Source: NewMusicBox. This one is from last year, but still relevant.
It has become common practice to describe jazz as “America’s classical music,” but in some ways doing so misrepresents jazz’s role in this country’s culture and also creates a false hierarchy between this extraordinary American-born music and many other valuable musical idioms to which Americans have made invaluable contributions, including so-called “classical” music. Perhaps even worse it circumscribes jazz as a musical practice, limiting what it can be as well as the aspirations of people who create music that has been defined by that word. Last year, Boydell Press published a book with the provocative title The Other Classical Musics edited by Michael Church. The book looks at a total of 15 different musical traditions from around the world and, in the process, redefines the words “other” and “classical”; one of the 15 traditions featured is Western classical music since this music is in fact an “other” to people who grew up thinking of, say, Carnatic ragas as the building blocks of classical music. Another one of the traditions featured in the book is American jazz.
The Italian-born, Boulder, Colorado-raised composer/saxophonist Rudresh Mahanthappa creates music that is deeply informed by at least four of the traditions featured in Church’s book—the Carnatic music of his ancestors, the Hindustani music that most folks in America assume is the sum total of India’s contribution to classical music, Western classical music which got instilled in him while studying the Baroque recorder in elementary school, and jazz—his pedigree in which is backed up with two academic degrees. But the music he first fell in love with was Grover Washington’s and, he acknowledged when we visited him in his home in Montclair, New Jersey, his earliest attempts at original material were inspired by Kenny G.