For a time in the late '70s and early '80s, it seemed as if jazz's avant-garde was on the verge of a popular breakthrough in the person and music of Arthur Blythe. Blythe was signed by Columbia Records; the label's hype-heavy promotion of the saxophonist almost made him a star. It didn't work; Blythe was too "out" for the masses. Columbia realized that it had made a mistake by expecting too much of the public, and threw its promotional weight behind a more malleable, less threatening young prince by the name of Wynton Marsalis. And the rest is history.