Even masters like Franz Liszt found that a Hungarian Rhapsody with it's grand sweeping runs and excitement could captivate an audience and sell a whole lot of music paper better than a deep brooding piece that required a critic to explain. Don't you find it a little strange that most Jazz musicians are familiar with Horowitz going to see the great Jazz pianist Art Tatum in concert, but you can't have a Tatum conversation with too many of the pro-euro pianists in the world because they don't think of Tatum in a Lisztian way. Tatum and Liszt were popular because of their technique. The crux of this is the way people look at and treat jazz musicians, and as a group they don't voice too many opinions on thier treatment, preferring instead to let the music do the talking. Unlike the Symphony which let's the telemarketer do the lying, and the musicians union guarantees that a third violinist will make about 35-50,000 dollars a year while a Jazz musician can be blackballed for taking a gig that feeds his children but is under scale.
Jazz is also a term of sexual connotation, and scat basically means shit.
Jazz players are most serious musically, but in jazz they are punished for it. They can't expect a bar crowd to shut up the way they do for twenty bucks at the concert hall. Nothing new has come from this world in a long time because it is a dead art. You will never see the American Federation of Musicians trying to enforce these standards with the club owners, it's not part of their mandate. Thier mandate consists of creating the illusion that maestros don't play Jazz.