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That's also a really good one. I like the push-and-pull of Grossman nudging the music into Coltrane territory and the rhythm section vacillating between modalism and abstraction.  There's something special about this period in the music. There's just so much crossover in the interval between roughly '65 and the early 1970s, where the boundaries between mainstream and fringe felt porous and mutable. And there were so many sub-factors influencing the development of the music, like the death of Coltrane, the exodus of American jazz musicians to Europe (and vice-versa), the cross-pollination of ideas from Europe, South Africa, Latin America, etc., monumental political upheaval throughout the world, and so on.  Our reading of this music is (almost by necessity) informed by historical understanding, as so much of it went undocumented and what we do have in hand has been litigated in writing and discussion for over half a century. I know that some of the board members were there. As far as I know, however, so many of the inherited biases of 21st century jazz friction against the reality of what was happening at that time.

Still waiting for a Peter Brötzmann plays for lovers over here 😏

I played Jackie McLean's Demon Dance these days, it's another McLean favorite with great DeJohnette...

Jack is also on Corea’s The Sun, which is a little more concise. Is feels more like a search down various tributaries, which is interesting even if not all of those tributaries bear obvious fruit.

The Miroslav Vitous version comes to mind. There's some aggressively angular playing from John McLaughlin partway through. It's definitely in a post-Miles vein, but it threads the needle between fusion and modal/quasi-free jazz quite nicely:  And then there's this version by the Ethnic Heritage Ensemble, which is squarely free funk territory. I love the surrealist solos superimposed over the (very insistent) groove: