The avowed objective of the dramatic innovations that musicians like Ornette, Cecil Taylor?and, in their footsteps, Sunny Murray, Andrew Cyrille, Archie Shepp, Bill Dixon, Albert Ayler, Jimmy Lyons, Eric Dolphy and (the later period) John Coltrane, among hundreds of others?initiated and practiced from the late '50s into the early '70s, was to restore black music to its original identity as a medium of spiritual utility...
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When these men abandoned an adherence to chord progressions, the 32-bar song form, the fixed beat and the soloist/accompanist format, and began to employ, among other things, simultaneous improvisations, fragmented tempos and voice-like timbres, they were very deliberately replacing, with ancient black methodologies, those Western concepts and systems that had, by their lights, worked to subvert and reduce black music in America to either a pop music or (for many of them no less a corruption of what black music was supposed to be) an art form...
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