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Georg Wilhelm Friedrich Hegel (; German: ['ge:oak 'vIlhelm 'fRi:dRIc 'he:
In previous modern accounts of Hegelianism (to undergraduate classes, for example), especially those formed prior to the Hegel renaissance, Hegel's dialectic was most often characterized as a three-step process, "thesis, antithesis, synthesis"; namely, that a "thesis" (e.g. the French Revolution) would cause the creation of its "antithesis" (e.g. the Reign of Terror that followed), and would eventually result in a "synthesis" (e.g. the constitutional state of free citizens). However, Hegel used this classification only once, and he attributed the terminology to Kant. The terminology was largely developed earlier by Fichte. It was spread by Heinrich Moritz Chalybaus in accounts of Hegelian philosophy, and since then the terms have been used as descriptive of this type of framework. The "thesis-antithesis-synthesis" approach gives the sense that things or ideas are contradicted or opposed by things that come from outside them. To the contrary, the fundamental notion of Hegel's dialectic is that things or ideas have internal contradictions. From Hegel's point of view, analysis or comprehension of a thing or idea reveals that underneath its apparently simple identity or unity is an underlying inner contradiction. This contradiction leads to the dissolution of the thing or idea in the simple form in which it presented itself and to a higher-level, more complex thing or idea that more adequately incorporates the contradiction. The triadic form that appears in many places in Hegel (e.g. being-nothingness-becoming, immediate-mediate-concrete, abstract-negative-concrete) is about this movement from inner contradiction to higher-level integration or unification. For Hegel, reason is but "speculative", not "dialectical". Believing that the traditional description of Hegel's philosophy in terms of thesis-antithesis-synthesis was mistaken, a few scholars, like Raya Dunayevskaya, have attempted to discard the triadic approach altogether. According to their argument, although Hegel refers to "the two elemental considerations: first, the idea of freedom as the absolute and final aim; secondly, the means for realising it, i.e. the subjective side of knowledge and will, with its life, movement, and activity" (thesis and antithesis) he doesn't use "synthesis" but instead speaks of the "Whole": "We then recognised the State as the moral Whole and the Reality of Freedom, and consequently as the objective unity of these two elements." Furthermore, in Hegel's language, the "dialectical" aspect or "moment" of thought and reality, by which things or thoughts turn into their opposites or have their inner contradictions brought to the surface, what he called Aufhebung, is only preliminary to the "speculative" (and not "synthesizing") aspect or "moment", which grasps the unity of these opposites or contradiction. It is widely admitted today that the old-fashioned description of Hegel's philosophy in terms of thesis-antithesis-synthesis is inaccurate. Nevertheless, such is the persistence of this misnomer that the model and terminology survive in a number of scholarly works.
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What happened after the fall of the USSR

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input: Weather Report's debut album Weather Report (1971) caused a sensation in the jazz world on its arrival, due to the various talents of the group's members and their unorthodox approach to their music. The album featured a softer sound than would be the case in later years, predominantly using acoustic bass, with Shorter exclusively playing soprano saxophone. It built on the avant-garde experiments which Zawinul and Shorter had pioneered with Miles Davis on Bitches Brew, including an avoidance of head-and-chorus composition in favor of continuous rhythm and movement. Down Beat magazine described the album as "music beyond category". Although Airto Moreira completed the recording of the debut Weather Report album, his existing commitments to Miles Davis prevented him from performing live with the group. Barbara Burton performed at Weather Report's first residency (a week of performances at Paul's Mall in Boston, prior to the album release), but could not come to business terms with Zawinul over tour plans. Zawinul subsequently removed both her album credit and that of Alias, leaving Moreira as the only percussionist credited. For the upcoming concerts, former Brazil '66 member Dom Um Romao was recruited as the group's new percussionist on Moreira's own recommendation. After further gigs in Philadelphia, Weather Report went on to a tour of Europe. Following disagreements on tour, Mouzon was replaced by another former McCoy Tyner drummer, Eric Gravatt. In 1972, Weather Report released its second album, I Sing the Body Electric. The first side featured new studio recordings, while the second side was taken from live recordings of a concert in Tokyo, featuring the full-band lineup of Zawinul, Shorter, Vitous, Gravatt, and Um Romao (and later available in full as the Japan-only double album Live in Tokyo). The studio side used extended versions of the band including various guest performers, suggesting that Weather Report was not necessarily an integral jazz band, but might possibly work as an expandable project set up to realise the music of its three composers. The album also featured Zawinul's first use of a synthesizer (an instrument with which he would become synonymous within jazz) and of sound effects. I Sing the Body Electric also showed the first signs of a shift in the balance of control within the band, away from the more collective approach of the debut album. During the following year, this tendency would develop further.

Answer this question "Was Miles Davis in any other jazz groups?"
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Howard Duane Allman (November 20, 1946 - October 29, 1971) was an American guitarist, session musician, and co-founder and leader of the Allman Brothers Band until his death following a motorcycle crash in 1971, at the age of 24. The Allman Brothers Band was formed in Jacksonville, Florida, in 1969. The band had great success in the early 1970s. Allman is best remembered for his brief but influential tenure in the band and in particular for his expressive slide guitar playing and inventive improvisational skills.
The limits of full-time session playing frustrated Allman. The few months in Muscle Shoals were by no means a waste, however; besides meeting the great artists and other industry professionals with whom he was working, Allman had rented a small, secluded cabin on a lake and spent many solitary hours there refining his playing. Perhaps most significantly, Allman got together with R&B and jazz drummer Jaimoe Johanson, who came to meet Allman at the urging of Otis Redding's manager, Phil Walden, who by then was managing Allman and wanted to build a three-piece band around him. Allman and Jaimoe got Chicago-born bassist Berry Oakley to come up from Florida and jam as a trio, but Oakley was committed to his rock band with guitarist Dickey Betts, the Second Coming, and returned south. When asked how the band came together Duane responded with an astounding answer. "Very slowly, I was in Muscle Shoals and I went down to Jacksonville and was jamming with Berry and Dicky. Jaimoe came with me from Muscle Shoals, he's originally from Macon. Greg was in California and Butch was in Jacksonville where we all got together and jammed for a couple of months putting together songs and stuff. After that we went up to New York and recorded there. We never played a gig before we cut our first album." While living in Macon, Allman met Donna Roosman, who bore his second child, Galadrielle. The couple's relationship soon ended. He had an earlier relationship with Patti Chandlee which resulted in the birth of a daughter who was born deaf.

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Oakley was committed to his rock band