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RE: I can, too

The greatest jazz musicians I know never question their own worth, yet they retain a great humility and openness to what they don't know and don't (yet) comprehend. These are not the qualities that make one famous; Crouch seems to have embraced bombast, certainty, chutzpah, and egomania, and indeed he became the only jazz critic to ever blast his way into the mass media arena.

While in California Crouch was at the center of a scene of young musicians--David Murray, Arthur Blythe, James Newton, etc.--who after relocating to New York created the much of the most vital music of the late 70's and 80's. For awhile, Crouch was right there with them in New York still trying to play drums and promoting their work in the press. My cynical take is that once Reagan got elected, Crouch wet his finger and stuck it in the wind and decided it was time to change tack. He dropped his old associates and provided direction and muscle to the neo-con cause. And when he couldn't convince with reason he would revert to bluster.

As for Murray, I find all the neo-con slander in his direction comical. A jazz writer disciple of Crouch straight up told me that Murray "was a fraud; he can't even play a c-major chord." While ridiculous on the surface, it really tells me more about the writer's twisted criteria than about Murray. Perhaps Murray, who in so many ways a throwback to the heroic period of jazz, couldn't be dismissed as just a fire thrower or overly "European" like others associated with the "avant-garde" so the neo-cons had to resort to the sort of nonsensical charges so familiar to us in the age of Trump.




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