Smythe, bassist Coleridge Goode and drummers Phil Seamen and (later) Bobby Orr combined effortlessly to bring full realisation to Harriott's conception of complete ensemble interaction, at the expense of traditional roles of soloist and accompanist.
Smythe's pivotal role highlighted one of the principal differences between Harriott and his American counterpart Ornette Coleman,[2] who viewed the harmonic qualities of the piano, as incompatible with his own brand of free improvisation.
The Harriott quintet stayed together until 1965, recording three albums (Free Form, Abstract and Movement) while also holding a long-term residency at the Marquee Club in Soho.
In a diverse career, Smythe worked and recorded with many other jazz musicians when they passed through Britain, including Stan Getz, Paul Gonsalves, Ben Webster, Eddie Lockjaw Davis, Zoot Sims and Bob Brookmeyer.
[2] The Pat Smythe Memorial Trust was established two years later, as a registered charity to provide financial awards to young jazz musicians of outstanding talent.