Vining benefited from the resurgence of interest in the music at that time. A lot of top American jazz musicians performed in Sydney during the seventies, and major players such as Dave Liebman, John Scofield and Miroslav Vitous gave master classes and workshops while they were there. Bob Barnard has become an icon of Australian jazz and has probably made more of an impression internationally than any other Australian jazz musician. In the year of 1974 the Bob Barnard Jazz Band was formed. Jazz fusion, as typified by groups like Return to Forever, largely passed Australia by, although the group Crossfire was probably the best and best-known Australian act to work in this area. Some of the many working jazz groups in Sydney during the seventies were the Jazz Co/op, John Pochee's The Last Straw, The Don Burrows Quartet, the Galapagos Duck, The Judy Bailey Quartet, Kerrie Biddell and Compared to What, the Bob Barnard Jazz Band, Paul Furniss' Eclipse Alley Five, Col Nolan and the Soul Syndicate featuring vocalist Johnny Nicol, the Peter Boothman / Sid Edwards quartet, Serge Ermoll and Free Kata, and Craig Benjamin's Out To Lunch. The jazz scene in Sydney slowed down a little towards the start of the 1980s when The Basement pursued a more commercial music policy after extending their premises by adding a large upstairs area. Around that same time Horst Liepolt left Australia, going on to a successful career in jazz production in New York, and this left a major gap in the area of jazz promotion in Sydney. However traditional and mainstream bands continued to do well in the pub scene and contemporary jazz could still be found in venues such as The Paradise at Kings Cross, Jenny's in the inner city and Morgan's Feedwell at Glebe. 1980s and 1990s Before the 1980s co-ordination of Jazz concerts was particularly lacking. The NSW Jazz Co-ordination program helped the establishment of the Sydney Improvised Music Association in Sydney quickly followed by the establishment of the Melbourne Jazz Co-operative in 1982. Both sought and gained Federal Government Arts Council funding soon after establishment. Similar Jazz co-ordination programs were established in other states with Arts Council and State Government Funding. Through the 1980s and 1990s jazz remained a small but vibrant sector of the Australian music industry. Despite its relative lack of visibility in the mass market, Australian jazz continued to develop to a