JAZZ and ..........surroundings

I believe that when talking about true jazz, it is first and foremost necessary not to work on any existing harmonic progression; I believe that true—and I emphasize true—jazz is total improvisation, everything that comes from one's soul without contamination. If we are then talking about swing or jazzy swing, which many assimilate to jazz, fine, I admit to improvisation on pre-existing melodic lines and harmonic sequences. However, I believe that even in... true jazz, it is possible to refer back to a pre-existing compositional idea; see, for example, M. Davis's interpretation of Autumn Leaves: he eliminated the theme, he eliminated the harmonic progression, preserving the most important part of the piece, which is the feeling, the flavor, the alienation from the lived present, the pathos of death, a perfect balance between reality and utopia, comparable to a work by Klimt or Nolde. Copying is not easy, especially if it is done well; how can one say that someone who reproduces the Mona Lisa exactly as it is is not talented, but is not creative? How can one say that Bollani is not talented, but is not currently a master because, in my opinion, he does not have his own style? I believe that with time and maturity he will form one, because he does not lack technical, ideational, or potential means. Art expresses what society represses. A person can express their specific identity with a few words or, if we want, with a few notes. The real problem is the audience because art expresses what society represses; look at the end that Galileo, Giordano Bruno, and John Fitzgerald Kennedy met for being precursors, and perhaps even this is an error. But those who make mistakes create a path or a mastery that will then be followed in the following years; think about how B. Evans was called "piano bar pianist" by envious people. Excuse my prolixity, I could continue but... pauca intellecti [few intelligent things]....