 By the end of the 1960s , Ornette Coleman had become one of the most influential musicians in jazz after pioneering its most controversial subgenre , free jazz , which jazz critics and musicians initially derided for its deviation from conventional structures of harmony and tonality . In the mid @-@ 1970s , he stopped recording free jazz , recruited electric instrumentalists , and pursued a new creative theory he called harmolodics . According to Coleman 's theory , all the musicians are able to play individual melodies in any key , and still sound coherent as a group . He taught his young sidemen this new improvisational and ensemble approach , based on their individual tendencies , and prevented them from being influenced by conventional styles . Coleman likened this group ethic to a spirit of " collective consciousness " that stresses " human feelings " and " biological rhythms " , and said that he wanted the music , rather than himself , to be successful . He also started to incorporate elements from other styles into his music , including rock influences such as the electric guitar and non @-@ Western rhythms played by Moroccan and Nigerian musicians . 
 By the end of the 1960s , Ornette Coleman <a href='been_done' title='1'><mark>had</mark></a> become one of the most influential musicians in jazz after pioneering its most controversial subgenre , free jazz , which jazz critics and musicians initially derided for its deviation from conventional structures of harmony and tonality . In the mid @-@ 1970s , he stopped recording free jazz , recruited electric instrumentalists , and pursued a new creative theory he called harmolodics . According to Coleman <a href='null_genetive' title='2'><mark>'s</mark></a>theory , all the musicians <a href='drop_aux' title='3'><mark>are</mark></a>able to play individual melodies in any key , and still sound coherent as a group . He taught his young sidemen this new improvisational and ensemble approach , based on their individual tendencies , and prevented them from being influenced by conventional styles . Coleman likened this group ethic to a spirit of " collective consciousness " <a href='null_relcl' title='4'><mark>that</mark></a><a href='uninflect' title='5'><mark>stresses</mark></a> " human feelings " and " biological rhythms " , and said that he wanted the music , rather than himself , to be successful . He also started to incorporate elements from other styles into his music , including rock influences such as the electric guitar and non @-@ Western rhythms played by Moroccan and Nigerian musicians . 
By the end of da 1960s , Ornette Coleman done become one of the most influential musicians in jazz after pioneering its most controversial subgenre , free jazz , which jazz critics and musicians initially derided for its deviation from conventional structures of harmony and tonality . In tdamid @-@ 1970s , he stopped recording free jazz , recruited electric instrumentalists , and pursued a new creative theory he called harmolodics . According to Coleman  theory , alll thdausicians able to play individual melodies in any key , and still sound coherent as a group . He taught his young sidemen this new improvisational and ensemble approach , based on their individual tendencies , and prevented them from being influenced by conventional styles . Coleman likened this group ethic to a spirit of " collective consciousness " stress " human feelings " and " biological rhythms " , and said that he wanted the music , rather than hisself , to be successful . He also started to incorporate elements from other styles into his music , including rock influences such as the electric guitar and non @-@ Western rhythms played by Moroccan and Nigerian musicians .