I have to take exception to Ian Downey's commentary on the Rochester International Jazz Festival ("Jazz? Or Music for Elderly Suburbanites?").

I have purchased a club pass all five years of the jazz festival. I take my vacation in June and have spent each night of the festival seeing two to three sets of music per night. I live in the city and ride my bike downtown ...hmm... not exactly the elderly suburbanite Ian imagines attends this festival.

The people I have seen at the festival represent just about every age, race, and living location you could imagine. There is a camaraderie often missing in our city. Perfect strangers will tell you the music you should not miss and when you should get in line so you will be sure to get in. You share your table with anyone looking for a seat. While it is true that the club pass may not be possible for everyone, there is also plenty of free music, so no one is left out. On a Tuesday night, the streets are packed with people.

I am no jazz expert, either, but Ian's definition of jazz seems exceedingly narrow. The very origins of jazz lie in blues, African-American folk music, ragtime, West African music, and New Orleans to name just a few of the influences. Jazz uses improvisation, swing, call and response, polyrhythms, syncopation, and many other techniques to express itself.

There are all kinds of genres: avant-garde, bebop, Dixieland, jazz fusion, swing, soul, smooth, Latin jazz, acid jazz, jazz blues, jazz rap, and many, many others. The amazing thing about this festival is that it represents so many different genres. It is an education for anyone open to it. I've heard traditional Danish, Japanese, Indian, and African folk instruments side by side with horns, bass, and drums. I've been challenged by music I might not ordinarily choose to listen to. I've been in clubs where the night was electric, and the musicians and an appreciative and devoted audience were transported to some divine place.

Honestly, it does not sound like Ian has ever attended the jazz festival. Anyone can be a critic, but it sure has a lot more meaning if the critic has taken the time to experience something. I have never left the festival disappointed, and I expect this year to be no different. Three of my favorite memories from last year:

1) Billy Bang peering out into a packed house at Montage, his electric violin by his side, asking if anyone from Garth Fagan Dance was there, and a whole table full of people stood up, including Garth Fagan. Garth Fagan had heard Billy Bang's music in New York City and choreographed a dance to his compositions dealing with his tour of duty in Vietnam. With artists appreciating artists, the night became a special one. Intense Asian-influenced music filled the room. After three rousing standing ovations, the band finally could play no more.

2) Karrin Allyson's warm voice, her obvious regard for her musicians on stage, and the fact that she dared to write words to classic jazz standards like Moanin'.

3) Kenny Garrett taking the crowd through intense improv, Japanese-influenced music, and ending the night with the whole audience becoming part of the trio by singing back a loop of Happy People.

What more could you ask for?

Sharon Turner, Hamilton Street, Rochester