Maybe,maybe not. It's beside the point. I only gave my own thoughts on what I, personally, look for in a genius. As I said, others may agree or not, that's their right. I quoted Mozart because I understood that in the classical music world he is considered to be a genius. Maybe I was wrong, in making my point,to quote what I understood to be the general opinion.
I agree entirely with Brad's post re listening. But I think the whole point relative to that of musicians versus non-musicians listening to music and their respective judgements, has been blown up out of all proportion. Of course there are musicians who are poor listeners, as there are non-musicians. Few musicians are great record collectors in the sense that they have vast collections, although there are, as in all things, exceptions to the rule. Judgement/appreciation: As with most things in life it's not a question of black and white, but many shades of grey. But as a general point: if an architect looks at a building he will see things, as a professional architect, that a layman will not see - or may see, but in a different way, appreciating, but not understanding the technical aspects of what he is looking at. Same with a grammarian looking at a piece of prose or poetry; a sculptor, a carpenter, a painter, etc. I'm not saying that a layman would not appreciate such aspects, only that a practitioner would see or hear things in a slightly different way. You hear things in a certain way, conditioned by many things; I hear things in another, for the same reasons. (Incidently, we both come in for a great deal of published verbal and personal abuse from a certain Hans E because of this. He not only can't recognise this, but also denies our right to have different opinions. Also exacerbated by the fact that he doesn't seem to understand the sense of what he is reading. However, I digress)
On a slightly different tack. It has been said that perhaps Bix disguised his playing on some records. In my opinion it's very hard, if not impossible, for a player of a wind instrument to disguise his playing. Once one enters the realm of physically producing a tone from an instrument, a great number of factors enter into it. All the great original jazz players have a very individual sound purely because they are individuals.
Another example of Louis' genius. Anxious not to fall foul again of the management of OKEH records, he not only disguised his playing on the New Orleans Wanderers, and New Orleans Bootblack sides, but also managed to sound exactly like George Mitchell. Of course, he slipped up and gave the game away on I Can't Say, by playing a diminished on the last bar of the middle four of his solo, a typical Louis trademark.