This piece is the result of an experiment. A neural network was trained with older jazz arrangements and transcriptions in order to generate musical text. Of course it was already known that neural networks are capable of generating outputs similar to their input data. So the experiment here was not a technical one, but more of a personal and aesthetic nature: Personal in regard to the changes of the author's role induced by this process and in the sense of the question to what extent one can enjoy technically reproduced clichés, simulations of a yesterday's aesthetic. To make matters worse, this endeavour took place on the playing field of symphonic jazz crossover, towards which the author cannot deny having an at least ambivalent attitude. Aesthetically in the extent to which simulations can change the perception of the simulated. One thesis might be that historical distance could be made tangible through simulation. At the same time, the joy in the failure of technology plays a major role in the fifty-four fakes as well. The glitches, the sometimes almost imperceptible misses of the "obviously meant" common-place, but also the unabated stylistic blunders.