Hello everyone - thanks for the reactions to that article. I think Orpheus took most of it in the same way I did. For me, the author's main point actually isn't really about jazz per se, but the fact that Americans don't get instrumental music in general, as opposed to other cultures.
I pretty much agree with Frogman's comments as well - I definitely cringed at the Coltrane/Kenny G comparison as well. I also think that Wynton quote is dead on, and also in a way related to the lack of understanding of instrumental music in our culture. I also like and agree with what Frogman says about how popular music changes with the culture, etc. Jazz has certainly survived that.
Orpheus, Frogman is definitely correct about jazz studies being alive and well in schools, and also that there are more jazz clubs around in major cities than ever, all over the country. Recording sales are not the only, nor even the main way to judge whether an art form is alive or not.
Rok, some of your comments are very puzzling to me. Music without words IS abstract art, period; even if there is a "program" or "story" involved, it too can only be abstract. So yes, appreciating abstract art is absolutely necessary for understanding any type of music without words. Such music does indeed demand much more of the listener, even if the listener may not be meeting the demand.
As for your book, yes, all Western music does have a common origin, in the sense that it uses the same language. It isn't just a cliche to say that music is a universal language. This goes back to the discussion of "modes" that Frogman gave. The vast majority of Western music is directly based on just two of those modes, the ones we now call the major scale and the minor scale (Ionian and Aeolian, the Greeks called them, respectively). For many forms of popular music, relentlessly and monotonously so.
