Rhoda Scott

 . Press Review

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From a purely technical point of view, Rhoda has no rivals. She plays organ to perfection, and in that respect, comparable organists can be counted on only one hand. But if one takes her musicality, swing and inspiration, Rhoda Scott is also among the best.”

Maurice Cullaz, Jazz hot Magazine, April 1969

“The elegant Ms. Scott has slim feet that dance quickly over the pedals, hardly seeming to make contact – she plays shoeless. But she swings hard, like Count Basie, in whose club she used to perform in Harlem. The Gospel influence, too, is audible in the way the pulse is always pushing forward.”

The Wall Street Journal, January 8, 2002

“The concert… was so good that it transcended its genre’s clichés; it seemed vital, even momentous, an event. Dr. Lonnie Smith, Rhoda Scott, Joey DeFrancesco and Jimmy McGriff all played marvelously… Ms. Scott, stepping out of her heels to maneuver the organ’s bass pedals barefoot, squeezed the maximum potential out of sustained chords.”

The New York Times, December 1, 2001

“An American in Paris, this Newark, New Jersey native has been an expatriate for the past 30 years, returning regularly to her hometown for Newark’s annual Organ Jam. A minister’s daughter brought up in the classical music tradition, she has become one of the most respected and accomplished Hammond B-3 players on the planet, with an exciting, charismatic stage presence to boot!... her secret weapon is her inherent sense of time and surging bass pedal lines, which she executes barefooted.”

Bill Milkowski, JAZZIZ Magazine, July 2002

“Rhoda Scott achieves an original synthesis in her productions and in her music and she allows herself with grace and joy to combine themes which are typically jazz, others religious (Rhoda Scott presented a program of Negro Spirituals and Gospels during several concerts, accompanied by a 200-voice choir at the famed Paris Olympia Music Hall in 1987) but also themes from classical music played in jazz. A minister’s daughter, brought up in the classical music tradition, and having attended MANHATTAN SCHOOL OF MUSIC in NEW YORK, surrounded by traditional african-american music, how could it be otherwise?

This is what she demonstrates in her concerts. Thus it is not surprising to discover, other than her original compositions, well-known jazz tunes, classical music themes or French airs at the same time as certain Gospels or Negro Spirituals. All of this comes from the essence of her personality and the unique characteristics of the Hammond organ, so original on the level of jazz music.

Dr. Michel GR0SS, Musicologist

“A great, a very great virtuoso”

Arthur Rubinstein


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