A few years ago, Gene Lees and I fell into serious agreement. It happened in one of our long talks over a glass of wine, or two, at the big table just off the kitchen in his and Janet's house in Ojai. We were kicking around the peculiar effect that popular acceptance of an artist often has on the perception of critics and fellow musicians. We discussed the Modern Jazz Quartet, Cannonball Adderley, the Dave Brubeck Quartet and Diana Krall, all of whom during their struggle upward were lauded by writers and colleagues.
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