I agree that jazz will live long into the future, and the importance of playing other styles. I just have to find a balance.That is just utter crap from every dimension, sorry. One, it assumes that only musicians enjoy jazz while the rest of the world doesn't. That is a gross underestimation of jazz popularity and versatility. It may hold true for, let's say, standard bop bands (and even then that's not the case), but jazz as a musical genre enjoys enormous popularity amongst musicians and non-musicians alike. Yes, musicians might appreciate some forms of jazz more than non-musicians (phrased another way, those who enjoy jazz tend to be interested in musicianship as well), but that's not the point here. Lots of people relate to jazz. Ever been to the North Sea Jazz festival or Montreux? If so, you know what I mean.
Second, there is an assumption that jazz bestowes one with all the technical skills necessary to play other styles, and the only thing you have to do is get familiar with that style. Very false. While most jazz musicians and jazz drummers value technical capabilities and those technical capabilities make it easier to learn other styles, playing afro-cuban styles or even pop is a whole different discipline in itself. Ever heard Danny Gottlieb's pop instruction videos? He's a great jazz player, but his pop fills suck, sorry. Also, interpreting mambo with swing will get you a lot of angry looks from the conguero you'd be playing with. Moreover, you assume that 'jazz' is one style with one way of playing. There's a major difference between bop drumming and bigband drumming, between trio playing and jazz fusion. It may all be 'jazz' (whatever the hell that means), but its a whole different league of playing. This is also why your comparison with Vinnie Colaiuta doesn't really fly. He's an amazing drummer, his bigband and fusion skills are beyond comparison and from that perspective he's (also) a great jazz drummer. However, I tend to see him as a pop/fusion player, because that's largely his background. You wouldn't put him together with the John Scofield trio, only if you want a powerful backbeat-driven vibe to it.
Lastly, what annoys me the most here is the presumption that in the future, there will be no jazz scene or only a limited one, a scene that cannot support fulltime jazz musicians. Don't fool yourself, in many countries the scene is still expanding in numerical terms. It's largely eclipsed by pop music, but apart from the swing era, it has never been that big. Do you really think Coltrane sold more cd's than Joshua Redman? Nah. Furthermore, don't underestimate the power to adapt. Jazzy lounge (St. Germain, Gare Du Nord, even Goldfrapp) is huge. Here in the Netherlands, the New Cool Collective bigband sells out major pop venues. Overall, I'm not too worried.
That said and to directly answer the OP, of course you have to pursue different styles - but from an artistic perspective. I see myself as a jazz/bigband drummer, but I couldn't do without my ska and funk bands, and even crave for playing hardrock every now and then (my favorite record at the moment is still Them Crooked Vultures). Only playing one style will surely end you up in a dead end, regardless if it's jazz, afro-cuban mambo, pop or Balkan. Learning more styles will also improve your playing within your favorite genre. So, explore, but don't kid yourself in believing that you should abandon the genre you enjoy for career purposes.