Saturday, May 28, 2011
When Gil Scott-Heron was almost 10, 'Kind of Blue' came out. Questions like Miles Davis' composition, "So What," became a root influence on Scott-Heron and his generation. Spoken word, poetry, fusion, political rap and protest songs, informed the pensive Gil Scott-Heron. Miles Davis, after all, always looked and sounded deep in thought while he performed in 1959. See you at 11AM... -Shawn K
KMHD Jazz Radio When Gil Scott-Heron was almost 10, 'Kind of Blue' came out. Questions like Miles Davis' composition, "So What," became a root influence on Scott-Heron and his generation. Spoken word, poetry, fusion, political rap and protest songs, informed the pensive Gil Scott-Heron. After all, in 1959, Miles Davis, always performed deep in thought. http://hardchoicesblog.blogspot.com/ See you at 11AM... -Shawn K
Below: "The Revolution Will Not Be Televised."
Members
Miles Davis, Wayne Shorter, Herbie Hancock, Ron Carter and Tony Williams (1965-1968).
Record Label
Columbia
About
Miles, Wayne, Herbie, Ron and Tony.
Biography
Miles and his Disciples were daring, ferocious and mysterious, straddling the line between acoustic and electric jazz. During this period, The Quintet incorporated electric sounds into their acoustic reportoire and yielded such classic recordings as "E.S.P." and "Nefertiti". These assemblymen were impressionistic, wholly improvisational yet also, trying to hit their stride as a cohesive whole. The four years that they were together marked an epochal shift in the tide of Jazz music; the acoustic age gave way to the boundless nature of the electric. The Second Great Quintet played second fiddle to no one and throughout their four years of existence, consistently pushed themselves and the perceived confines of their chosen medium. -All Music
Below: "The Revolution Will Not Be Televised."
Members
Miles Davis, Wayne Shorter, Herbie Hancock, Ron Carter and Tony Williams (1965-1968).
Record Label
Columbia
About
Miles, Wayne, Herbie, Ron and Tony.
Biography
Miles and his Disciples were daring, ferocious and mysterious, straddling the line between acoustic and electric jazz. During this period, The Quintet incorporated electric sounds into their acoustic reportoire and yielded such classic recordings as "E.S.P." and "Nefertiti". These assemblymen were impressionistic, wholly improvisational yet also, trying to hit their stride as a cohesive whole. The four years that they were together marked an epochal shift in the tide of Jazz music; the acoustic age gave way to the boundless nature of the electric. The Second Great Quintet played second fiddle to no one and throughout their four years of existence, consistently pushed themselves and the perceived confines of their chosen medium. -All Music
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