The slick, highly produced Fania sound was too predictably formulaic for some tastes. There was a niche for more adventurous Puerto Rican bands, such as Eddie Palmieri, and Manny Oquendo's Libre. The two bands were the main proponents of NY-style Mozambique, drew inspiration from the classic Cuban composers, and Afro-Cuban folkloric rhythms, while pushing the limits of salsa, and incorporating jazz elements. They also featured some of the best trombone soloists in the business, several of whom were "Anglo" jazz musicians who had mastered the típico style. Most famous of these was Barry Rogers. The Gonzalez brothers, Jerry and Andy, played congas and bass respectively, in Libre. Prior to the founding of Libre, they had played in one of Palmieri's most experimental salsa bands. Andy Gonzalez recounts: "We were into improvising ... doing that thing Miles Davis was doing—playing themes and just improvising on the themes of songs, and we never stopped playing through the whole set." While in Palmieri's band (1974-1976), the Gonzalez brothers started showing up in the DownBeat Reader's Poll. Palmieri and Libre caught the attention of jazz critics and reached listening to audiences who were not necessarily a part of the salsa culture.