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A lot of the Kind of Blue thing is about taking good ideas and pushing them to their logical extreme. Jon [Irabagon, saxophones] went to the Julliard Jazz Program for a graduate program, and one of the requirements—you know, the Julliard Jazz program is under the aegis of Wynton Marsalis and Jazz at Lincoln Center—is that on your recital, you have to perform a transcribed solo.

So let's say you're doing four tunes at your recital. One of those tunes has to contain your transcription of somebody else's solo and you have to play it in context, i. But that is jazz? Big question mark right there. So we went to Jon's graduate recital, and this is Jon's subversive streak and it's funny too.

For his transcription, he transcribed a minute, unaccompanied Steve Lacy solo, from one of those Steve Lacy records. And it's Steve Lacy playing some little tune that he wrote, and then he blows for ten minutes, and then he plays the head. Jon played the entire transcription. Twelve minutes of recital. And we thought it was hilarious; but then it's like, well wait a minute: And, if you were to listen to Steve Lacy and Jon, would you be able to tell the difference, and if you could, does it matter?

And if you don't know the difference, how can you tell which one of them is jazz and which one of them isn't? So does that make both of them jazz or neither of them jazz? So now we're getting into this interesting area. So then it's like, ok, well now, if we play Kind of Blue , the entire album, note for note the same, and you put it on for somebody who doesn't listen to that album constantly—some non-major jazz fan who just knows Kind of Blue —if we were to take our version and play it for them, and said like, "What is this?

Ok, yeah, this is Kind of Blue by Miles Davis. So if you can't tell any difference audibly, and if we do it right, even playing it for you [Greg], you might not be able to tell the difference, and then, what is the difference? Is what we did Kind of Blue? Is what we did even jazz? If it isn't, what does that make it? If it's not jazz, why not? Listen to that music and tell me what the difference is, you know what I mean? Cuz then someone will be like, "Ok, it's not jazz because you're not improvising.

So you're dismissing it for a reason that has nothing to do with the actual sound. It becomes not jazz for purely rhetorical reasons.

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The sound is clearly jazz, but because of the process that went into it, it magically becomes "not jazz". All of this gets even stickier when you can't tell one from the other, and sometimes you won't be able to.

That's one curious avenue. Another one has to do with the parallels, and this also gets at the Lincoln Center thing, between classical music and jazz. On a certain level, I totally agree with this and think Wynton Marsalis is awesome.

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The whole, "jazz acquiring the same social cachet as classical music. So those guys are right that, yes, jazz should be culturally canonized to the same level as those other guys, and to deny that is to be a racist jackass. The problem with this is that, in a lot of ways, the canonization and institutionalization of classical music winds up killing classical music.

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In fact, I have heard a lot of orchestras that are super highly paid, bourgeoisie-generated things, play shitty ass renditions of Mozart because they've played Mozart 40, times. They probably don't even need to read the music anymore; they put that sucker on autopilot, and it's not very good? Orchestras that have to play five to nine concerts a week, and all the people I know who are in those orchestras talk about, you punch in a time clock.

You're basically a factory worker.

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That kind of kills it, and I notice in going to concerts, you can tell when an orchestra wants to be playing the stuff that it's playing, or that the conductor has gotten everybody excited enough to actually play the Music with a capital M, as opposed to this kind of like, bland recital. But, as far as playing the transcription goes, no matter how closely we transcribe it, or how meticulous we are about our details, it is impossible to play Kind of Blue exactly the way those guys played Kind of Blue.

Even on a note-to-note basis. I went through it pretty painstakingly, I'm sure there are at least five wrong bass notes in there, where, i. But the rest of the take is cool, so we're keeping it. And then with the horn players, it's even more extreme. So those guys were improvising to a greater extent than even they usually would have been.

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We all know and love Cannonball. Cannonball has certain licks that Cannonball always plays. There's one that he plays on there that everybody knows, where he does that thing where he, like, trills the side key [makes the noise]. That's like a calling card. The way Cannonball executes that lick and the way Irabagon executes that lick are never going to be exactly the same, because Cannonball and Irabagon are different human beings.

Same thing with Kevin, or all of us for that matter. So on the textual level, it's impossible to actually play it exactly the same. You can't do it. Part of the enjoyment of listening to Toscanini's Beethoven cycle versus the Herbert von Karajan cycle is that they're different orchestras and different conductors bringing out different aspects of the score. Ideally, when you listen to our version of Kind of Blue , it's another rendition of the same score, and so certain things are going to sound different inherently, because we are different people interpreting the score differently.

For me and us, those are the two most interesting aspects of the conversation. This conference comes at a critical time. Across the world, thousands of tons of fishing gear are lost and discarded in seas and oceans every year, putting marine life in jeopardy and clogging up harbours.

Climate change is warming our ocean at faster rates than we had imagined.

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And the illegal, unreported and unregulated fishing market is scooping up millions of kilograms of fish each and every year. As our global population continues to grow, we increasingly understand that we will need to rely on our oceans to provide for our global needs of food, trade and livelihoods. Canada is committed to building a sustainable ocean economy that can prosper for many. Canada made the ocean a cornerstone of our G7 Presidency. The Sustainable Blue Economy Conference is the start of an important global conversation.

One hundred and fifty countries will be participating. Over 10, people are expected to attend. The stakes are high, the time is short. Go to global search press enter.

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