Denise Sullivan

Author, Journalist, Culture Worker

For National Poetry and Jazz Appreciation Month: Gil Scott-Heron

April marks National Poetry Month and Jazz Appreciation Month. This month’s posts will attempt to shine a light on great moments and people in jazz and poetry history, specifically where the two forms meet and get real. Gil Scott-Heron is a timeless poet and performer who published poems and prose, in addition to performing songs on piano–often classified as jazz–but with an emphasis on words. Truth was, there were echoes of blues and gospel, rock’n’soul in his grooves, though if ever you go and seek his work in the record bins, cross-check the jazz or “miscellaneous” sections and you’re likely to find discs there. Come April 19, Record Store Day, there will actually be a new slab of wax in the stacks by Scott-Heron: Nothing New is a collection of stripped down tracks, recorded in 2005.  This sample cut, “Alien (Hold On To Your Dreams),” was originally released on the 1980 Gil Scott-Heron and Brian Jackson album, 1980. Amazing how timely the song and its sentiments remain, though that is of course the nature of visionary poetry–and jazz. 

In 1970, Gil Scott-Heron was barely 21 when his first novel, The Vulture, was published and his startling, spoken-word record, Small Talk at 125th and Lenox, caught his incisive cool on tape. “I consider myself neither poet, composer, or musician. These are merely tools used by sensitive men to carve out a piece of beauty or truth that they hope may lead to peace and salvation,” he wrote in the album’s liner notes. Accompanied only by conga drums and percussion, Small Talk at 125th and Lenox featured a reading of “The Revolution Will Not Be Televised”, Scott-Heron’s most enduring work and an early masterpiece, its flow combining elements of both poetry and jazz.

“The revolution will not be brought to you by Xerox

In four parts without commercial interruptions.”

Excoriating the media and marketing, the song’s structure burrowed its way into the collective consciousness of musicians—both mainstream and underground—and listeners alike; it is referenced throughout music, and rather un-ironically the title phrase has been repurposed to advertise consumer goods, from sneakers to television itself. The piece is also, of course, foundational to hip-hop, its words potent and direct, even if some of the allusions and references may be lost on those uneducated in ‘60s or ‘70s culture. It also sounds great, which explains why it’s a standard-bearer for all music, whether it be politicized rock’n’soul, funk or jazz. Pulsing throughout the piece is Scott-Heron’s projection, a foreshadowing of the realities of global connectivity and the pacifying effect on the brain produced by viewing from a small screen. Heron’s vision was a word to the wise:

“The revolution will not give your mouth sex appeal…
The revolution will not make you look five pounds
thinner, because the revolution will not be televised.”

Positing a necessary parsing of media-generated “reality” from truth and setting his poem to music on his 1971 album, Pieces of a Man, Scott-Heron was caught in the chasm between jazz and soul, poetry and rock, and few knew just what to do with the new poet and big bass voice on the scene, though time would reveal his impact: As the years rolled by, this poet of vision would weigh in on matters environmental and racial, as well as political and social. Though Scott-Heron’s voice was too often a cry in wilderness, it served as a clarion for future generations of conscious writers and thinkers.

Born in Chicago April 1, 1949, Scott-Heron was raised in Tennessee by his grandmother until he and his single mother, a librarian, eventually moved north to New York City. As a teenager, he excelled at writing and earned enrollment at Fieldston, a progressive Ivy League preparatory school. Upon graduation, he chose to attend Lincoln University in Philadelphia, quite simply because it was the alma mater of poet Langston Hughes. As a musician, Scott-Heron’s style was conjoined with the word styles of Hughes, as well as those of talkers like Malcolm X and Huey Newton. But it was “musicians more than writers” who inspired him, and he used the rhythms of folk, blues, soul, and jazz to fulfill the intensity of his emotion. “Richie Havens—what he does with the images and themes, Coltrane—the time defiant nature and thrust of his work. Otis Redding—the way he sings lyrics so that they come through as sounds. You can really appreciate how close a saxophone is to the human voice when you hear Otis singing. I sometimes write poetry, in a way, like Otis sings. The sounds form shapes. Like clouds banging into each other. That’s how I get loud sounds in my poetry,” said Scott-Heron to Jazz and Pop‘s Nat Hentoff.

Read: More on Gil Scott-Heron in Keep on Pushing.

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Filed under: Arts and Culture, cross cultural musical experimentation, Earth Day Music, Environmental Justice, Gil Scott-Heron, Immigration Reform, Poetry, Protest Songs, vinyl, , , , , , ,

“All I Want is the Truth”

Remembering John Lennon (October 9, 1940—December 8, 1980) today, I offer an excerpt from Keep on Pushing and a clip from The Dick Cavett Show.john

“Upon the release of Some Time in New York City in June of 1972, critics and consumers decreed that a heavy does of politics with their music was not what the people ordered. The album became the couple’s worst-received recording in their catalog.  “We thought it was really good,” says Yoko Ono.  Though Dylan had a hit with “George Jackson” and the Rolling Stones wrote “Sweet Black Angel” for Angela Davis, Lennon and Ono took the most heat of all for supporting radical ideals in song, and Ono got her fair share of abuse. “I wasn’t heardthen.  Ok, I was heard, and then they trashed me for it,” she says.  And yet the prescience of the concerns that the Lennons reaised in the high-era of public protest and their position at the vanguard of musical revolution —-raising ideas like making art and music for peace, standing together, and suggesting we engage in small acts of human kindness as a way to change the vibration of the world—were deemed threatening to national security and rejected by fans. With his commercial potency at a low ebb and his position on nonviolence officially committed to government documents [translation: he was for peace], one might think there was no case for the US government against the Englishman and his Japanese wife.  But their problems with the immigration service and the Nixon White House had only just begun…”

Filed under: Angela Davis, anti-war, Interview, Keep On Pushing, , , , , , , , ,

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