5. In the same interview, Melford approached this idea by referring to the overlap between her objectives as composer and improviser:

”As much as I try to bring a whole intellectual process to writing, it’s really quite intuitive. As an improviser, I have an intuitive tendency to go off in a different direction when the composition has connotations of bossa nova, early Horace Silver, or salsa. I try to use that tendency compositionally. In my compositions, I intend these references to go other places. They’re fluid references. It’s logical that they shouldn’t come out the same way every performance.”

Your use of these materials in your compositions, then, has more to do with evolving new modes of interaction than continuing, say, a (Charlie) Parker -to-Coltrane-to-AACM dialectic.

”Yes. You have to be open enough to explore the juxtaposition or interaction of styles or vocabularies in the moment. Unless you have that sensibility, you can’t make anything new of the common language pool.”