It's been a while since I've brought in the big guns to explain my program, but here's one of the greatest living musicians in today's New York Times putting in his two cents on one of my favorite topics, the futility of genre, and one I haven't really gone into much, jazz as the perfect vehicle for exploring combinations of music.
Genres made it easy to put things in categories so that they could be promoted. One person’s face could be recognized for one category, and another person’s face could be recognized for another category. It was just to make some sense of it all. But when it starts to interfere with cross-collaboration, and the fact that that too can be musical, then it becomes a problem. I can only say that the word “jazz” today is much broader than it has been in the past.
You know, the most important thing is the spirit of jazz — which is about freedom, about improvisation, about courage. I mean the courage to play something that you haven’t played before, to create something on the spot. And it’s also about sharing, because onstage we don’t compete with each other. Each of us expresses ourselves from our own being, and no two people are alike, so the idea of being judgmental is not on the table.
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