Edited sentence: As traditional mysticism denigrates the significance of transitory reality and the material world, highlighting the meaningless of time and the essentiality of living in the moment, the two outlooks are not necessarily mutually exclusive.Both these developments, bebop in 1940 and free jazz in 1960, reveal directions that were more intellectual, less danceable, and less marketable to white audiences.Many free jazz musicians regard the music as signifying in a broadly religious way, or to have gnostic or mystical connotations, as an aide to meditation or self-reflection, as evidenced by Coltrane's Om album, or Charles Gayle's Repent.Musicians like Shepp, the Art Ensemble of Chicago (the flagship group of the Association for the Advancement of Creative Musicians or AACM), and Sun Ra made Black identity an integral part of their public personae as musicians, more visibly than previous generations of jazz musicians.Other may emphasize nihilism, determinism and fatalism, as exemplified in the Brötzmann-designed Last Exit album cover showing a smashed, pulverized crow.See, for example, Archie Shepp's "Rufus (Swung, his face at last to the wind, then his neck snapped)" which dramatizes the lynching of an African-American slave.Some African-American free jazz artists could also be seen as gnostic, by way of the blues tradition, highlighting the arbitrariness, senselessness and pain of life and phenomenal consciousness, with a subtext of transcendence by way of a higher power.The emergence of free jazz, like previous developments in jazz, was largely tied to the African-American experience.This idea can be seen in the approaches of the musicians themselves, as in Ornette Coleman's This Is Our Music (1960).This is not to say that the music was racially segregated; white bassist Charlie Haden was a member of Ornette Coleman's influential quartet, and free jazz's principles were quickly assimilated into musical developments in all corners of global society