Ronnie Scott’s Jazz Club is the heartbeat of London’s Soho district—where jazz, soul, and funk meet under one roof. 

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Founded on October 30, 1959, by saxophonists Ronnie Scott and musician-manager Pete King, the club opens in a basement on Gerrard Street; then in 1965 moves to nearby Frith Street—the address forever associated with the club’s identity. The club quickly becomes one of the UK’s key destinations for American jazz legends: names like Miles Davis, Ella Fitzgerald, and Chet Baker firmly establish the club’s legendary status. The club also launches its own label in 1978, Ronnie Scott’s Jazz House, releasing recordings that capture the spirit of those late-night Soho performances until 1990.

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Where Jazz Meets Funk

Ronnie Scott’s never limits itself to strict jazz boundaries – instead, the club and the label have built up a deep archive of performances and live recordings as its stage hosts artists crossing between soul, funk, blues, sophisticated pop, and rhythm-heavy experimentation. 

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Among the many live recordings connected to Ronnie Scott’s, several deserve a mention when we look through a funk-colored lens. We have Dr. John with his Trippin’ Live (1997), the intricate fusion-funk of Roy Ayers in his Essential Groove sessions during the mid-1990s, and the undeniable soul-funk energy of Curtis Mayfield with his 1988 Ronnie Scott’s live album. There are also funky live recordings from pop-soul artists like Simply Red and Lisa Stansfield. 

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Nina Simone Live at Ronnie Scott’s

Live at Ronnie Scott’s is recorded on November 17, 1984 and finds Nina Simone during a later period of her career. This is not the fiery protest Nina of the 1960s, nor the polished studio artist of earlier years. By the 1980s, she is living largely in Europe after years of moving between Liberia, Barbados, Switzerland, and other locations. And her Ronnie Scott’s performances are more reflective and emotionally open. She is also more conversational: the setting suits her phrasing and presence perfectly. The venue is built for listening, not for spectacle, and Nina Simone performs while chatting casually with the audience. 

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Musically, this performance sits at the intersection of jazz, soul, and blues. Yet, the way Nina phrases her vocals and bends time makes it feel deeply connected to the groove. She never needs slap bass or wah-wah guitars to be funky; her funk is all about timing, the way she lets the silence breathe. Her rhythmic instincts are sharp, and the percussive quality of her piano playing (due to her classical training) creates an unmistakable sense of movement: her left hand often locks into a steady, hypnotic rhythm that drives the music forward. 

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The setlist is a journey through different phases of her life. She opens with 'God God God,' drawn from a poem by Paramahansa Yogananda, setting a reflective tone. She revisits her past through 'I Loves You Porgy' and 'Mississippi Goddam,' the latter delivered with the sharp intensity she is known for. She closes the night with 'My Baby Just Cares For Me.' She often introduces this song with a hint of irony, knowing it is the track the crowd is waiting for—the song that brought her back into the public eye in the 80s—even if it is not the piece she wishes to be defined by. 

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This live recording is pure Nina Simone, her piano, her voice, and Paul Robinson on drums — with an audience willing to listen. You just wish you were there!​​​

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Gülben - 5/2026​​​

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