In an article headed „Miles Davis, the most brilliant sellout in the history of jazz“, published in the New Republic in 1990, Crouch accused Miles of „an abject surrender to popular trends“ at the end of the 1960s which had launched him on a downward spiral into „youth culture vulgarity“. Crouch denounced In A Silent Way as „long, maudlin … little more than droning wallpaper music“, and found in Bitches Brew only „static beats and clutter“. After this, in Crouch’s estimation, Miles’ music became „progressively trendy and dismal, as did his attire; at one point in the early 1970s, with his wraparound dark glasses and his puffed shoulders, the erstwhile master of cool looked like an extra from a science fiction B-movie“. The musical degeneration had continued to the point, Crouch declared, where Miles ended up with „a sound so decadent that it can no longer disguise the shrivelling of its maker’s soul“.
von hier.
man müsste nachforschen, ob in diesem zusammenhang auch der waldheim-vergleich kam.
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