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Pioneering jazz pianist-singer Nat King Cole is best known for classics such as “Mona Lisa” and “The Christmas Song” as well as for hosting his own television show on NBC in 1956. However, it was a Black woman who initially broke that barrier in 1950 on the DuMont Television Network: jazz and classical pianist-singer Hazel Scott.

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That’s just one of the Black history lessons comprising the revelatory PBS documentary American Masters – The Disappearance of Miss Scott, which premieres Feb. 21 (9 p.m. ET, check local listings). Produced and directed by Nicole London, the documentary marks the first in-depth film about the early 20th century star whose fierce and fearless advocacy of civil rights during Jim Crow prompted the stipulation in her contracts that Scott wouldn’t play before segregated audiences. In fact, the documentary notes that Rev. Martin Luther King said the first desegregated audience he sat in was at one of Scott’s shows. And her film contracts stated that she would only perform as herself or as a patron — never a servant — in the movie roles she was offered. She even organized an actors strike during the production of a film because of unfair treatment.

Her impactful career in the aftermath of that strike, however, was further derailed in the U.S. when she was blacklisted during the ‘50s Red Scare by the House Un-American Committee. But that didn’t faze the intrepid Scott. Relocating to Paris in 1957, she added another successful chapter to her legacy before returning to the U.S. in 1967. As she’s quoted in the documentary: “They say I’m impossible. I won’t conform.”

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“That resilience during the era’s McCarthyism was the kind of element that I wanted to highlight,” says London, whose credits include the Emmy-winning American Masters film Miles Davis: Birth of the Cool. “I wanted people to know that Scott was a towering figure of her time — and to also understand the reasons why we don’t know her. At a time when there was so little available, she stood up against the odds and it cost her. But it shouldn’t cost us the pleasure and the gift of getting to know her story and learning from it, especially today.”

Born in Trinidad in 1920 and raised in Harlem, New York, Scott was a child prodigy. Taught by her classically trained pianist/saxophonist-music teacher mother Alma, Scott began playing piano at two years old, performed in public at three and by eight was a pupil at the Juilliard School of Music. A member of her mother’s all-female band at 14, Scott landed her first professional gig at 15 with the Count Basie Orchestra. By 19 she was headlining Café Society, the first integrated club in Manhattan. She would later marry and divorce Adam Clayton Powell Jr., a pioneer and civil rights activist in his own right as the first Black congressman from the state of New York.

An engrossing compilation of archival footage and stills, performance clips and animation illuminate Scott’s career journey, which included appearances in films (Something to Shout About, I Dood It, and Rhapsody in Blue), followed by the aforementioned nationally syndicated TV program The Hazel Scott Show, featuring herself and jazz legends Charles Mingus and Max Roach. Providing further context are excerpts from Scott’s unpublished autobiography voiced by Emmy-winning actress Sheryl Lee Ralph plus interviews with country artist Mickey Guyton, actresses Amanda Seales and Tracie Thoms and jazz musicians Camille Thurman and Jason Moran.

“I wanted people who weren’t necessarily obvious because [Scott] didn’t just influence jazz. Her reach and influence are so much bigger in terms of the possibilities for women in film, television and elsewhere. Here I am, a Black female director who wouldn’t be in this position if I hadn’t had these footsteps to follow. I also wanted to touch on the importance of friendship between women and women in support systems for each other, especially Black women.”

Influenced and mentored by jazz icons/family friends like Billie Holiday, Fats Waller and Art Tatum, Scott became known for the speed with which she could play and the top-notch improvisational skills she applied in “jazzing” up classic songs. Then there was her dexterous ability at playing two pianos at once. Alicia Keys paid tribute to Scott’s  influence and inspiration while hosting the 2019 Grammy Awards during which she played two pianos.

His mother’s high level of musicianship, in addition to her personal crusade for what’s right, is one thing that Scott’s only child, Adam Clayton Powell III, wants viewers to witness. He shared with Billboard that Grammy-winning pianist Michelle Cann and other musicians have recreated his mother’s improvisations from her records for project that will be released in late summer. He adds that Cann told him the project was “like the Olympics, almost impossible to do physically. She said the musicians working on this were staring at the sheet music. But in looking at clips of my mother playing, she’s smiling at the audience — not even looking at the keyboard.”

As the documentary was being developed, Powell learned just how valuable dollar-wise his mother’s talent was after her biographer Karen Chilton (2010’s Hazel Scott: The Pioneering Journey of a Jazz Pianist, from Café Society to Hollywood to HUAC) found some of Scott’s old film contracts. “The idea that my mother was making, in today’s dollars, more than $2 million a year at MGM is like whoa,” he says. “And her hands were insured by Lloyds of London for $1 million in 1940s dollars, which is over $18 million today.”

In The Disappearance of Hazel Scott, viewers will learn as well about her insistence to appear before the House UnAmerican Committee, the end of her troubled marriage, a suicide attempt and the dream job that materialized after her return to the U.S. Throughout it all, Powell says his mother often quoted the French song “Non, je ne regrette rien,” covered by Edith Piaf. Its title translates to “No, I Regret Nothing.”