DTH makes a perfect pitch in tribute to Trinidad-born jazz virtuoso

In words, sounds, dance and music, Dance Theater of Harlem recently entreated audiences to a tribute saluting the life and legacy of Trinidad-born jazz virtuoso, Hazel Scott while marking City Center’s homecoming season in celebration of 54 years of art in the world of classical ballet.

Introduced by outgoing artistic director, Virginia Johnson, “Sounds of Hazel” lauded the unsung immigrant in movements executed by Micah Bullard, Dylan Santos, David Wright, Sanford Placide, Alexandra Hutchinson, Amanda Smith, Yinet Fernandez, Ingrid Silva, Delancy Washington and Dahne Marcelle Lee.

Choreographed by Tiffany Rea-Fisher, five compositions exemplified the vibrance, perseverance, strength and fortitude Scott exuded until her untimely passing at age 61 in 1980.

Without benefit of a background to display the Harlem skyline Scott embraced from arrival at age four; or Paris’s landmark locations where she took refuge to exile for a decade and minus a visual hint of carnival depicting calypso on the twin island she was born, the ensemble entranced patrons showing the tapestry of the era.

All superlative in delivering artistry and excellence, Arthur Miller’s prodigies easily flexed their muscles enabling their bodies to regale a deserved and an unheralded Trinidadian-American icon.

Lee as Scott magically provided imagery of the legendary jazz singer and classical pianist in a bio-presentation that started with audio-replications of the Caribbean Sea.

Paying tribute to the trailblazer who captivated the jazz community by integrating classical sounds to the popular rhythms of the day, the Rahway, New Jersey transplant seemingly floated onstage to reveal an inspiring routine scored by New York-based DJ and composer Erica Blunt (aka Twelve45).

Aside from impacting the music genre she transformed, Hazel Dorothy Scott was revered for having a perfect pitch. Her high-octave, musical register distinguished her unique combination of vocal proficiency and technical musicianship.

Reportedly at three years old, Scott was able to play the piano by ear.

Five years later, she auditioned at Julliard School of Music and although the standard was set for teenaged potentials from 16 years old, Scott was accepted to the prestigious institution.

She taught herself how to play the saxophone.

And by age 14 she was tasked with hosting her own radio show. Added to that, she made her Broadway debut age 18.

Scott made history when she emerged the first Black to host her own syndicated network television show.  Simultaneously, she spent evenings delivering piano solos and vocal renditions in nightclubs often performing in the seven languages she was fluent.

Scott’s repute extended beyond the borders of Harlem, New York to Hollywood, California. She made five major motion pictures. But there on the west coast, Scott proved to be a tough negotiator. She protested wearing head-ties, aprons and demanded equal pay commensurate with salaries paid to white actors.

Needless to say, the activist/feminist/race conscious multi-talented, sought-after New Yorker often boldly challenged studio practices by defying racial casting and shunning demeaning roles.

On return to the Big Apple, she was maligned for marrying progressive, politician/preacher Rev. Adam Clayton Powell Jr.

Much of her legacy could not be contained in a single program therefore the tribute regaled the icon by focusing on her early years in the Caribbean, stint as an artist in Harlem and exile to Paris, France.

Adam Clayton Powell III, Scott’s only son provided audio confirmation heaping accolades on his trailblazing mother. And in her own words spoke of her adopted homeland America which she said she loved despite its Jim Crow practices.

Johnson a former principal dancer and cofounder of DTH with Arthur Mitchell deserves bouquets and accolades for this enlightening presentation.

It is her brainchild that Scott should be honored in dance.

This season marks Johnson’s swansong and for the culmination of her decades of tremendous leadership she received standing ovations.

Johnson has led the company since 2010 when the revered Mitchell bequeathed his blessings on his partner.

Adding multi-media visual to the program she explained Scott’s belated contribution to the Harlem Renaissance.

Admittedly she confessed her own lack of understanding of Scott’s contribution to the Harlem Renaissance. It is an obvious oversight likely compounded by McCarthy era persecution the musician endured when she defied Hollywood.

In Europe, Scott’s political advocacy for Civil Rights intensified. Her outspokenness made her an international magnet attracting like-minded expats. Reports of alliances with writer James Baldwin, trumpeter Dizzy Gillespie, jazz legends Max Roach and Quincy Jones attested to the clout Scott wielded.

Eventually Scott was blacklisted for being a communist sympathizer. She was targeted by the House Un-American Activities Committee and even banned from night clubs resulting with cancellations and a decline in her popularity.

Last week, Johnson was presented the Vision Award at the company’s 2023 Vision Gala where Chelsea Clinton serves as honorary chair.

Her tenure ends in July.

A ceremony held in her honor featured a special performance of Geoffrey Holder’s 1974 “Dougla” masterpiece.

Ironically, the highlight of the evening recalled his excellence and recognized another Trinidad & Tobago native.

“Dougla” and “Firebird” are two of my favorites,” Cecilia Cooper, a patron said. “I have never missed a season. Tonight was spectacular because my father knew Hazel Scott and I am a big fan of hers.”

An avid dance aficionado, Cooper said she related to Scott’s plight in the music industry because she too was a victim of racial bigotry in dance.

“I was told I could never succeed as a ballet dancer.”

During her beginning years the dedicated DTH supporter said she was often cast in “Carmen.”

She added that later she was able to perform in numerous Broadway productions but never with a dance company.

About Scott’s salute she said she bought her ticket last November and anticipated the tribute program.

“Bravo! Bravo! Bravo!”

Catch You On The Inside!