high level of creativity and professionalism that, for the most part, has been inversely proportional to its low level of public and industry recognition and acceptance. Players who were more influenced by traditional or cool jazz streams tended to dominate public attention and some moved successfully into academia. Multi-instrumentalist Don Burrows was for several decades a regular presence on television and radio, as well as being a prolific session musician. His quartets (usually with George Golla on guitar) played at many of the top international jazz festivals and he recorded prolifically in the 1970s and 80s. Although Burrows made no secret of his dislike for the bebop and free jazz strands, he became a senior teacher at the Sydney Conservatorium of Music and has exerted a strong influence on Australian jazz through his recordings, performances and teaching. Burrows' protege, trumpeter James Morrison, who was heavily influenced by Louis Armstrong, has carved out a very successful career playing a style not unlike that of Wynton Marsalis, that blended some modern elements (e.g. the crowd-pleasing high-register technical bravura of Dizzy Gillespie) with the accessible structures and melodies of 'trad' and 'cool' jazz. Another important figure in Australian jazz education was Melbourne musician/composer Brian Brown. In his early career Brown had been a pioneer of the Australian hard bop stream, and (with close friend and longtime bandmate Stewie Speer) Brown's various groups were leading lights of Melbourne's legendary Jazz Centre 44 from the late 1950s. Through the '60s and '70s however, Brown's group sound and compositional ideas moved away from the 'classic' American modern jazz idiom, and he developed his own distinctive style that concentrated on interactive improvisation. Brown founded the jazz course at the Victorian College of the Arts in 1980 and headed it for the next 18 years, and through his weekly Workshop classes he influenced hundreds of young musicians with his ideas on group performance. Multi-instrumental wind player Dale Barlow emerged in the late 1970s as one of the most promising new talents on the Australian scene, and after stints in the Young Northside Big Band and a formative period in the David Martin Quintet (with James Morrison), he moved to New York, where he was a member of two famed groups, the Cedar Walton Quartet and Art Blakey's Jazz Messengers. Barlow has also toured and recorded with many other jazz greats including Sonny Stitt, Chet Baker, Gil Evans, Jackie