To give one example, in the previous editions of the book I talk about John Coltrane but I don't talk about Alice Coltrane.
To some degree, I was sensitive to this issue even in the early stages of writing the book in the 1990s. But clearly, there was a need to dig deeper and to broaden what I did both for historical accuracy and also to understand the traditions and experiences that set a platform for what women are doing in the current day in jazz. To give one example, in the previous editions of the book I talk about John Coltrane but I don't talk about Alice Coltrane. In this edition, I was given the opportunity to do that. Part of the validation for this is that Alice Coltrane is having an influence now to a degree she didn't have 20 years ago. Part of it is Ted's getting wiser about how to write the history of the music, but the needs of the present day also change how we look at the past.