It is a quite common belief, that improvisation (especially in jazz music) is something that requires knowledge, maturity, experience, aesthetics, etc.
That's the truth and this assumption is absolutely correct.
Nevertheless, I would like to get straight to the topic of this article and explain what I mean by the title "Improvisation from the cradle".

According to modern pedagogical science, any field of knowledge is actually "owned" by someone (of any age) solely by the route of direct experience.
The theoretical training is certainly necessary, but never enough to fulfill or replace the actual experience.

Such is the case with improvisation in jazz music.
The student gets in touch (in theory first) with the various "tools", "rules", with the vocabulary (depending on the style of jazz he/she studies, per case) and so with these first supplies, he/she can start the magical journey into improvisation. 

Of course, it would be absolutely desirable if literally from the cradle, children could get in touch with improvisation (from their early musical education), because they would manage to place the foundations of creativity, expressiveness, good taste, self-awareness and thus they would succeed a deeper contact with their inner self.

Accordingly, as one begins from an early age to experiment, to interact with the surrounding environment and to improvise of course - it is common knowledge that since children feel free in their play and in their song, they get to "improvise" constantly! - 
in the same sense, the person who wants to play jazz, would benefit greatly if his/her attempts to improvise would be encouraged from the beginning of his/her studies.
Obviously, the first attempts would be unformed, non artistic and without clear direction, but little by little, with the assistance of his/her studies, by having his/her ears wide open, by developing and deepening in the art and technique of improvisation, the results would undoubtedly be spectacular.

Improvisation in music (in any genre) presupposes the freedom of expression and the true will of the musician to tell his/her own story, a spontaneous and not premeditated story, which as the "plot" develops, this same story is opening new and unexpected perspectives on where it could be directed, each time.
Someone who wants to be a writer, starts writing no matter how "unripe" his early writings may be. An apprentice painter is drawing his first strokes, even though he hasn't mastered the technique of freehand drawing yet.

Freedom of spirit, expressiveness, imagination and musicality are inherent elements. 
If they are not suppressed and "injured" by social - psychological factors, then they represent the basic raw material of the musician. 
This raw material, which in the meantime is being increasingly cultivated, will very soon meet the framework, within which it can be combined with the knowledge, technique and all the other "tools", that the musician will be taught in the theoretical - academical level, in order to finally achieve (naturally and harmoniously) the musical result, which will have artistic, aesthetic value and a reason of existence.

One more conclusion is emerging from the above thoughts and I'll take the opportunity to place it here as it constitutes my strong personal belief.
Every form of art has two aspects, the technical and the artistic one. *
None of these two should take precedence over the other, though. 
Instead, they must work together harmoniously from the very beginning as a wholeness, because only then, the ultimate carrier (the musician, writer or the artist in general) will be balanced and only then the final "product" of his/her art will be profound and will manage to have the human soul as its grateful recipient.

* An extensive article on the much discussed "dipole" Technique - Musicality, will soon be posted.