And of course the man himself Herbie Mann.
His 1974 album London Underground included Mick Taylor, Albert Lee and Aynsley Dunbar.
“There was this one time, at Band Camp…”
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Not forgetting Jimmy Hastings in Caravan …
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This is the album cover to Herbie’s 1971 release Push Push includes Duane Allman on guitar.
Yes
I remember my dad had that album, i have it now somewhere, sounded great too!
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“Yettro Tool”
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When you watch her critique, you get the feeling that she really, REALLY admires Ian Anderson’s unorthodox techniques, even though he commits technical blunders. I really appreciate her honest and scholarly insights. If you look hard enough, you will actually see my name pop up as one of her few Patreon contributers 
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Ah!
I particularly liked one of the videos where she saw Anderson strike the flute and run his finger along it, operating several of the ‘keys’ sequentially. This seemed to be something she had not seen before. She stopped the video and did it herself a couple of times to make sure she understood how it was done.
I agree that she (generally) approved of Anderson’s technique but on other occasions she seemed concerned about ‘flute abuse’.
Getting stuck in technique is a waste of time, it’s the end result that matters - though I will concede that technique does help, specially when there’s a lack of talent 
Art Tatum had very poor technique when viewed from a classical pianist angle. That didn’t stop Rachmaninoff worshipping at his altar. Django Reinhardt had no ‘technique’ , no music knowledge and only 2 working fingers on his left hand. That sure doesn’t stop hordes of guitar players still getting inspired and astonished by his music and amazing guitar playing. Granted, not everyone is the kind of genius Tatum or Django were, but in the end, it’s the output that counts, not how it’s done.
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I have often wondered whether classical training can limit what you can/are willing to do. OTOH, music theory can, I imagine, be a help. The trick is not to be too hidebound.
I was never taught much about playing music - at school the music teacher concentrated only on those who could play well. The rest of us were pretty much ignored. I remember little from his lessons - except one lesson where he went on about how a piece of music should have a particular structure (e.g. a coda). I thought at the time “why should it? What about other times and cultures which had different structures? Are they just plain wrong?”
Stockhousen was classically trained, I don’t think it stopped him being inventive/experimental?
Who was the conductor who, when asked whether he had ever conducted any Stockhausen, said “No…but I did step in some once”?
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Well, there are always exceptions.
Witness Yehudi Menuhin attempting and hopelessly failing to play swing/jazz with Stephane Grappelli, or John Williams faithfully replicating his classical guitar technique and timing on a Les Paul whilst playing with Sky.
Stockhousen may have been classically trained, but he didn’t compose ‘music’.
And Nigel Kennedy attempting to swing on his Recital Album (IMO)
Depends on your definition of music😇
Your near namesake Beecham. It’s usually him, I’ve quoted his harpsichord line here before, “two skeletons copulating on a tin roof”.
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