Jon Dryden: pianist, composer, and professor of Jazz Studies at SJSU, is one of the grantees of the 2025 Jazz Aid Fund, playing at New Works Fest on March 7 in the SJZ Break Room. We had the chance to pick his artistic brain on topics like from what inspires him, how he balances the demands of teaching with composing while still earning enough to live, and his hopes and dreams for the Bay Area jazz scene. 

Producer Jesse Harris describes Dryden’s playing as “somewhere between Vince Guaraldi and Paul Bley.” Others have called it “melancholy with a touch of hope,” says Jon Dryden. We think it’s dreamy, emotional, and layered–like crying while sitting under a grand piano when you’re a kid, but feeling comforted by it. 

For the Break Room show, says Dryden, “I’m bringing in a few amazing musicians whom I love to work with from New York and Los Angeles.  The performance will open with a new piece called “Circada” and will include the SJZ grant-commissioned piece,  “That Would Be Telling,” 

The ensemble features Dryden on piano, Ben Flocks on tenor saxophone, Scott Colberg on bass and Benjamin Ring on drums.

Dryden says of the title, ”That Would Be Telling”, it’s from a key phrase in the British Classic Spy-Fi series The Prisoner, a show I watched with my students. It's one of the most amazing and influential TV shows ever made. The music in the show is excellent too.”

“I love metaphors,” he says of his inspirations and his process, “especially when they are used in subtle ways that cross artistic and psychological disciplines. Concepts like these give me an unwritten emotional framework that I can draw from musically.”

The television show presents an argument between the individual and the collective. “It asks, how much of each mode of thinking–collectivity and individuality– should exist in a society? Does a collective society lead to homogenization and surveillance states?” 

Whether or not collective societies lead to homogenization remains to be seen. However, Dryden acknowledges that it’s near-impossible to have a thriving jazz scene without one strong type of collective: community.

”I love what the SJZ Break Room is doing, which is establishing a place to play, listen and mingle, he says.”

However, he admits, it can be tough to have that same sense of community that he experienced in New York, where most venues lay in a smaller geographic area.

“The Bay Area Jazz scene has many amazing musicians, but is so spread out that there’s no center where people can congregate.” 

Community means so much, says Dryden, because “we need each other, and we need to be around people who are better musicians than us. What I would like to see much more of is more friendly competition–people kindly challenging one another to grow musically and to share ideas.” Without friendly competition, he says, creativity can falter. 

A robust community not only provides a center of gravity where jazz-lovers and performers can congregate, commune and compete, but it creates a place to network and radically imagine new possibilities. New possibilities not only inspire new works of art, but new music students, new venues, and new job opportunities–something sorely needed to sustain Bay Area musicians.

“The hyphenated life is a common career for most musicians,” says Dryden, referring to the multiple streams of income that he depends on in order to afford the cost of living in Aptos, to which he returned in 2010 to care for his dad after living and working for 19 years in New York City.

The way Dryden describes the New York City Jazz scene conjures up complex feelings, much like his compositions do. His words bring up feelings and images, like the melancholy but deeply alive takes he gives to popular songs he covers, like Nirvana’s All Apologies. He mentions venues, all close to one another, in a relatively condensed space. Images of happy, dreamy couples and groups of people weaving their way into and out of vibrant jazz clubs all close together–that’s hard to beat, even when you have small hubs like those in San Francisco and the East Bay, Dryden explains.

Prior to returning to his native California, Dryden was “solely making a living as a performing musician/composer/arranger/producer. Since I moved back home to Aptos, I’ve added instructor and lecturer to those skills.” 

Some working musicians, says Dryden, have their hands in a lot of pots because “many of us love a lot of different kinds of music.” No exception, he cites musical influences as diverse as Shostakovich, Scriabin, and Smith–Elliot Smith, that is. He also loves Prince. Dryden himself has collaborated with an impressive group of musicians-Michael Urbaniak, Patrice Rushen, and the Brecker Brothers–to name a few. He has recorded with several stratospheric megastars–Questlove, Norah Jones, David Byrne, Dave Chappelle, and John Mayer. And if those accomplishments weren’t cool enough, he has also composed for both Michael Moore and David Byrne–both heroes’ heroes. 

He finds inspiration both in the incredible musicians he loves playing with and his students. “They know a lot of things I don’t, and they have new music they’re listening to that I’m not aware of. I like to hear what they are into musically. Some of my students write pieces that aren’t anything like what I would come up with. I love to see that. Semi-consciously, I pick up their concepts and sometimes I work bits–no stealing, mind you!! Just bits– into my compositions. “

While he wishes he could devote more time to composing, “teaching earns me more than half my income and consumes less time.” And still he admits that he would not be able to afford living in Santa Cruz County without his family house, where he lives. So, the multi-hyphenate grindlife, continues, and while he doesn’t know the answer to the economic woes that drives musicians out of urban areas they can no longer afford, he does hope that “scenes will start to percolate in unexpected places.”

Dryden started piano lessons at five and started composing not long after. ”The compositions weren’t very good then, of course; but I have always associated performing and composing as one thing,” he says. 

While he has strong ideas about composition and excellence, his view on how to interpret music is more open-ended: “I like music to be whatever the listener wants it to be. One role a composer/songwriter can take on is making the personal universal.”

Check out the Jon Dryden Quartet at New Works Fest, Friday, March 7 at 8pm (Doors open at 7:30pm).

Tickets: sanjosejazz.org

Livestream: volume.com