Ron Scott writes a weekly column “Jazz Notes” for the Amsterdam News, and contributes to the monthly publications Positive Community and Network Journal.
He is the senior editor of “Forever Harlem,” (Starlight Press L.L.C., 2006), a pictorial history of Harlem from 1896-2006. Most recently he was writer and editor for the Community Works exhibit “Harlem is… Music,” exhibited at the Lincoln Center Library for the Performing Arts and the Museum of the City of New York
As a freelance writer Scott has written for the New York Times, Vogue Magazine, the Daily News, Time Out New York, Johnson Publications and ABC Radio.
He is a member of the Jazz Journalists Association, New York Association of Black Journalists (NYABJ), National Writers Union, and a graduate of Florida A&M University, and New York University’s Graduate School of Social Work.
He has lectured at the City University of New York, Howard University and shared his expertise on music panels throughout the United States.
There was an abundance of Black-owned jazz clubs during the blood-drenched years of segregation, but now, because of that trickle down economy, Black clubs have dwindled drastically in this 21st century of openness, cloaked under smiling faces of eager racism.
No pianist has the distinctive soft percussive ever-roving touch like the eminent elder statesman Barry Harris.
Lorraine Gordon, owner of the iconic Village Vanguard jazz club in New York, and one of the few non-musicians to be named an NEA Jazz Master, died June 9, at Beth Israel Hospital in Manhattan.
The guitarist Russell Malone, whose pronounced pitched sound has caught the ear of anyone who listens, from New York to Europe, will be honored by Jack Kleinsinger’s “Highlights in Jazz.”
Since VTY started its jazz series, Sunday Serenade, at the West End Lounge on the Upper West Side (955 West End Ave. at 107th Street), it seems to be having a resurgence of popularity reminiscent of earlier times.Since VTY started its jazz series, Sunday Serenade, at the West End Lounge on the Upper West Side (955 West End Ave. at 107th Street), it seems to be having a resurgence of popularity reminiscent of earlier times.
The play “Paradise Blue,” written by the award-winning playwright Dominique Morisseau (“Skelton Crew” and “Pipeline”) gets its title from Detroit’s Paradise Valley entertainment district that was prominent in the Black community known as Black Bottom during the 1940s through the early 1960s.
Long before the outspoken voices of Miles Davis, Nina Simone and Thelonious Monk, who were determined to forge their own musical paths, there was bandleader, composer and arranger James Reese Europe.
For 23 years, the Vision Festival has been the mecca where enthusiasts gather to salute avant-garde’s future, present and past.
Miriam Makeba and Nina Simone (2018 Rock & Roll Hall of Fame) were the unapologetic revolutionary voices of the people of South Africa and America, both on and off the stage.
When young people and jazz come together, one can be assured it’s going to be a joyous fun-filled coaster ride.