Lady Day And John Coltrane
Pieces Of A Man (1971)
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Did You Hear What They Said?
Free Will (1972)
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Winter In America (Solo Version)
Recorded in 1978
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Back Home (w/Brian Jackson)
Winter In America (1974)
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I’ve been listening to Gil Scott-Heron’s music consistently for decades. I own about eight of his LPs, and have been on the hunt for at least two others. His recent passing merits a proper tribute.

Gil’s music was a gumbo of jazz, blues, R&B, and spoken word — Gil called it “bluesology, the science of how things feel.” He had a gift for melody and was among the most evocative lyricists that emerged from the civil rights movement. I don’t consider Gil to be a great album artist — there are many intolerable tracks in his repertoire  — but when the music, lyrics, and personnel clicked (usually when Brian Jackson was involved), the impact was super powerful.

I remember going to see Gil at Yoshi’s Jazz Club in Oakland circa 1998. I am almost sure Brian Jackson performed with him that night (which rarely happened post-1980), but the Internet has not been forthcoming with corroboration. Gil wasn’t all there but it didn’t take more than a few songs for him to find his equilibrium. His voice had become hoarse, yet was no less emotive. I had hoped to see him perform again, but he seldom performed in his later years due to substance abuse and related incarcerations.

Rather than replicate a greatest hits collection, I tried to pick tracks that capture some of the emotions that have coursed through me as I contemplate Gil’s life and career.

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17th Street
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Must Be Something
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The Bottle
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Album: It’s Your World (1976)

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The year was 1976. America was reveling in its bicentennial celebration. I was five, and don’t remember a thing. But my pop culture-filtered nostalgia imagines 1976 as the precipice between free love optimism and cocaine-fueled excess.

It’s Your World — a (mostly) live double-LP credited to Gil Scott-Heron and Brian Jackson — was recorded just a couple of days before the July 4th holiday. While America at large was patting itself on the back, Gil was giving voice to those Americans who felt the country wasn’t living up to the Declaration of Independence’s key phrase, “All men are created equal.”

Gil Scott-Heron is so closely associated with his politics that it’s easy to forget the musicality apparent in his songs. Though Gil penned many of his own tunes, Brian Jackson contributed many of the duo’s finest compositions, and was the primary keys player.

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