In his 1999 memoir, A Cure for Gravity: A Musical Pilgrimage, Joe Jackson writes approvingly of George Gershwin as a musician who kept one foot in the popular and one in the classical realms of music. Like Gershwin, Jackson possesses a restless musical imagination that has found him straddling musical genres unapologetically, disinclined to pick one style and stick to it. The word "chameleon" often crops up in descriptions of him, but Jackson prefers to be thought of as "eclectic." Is he the Joe Jackson he appeared to be upon his popular emergence in 1979, a new wave singer/songwriter with a belligerent attitude derisively asking, "Is She Really Going Out with Him?" The reggae-influenced Joe Jackson of 1980's Beat Crazy? The jump blues revivalist of 1981's Joe Jackson's Jumpin' Jive? The New York salsa-styled singer of 1982's "Steppin' Out"? The R&B/jazz-inflected Jackson of 1984's Body & Soul? Or is he David Ian Jackson, L.R.A.M. (Licentiate of the Royal Academy of Music), who composes and conducts instrumental albums of contemporary classical music such as 1987's Will Power and 1999's Grammy-winning Symphony No. 1? He is all of these, Jackson himself no doubt would reply, and a few others besides.