made an album called Sknail: Glitch Jazz. I emailed him to tell him how much I loved his work, and he sent me some free music plus autographs. It was wonderful hearing that music actually getting explored, and even praised by critics. Perhaps there is a future for jazz in glitch?

Late last year, I discovered Tennyson. And I'm now beginning my binge. (Typically, when I really begin enjoying an artist, I binge on their work for weeks, sometimes months.) Tennyson is a young duo project from Canada, with influences like Flying Lotus and Lapalux. The two are brother and sister, Luke and Tess Pretty. Before they were 12, they had already released a few jazz albums. I'm not kidding. They're jazz players. Luke decided to combine his love for jazz with his love (and talent) in producing electronic music, and to bring his sister on board to to drums and percussion.

I can't fully express how this music moves me. The elements of jazz (to me) are present. I hear the rich chords, the advanced progressions, and of course, the synth lead solos (and sometimes piano solos!). It's amazing. And what's more, is that this project is very well received. They are not just some obscure weird electronic/jazz project. They are well respected serious contender in the realm of electronic music.

It gives me hope for the jazz musicians who are dabbling more with electronic music. The future could turn ugly with lots of very simple beats dominating the market, and a few cheesy hooks capturing the attention of the masses. Or, just maybe, all of the talented would-be jazz heads will start migrating into electronica, and our music market will one day be saturated with multi-talented producer/improviser/instrumentalists who have carved out a new habitat, one that is respected and cherished.