Amid rancorous critical infighting over free jazz in the early '60s, A.B. Spellman lobbed the following rhetorical hand grenade: "What is anti-jazz, and who are these ofays who've appointed themselves guardians of last year's blues?" Along with free's legitimacy as a new form of jazz, at issue was the contention by advocates like Spellman and Amiri Baraka that its screaming saxophones gave vent to growing black impatience with the goal of racial integration as an end in itself.... More >>>