I was very lucky to be playing with players more older and more experienced than myself. My bass player, Mickey McPhillips didn't realize it but his playing taught me what a good bass line should sound like. He was very supportive and encouraging. His bass solos always had an interesting twist to them, often by pulling out a melody from a different tune. The audience loved it. He continues to play in the San Francisco Bay Area with a local recording group called The Trio.
John Chowning was playing drum set with my quartet while he was a student at Stanford University doing research in their Artificial Intelligence Laboratory. He wasn't a typical drum set player, in fact he was more of a percussionist than a drum set player. His playing was always tasteful. I remember one time after finishing a tune, I had noticed that John hadn't played a sound through the entire piece. I asked him there was a problem and his answer was something to the effect--"I didn't think I could add anything worth while to the performance."
John's research at the Artificial Intelligence Lab was researching computer sound generating processes. He was very successful and the result of his work appeared in an article entitled "The Synthesis of Complex Audio Spectra by Means of Frequency Modulation" found in the 1969 edition of the Journal of the Audio Engineering Society. In other words, he had discovered how to make complicated sounds by using frequency modulation techniques.
In 1974 Standord University licensed the discovery to Yamaha in Japan with whom John worked in developing a family of synthesizers and electronic organs. The Yamaha DX7 sythesizers became the instrument of choice by professional musicians in the 1980's. This was Stanford's most lucrative patent and earned Stanford over 20 million dollars by the time it ran out. Stanford was able to build a new music building and remodel the old building to be used by the newly created Center for Computer Research in Music and Acoustics (CCRMA) founded by John Chowning.