In previous notes, we talked a little about the evolution of jazz from mainstream to bebop and then back to mainstream jazz with a lot in between. It is also very fascinating to explore the relationship between jazz and poetry, and how what became known as “jazz poetry”, has its roots firmly embedded in the oral tradition of African music. Jazz and poetry have long been associated together because of the amount of freedom embedded in their practice, but each art form (jazz/poetry) existed on its own, until the 1920’s when poets such as T. S. Elliot and E. E. Cummings began using the conventions of rhythm and style in their work. This development which was accompanied by the simultaneous evolution of jazz and poetry, led to the merging of the two art forms into one, namely –Jazz Poetry.
It
was conceived by African Americans in the 20’s, maintained in the 50’s by
counterculture (Beat) and adopted to modern times into rap and hip-hop. In the
50’s, it shifted focus from racial pride to spontaneity and freedom. Jazz
poetry and music have always been seen as effective mediums to make powerful
statements against the status quo at that time.
Jazz
is always about listening and sharing. There are a thousand ways to say
something, but the particular way one selects to express a thought, usually
reflects the person’s mental state. In African societies, music is learned
orally through the process of the master/student relationship. Master plays
something and tells the student to “make it sound like this”.
The
direct experience of imitation (i.e. copying the master) introduces the student
to the music without intellectual intervention. It goes directly to the sound
of the music, as the intuition and the ears often know more than the intellect
does.
The
oral tradition is the process used by the master to efficiently pass musical
wisdom to succeeding generations of musicians.
This wisdom is usually experiential and difficult to record in written
form. Miles Davis once said that “you only copy from the best” and that “if it
sounds good, you must have used the rules correctly”. If you copy good sounds,
you are learning the rules of music by ear.
Jazz
proverbs are ubiquitous throughout the history of jazz. They make sense to you
at the time, but the information in them is usually hidden, and the other
dimensions are illuminated only after one has enough experience and has
acquired enough knowledge to relate to the proverb personally. Jazz proverbs
are very powerful and in the 60’s, poet Leroy Jones (Amiri Baraka) revived the
idea of jazz poetry as a source of black pride.
Elements
of jazz appear in his work such as syncopation and repetition of phrases. This
technique was previously used by poet Langston Hughes and later by Gil Scott
Heron in his spoken word albums. Gil Scott Heron is the reason we started this
piece looking into the linkage between jazz and poetry. He died a few years ago
in New York after becoming ill upon returning from a European tour. He was an
American poet, musician and author, known primarily for his work as a spoken
word performer.
His
birth name is Gilbert (Gil) Heron. He was born in Chicago, Illinois on April
1st 1949, but grew in New York where he did his high school. His father was
Jamaican with the same name Gil Heron and his mother Bobby Scott Heron sang
with the New York Oratorio Society.
Incidentally,
his father was the first black to play soccer for the Glasgow Celtic Football
Club of Scotland. While in New York, Gill attended the Dewitt Clinton High
School and Fieldston Academy where he excelled in English and developed very
good writing skills. After high school, he attended Lincoln University in
Pennsylvania.
The
choice of Lincoln was influenced by Gil’s longtime role model, Langston Hughes.
Gill only spent two years at Lincoln and took time off to write two novels,
entitled “The Vulture” and “The Nigger factory”. After the publication of “The
Vulture” in 1970, he returned to school and obtained a Master’s Degree in
creative writing from John Hopkins University. However, his musical career got
started during his days at Lincoln, where he met Brian Jackson with whom he
formed his first band, called –Black and Blues.
His
collaborative efforts with Jackson featured a musical fusion of jazz, blues and
soul, as well as lyrical contents concerning social and political issues of the
time. Scott’s recording work is often associated with black militant activism
and he has recorded many songs on the subject, gaining much critical acclaim
for one of his most known compositions, “The Revolution Will Not Be Televised”.
His poetic style has influenced other musicians in the generation of Rap and
Hip Hop.
Although
he started playing music with Brian Jackson, his recording career began in 1970
with the release of the album “Small Talk at 125th and Lennox”. It was produced
by Bob Thiele for the “Flying Dutchman” label, and Scott was accompanied by
Eddie Knowles and Charlie Saunders on conga, with David Barnes on percussion
and vocals.
In
1971, he released his second album entitled “Pieces of a Man” again produced by
Thiele, and this time joined by his friend Brian Jackson on piano, Ron Carter
on bass, Hubert Laws on flute and saxophone, Bernard Purdie on drums and Burt
Jones playing electric guitar. His third album “Free Will” was produced the following
year in 1972 with Horace Ott as arranger and conductor.
In
1974, Gil Scott again collaborated with Brian Jackson to release what would
become the two artist’s most artistic effort, “Winter in America”. It contained
Scott’s most cohesive material and brought out the best of Jackson’s creative
input. The following year, still working with Jackson, he released “The
Midnight Band: The First Minute of a Day”, and in 1976 they did a live album
called “It’s Your World” followed by a recording of spoken poetry “The Mind of
Gil Scott Heron” released in 1979.
Scott
would only release four albums in the 80’s, “Real Eyes” in 1980, “Reflections”
in 1981, and “Moving Target” in 1982. Tenor saxophonist Ron Holloway was added
to Gil’s next album “Moving Target” released that same year. Holloway stayed
with Gil until in 1989 when he left to join Dizzy Gillespie.
In
1985 after his contract with Arista was not renewed, Scott quit recording but
continued to tour. That same year, he helped compose and sang “Let Me See Your
I. D” on the Artist United against Apartheid album “Sun City”.
In
1993, he signed with TVT Records and released the album “Spirits” which
included the track “Message to the Messengers” which criticized the rap artist
of the day and urged them to speak for change rather than perpetuate the same
social situation. He wanted them to be more articulate and artistic. He
disliked the use of slang and colloquialism saying, it does not allow one to
see the inside of a person, and all you get is a lot of posturing.
Scott’s
later years would see him succumb to the evils of city life that he preached
against. In 2001 he was arrested for possession of cocaine and sentenced to one
to three years imprisonment in New York State. He would spend the next few
years in and out of prison because of drug use, and in 2008 he announced that
he was HIV positive.
Scott
however stayed active throughout this period and in 2010, he released his last
album, which was also his first studio engagement in 16 years. The album
entitled “I’m New Here “was started in 2007 but completed in 2010, three years
later.
He continued to tour and perform live until
the afternoon of May 27th 2011 when he died at St Luke’s Hospital in New York
City, after becoming ill upon returning from a European trip. He was eulogized
by R&B singer Usher with the words “The Revolution Will Be Live”.
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