For many of us, it started with Miles.

We imagined rain running over charming, but dirty streets. Courageous iconoclasts on every corner. Cosmopolitan drug users gathering in converted industrial spaces making art, music and conversation alight with meaning. We imagined donning headphones and surveying the glamour in city grit, walking slowly toward impossibly cool happenings to the tune of Miles Davis and his shrill, but perfect sound.

If you're thinking Basquiat – right on. That's pretty much where we got it.

We imagined a Gotham full of jazz and art and what we got was, well – Magnolia cupcakes and Williamsburg. Not that there's anything inherently wrong with any of that, but while David Varvatos and restaurants that sell upscale hot dogs are doing fine, live musicians are scraping by, facing what looks like abject obsolescence.

However, for musician and live music advocate Meghan Stabile, there's nothing but promise in the future of progressive live entertainment. Enter booking agents, show promoters, and jazz educators Revive Da Live.

“I'm a musician. I play guitar and I sing,” says the multi-talented Stabile. Dissatisfied with her gigs, she started her own scene.

“There was a time when I was 16 or 17 that I was doing a lot of performances in Boston and opening up for big people… artists like City High and MOP. This managing company at the time wanted to showcase me as a singer rather than as a musician. They would have me singing on these tracks that were straight r&b and hip-hop; it wasn't really my thing. They thought it was more appealing and more into what mainstream audiences would like to hear. I wasn't really happy with it and it kinda put me into this feeling where I needed something more in music; that's when I heard about Berklee. I ended up getting in a few years later in 2003, and there is where I was significantly inspired and overwhelmed by music…and introduced to jazz.”

“I didn't grow up in an area or household where people listened to that music. I didn't even know jazz existed,” she admits.

“When I got to Berklee, I was just like 'holy shit'; what is this? I ended up working at Wally's Jazz Cafe, which is where a lot of the musicians went to play and jam. Over time, there was this realization that this music was so underground; it bothered me. I couldn't figure out why this beautiful, complex music was so under-appreciated.”

It was dissatisfaction with seeing musicians go home with “30 dollars” at the end of the night that convinced Stabile to take action.

“I decided I wanted to produce events that showcased live musicians, in particular this type of music, because these musicians were influenced by hip-hop.”

It's true – whereas the Young Lions of 80's hip-hop was an as-yet immature art form, the current generation of young musicians grew up to the strains of what critics now call the “Golden Age” of hip-hop in the 90's. This is a generation that knows A Tribe Called Quest's “Electric Relaxation” contains samples of Ronnie Foster's “Mystic Brew” -- and how to play it properly.

For many, the roots of this interest came from the live neo-soul of Erykah Badu and D'Angelo. … the backup band Soulquarians, featuring players like Ahmir “?uestlove” Thompson. And jazz trumpeter Roy Hargrove handled backup duties for both. Jazz musicians pass around bootlegs of Wayne Shorter at the Litchfield Jazz Festival, and now a popular video in the mix is also a Youtube clip of Erykah's drummer Chris 'Daddy' Dave improvising with Timmy Stewart. …a “bootleg” for the digital age that seems to define a new kind of music community

Meghan explains that “there is a new type of eclectic sound in jazz emerging,” referencing Robert .