Of Scott-Heron's influence on hip hop, Kot writes that he "presaghip-hop and infus[ed soul and jazz with poetry, humor and pointed political commentary". Ben Sisario of "The New York Times" writes that "He preferred to call himself a "bluesologist", drawing on the traditions of blues, jazz and Harlem renaissance poetics". Tris McCall of "The Star-Ledger" writes that "The arrangements on Gil Scott-Heron's early recordings were consistent with the conventions of jazz poetry – the movement that sought to bring the spontaneity of live performance to the reading of verse". A music writer later noted that "Scott-Heron's unique proto-rap style influenced a generation of hip-hop artists", while "The Washington Post" wrote that "Scott-Heron's work presaged not only conscious rap and poetry slams, but also acid jazz, particularly during his rewarding collaboration with composer-keyboardist-flutist Brian Jackson in the mid- and late '70s". "The Observer"s Sean O'Hagan discussed the significance of Scott-Heron's music with Brian Jackson, stating: