Like many forms of "western"music in China, Jazz music has its share of challenges in gaining ground with local audiences. While DJs and rock bands may grumble about how few people “get”their music, Jazz in China has faced a longer and more difficult path to legitimacy than nearly any other genre that comes to mind. Jazz music was officially prohibited during the Cultural Revolution, as a bourgeois and decadent detriment to the People.

“To look at the Jazz scene in Beijing today, and think of what was happening here musically 25-30 years ago, it's been amazing growth”, says Jessica Meider, a 10 year veteran of the Beijing Jazz scene, and vocalist for Jazz ensemble Quattrology and jazz/drum & bass band Junglecat, respectively. Today, cities like Beijing and Shanghai are host to a growing and increasingly vibrant local Jazz scene, which seem to have challenges and opportunity in equal measure. “There's not a huge difference betweene the scenes in Beijing and Shanghai, though Shanghai seems to have more Jazz clubs, and may be better business there due to the larger amounts of foreigners", states Liu Yue, mentioned by many as one of the top Chinese jazz guitarists in Beijing.”Both cities have talented local and international musicians and as the most international cities on the mainland have a growing Jazz culture.” Many internationally renowned musicians have played the Middle Kingdom, and events series such as the Time Arts Jazz series at Beijing University and the Nine Gates Jazz Festival, among others, have broadened opportunities to see top-tier Jazz musicians. But what of the grassroots jazz players constantly playing here in Beijing?

“It's difficult for many jazz musicians to make a living out of just playing jazz, so many have to play in other bands in different genres as well", states Liu Yue,. According to David Mitchell, Guitarist with Panjir and Enfant Terrible, this exposure to other musical influences has its benefits.”If you find the right way to introduce people to Jazz, they'll almost always enjoy it. Jazz can include so many things nowadays; elements of electro, world music, funk, drum & bass to name a few.”Mitchell is also Senior Jazz Guitar lecturer at the Beijing Institute of Contemporary Music, where he interacts with the future heroes of Chinese Jazz. “Many of the young players show great promise, and with more good students and teachers, the future of Jazz in China will certainly be interesting.”

The contradictory elements of Jazz, where improvisation meets uniformity, will always make for friction, no matter which culture it grows from. I once heard someone say that in Jazz, “you have to know what the rules are, so you can break them correctly in your own way.” Jazz is a genre defined by its past, and the canon of“standards”studied and played by all Jazz musicians across the globe can be looked at as a clear measuring stick of a players talent, or a rod of correction ensuring musical conformity and inhibiting individual composition. Original composition, according to David Mitchell, “is the lifeblood of Jazz.” Some of the seminal moments in Jazz history were severe breaks from tradition and rules of the previous generation, but in China I can’t help but wonder if the concept of giving“face”to elders and others may inhibit the challenging, musically confrontational attitude needed to expand musical expression. Liu Yue explains that“jazz musicians start from the standards, and studying the classics helps to understand the history of the music, and reveal the level of the musicians playing them.” Saxophonist Nathaniel Gao is the organizing force behind the Red Hand Jazz Band, a band Mitchell calls“the best straight ahead jazz group around, with a commitment to innovation.” Gao asserts that “It's important to grasp the traditions behind Jazz, but our band has been focusing on original material.” Liu Yue maintains that “anyone writing their own music should have a deep understanding of the genre, which is difficult to gain without becoming very familiar with the standards.”

Putting the standards –vs- composition debate to the side, Gao maintains “what is really needed is more resources and chances for people in Beijing to see real, live Jazz. It's very encouraging that most people in Beijing Jazz are Chinese, with a lot of younger musicians with talent.” Jessica Meider agrees. “It takes some pretty amazing willpower to fight against the currents and be a Chinese Jazz musician.. All you have to work with is whatever is here”.

Jazz venues such as East Shore and CD Café remain at the top of the list for many jazz buffs, and newer venues like the OT Lounge and CJW are also mentioned by many as good spots to take in the music.

However, David Mitchell has a different outlook. “I reckon the best places for Jazz aren't necessarily Jazz clubs. Places like Yugong Yishan, D-22 and 2 Kolegas can be great for Jazz as well. Jazz Musicians have to do more on stage when they're out of their comfort zone.”