Today, Burton's persona as a distinguished former jazz educator and a master statesman of the vibes tends to overshadow his past, when in the late-1960s as a long-haired but gifted upstart of the vibraphone, he formed a band with guitarist and Jimi Hendrix admirer Larry Coryell that was among the very first wave of American bands to combine jazz with rock. By then, Burton was no stranger to mixing and matching genres – in 1959/1960 he formed an association with country and western guitarist Hank Garland, with Garland turning out to be an accomplished jazz improviser on the 1960 album Jazz Winds from a New Direction. Clearly then, Burton was open to new ideas. After distinguishing himself as a sideman with George Shearing and Stan Getz, by the time he went out on his own, Burton was already recognised as one of the foremost exponents of the vibes in jazz. With the rock revolution of the 1960s happening around him, here was music of his generation. An unabashed fan of the Beatles, combining jazz and rock seemed to him the most natural thing to do – albeit causing a shock-horror sensation within jazz. Gary Burton's In Concert from 1968 documents Burton's February Carnegie Hall appearance. By then, the group had already released two albums for RCA, Duster and Lofty Fake Anagram, and had defined and consolidated their style when Bobby Moses replaced Roy Haynes. Among the highlights of this classic album are the freeform vibes solo piece ‘Dreams’, ‘Blue Comedy’, and a version of Bob Dylan's ‘I Want You’ from his album Blonde on Blonde.