JG is top of my list as an example of where the sax can go as a (jazz) instrument and expanded outside limited definitions/boundaries. He should be required listening for students who are mistakenly taught that jazz and sax playing is about continually revisiting the 1950s and 1960s. There is a future (and it's not in the past) with JG of the best beacons illuminating the way. His concerts are almost always sold out, which also validates that this music communicates to a wide audience and that the future is certainly not about endlessly/mindlessly repeating "standards". It's not just how you play, it's what you play that determines whether audiences are interested.
