Spanning 1970-1972, this superb collection takes us back to Gil Scott-Heron's early years, when he was working with jazz producer Bob Thiele -- a man who had been in the studio with everyone from John Coltrane and Pharoah Sanders to Coleman Hawkins. But The Revolution Will Not Be Televised isn't a jazz collection per se; it's a collection of innovative R&B and spoken poetry that contains jazz influences and finds Scott-Heron employing such jazz musicians as flutist Hubert Laws and bassist Ron Carter. Like the Last Poets, Scott-Heron has been described as "one of the first rappers" -- and while he was hardly the first person to speak in rhyme to music, there are definitely parallels between angry sociopolitical poems like "Whitey on the Moon," "No Knock," and "Brother" and hip-hop commentary from the 1980s. Poetry, however, doesn't dominate this album -- most of the selections illustrate Scott-Heron's excellence as a singer, including "Home Is Where the Hatred Is," "Did You Hear What They Said?," and the poignant "Save the Children." One of the collection's less political tracks is "Lady Day and John Coltrane," an R&B classic that articulates how easily jazz can lift a person's spirits. The Revolution Will Not Be Televised isn't the last word on Scott-Heron's artistry -- he recorded many more treasures after leaving Flying Dutchman for Arista in 1975. But it's one of the collections to acquire if you're exploring his artistry for the first time.
AllMusic Review by Alex Henderson