Kerry McCoy

There's an unspoken assumption in jazz that, when one hears someone's solo, at some level of consciousness one is bearing in mind that the soloist is improvising, and that the soloist should get some love for that fact in and of itself---the outcome of said "improvisation" being of secondary value at most and irrelevant at least. It's almost as if the listener is supposed to be impressed by the fact that the soloist is "improvising" (more on that later). Using this line of reasoning one could extrapolate…