One of the difficulties facing the modern musician who hopes to achieve something original is how to deal with the weight of the past. How does one write great counterpoint when there have been the glories of Bach, or the sublimity of Mozart? How can one reach the extremes of expression available to the jazz saxophone when there has been the transcendence and ferocity of John Coltrane? How does one write a timeless pop song after the Beatles or a protest lyric after Bob Dylan? The advent of di…
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