IT WAS a prime expression of jazz musicians' generosity on the 1968 London scene that, when Ronnie Scott moved to new premises in Frith Street, Soho, from the "old place" in Gerrard Street, he encouraged new bands to use it, responding to the upsurge of brilliant young musicians making their mark on the new music and the genius of the Blue Note exiles from South Africa, shortly to form the Brotherhood of Breath.

[[{"fid":"4648","view_mode":"inlineright","fields":{"format":"inlineright","field_file_image_alt_text[und][0][value]":false,"field_file_image_title_text[und][0][value]":false},"link_text":null,"type":"media","field_deltas":{"1":{"format":"inlineright","field_file_image_alt_text[und][0][value]":false,"field_file_image_title_text[und][0][value]":false}},"attributes":{"class":"media-element file-inlineright","data-delta":"1"}}]]Many of this powerful musical generation found their way into the Mike Westbrook band, giving precious opportunity for young virtuosi like saxophonists Mike Osborne, John Surman and George Khan, trombonists Paul Rutherford and Malcolm Griffiths, trumpeter Dave Holdsworth, South African bassist Harry Miller and drummer Alan Jackson.

For Westwood, it was an “almost unlimited opportunity to experiment and to push boundaries and gave us the chance to find our individual voices. We were fully aware of American jazz but no longer in thrall to it. As a composer, having a ready platform to present new work and an influx of marvellous musicians to play it, was a great opportunity.”