to remain with the Detroit Wheels. Bloomfield next approached Nick Gravenites, originally also from Chicago, who agreed. Peter Strazza, whom Goldberg knew from Chicago, joined on tenor saxophone. Jazz guitarist Larry Coryell, who had developed his career in Seattle while a university student, recommended Seattle-based Marcus Doubleday on trumpet. Career Bloomfield and Goldberg developed the group in San Francisco, under Albert Grossman's management, and immediately began working on the band's first project: the soundtrack for the film The Trip. Actor Peter Fonda approached Bloomfield for the project, as a replacement for Gram Parsons' International Submarine Band. Director Roger Corman did not find the music of Parsons' band appropriate for a movie about the LSD experience. At the time, the Electric Flag was rehearsing in Gram Parsons' Laurel Canyon, California home. Bloomfield was solely credited for all of the compositions on the album. He hired keyboardist Paul Beaver to add texture to the soundtrack, through the use of one of the first Moog Synthesizers on record. The soundtrack recording was reportedly completed in ten days. While the movie received mixed reviews, the soundtrack attracted positive critical notice. As described by David Dann in his biography of the Electric Flag, "The record was also one of the most adventurous for pop music in 1967, sampling freely from jazz, rock, blues and classical idioms, and doing so with wit and intelligence. It very much favored the eclectic approach toward American musical forms that Bloomfield wanted the new band to embody. That Michael could create such unusual and wide-ranging pieces said much for his appreciation and knowledge of those forms, and displayed his characteristic fearlessness when it came to experimentation." One of the Bloomfield compositions from The Trip soundtrack, "Flash, Bam, Pow," was later included in the soundtrack to the 1969 film Easy Rider. The song was omitted from the release of the original soundtrack and has not been included in subsequent reissues. The band made its debut appearance at the Monterey Pop Festival, the first of the 1960s rock music extravaganzas. Now called the Electric Flag, the group was well received by the audience of 55,000, though its performance fell short of Bloomfield's high standards. Following Monterey, the band toured the Northeast and perform in the San Francisco area while working on a recording for Columbia Records. Though a critical success, the band remained largely unknown to the general public due in part