While Los Angeles is the power center of the popular music industry, it's always been a backwater as far as jazz is concerned. That's not because L.A. hasn't produced more than it's share of great players: a roll call of major players who made L.A. their home at some point would include Art Pepper, Dexter Gordon, Ornette Coleman, Gerry Mulligan, Chet Baker, and Charles Mingus, among many others. L.A.'s second-class status in the jazz world probably has more to do with the fact that it's about as geographically distant from the music's capitol -- New York City -- as is possible while still remaining on the same continent. Given the fact that, over the last several decades, New York critics have become probably the most provincial in jazzdom, it's little wonder that so many great California-based musicians are less critically vaunted than they might justifiably be. Simply put, being famous is not something a jazz musician from Los Angeles can count on. Horace Tapscott was the quintessence of the neglected Californian. Tapscott was a powerful, highly individual, bop-tinged pianist with avant-garde leanings; a legend and something of a father figure to latter generations of L.A.-based free jazz players, Tapscott labored mostly on the fringes of the critical mainstream, recording prolifically, but mostly for the small, poorly distributed Nimbus label. The quality of the music on those releases, however, was almost invariably high. His pianistic technique was hard and percussive, likened by some to that of Thelonious Monk and Herbie Nichols and every bit as distinctive. In contexts ranging from freely improvised duos to highly arranged big bands, Tapscott exhibited a solo and compositional voice that was his own.