By “Global” we do not imply that the globalization of jazz is new or that folkloric traditions are not already hard coded in the DNA of jazz. Global jazz is about choosing to concentrate on the new forms of musical globalization that emerged in the 1990s, when a new generation of musicians from all over the world began to make explicit connections between jazz and their folkloric and traditional music, instruments and rhythms, placing them on the world stage and shattering the jazz paradigm that writers and musicians in the United States had constructed during the early and mid- twentieth century. After all, jazz itself comes from fluid interactions between different folkloric musics and musicians: Mario Bauza, Dizzy Gillespie with Chano Pozo, Charlie Parker with Machito, and many others have mixed jazz with Latin instruments, Indian tabla, the Panamanian tambor, and more for almost a century. What defines the new era of global jazz is its emergence from the collision of jazz with the socioeconomic and cultural phenomena of hyperglobalization.
-- Patricia Zárate de Pérez (page 139)