text:
One of Our Aircraft Is Missing

One of Our Aircraft Is Missing (stylised on screen as ......one of our aircraft is missing) is a 1942 British black-and-white war film, mainly set in the German-occupied Netherlands. It was the fourth collaboration between the British writer-director-producer team of Michael Powell and Emeric Pressburger and the first film they made under the banner of The Archers.

Although considered a propaganda film and made under the authority of the Ministry of Information as part of a series of film productions aimed at morale in the United Kingdom, it is elevated by the story and production values above the usual jingoistic fare. Today, One of Our Aircraft Is Missing is considered one of the "best of British films of the era".

A reversal of the plot of Powell and Pressburger's previous film, 49th Parallel (1941), One of Our Aircraft Is Missing has the British trying to escape with the help of various locals. In the 49th Parallel, the Germans stranded in Canada argued and fought amongst themselves, while the British fliers in this film work well together as a team.

Plot
The crew of an Royal Air Force (RAF) Wellington bomber are forced to bail out over the Netherlands near the Zuider Zee after one of their engines is damaged during a night raid on Stuttgart. Five of the six airmen find each other; the sixth goes missing. The first Dutch citizens they encounter, led by English-speaking school teacher Else Meertens, are suspicious at first as no aircraft is reported to have crashed in the Netherlands (the abandoned bomber actually reaches England before crashing). After much debate and some questioning, the Dutch agree to help, despite their fear of German reprisals.

Accompanied by many of the Dutch, the disguised airmen, led by the pilots, bicycle through the countryside to a football match where they are passed along to the local burgomaster. To their astonishment, they discover their missing crewman playing for one of the teams. Reunited, they hide in a truck carrying supplies to Jo de Vries.

De Vries pretends to be pro-German, blaming the British for killing her husband in a bombing raid (whereas he is actually in England working as a radio announcer). She hides them in her mansion, despite the Germans being garrisoned there. Under cover of an air raid, she leads them to a rowing boat. The men row undetected to the sea, but a bridge sentry finally spots them and a shot seriously wounds the oldest man, Sir George Corbett but they reach the North Sea.

They take shelter in a German rescue buoy, where they take two shot-down enemy aviators prisoner but not before one sends a radio message. By chance, two British boats arrive first. Because Corbett cannot be moved, they simply tow the buoy back to England. Three months later, he is fully recovered and the crew board their new four-engine heavy bomber, a Short Stirling.

Cast
As appearing in screen credits (main roles identified):
 * Hugh Burden as John Glyn Haggard, pilot of B for Bertie
 * Eric Portman as Tom Earnshaw, second pilot
 * Hugh Williams as Frank Shelley, observer/navigator
 * Emrys Jones as Bob Ashley, wireless operator
 * Bernard Miles as Geoff Hickman, front gunner
 * Godfrey Tearle as Sir George Corbett, rear gunner
 * Googie Withers as Jo de Vries
 * Joyce Redman as Jet van Dieren
 * Pamela Brown as Els Meertens
 * Peter Ustinov as Priest
 * Alec Clunes as Organist
 * Hay Petrie as Burgomaster
 * Roland Culver as Naval Officer
 * David Ward as First German Airman
 * Robert Duncan as Second German Airman
 * Selma Vaz Dias as Burgomaster's wife (as Selma Van Dias)
 * Arnold Marlé as Pieter Sluys
 * Robert Helpmann as De Jong
 * Hector Abbas as Driver
 * James B. Carson as Louis
 * Willem Akkerman as Willem
 * Joan Akkerman as Maartje
 * Peter Schenke as Hendrik
 * Valerie Moon as Jannie
 * John Salew as German Sentry
 * William D'Arcy as German Officer
 * Robert Beatty as Sgt. Hopkins
 * Michael Powell as Despatching Officer (also a director-producer)
 * Stewart Rome as Cmdr. Reynold

Production
The title "One of Our Aircraft Is Missing" is taken from a phrase that was often heard in contemporary news reports in the UK after a bombing raid, "one [or often more] of our aircraft failed to return", which originally served as the working title of the screenplay but was then altered to a less-downbeat form. Although the screenplay was not completely developed by the time of production, Powell considered it "half-finished ... it remained (that way) for most of the production." One of the reasons for continual revisions to the screenplay were the constant advances in wartime technology that were occurring.

The Admiralty informed the producers and directors of the use of "lobster pots", floating steel platforms, hitherto unknown to the public, that had been anchored in the North Sea to facilitate rescue of downed airmen. When Powell learned of this innovation, he pointedly rewrote the screenplay to include this refuge as the means to deliver the crew to safety. With help from the Ministry of Information, permission to use these platforms was obtained.

The actors that were gathered for the film included recognised stage and screen talents such as Eric Portman, Hugh Williams and Godfrey Tearle as well as newcomers such as Peter Ustinov making his film debut. Although mainly centred on male roles, Powell encouraged Pressburger to create a number of significant female characters. The result were strong, credible roles for both Pamela Brown and Googie Withers as female Dutch Resistance leaders. The main leads, Hugh Burden, Eric Portman, Hugh Williams, Emrys Jones, Bernard Miles, and Godfrey Tearle, formed the crew of "B for Bertie" and introduced themselves and their characters' positions on board the bomber in a progressive sequence that was filmed, like most of the aircraft interiors, in a Vickers Wellington "shell" supplied by the RAF, with working features such as lighting and electrically powered turrets.

To maintain an aura of authenticity, actual RAF bombers on "ops" (operations) were filmed but the aerial scene of the bombing of Stuttgart was created using a large-scale model at Riverside Studios, Hammersmith. The giant Wellington replica actually covered the entire studio floor and was rigged with lights and fitted for effects shots including explosions. On screen, the effect was striking and realistically duplicated the flight and bombing raid carried out at the start of the film. Much of the outdoor sequences set in the Netherlands were shot at Boston in Lincolnshire, with many of the town's landmarks visible, for example, Shodfriars Quay and the railway swing bridge. Notably, there is no scored music, Powell deliberately strove for "naturalism" relying on natural sounds that would be heard by the characters. The Dutch national anthem, Wilhelmus, is heard during the film as part of the campaign of passive resistance by the population, and the film finishes with the coat of arms of the Netherlands on screen while the opening bars of the anthem are sung by a choir. One of Our Aircraft Is Missing was cut by 20 minutes for its original American release.

Box office
According to Kinematograph Weekly the film was one of the most popular at the British box office in 1942, after Mrs Miniver, First of the Few, How Green was My Valley, Reap the Wild Wind, Holiday Inn, Captains of the Clouds, and Sergeant York and before Hatter's Castle and Young Mr Pitt.

Awards
Michael Powell and Emeric Pressburger were nominated for the Academy Award for Best Writing, Original Screenplay, and Ronald Neame (photography) and C. C. Stevens (sound) for Best Effects, Special Effects. Powell's nomination was his only Academy Award nomination – Pressburger won an Academy Award for 49th Parallel and was nominated for The Red Shoes as well.

One of Our Aircraft Is Missing joins other British war films as one of the most "well-remembered, accomplished, and enjoyed" realist films of the period.

In 2014, One of Our Aircraft Is Missing was included in a set of war films packaged together and sold to raise funds for The Royal British Legion veterans organisation.

In popular culture
One of Our Aircraft Is Missing is mentioned in the Dad's Army episode "The Lion Has Phones". When Lance-Corporal Jones tries to ring up GHQ, he mistakenly gets the cinema, whose operator tells him the film is on. There is a mention of Eric Portman and Googie Withers. A poster for the film is on display at the cinema. Correspondingly, in the episode of Dad's Army, "Time on My Hands", Pike knows how to open a parachute because, he says, he's seen it done in One of Our Aircraft Is Missing. The episode "Sons of the Sea" also contains numerous elements from this film.

In the James Bond film From Russia With Love, after dispatching an attack helicopter sent by SPECTRE, 007 observes, "I'd say one of their aircraft is missing."

The title is parodied by many other works:
 * "One of Our Trunks Is Missing", 1962 episode of The Adventures of Rocky and Bullwinkle and Friends
 * "One of Our Engines Is Missing", 1963 episode of McHale's Navy
 * "One of Our Moose Is Missing", 1964 episode of My Three Sons
 * "One of Our Dogs Is Missing", 1965 episode of Lost in Space
 * "One of Our Assemblymen Is Missing", 1966 episode of Green Acres
 * One of Our Spies Is Missing, 1966 film
 * "One of Our Shells Is Missing", 1967 episode of Gomer Pyle, U.S.M.C.
 * "One of Our Olives Is Missing", 1967 episode of Get Smart
 * "One of Our Bottles Is Missing", 1967 episode of I Dream of Jeannie
 * "One of Our Chickens Is Missing", 1969 episode of Petticoat Junction
 * "One of Our Probes Is Missing", 1972 episode of Search
 * "One of Our Planets Is Missing", 1973 episode of Star Trek: The Animated Series
 * "One of Our Running Backs is Missing", 1975 episode of The Six Million Dollar Man
 * One of Our Dinosaurs Is Missing, 1975 film
 * "One of Our Pylons Is Missing", 1975 episode of Land of the Lost
 * "One of Our Sweathogs Is Missing", 1975 episode of Welcome Back, Kotter
 * "One of Our Zeppelins Is Missing", 1976 episode of Switch (American TV series)
 * "One of Our Chiefs Is Missing", 1978 episode of Carter Country
 * "One of Our Submarines", 1982 Thomas Dolby song, which contains the lyric "One of our submarines is missing..."
 * "One of Our Fruit Machines Is Missing", 1986 Nik Kershaw song
 * "One of Our Spiders Is Missing", 2001 episode of Bill and Ben
 * One of Our Thursdays Is Missing, 2011 Jasper Fforde novel
 * One of Our Jeans Is Missing, 2016 Paul Charles novel

title: One of Our Aircraft Is Missing


text: Category:Universities and colleges in Norway

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/


text: User talk:206.78.137.77

title: User talk:206.78.137.77


text:
Talk:State-space representation

==issue in the moving object example, if m tends to zero, and k1 (or k2) tends to infinity, then the system wont be controlable or observable, it is important to write this as it is the basis of nuclear physics

Definition of a state
Somebody seriously needs to start at the beginning, and define/explain the meaning of a 'state'. That is, what does a 'state of a system' actually mean? Does it mean actual set of values (1V, 5 degree C, 0.2 metres/sec) of state variables at a particular time? Or does it mean just the set of state variables (without their actual quantities/values) at a particular time? Does 'state' mean 'state variable quantities/values at time t'? It will be good for the article to define the meaning of a 'state' clearly - with very clear examples. Like, if 'state' means the same thing as 'state vector', then it needs to be indicated. KorgBoy (talk) 07:19, 10 July 2017 (UTC)

Small error in the transfer function derivation
The Laplace transform of x'(t) is not sX(s), but sX(s)-x(0). I believe that the initial conditions term is usually assumed to be zero anyhow, to indicate no initial energy. I'm new to both controls and editing wikipedia, so I'll leave the actual editing to someone better equipped. :)

—The preceding unsigned comment was added by 70.171.42.102 (talk) 06:15, 21 March 2007 (UTC).

The transfer function, by definition, is the representation of the system in the s-domain with zero initial conditions. Perhaps the article could specify this? JMatopos (talk) 10:50, 23 March 2011 (UTC)

What else does this article need?
Definitely some diagrams of the systems.

I think another article on equilibrium is needed (phase diagrams, stabile points, unstable points, etc.). Cburnett 19:06, 13 Dec 2004 (UTC)

Also, state feedback was left out of the feedback section... might be good to include those tidbits. not a far stretch from what is already there, but it is entirely neglected.

Formulas to determine state-space represetnation of interconected systems: +--|S1|--+ |       v --+--|S2|--+-- -->--|S1|--|S2|-->-
 * parallel connection
 * serial connection

--+--|S1|--+-- ^       |  +<-|S2|--+ Where both S1 and S2 are given in state space representation.
 * feedback connection

--- I'm trying to learn some of the math from this article, so if I don't know what I'm talking about, that's why. That being said, I think there is some sort of error in the description of variables in the Moving Object Example. In the second breakout "acceleration of the objection" it explains a variable not used in the equation.

Section blanking
An anonymous user blanked content back in July 2006. . I reverted and attempted to restore edits made since then. Sorry if I missed some, but the amount deleted was wholly worth any loss since then. :/ Cburnett 01:10, 22 November 2006 (UTC)

 * I don't know if you want to restore more, so I prefer to ask you first. Section "State variables" is neither correct nor self-consistent, imo. State variables can be redundant (dependent); a state-space model with the number of state variables is a minimal realization, which is a special (yet important) case. One should define "realization" first, noting that it isn't unique (see some of my previous contributions). "System variables" aren't defined (I'd just write "values" instead). In "linearly independent", linearly is superfluous, because linearity isn't required here. Finally, in "the minimum number of state variables is equal to the transfer function's denominator", it's equal to the denominator's degree, not to the denominator itself. Engelec 11:42, 22 November 2006 (UTC)

Feedback with reference input
If $$r(t)$$ is the reference input, or setpoint, the correct equation for $$u(t)$$ is $$u(t) = K(r(t) - y(t))$$ (compare to other articles on control, e.g. PID controller). $$D$$ is usually not left out just for the sake of simplification, but because it is zero in strictly causal systems. Engelec 10:03, 14 December 2006 (UTC)

There are two issues, which I would like to raise: I think it's incorrect to call $$r(t)$$ the reference or setpoint. That would need to be at a summing junction before the feedback - surely we are trying to control $$y(t)$$. What is represented in the article is the "disturbance" - that which interferes with our ability to control to the set point. I will let this sit for a few weeks before I edit the article.

I disagree that the inclusion of $$D$$ makes the system acausal. This represents feed-through - for example, in a mechanical system if the feedback is by means of a magnetic actuator and the sensor is an inductive pick-up, it is possible for the sensor signal to contain a component due to the actuator field. This is causal and is described by $$D$$. In practical designs, one tries to avoid this by (for example) using a capacitative sensor, where the cross-talk is much smaller (perhaps even zero). It is true that with the inclusion of $$D$$ the transfer function is proper (and not strictly proper. This is actually a deficiency with the formalism and presented. In reality, $$D$$ itself will have a frequency dependence, which is strictly proper but there seems to be no way to include this in the formalism. It would be possible to incorporate this into $$A$$ but then the feed-through acts on $$x(t)$$ rather than $$y(t)$$ . That seems a preferable way to deal with the feed-through, with the behaviour of the transducers incorporated into the state space model $$A$$. In that case, $$D$$ is not needed. Frank van kann (talk) 08:51, 3 April 2014 (UTC)

Frank, it's debatable whether feed-throughs are causal or not since the information is output instantaneously with the input, that is $$y(t)=u(t) \; (1)$$, and this sparks controversies on the definitions of causality $$(t < t_0 \; vs \; t \leq t_0)$$. A much more precise and definitive argument is that feed-throughs are not realizable since information is moved instantaneously and this is not possible in physical systems, think of a mass which moves instantaneously and thus requires infinite energy. In fact we can demonstrate the problem by deriving (1) and applying limit to an instant $$\lim_{dt\rightarrow 0} (dy(t)-du(t))/dt=Inf \; (2)$$. This is expected since at $$t_0$$ systems do exhibit instantaneous variation, it is pretty much what the Initial Value Theorem tells us. The problem arises with the definition of our feed-through in (1). Replacing (1) in (2) gives $$\lim_{dt\rightarrow 0} (dy(t)-dy(t))/dt=0/0 \; (3)$$ and thus we obtain an undetermined result. There is a good debate about this on the talk page of proper transfer functions. --Nihilscientia (talk) 16:04, 25 August 2014 (UTC)

why no state feedback?
it is not obvious for me why normal feedback is presented in detail here whereas state feedback, which is one of the advantages of a statespace model, is not even mentioned. State feedback is misused in the second feedback figure. this is not state feedback but ouput feedback (corrected)! —Preceding unsigned comment added by 134.130.44.166 (talk) 15:48, August 30, 2007 (UTC)

Image copyright issues
I noticed that the block diagrams on this page are created with Simulink, which constitutes screenshots of a copyrighted program. I think we should create block diagrams of our own and replace the Simulink screenshots. --Jiuguang Wang (talk) 15:55, 4 July 2008 (UTC)
 * The program is copyright, not the images created by it. Otherwise one could never publish any picture created with Paint, Photoshop etc. Mesdale (talk) 20:39, 11 January 2011 (UTC)

Discrete time
There also needs to either be a discussion about discrete time in this article or a link to another page which discusses that topic.

S243a (talk) 19:28, 16 July 2009 (UTC)John Creighton

General linear formulation is time-variant
"Notice that in this general formulation, all matrices are supposed to be time-invariant, i.e. none of their elements can depend on time."

This is backwards; in the formulation shown the matrices do carry a time dependence. I corrected this. 95.222.120.117 (talk) 21:50, 22 July 2009 (UTC)
 * Your fix made it sound like the matrices *MUST* have a time dependence. They need not. I've fixed your fix. —TedPavlic (talk/contrib/@) 12:14, 23 July 2009 (UTC)

Other Edits
I removed CitationNeeded from "The state variables defined must be linearly independent; no state variable can be written as a linear combination of the other state variables or the system will not be able to be solved." because linear independence is a fundamental property of linear algebra necessary for fully specified systems. I am not sure that it entire applies in this situation, so as opposed to a Citation, perhaps it warrants removal for applicability. J.H. Gorse (talk) 18:08, 12 May 2013 (UTC)

Alternative Representation
There seems to exist an alternative representation of the canonical realizations: [| link] (or at least another definition). Unfortunately I don't understand it completely. Alorgen (talk) 18:38, 15 August 2013 (UTC)
 * It looks like the canonical form on that page is the same as the one on this page (just with ordering reversed). Zfeinst (talk) 22:59, 15

August 2013 (UTC) The output equation in the observable canonical realization is wrong; It should be [0 0 0 1] (as an illustration, the first state only depends on the input and itself; with [1 0 0 0], the output will be that from a 1st order system

MatLab/Octave
These programs can convert between transfer functions and state-space so I tried one to see how it matched to the page discussion. The coefficients are purely made up The result was (: used as separators): A = B = C = [0 : 0 : 0 : 0.20 ] D = 0
 * num=[1 2 3 4];  den=[5 4 3 2 1];
 * [A,B,C,D]= tf2ss (num,den); % from tf to ss
 * 0 : 0 :  0 : 0.20
 * 1 : 0 :  0 :  0.40
 * 0 : -1 : 0 : -0.60
 * 0 : 0 :  1 : -0.80
 * -4.00
 * -3.00
 * 2.00
 * 1.00

As far as I know this does not mean the transfer function and State space model are not related as the transfer function consists of 9 parameters whereas the state space representation consists of 25 parameters and actually can hold more information. So when converting from state space to transfer function information gets lost and when converting from transfer function to state space there are many valid solutions. If the poles and zeros of the state space and transfer functon are the same the state space system below is one of these valid solutions Maartenvaandrager (talk) 20:32, 19 January 2017 (UTC)

Dr. Snyder's comment on this article
Dr. Snyder has reviewed this Wikipedia page, and provided us with the following comments to improve its quality:

{{quote|text=State space representations originated in engineering and so an article like this is warranted in Wikipedia. However, they are now also applied in other areas such as economic and business forecasting, where they often contain unit roots to cope with the non-stationary features of time series typically found in these disciplines. This gives rise to quite different classes of linear state space representations and to the need for more complex estimation methods than those based the traditional Kalman filter. My view is that a separate article is required, titled say "State Space Models in Economics and Business", to cover the issues missing from the current Wikipedia article. There is now quite a large literature in this area, but two references cover many of its features:

Durbin, J., & Koopman, S. J. (2012). Time series analysis by state space methods (No. 38). Oxford University Press.

Hyndman, R. J., Koehler, A. B., Ord, J. K. & Snyder, R. D. (2008), Forecasting with Exponential Smoothing: The State Space Approach, Springer-Verlag.

We hope Wikipedians on this talk page can take advantage of these comments and improve the quality of the article accordingly.

We believe Dr. Snyder has expertise on the topic of this article, since he has published relevant scholarly research:

 * Reference : Ralph D. Snyder & Anne B. Koehler, 2008. "A View of Damped Trend as Incorporating a Tracking Signal into a State Space Model," Monash Econometrics and Business Statistics Working Papers 7/08, Monash University, Department of Econometrics and Business Statistics.

ExpertIdeasBot (talk) 17:02, 27 July 2016 (UTC)

not all state spaces are Euclidean
The 6-dof position and orientation (and corresponding rates) of an aircraft is not a euclidean space, but it is still the state space. — Preceding unsigned comment added by Intellec7 (talk • contribs) 19:34, 11 September 2019 (UTC)

Z-transform: error?
I have an inkling that the formula:

$$z \mathbf{X}(z) - z \mathbf{x}(0) = \mathbf{A} \mathbf{X}(z) + \mathbf{B} \mathbf{U}(z)$$

may be slightly off. Inspecting its structure in comparison with the continuous counterpart the Laplace transform, and studying https://en.wikipedia.org/wiki/Z-transform for the first difference forward, I cannot help but think that it should possibly read:

$$(z - 1) \mathbf{X}(z) - z \mathbf{x}(0) = \mathbf{A} \mathbf{X}(z) + \mathbf{B} \mathbf{U}(z)$$

Am I right on this?Redav (talk) 10:40, 22 June 2020 (UTC)

Adding Observer Canonical Matrix
I think, it would be good if someone add the Observer Canonical Matrix just after the Controllable Canonical Matrix. That would make the article more complete (I do not have the time to do it anytime soon).

Remove  template (or clarify)
Can we remove this More footnotes template?

Or make a prioritized plan for what needs to be cited inline? Mcint (talk) 22:28, 13 December 2023 (UTC)
 * What are technical pages that do this well?
 * I'm tempted to put the template down in particular later subsections, the first section seems thoroughly covered.

title: Talk:State-space representation


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The Volunteer (1944 film)

The Volunteer (1944) is a short black-and-white British film by the filmmakers Michael Powell and Emeric Pressburger for the U.K. Ministry of Information. Made during World War II as recruitment propaganda for the Fleet Air Arm, volunteer numbers rose after its release.

The films features actor Ralph Richardson starring in a West End production of Othello. Pat McGrath plays his dresser, who joins the Fleet Air Arm and becomes a war hero – as famous as Richardson himself. British film stars Anna Neagle and Laurence Olivier make cameo appearances, as does director Michael Powell and fellow British film director Anthony Asquith.

The film is available as a supplement to the Criterion DVD of 49th Parallel.

title: The Volunteer (1944 film)


text:
Ronnie Scott

Ronnie Scott OBE (born Ronald Schatt; 28 January 1927 – 23 December 1996) was a British jazz tenor saxophonist and jazz club owner. He co-founded Ronnie Scott's Jazz Club in London's Soho district, one of the world's most popular jazz clubs, in 1959.

Life and career

Ronnie Scott was born in Aldgate, East London, into a Jewish family. His father, Joseph Schatt, was of Russian ancestry, and his mother Sylvia's family attended the Portuguese synagogue in Alie Street. Scott attended the Central Foundation Boys' School.

Scott began playing in small jazz clubs at the age of 16. His claim to fame was that he was taught to play by "Vera Lynn's father-in-law!". He toured with trumpeter Johnny Claes from 1944 to 1945 and with Ted Heath in 1946. That same year, he appeared as one of the band members in George in Civvy Street. He worked with Ambrose, Cab Kaye, and Tito Burns. He was involved in the short-lived musicians' co-operative Club Eleven band and club (1948–50) with Johnny Dankworth. Scott became an acquaintance of the arranger/composer Tadd Dameron, when the American was working in the UK for Heath, and is reported to have performed with Dameron as the pianist, at one Club Eleven gig.

Scott was a member of the generation of British musicians who worked on the Cunard liner Queen Mary intermittently from 1946 to around 1950. The ship would sail to New York City where they were exposed to Bebop, the new form of jazz being played in the clubs there. Scott was among the earliest British musicians to have been influenced by Charlie Parker and other players of modern jazz.

In 1952, Scott joined Jack Parnell's orchestra and from 1953 to 1956 led a nine-piece band and quintet which included Pete King, with whom he later opened his jazz club, Victor Feldman, Hank Shaw, and Phil Seamen. He co-led The Jazz Couriers with Tubby Hayes from 1957 to 1959 and was leader of a quartet that included Stan Tracey (1960–67).

From 1967 to 1969, Scott was a member of the Kenny Clarke/Francy Boland Big Band, which toured Europe and included Johnny Griffin and Eddie "Lockjaw" Davis. Simultaneously he ran his octet, which included John Surman and Kenny Wheeler, and a trio with Mike Carr on keyboards and Bobby Gien on drums (1971–1975). Scott's other bands often included John Critchinson on keyboards and Martin Drew on drums. He did occasional session work, which included performing the solo on "Lady Madonna", the 1968 single by the Beatles, playing on Roy Budd's score for the film Fear Is the Key (1972), and performing the tenor sax solo on "I Missed Again", the 1981 single by Phil Collins.

In the 1981 New Year Honours, Scott was appointed an Officer of the Order of the British Empire (OBE) for services to jazz music.

Charles Mingus said of him in 1961, "Of the white boys, Ronnie Scott gets closer to the negro blues feeling, the way Zoot Sims does." Scott recorded infrequently during the last few decades of his career. He suffered from depression. While recovering from surgery for tooth implants, he died at the age of 69 from an accidental overdose of barbiturate prescribed by his dentist. The Westminster coroner's inquest in February 1997 recorded a verdict of 'death by misadventure'.

Ronnie Scott's widow, Mary Scott, and her daughter, Rebecca Scott, wrote the memoir A Fine Kind of Madness: Ronnie Scott Remembered, with a foreword by Spike Milligan. The book was published in 1999 in London by Headline Book Publishing.

Ronnie Scott's Jazz Club

Scott is perhaps best remembered for co-founding, with former tenor sax player Pete King, Ronnie Scott's Jazz Club, which opened on 30 October 1959 in a basement at 39 Gerrard Street in London's Soho district, with the debut of a young alto sax player named Peter King (no relation), before later moving to a larger venue nearby at 47 Frith Street in 1965. The original venue continued in operation as the "Old Place" until the lease ran out in 1967, and was used for performances by the up-and-coming generation of domestic musicians.

Scott regularly acted as the club's genial master of ceremonies, and was noted for his repertoire of jokes, asides and one-liners. A typical introduction might go: "Our next guest is one of the finest musicians in the country. In the city, he's crap". Another memorable announcement was: "Next week we're proud to have a quartet featuring Stan Getz and violinist Stuff Smith. It's called the 'Getz-Stuffed quartet'." Ronnie often used in later days the services of John Schatt to book rock bands for Ronnie Scott's upstairs.

After Scott's death, King continued to run the club for a further nine years, before selling the club to theatre impresario Sally Greene in June 2005.

In September 2013, while the club was being redecorated, a 12-metre-square (39 ft2) hoarding was placed on the Frith Street façade as a tribute to its eponymous founder, bearing a giant photograph of Ronnie Scott by Val Wilmer, alongside one of his one-liners: "I love this place, it's just like home, filthy and full of strangers."

Selected band line-ups
As well as participating in name orchestras, Scott led or co-led numerous bands featuring some of Britain's most prominent jazz musicians of the day.
 * Alan Dean's Beboppers: 1949
 * Ronnie Scott (tenor sax), Johnny Dankworth (alto sax), Hank Shaw (trumpet), Tommy Pollard (piano), Pete Chilver (guitar), Joe Muddel (double bass), Laurie Morgan (drums), Alan Dean (vocal)

 * Ronnie Scott Orchestra: – 1954, 1955
 * Ronnie Scott (tenor sax), Derek Humble (alto sax), Pete King (tenor sax), Hank Shaw (trumpet), Ken Wray (trombone), Benny Green (baritone sax), Victor Feldman (piano), Lennie Bush (double bass), Phil Seamen (drums)

 * Ronnie Scott Quintet: – 1955
 * Ronnie Scott (tenor sax), Hank Shaw (trumpet), Victor Feldman (piano), Sammy Stokes (double bass), Lennie Bush (double bass), Phil Seamen (drums)

 * Ronnie Scott Big Band: – 1955
 * Ronnie Scott, Pete King (tenor sax); Joe Harriott, Doug Robinson (alto sax); Benny Green (baritone sax); Stan Palmer, Hank Shaw, Dave Usden, Jimmy Watson (trumpet); Jack Botterill, Robin Kaye, Mac Minshull, Ken Wray (trombone); Norman Stenfalt (piano); Eric Peter (double bass); Phil Seamen (drums)

On 7 April 1957, The Jazz Couriers, co-led by Tubby Hayes and Ronnie Scott, debuted at the new Flamingo Club in Wardour Street, Soho. The group lasted until 30 August 1959.
 * The Jazz Couriers
 * Ronnie Scott (tenor sax), Tubby Hayes (tenor sax, vibraphone), Terry Shannon (piano), Phil Bates (double bass), Bill Eyden (drums)

 * Ronnie Scott Quartet: 1964
 * Ronnie Scott (tenor sax), Stan Tracey (piano), Malcolm Cecil (double bass), Jackie Dougan (drums)

 * Ronnie Scott Trio: 1970
 * Ronnie Scott (tenor sax), Mike Carr (keyboards, vibraphone), Tony Crombie (drums, piano)

 * Ronnie Scott Quintet: 1990
 * Ronnie Scott (tenor sax), Dick Pearce (trumpet), John Critchinson (piano), Ron Mathewson (double bass), Martin Drew (drums)

As leader

 * Boppin' at Esquire (Esquire, 1948)[10"]
 * The Couriers of Jazz! (Carlton, 1958)
 * The Night Is Scott and You're So Swingable (1965, Redial)
 * When I Want Your Opinion, I'll Give it to You (Jazz House, 1965)
 * Live at Ronnie Scott's (Columbia, 1969)
 * ‘’The Pablo All-Stars Jam’’ (Pablo, 1977)
 * Serious Gold (Pye, 1977)
 * Never Pat a Burning Dog (Jazz House, 1990)
 * If I Want Your Opinion (Jazz House, 1997)
 * The Night Has a Thousand Eyes (Jazz House, 1997)
 * Boppin' at Esquire (Indigo, 2000)
 * Ronnie Scott Live at the Jazz Club (Time Music, 2002)

As sideman
With the Kenny Clarke/Francy Boland Big Band
 * Handle with Care (Atlantic, 1963)
 * Now Hear Our Meanin' (Columbia, 1965) – rec. 1963
 * Sax No End (SABA, 1967)
 * Out of the Folk Bag (Columbia, 1967)
 * 17 Men and Their Music (Campi, 1967)
 * All Smiles (MPS, 1968)
 * Faces (MPS, 1969)
 * Latin Kaleidoscope (MPS, 1968)
 * Fellini 712 (MPS, 1969)
 * All Blues (MPS, 1969)
 * More Smiles (MPS, 1969)
 * Clarke Boland Big Band en Concert avec Europe 1 (Tréma, 1992) – rec. 1969
 * Off Limits (Polydor, 1970)
 * November Girl (Black Lion, 1975) – rec. 1970. also with Carmen McRae.
 * Change of Scenes (Verve, 1971) – also with Stan Getz

With others
 * Victor Feldman, Suite Sixteen (Contemporary, 1958) – rec. 1955
 * Phil Collins, Face Value (Virgin, 1981) Tenor saxophone solo on "I Missed Again"
 * The Beatles, "Lady Madonna" (1968) tenor saxophone solo
 * Mark Murphy, Midnight Mood (MPS, 1968)

title: Ronnie Scott