Jazz for aficionados

Beats me rok.
Though if he read the memoirs of America’s Greatest Mission Accomplished General on the events there in the 1840’s-  also one of
the few members of the WPPA who did not turn traitor in the 1860’s,
it wouldn’t surprise me if he had a special concern for its rightful owners .

No problem, Orpheus.  As both the Frogman and I have said before, it is often difficult for musicians to discuss these types of things with non-musicians and be understood.   I wish I could write as clearly as Frogman does about them; he is definitely better at describing things to non-musicians than I am.  

The bottom line is that some of these things that you find so mysterious aren't really, for someone who knows how it works.  Once again, this is the main reason I encourage all music lovers like yourself to give music some serious study.  So many of these types of things would become much more clear to you, and would greatly  enhance your enjoyment of whatever you are listening to.  

Learsfool's excellent comments leave little to add.  Re:

****If this music was written out, do you think the classical musicians could play it, and make the music sound as though it wasn't faked?****

I think the confusion is due to the misuse of the term "fake".  "Faking" is a term in the jazz vernacular that applies mainly to "club date" settings (parties, weddings etc.) where musicians play tunes in an ensemble setting in a way that sounds as if they are playing charts or formal arrangements of those tunes.  It could be said that they are "improvising" these arrangements, but this is not improvising in the way that is heard on most on the clips posted on this thread.  While most of the players that are good "fakers" are also good jazz players, not all good jazz players are good fakers.  It is a unique skill that requires great knowledge of harmony and the ability to think like and speak (play) the language of an arranger.  It is probably impossible to describe just how difficult it is to, for example, credibly play 4th tenor saxophone parts in the context of a classic five man saxophone section in a big band of musicians that have no written music in front of them.   It is virtually a lost art that was fairly common at one time.  I think that O-10 meant to say:

****If this music was written out, do you think the classical musicians could play it, and make the music sound as though it WAS IMPROVISED****

Learsfool did an excellent job of addressing this issue.  I particularly liked his emphasis on the idea that just because the playing is fast and with a lot of notes doesn't necessarily mean it is difficult to play.  In fact, in jazz the hardest thing to do is to say the most with the fewest notes.  Re doubling:

"Phantom" is not a particularly good example of doubling on Broadway shows; only one of the reed books require doubling on instruments from more than one family of instruments.  By contrast, in "West Side Story", Reed 3 is required to play flute, clarinet, bass clarinet, oboe, English horn, tenor saxophone and baritone saxophone.  It is a daunting task to learn to play so many different instruments well and to stay in shape on them;  not to mention instrument maintenance and the preparation of reeds.  The doubler is also expected to be able to play credibly in many different styles and in some cases to also improvise.  In fairness it should be pointed out that it is rare (not impossible) the doubler who can play each of those instruments at the same TECHNICAL level as a top single instrument or "straight" player.  It might be of interest to note that doubling is required in some works in the Classical repertoire.  Of note: 

Alban Berg "Violin Concerto"- 3rd clarinet/alto saxophone
Bernstein "On The Town"- 2nd clarinet/alto saxophone
Vaughn Williams "Symphony No.6"- tenor saxophone/bass clarinet

Rok, the reasons for an institution to have an "artist in residence" can range from the magnanimous desire to provide a worthy artist with an environment conducive to the creation of his/her art with no other preconditions,  to having a contractual agreement whereby the artist will teach, give lectures or, in the case of a "composer in residence", produce a work that may be premiered by the institution if that institution happens to be an (usually prominent) orchestra.  In fairness, it should be noted that even in the first scenario in which the institution's motives are purely magnanimous, an institution can derive a great deal of "cache" and attention by having a prominent artist as "artist in residence".  This being the case, there can be  many benefits ranging from attracting top students to helping in securing funding and grants.