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.
Upon a recent visit to Dizzy’s Club Coca-Cola (Jazz at Lincoln Center), it was quite evident the star of the hour was not an individual musician, but the all-inclusive New Century Jazz Quintet.
When it comes to television and film, jazz takes a backseat as the stepbrother to hip-hop, soul or pop music, so it was somewhat of a surprise when J.K. Simmons won Best Supporting Actor in a Motion Picture for the jazz-based film “Whiplash”.
The noted percussionist Steve Kroon, who has played many jazz venues nationally and internationally, will make his debut Jan. 16 at Trumpet’s Jazz Club, 6 Depot Square, Montclair, N.J.
No one wants to be home New Year’s Eve. It is the evening of celebration, bringing in the New Year with a bang and big plans with wishes for the year.
Regardless of America’s ever-changing situation, Black music has always been its soundtrack depicting the mood of the times, from war to peace, lynchings to chain gangs, segregation, civil disobedience, integration, police brutality and nonviolent resistance.
Some of the most influential jazz musicians to ever play an instrument recorded on Blue Note Records, founded in 1939 by Alfred Lion and Max Margulis, with Francis Wolff joining with them shortly afterwards.
The on-going jazz fable is the music is dying, and it has yet to reach a younger audience. Hopefully, eager enthusiasts will be able to kick six feet of dirt on this mindless concept after venturing into Minton’s to witness the collaboration with the Harlem School of the Arts Dec. 7.
The neighborhood bar in Harlem has become little more than a memory only cherished by the community’s elders.
He was called “Little Jimmy Scott,” but his heart was that of a giant.
During Russell Gunn’s recent one-nighter at the Blue Note jazz club, his music took the audience to the musical cliff’s edge, and as the pebbles fell beneath their feet, they breathlessly moved to a spiked groove.