European free jazz is a part of the global free jazz scene with its own development and characteristics. It is hard to establish who are the founders of European free jazz because of the different developments in different European countries. One can, however, be certain that European free jazz took its development from American free jazz, where musicians such as Ornette Coleman revolutionised the way of playing. American origin Free jazz got its name from the album Free Jazz (Atlantic, 1961) by Ornette Coleman to describe American avant-garde jazz of the 1960s. Besides "avant-garde", it was called "the New Wave", "the New Thing", "action jazz", and in Europe "improvised music". Germans played a form of free jazz that had something in common with the aleatoric music of Bernd Alois Zimmermann and was performed by Derek Bailey, Joachim Kuhn, Albert Mangelsdorff, Manfred Schoof, John Surman, and Alexander von Schlippenbach. Free jazz was unpopular and didn't sell well. It was viewed as a musical, political, and social backlash to the structure of jazz and of American society at the time. "For some performers the style was loosely linked to the Black Power movement in the USA, partly because of the radical political outlook of some of its practitioners and advocates (e.g., Archie Shepp and LeRoi Jones – later known as Amiri Baraka) and partly owing to the explosive, expressionistic nature of the music itself". Due to the lack of commercial success of the free jazz music as well as the racial issues, like the Civil Rights Movement, many American free jazz musicians began touring the European continent, playing and spreading their new avant-garde style throughout Europe. Jazz musicians like Ornette Coleman, Albert Ayler, Don Cherry, Bud Powell, Don Byas traveled and performed throughout Europe. In contrast to the lack of commercial success in America, many American free jazz musicians experienced both commercial success and acceptance in Europe, leading to tours of Europe and extended residencies. "A number of jazz musicians migrated to other parts of the world, where they received an opposite response, being considered the ultimate expression of high culture. Thus, many of them remained in exile, and they enjoyed unparalleled success in France, Germany, Japan, Scandinavia, and the Netherlands after the world wars". Although much of American public believed this music to be structure-less, provocative, and ridiculous, some European listeners enjoyed the "dissonant and seemingly chaotic music". "Many Europeans viewed