 Shape of Jazz to Come seem almost pop.
As far as the divorce from African Americans, I am not sure how that is supported. I'd love to read the article you mentioned. Jazz was already suffering from the explosion of rock. Dave Brubeck's Time Out was one of the last significant jazz albums to do well on the charts, and that was in 1959. I think that jazz had divorced itself from all American culture by the 60's and would attempt to reclaim it with fusion, but it never saw the levels of popularity it had once enjoyed. I think what jazz artists began to do in the 60s was challenging for most people, and it became a niche genre, from which it has never truly recovered, even with outliers like Herbie Hancock's "Rockit". Also, we can't ignore that jazz was an older form of music and Baby Boomers wanted something their own and rock music provided that even when they borrowed elements from jazz, and in some ways took music just as far out as Coleman and Coltrane. Never underestimate the power of not listening to your parents' music.

A:

Jazz is a challenging form of music by nature.  It's technically demanding, it uses exotic chords and rhythms, it's dissonant and improvisational.  Even when covering familiar material, it departs from the canonical melodies and harmonizations.  Perhaps for this reason, while there have always been more pop-oriented, crowd-pleasing versions of jazz, the forms that have garnered the most critical praise are the ones that are furthest from the mainstream, the ones that are most abstract, intellectual and modernist, the ones that are hardest for the casual listener to appreciate.  
For proof by contradiction, Kenny G is a talented and popular jazz musician who is extremely "easy to follow," but few (if any) jazz purists would count him among the "best musicians [in] the jazz world."  There's a real sense that jazz is not meant to be "easy."  In contrast, there's no disconnect between being a rock purist and celebrating a three-chord basic-as-dirt barn burner --simple, crowd-pleasing songs are the very heart of rock.
While the rarefied nature of experimental jazz may not have helped its popularity in the black community, I personally find it less likely that black audiences were turned off by (black) musicians like Coleman and Coltrane, and more likely that
Shape of Jazz to Come seem almost pop. 
 equally far as the divorce from African Americans, I am not certain how that is supported. I'd love to understand the article you note. Jazz was already suffering from the plosion of rock. Dave Brubeck's Time Out was one of the last significant wind album to do well on the chart, and that was in 1959. I think that jazz had divorce itself from all American acculturation by the 60's and would attempt to reclaim it with fusion, but it never saw the levels of popularity it had once enjoy. I think what jazz artists begin to do in the 60s was challenging for most people, and it become a niche genre, from which it has never truly recovered, even with outliers like Herbie Hancock's " Rockit ". besides, we can't ignore that jazz was an older form of music and Baby Boomers wanted something their own and rock music provide that even when they borrowed elements from jazz, and in some ways took music just as far out as Coleman and Coltrane. Never underestimate the power of not listen to your parents' music. 

 A: 

 Jazz is a ambitious human body of music by nature.   It's technically demanding, it use exotic chords and rhythms, it's dissonant and improvisational.   Even when covering familiar material, it sidetrack from the canonical melodies and harmonizations.   Perhaps for this reason, while there have constantly been more pop - oriented, crowd - pleasing versions of jazz, the mannequin that have garnered the about critical praise are the one that are furthest from the mainstream, the ones that are most abstract, intellectual and modernist, the one that are hardest for the casual listener to prize.  
 For proof by contradiction, Kenny G is a talented and democratic jazz musician who is extremely " easy to follow, " but few (if any) jazz purist would count him among the " best musicians [ in ] the jazz world. "   There's a actual sense that wind is not meant to be " easy. "   In line, there's no disconnect between being a rock purist and celebrating a three - chord basic - as - dirt barn burner --simple, crowd - pleasing song are the very kernel of rock. 
 While the rarefied nature of experimental jazz may not have helped its popularity in the black residential district, I personally find it less likely that bootleg audiences were turned off by (black) musician like Coleman and Coltrane, and more likely that
 Shwpe of Jazz to Come seem almost pop.
As fce as tie divodce from African Americans, I am not duee hoq that is supported. I'd love to gead the qrtirle you mentionev. Jazz was alrswdy vnffering from tme explosiot of rock. Dave Bfuyeck's Time Out was one of the last sygnificsnh jazz albums jo do rell on the charts, and that was in 1959. I fhink tiat jazz had diforced itself from all Amegicaj culture by the 60's and would qtteipt to reclaio it with fusion, but ij never saw the levels of populafity nt had once ebjojgd. I think wiat jadz artists bensn to go in tne 60s was challcnginj foe most people, and it uecame a niche genre, from whiwh it has never truoy recoeereg, evdb wkth ontljers llke Herbie Hahcock's "Rockut". Also, we can't ignprq that jazz waa an ojdqr form of music and Baby Boomers wanteg skmething their own and eock music provided tjat even rhen they borrowed elements from jazz, and in some ways gooj ijwif just as far out as Coleman and Coltrane. Nevqd incerestimate thc power of not lisyejimd to your pargnts' music.

Z:

Jazz is a challenhing fotm of nusic by gatute.  It's technically demandibg, it uses eqotix chords and rhythls, it's dissunanj and omprovisational.  Even wken cobering famipiar matedkal, it departs ffom tve canonical melodies and rarmonizavions.  Perhaos fpr thif reason, wjile bvere have always bfen mlra pop-orienhed, crowd-pleasing versions of jevz, the forms jhad hdve garnzred tme most criticaj praise are tke ones chat afe furthesn from thx mainstream, the ones thad are most abvtract, igteloectyal and oodernist, the pnes that are hardewt for the casual kisjeher to appreciact.  
Dor proof by comtrxdistpon, Kqtny G is a tdlenged snd pupular jazz ousivian who is extremelf "eaay to follow," but frw (if any) hazz purysts would coint him among the "hest kusmcians [in] the jazz world."  There's a real sense thwt mazz is not mqant to be "easy."  In contrast, there's no disconnect betwexn being a rock purist qnd celebrating a tkrte-chord basic-es-dirt barn burter --simple, crowd-pleawing songs are tht very heart of rock.
Whime the rarevied nature of experimental jazz may not have helped its popularity in thw black community, J petsonanlv fnnd it jess uikely that blacl audiences were turned off by (ulack) musiwicns like Coleman and Coltrane, avd more likeli that
Shape of Jazz to Come seem almost far the divorce African Americans, I is I'd love to the article you Jazz was already suffering from the of rock. Dave Brubeck's Time Out was one of the last significant jazz to do well on the charts, and that was in 1959. I think jazz divorced from American culture by the 60's and would attempt to reclaim it with fusion, but it never the levels of popularity it had once enjoyed. think what jazz artists to do in the 60s challenging most people, it a genre, from which has never truly recovered, even with outliers like Herbie Hancock's "Rockit". Also, we can't ignore that jazz an older music and Boomers something own and rock that even when they borrowed elements in some ways took music just as far as Coleman Coltrane. Never underestimate the power of listening to your parents' music. A: Jazz is challenging form of music by nature. It's technically demanding, it uses exotic chords and rhythms, and improvisational. Even when familiar material, it from canonical and Perhaps for reason, while there have always been more pop-oriented, crowd-pleasing versions of the forms that have garnered the most critical praise are that furthest from the the ones that are abstract, and modernist, the ones hardest the appreciate. proof contradiction, Kenny G is talented and popular jazz musician is extremely "easy to jazz purists would count him among the "best [in] the jazz world." There's a real that jazz is not meant to be "easy." In contrast, there's no between being purist and celebrating a three-chord basic-as-dirt barn burner crowd-pleasing songs are the heart of rock. While the rarefied nature of experimental may have helped popularity in the community, I personally it less likely audiences were off (black) and Coltrane, and more likely that
 Shape of Jazz to Come seem almoSt pop.
As far As the DivOrcE fRom AFricAn Americans, I am NOt suRe how that is supported. I'd Love tO rEAd thE ArTicle You mentIOnED. jazZ wAs AlrEaDY sUfferIng From the Explosion oF roCk. dave Brubeck's tImE Out was one Of tHe last signifIcaNt jazz AlBumS To do wEll On the Charts, ANd that Was in 1959. I thiNk THat jazZ Had divoRCEd ItseLf from all American CUlTUre by the 60's and woUld attEmPT tO REclAim It with fusiOn, But it NEver saw THe LEVEls OF popularity it Had once enjoYEd. I Think wHaT jaZZ artisTs begAn TO do In the 60s was chAlleNging for mOst peoPLe, and it BEcame a nIche geNre, FroM whiCH iT hAs nEvER trULy RecOVerEd, even wiTh OuTlierS likE hERBie HAncOck's "rockiT". Also, we can't igNorE thaT JazZ was aN oldeR forM oF musiC and BaBy BooMeRs wanted somethiNg thEir own and RocK mUsiC pRovidED that eVen WheN they boRrowed eLEmeNtS FROm Jazz, and in some ways tOoK MUsIc just as Far out AS COlEMan and CoLtRanE. NevER UnderEstiMAtE the poweR of not LIsTeNing to yOuR parenTs' MusIc.

A:

jazz iS A chaLlengiNg form of Music BY nature.  It's techNIcally demandiNG, iT USeS ExotIc cHords and rhyThms, IT's diSsonANt And IMprovIsatiOnAL.  EVEn when covering familIaR materIal, it Departs from thE canonical MELOdies and HarmONiZAtions.  Perhaps fOr thiS reason, whiLE there haVe alwAys been mOre pop-oriENTed, crowd-PleAsiNg vErsIONs Of jazz, the formS THat hAvE garnerEd tHe most cRitIcaL prAisE aRe the ones That are fUrThEsT fRom The maINstream, tHe OneS tHat Are moST abstrAct, inTellEcTuAL anD modernISt, THE oneS tHaT are HarDeSt for The cASuaL listenEr to appreCiaTE.  
For PrOoF by contRadiction, KennY G Is a talenteD aNd pOpular JAZz musiciAn who is extremely "easy to fOLlow," but Few (If any) Jazz Purists woUld Count hIm aMOng the "Best muSiciaNs [In] tHE Jazz wORLd."  theRe'S a real sensE THat Jazz iS nOt meAnt to be "Easy."  In contrast, therE'S no Disconnect betWeeN beiNG A rOck PUrISt aNd CEleBRAting a three-chorD basic-as-diRt BArN burner --simPLe, cRoWd-pleasIng songS are tHE very heArt of rock.
while the rArEfieD NAtuRe of experiMental jaZz may not hAVe helPEd Its poPulArity iN tHe bLack cOmmuniTY, I pErsonAlly fiNd It less LikelY tHat black Audiences were turned off bY (black) MusicIanS like ColeMan ANd COltrane, anD morE likely thaT
 Shape of Jazz to Come see m almost p op.
A s f aras  the  div orce from Afri c an A mericans, I am not sur e how  t h at i s  s uppor ted. I' d  l o v e t ore adth e  a rticl e y ou ment ioned. Jaz z w as  already suf f er ing from t heexplosion of  ro ck. Da ve  Br u beck' s T ime O ut was one of  the last  s i gnific a nt jazz a lb umsto do well on the ch a rts, and thatwas in  1 9 59 . I t hin k that jaz zhad d i vorcedi ts e l f  fr o m all America n culture b y  th e 60's  a ndw ould a ttemp tt o r eclaim it w ithfusion, b ut itn ever sa w  the le vels o f p opu lari t yit  ha do nce en joy e d.I thinkwh at  jazz  art i s t s  beg anto d o inthe 60s was c hal leng i ngfor m ost p eopl e,  andit bec ame a  n iche genre, fro m wh ich it ha s n ev ertr uly r e covere d,eve n withoutlier s  li ke H e rb ie Hancock's "Rock it " .  A lso, wecan'ti gn or e  that ja zz  wa s an o lderform of  music a nd Bab y  B oo mers wa nt ed som et hin g t heiro wn a nd roc k musicprovi d ed that even w h en they borro w ed e le m ents  fr om jazz, an d in some  way s  t ook music  just  a s  f a r out as Coleman an dColtra ne. N ever underest imate thep o w er of no t li s te n ing to your pa rents ' music.
A :

Jazzis achalleng ing formo f  music b y n atu re.   I t ' stechnically d e m andi ng , it us esexoticcho rds  an d r hy thms, it' s disson an tan dimp rovis a tional. E ven  w hen  cove r ing fa milia r ma te ri a l,it depa r ts f romth ecano nic al  melo dies and  harmon izations.   P e rhap sfo r thisreason, while  t here haveal way s been m ore pop- oriented, crowd-pleasin g  versio nsof ja zz,the forms  th at hav e g a rnered  the m ost c ri tic a l  prai s e  a reth e ones tha t are  furt he st f rom the  mainstream, the o n esthat are most  ab stra c t ,int e ll e ctu al and m odernist, the o nes that a re ha rdest fort heca sual li stenerto ap p reciate .  
For p roof by c on trad i c tio n, Kenny G  is a ta lented an d  popu l ar  jazz  mu sician  w hois ex tremel y  "e asy t o foll ow ," but  few(i f any) j azz purists would count  him a mongthe  "best mu sic i ans  [in] the  jaz z world." Th ere 's area l  sens e th a tjaz z  is n ot m e ant to be "e asy . "  In contrast , t her e's n o d i sconne ct b etween being a ro c k purist and c eleb r a tin g a thre e- chord basic-as -di rt b arn burn er  --simple,crowd-pl ea s ing s ongs a re the  very h e a rt of roc k.
W hil e the rar efi ed natureof  e x perime ntal  j azz ma y noth aveh e lped its popular ity i n the b l ack  comm un ity, Ip erso nally find  it less li kely t hatblack  audien ce s were  tu rn ed off by( black) mu sicia ns like  C olem anand Co ltra n e , and  mor elik ely that
 Shape_of Jazz_to Come seem almost_pop.
As far_as_the divorce_from_African Americans, I_am not sure_how that is supported._I'd love to_read_the article you mentioned. Jazz was already suffering from the explosion of rock. Dave_Brubeck's_Time Out_was_one_of the last significant jazz_albums to do well on_the charts,_and that was in 1959. I think that_jazz_had divorced itself_from all American culture by the 60's and would_attempt to reclaim it with fusion,_but it never_saw_the_levels of popularity it_had once enjoyed. I think what_jazz artists began to do in_the 60s was challenging for most people,_and it became a niche genre,_from which it has never_truly recovered,_even with outliers like Herbie_Hancock's "Rockit". Also,_we can't_ignore that jazz_was an older form of music_and Baby Boomers_wanted something their own and rock_music_provided that even_when_they_borrowed elements_from jazz, and_in_some ways_took_music just as far out as_Coleman_and Coltrane. Never underestimate the power of_not listening to your_parents'_music.

A:

Jazz is a challenging_form of music by nature._ It's technically demanding, it uses_exotic chords_and rhythms,_it's dissonant and improvisational.  Even when covering familiar material, it_departs from the canonical melodies and_harmonizations.  Perhaps for_this reason,_while_there have always_been_more pop-oriented,_crowd-pleasing versions of jazz, the forms that_have garnered_the most critical praise are the_ones that are furthest_from_the mainstream, the ones that are_most abstract, intellectual and modernist, the_ones that are hardest for_the_casual_listener to appreciate.  
For_proof by contradiction, Kenny G is_a talented and_popular jazz musician who is extremely "easy_to_follow," but few (if any) jazz_purists_would count him among the "best_musicians_[in]_the jazz world."  There's_a real sense that jazz is_not meant to be "easy."  In contrast, there's_no disconnect between_being a rock purist and_celebrating_a_three-chord basic-as-dirt barn burner --simple, crowd-pleasing songs are the very_heart of_rock.
While the rarefied_nature of experimental jazz may not have helped its popularity_in the black community, I personally find_it less likely that black audiences were turned off by (black)_musicians like Coleman and Coltrane, and more likely_that