"Academic theorizing about jazz has traditionally lagged far behind the inspired playing of it with the field of jazz writing dominated by magazine journalists and social commentators. This has often been a relief, making the literature of jazz unburdened by the obfusacatory language and petty point-scoring of the academic establishment. Since 1990 some excellent jazz academicians have emerged such as Krin Gabbard, Graham Lock, Ingrid Monson, Nathaniel Mackey, Paul Berliner, and George E. Lewis, who incorporate the best of the jazz writing tradition whilst riffing a new discourse using the resources of cultural theory. Some of them are represented here in this excellent comprehensive collection of writings about the politics and aesthetics of improvisation."–Alan Rice, Journal of American Studies
