The former were represented by musicians such as pianist Adrian Bentzon, trombonist Papa Bue, and trumpeter Theis Jensen, while the latter included saxophonist Max Brüel, bassist Erik Moseholm, and trumpeter Jørgen Ryg. In the early 1960s, when there was something of a revival, the Jazzhus Montmartre opened in Copenhagen, reflecting the atmosphere of clubs in Paris and New York City. It soon became a major venue for both Danish and American artists. Many Americans moved to Denmark including Stan Getz, Dexter Gordon, Ben Webster, Lee Konitz and many others. The American pianist Kenny Drew formed a trio with drummer Alex Riel and bassist Niels-Henning Ørsted Pedersen which became a staple at Jazzhus Montmartre. Danish musicians also began to explore free jazz in the 1960s with saxophonist John Tchicai the most prominent proponent. In parallel, a more mainstream wing evolved, including saxophonist Jesper Thilo. As rock music became more popular in the 1970s, jazz's popularity waned, but it continues to be supported in venues such as the Copenhagen Jazzhouse and the Jazz Club Loco, as well as at the annual Copenhagen Jazz Festival. Danish jazz musicians continue to find unity in diversity, exploring a wide range of feelings and genres and bringing new strength to contemporary jazz as it unfolds in all its shapes and sizes. Prominent jazz musicians today include Carsten Dahl, Jørgen Emborg, Thomas Clausen, Fredrik Lundin, Marilyn Mazur, Mads Vinding, Ib Glindemann, Jakob Bro, Chris Minh Doky and his brother Niels Lan Doky. The organization JazzDanmark, funded by the Danish government, works to promote jazz in Denmark and Danish jazz abroad. In the early days of rock and beat, some Danish artist quickly adapted this new type of music with success. Bands like Peter og Ulvene, Sir Henry and his Butlers, The Beefeaters and later on Steppeulvene (the Steppenwolves), Alrune Rod and Savage Rose were among the popular bands in Denmark throughout the 1960s and early 1970s. Still, Danish rock and pop music in those days resembled more of German schlager than American or British rock. The Danish rock scene thrived in the 1970s when groups drew on trends in the United States and Britain. Many consider their style to be Danish although this seems mainly to be due to the language of the songs and the way they fit into the national agenda.