The resurgence of  the pop music repertoire in the jazz lexicon began roughly 15 years ago when Cassandra Wilson, a singer known for her facility with standards and an appetite for experimentation, released Blue Light 'Til Dawn, a collection of Woodstock-era pop songs, blues standards and originals done in an original amalgam of Delta blues, jazz precision and pop sensibility. Her music recalled sultry afternoons spent sitting on a porch with a sweet iced tea; it was that Southern, and yet that accessible. In the years that followed Wilson's release, Olu Dara, another Mississippian, created his own Delta fusion. Pianist Brad Mehldaulooked to the rock songs he adored and began doing compelling covers of Radiohead (on his recent superb recording, the pianist applied his formidable style of Oasis and Soundgarden). Other leading keyboardists like Jason Moran, Rachel Zand Larry Goldingstook to Bjork. The Marcin Wasilewski Triojust did a star turn on Prince's "Diamonds and Pearls." As evidence of the new embrace of popular music, Herbie Hancock, who has a long history of successful pop interpretations, took on Joni Mitchell's repertoire to make "River: The Joni Letters"and won a top Grammy for his efforts. Even Wynton Marsalis, once the leading jazz purist, is about to release a pop-oriented recording of duets with Willie Nelson.

Jazz musicians are, once more, embracing and interpreting more popular repertoire, and the emotion has returned to the solos. Suddenly, it's no longer garish to pursue more than academic excellence with virtuosity.

The avenues for finding new music are increasing. Web sites like www.allaboutjazz.comare indispensable, as are custom Internet radio services like www.pandora.com, which allows listeners to stream music from particular artists and investigate new ones in similar styles. A friend of mine filled up a small iPod from a single evening of exploration at that site.

When you use "golden age" and "jazz" in the same breath, people think of either gilded ballrooms full of jitterbugging dancersand roaring big bands or small, sleek clubs filled with adoring fans and small combos. The new golden age reflects the new scaled-down economy of the music industry in general. The new clubs are a tad scruffier, and their audiences are more bohemian (perhaps as a reflection of the national economy, most young adults lack the means to go to a high-end jazz club where admission is $30, drinks are $10 and even a burger will set you back $15).

But trust me,  jazz is smokin' at a level not heard in a long time. Anyone who doesn't think so just isn't listening.

Martin Johnson is a New York writer.

Also on The Root: Martin Johnson's "Oakland A's Envy", "Some Marquee Names Showing Their Age in the NBA Playoffs", and "The King James Version of Basketball".