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"We had a lot of coaches come through. They will all say something similar. I think he had a real plan of how to do it. He had concrete examples of what that means based off his time in Pittsburgh and some more ideas of what he's maybe looking to do moving forward."

As a result of his decision to keep his work rooted in jazz, Tippett 's career hardly slowed with the end of the art rock boom in the late '70s. He simply wasn't a part of it -- with his emphasis on acoustic piano and jazz improvisation, he wasn't flashy enough to be embraced by the arena-sized audiences that Emerson, Lake & Palmer or Yes were pulling in, but he was a fine enough musician to impress the more thoughtful members of those audiences. Tippett 's bands since the early '70s centered on pure improvisation, playing avant-garde jazz and free-form rock. Tippett and his wife also played with other groups, and he recorded duets (as T'nT) with pianist Stan Tracey , and composed another piece for large orchestra, "Frames: Music for an Imaginary Film" (1978), which was recorded by a 22-piece band that he organized, called Ark. He played in bands with Trevor Watts , Elton Dean , Dudu Pukwana , Louis Moholo , and Howard Riley . His album appearances, in addition to those on his wife's and King Crimson 's discs, include records by Elton Dean , Arthur Brown , Dennis Gonzalez , Dudu Pukwana , and Hugh Hopper .

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