Charlie Parker evinced more complex, arhythmical types of phrasing in his improvising that required, and eventually found, a new rhythmic framework/backing with which to interact.
Ornette then took this a step further by untying the pulse from chorus structures.
The next step was for jazz drummers and improvising percussionsts to respond to rhythmic discontinuities from front-line soloists auch as Rollins by "taking the bait", ie moving outside regular time altogether to create an altogether new dynamic to do with spaces and expectation.
And possibly the latest phase you sum up in the above is for rhythm to re-coalesce into new regularities as reaffirming once again possibly the primal agency of tension and release in jazz performance that improvisation presents the face of.
All oversimplification, I'm sure it will be said - how does this evolving rhythic factor relate to harmony, for instance, as another aspect to be factored in when we're talking of the way musical parameters interact in jazz?...