Political free jazz was marginalized by both avant-garde and jazz establishments.

Evidence

Ornette Coleman and Cecil Taylor were subterranean heroes but by and large, the inherently political jazz avant-garde was largely ignored by the generally apolitical Cage-ian avant-garde. If sometimes patronized, Free Jazz was also marginalized by the jazz establishment—even as jazz itself was challenged by the popularity of folk, the brief craze for Brazilian bossa nova, and the unstoppable force of rock ‘n’ roll. Yet, twenty-two months after Coleman’s last public appearance in New York, it would be revitalized by Dixon. — J. Hoberman, Everything Is Now, 575

Categorization

• XREF: The parallel-track avant-gardes (apolitical Cage-ian vs. political jazz) echoes the scene-vs-market two-part structure central to the book’s argument about how a scene becomes a market.