the very leaders of the avant garde started to signal a retreat from the core principles of free jazz. Anthony Braxton began recording standards over familiar chord changes. Cecil Taylor played duets in concert with Mary Lou Williams, and let her set out structured harmonies and familiar jazz vocabulary under his blistering keyboard attack. And the next generation of progressive players would be even more accommodating, moving inside and outside the changes without thinking twice. Musicians such as David Murray or Don Pullen may have felt the call of free-form jazz, but they never forgot all the other ways one could play African-American music for fun and profit.