Colored girls and boys' inspiring United States history / and a heart to heart talk about white folks

THE first Colored poetess in America to win national and international fame was Phyllis Wheatley, who was brought from Africa in 1761 and sold as a slave in Boston, Mass. Finding Phyllis to be an unusually quick and apt child to learn, her owner spared no pains to give her the best of education. Her poetry writing began at an early age. She became so intelligent and self-cultured that the most wealthy and refined white people of the day entertained her. All the time she was writing verses of the highest quality. Finally going to Europe her success was even greater there to such an extent that she appeared before the Royal Courts of England and received high honors. Her literary works were reviewed by some of the best scholars in England where much of her poetry was published in London under the title “Poems on Various Subjects, Religious and Moral”.

The late Paul Lawrence Dunbar, Negro Poet-Laureate, is considered the greatest poet the Negro race has produced. Starting as an elevator boy he struggled through one disappointment after another to get an education. All that time he was writing poetry and finally after his works came under the notice of such great white writers as William Dean Howells and James Whitcomb Riley, the genius of Dunbar and the value of his writings became world known. He traveled all about giving recitals of his poetry that took the country by storm. His prose works won just as much admiration and comment. His writings were based on the American Negro in and out of slavery and the pen pictures he has drawn are masterpieces of literature. Chief among his compositions are; “Lyrics of Lowly Life”, “Lyrics of The Hearthstone,” “Heart of Happy Hollow”, “Folks From Dixie,” “Oak and Ivy”, “Uncalled”, “Love and Landry” and “The Sports Of The Gods.”

William Stanley Braithwaite, as editor of “The New Poetry Review” of Cambridge, author of “The Anthology of Magazine Verse”, editor of “The Contemporary American Poets Series” and annual reviewer of the poetry that appears in the leading magazines of America, is recognized as the leading Colored poet and among the foremost world poets of today. A few of his works are: “The House of Falling Leaves”, “The Book of Victorian Verse”, “Life of Lyrics and Love”, “The Book of Georgian Verse”, “The Book of Elizabethian Verse”, and “The Book of Restoration Verse.” He was awarded the Spingarn Medal in 1918.

James Weldon Johnson is a poet and writer of first note, and his poem “The Young Warrior,” that was set to music by Harry T. Burleigh, almost became the national hymn of Italy during the World War. His poem “Fifty Years” that appeared in many of the leading white magazines and newspapers during the first part of 1913, brought forth high comment from all parts of the country. His poems have appeared in the Century, the Independent, the Crisis and other publications. He has published some of his poetry in a book titled “Fifty Years and Other Poems.”

“Mr. Johnson is a young colored poet of America. Some of his verse is in the cultivated English, some in the broken language of the American Negro. The latter rings true. They express with singular intensity the joys and sorrows of a subject race.” The above comment was made by The London Literary World regarding the poetic abilities of Fenton Johnson, Chicago, Ill. Aside from receiving high mentions from The New York World, and Poetry, a magazine of Verse, some of his works were also included in Braithwaite’s “Anthology of Magazine Verse for 1918” and “The Chicago Anthology”. One of his recent volumes of poetry that attracted praiseworthy attention on both sides of the ocean is “A Little Dreaming.”

While the facts, that short stories of the highest order are constantly flowing from her pen point (or typewriter) and that she is Literary Editor of The Crisis, have gained for her the distinction of being a foremost prose writer among Colored women in America today; Jessie Redmon Fauset, on account of the numerous outputs and unusual high quality of her poems, is also recognized as one of the best verse writers among Colored people on both sides of the ocean.

The father and son poets, Jos. S. Cotter, Sr. and Jr., have produced verse matter that stands among the best in the country among Colored writers. Information regarding the works of these composers will be found else-where in this book. But a praiseworthy mention regarding Jos. S. Cotter, Jr., who died in his early twenties and for several years before that had been confined on a bed of affliction, should be made herein. While other poets have had their health, strength and vigor to do their work, young Cotter was suffering almost constant pain in bed while turning out his poetry that came from the depths of his patient soul, and ring as true as a pure-cast bell.

Georgia Douglas Johnson was born in Atlanta, Ga., was educated in the public schools and at the Atlanta University after which she took a course of music at the Oberlin Conservatory. Her first book, “The Heart of a Woman and Other Poems” with an introduction by William Stanley Braithwaite, was published by the Cornhill Co. of Boston, Mass., three years ago; her second book, “An Autumn Love Cycle,” will be out shortly. Her third book, “Shadow Song” is entirely different to the other two, being entirely racial, treated in the over-tone style of suggestion. This book will appear some months after the “Love Cycle.” The above quotation is in part an editorial note that appeared in the May 1921 issue of Music and Poetry. The high standard and amazing numbers of Mrs. Johnson’s verses that appear in leading magazines are attracting wide attention and have already placed her in a class among the leading Colored writers before the public today.

Claude McKay, a poet of international reputation, enjoys the honor of being one of the first Colored writers to be made an associate editor on the staff of a white national magazine—The Liberator, which is published in New York City. Mr. McKay has for several years been writing poetry for many of the leading magazines in Europe as well as for Colored and white periodicals in America. His book, “Spring in New Hampshire and Other Poems” has brought forth high literary comment from verse critics in both countries.

“Miscellaneous Poems” and “Sketches of Southern Life” are two titles covering some of the verses produced by the poetess, Frances E. Harper, who also wrote first quality prose. Jas. E. McGirth wrote “Some Simple Songs” and other verse matter that has stood the test of the best critics.

The late J. D. Corrothers gained much distinction as a prose and verse writer and for several years his poems appeared in some of the leading white magazines. George R. Margeston’s book of poems “Songs of Life” has brought forth much favorable comment, and stamped him as a poet who is fast forging to the front.

All verse critics who regularly read the close-to-nature, true-to-life, heart-to-heart and cheerful little poems that weekly head the editorial pages of the Chicago Defender, join in acclaiming Alfred Anderson the Edgar A. Guest “Sunshine Poet” of the Negro Race. A few of the many other Colored verse writers whose poems frequently appear in leading magazines are Carrie C. Clifford, Sergt. Allen R. Griggs, Jr., Thos. M. Henry, Sarah C. Fernandas, Leslie P. Hill, Roscoe Jamison, Chas. Bertram Johnson, Winifred Virginia Jordan, Will Sexton and Lucian B. Watkins, the last named writer being considered among the foremost writers the race has produced during the past few years.

AMONG THE ARTISTS

The Artist.

“Mr. William Scott is considered by critics to be one of the foremost artists in America. He excells alike in the difficulties of portrait painting and in the cleverness and subtlety of his cartoon work. In a time when artists are becoming more and more a necessity of modern life, his ability bids fair to lift him even more to the top of his profession. Mr. Scott led his class at the Chicago Art Institute.” This quotation is extracted from the November-December 1920 issue of Fenton Johnson’s Favorite Magazine.

The following extract about Mr. Scott is from Work’s Negro Year Book, 1918-1919 edition, page 331: “He took the Magnus Brand Prize for two successive years. He studied in Paris at the Julian Academy and under Henry O. Tanner. Three of his paintings were accepted by the Salon des Beaux Arts at Toquet. The Argentine Republic purchased one of his pictures, La Pauvre Voisine. He has completed Mural paintings for public buildings in Evanston, Illinois; Chicago and Indianapolis. He is interesting himself in Negro subjects and is doing in painting what Dunbar has done in verse.”

The late Wm. A. Harper of Chicago, Ill., although a young man at his death had already won recognition for his paintings and himself. He had spent two year of study in Paris and has been successful in exhibiting his paintings at the Chicago Art Institute. Chief among his works are “The Last Gleam”, “The Hillside”, and “The Gray Day.”

A few of the many present day Colored artists who have also become recognized and prominent in this art are; Lulu Adams, Los Angles, Cal.; Ernest Atkinson, Baltimore, Md.; C. L. Boydkin, Boston, Mass.; C. L. Dawson, Chicago, Ill.; Arthur Diggs, J. B. Davidson, Washington, D.C.; W. M. Farrow, Frances Grant, Marcellus Hawkins, Chicago, Ill.; J. Hardwick, L. Harris, Louise Latimer, Brooklyn, N. Y.; Effie Lee, Wilberforce, Ohio; L. M. Rogers, Harvey Roseland, Washington, D.C.; A. A. Smith, New York; Frank Waltz, N. Y.; Hilda Wilkerson, Arthur Winslow, Chicago, Ill.; and Sidney Woodward, New York, (some of above names are extracts from Negro Year Book, 1918-1919 edition, pg. 331.)

Miss Laura Wheeler’s painting “Heirlooms” won first place in New York City among 500 art exhibits at the Water Color Club. Aside from being an instructor in the art department of the Cheyney School, Cheyney, Pa., and illustrator for such national magazines as The Crisis, she is recognized as one of the foremost Colored women artists in America.

At the John Wanamaker Art Exhibition held in Philadelphia, Pa., not many months ago, K. G. Ganaway, a Colored butler in Chicago, Ill., entered his photographic picture “The Spirit of Transportation”, which won first prize out of 900 pictures exhibited by many of the country’s most experienced and expert white photographers residing in different parts of the United States. While other people in going to railroad stations saw nothing interesting there but hurrying crowds of people, truck loads of baggage and black sooty trains and sheds, Mr. Ganaway’s artistic eye and timely focused camera soared above those common place things as he saw and portrayed the wonderful beauty of the dust laden tapering and yellow beams of lights and shadows caused by the sun’s golden rays streaming through the dingy skylights of the Terminal’s high and arched ceilings.

Architects

In nearly every American city of importance where the Negro population is large there are Colored architects of recognized standing and ability. The following are just a few of those names that have come under the hurried notice of the writer: W. T. Bailey, Memphis, Tenn.; A. I. Cassell, Baltimore, Md.; W. C. Cook, Gary, Ind.; W. H. Hammond, Pittsburgh, Pa.; I. T. Hatton, Washington, D.C.; Benjamin and William Hazel, Boston, Mass.; Harry S. James, Seattle, Washington, now in Rio de Janeiro, Brazil; H. N. Johnson, Norfolk, Va.; the late J. T. N. Minot, New York City; J. C. Norman, Charleston, W. Va.; J. W. Robinson and Henry Robinson, Hampton, Va.; Chas. T. Russell, A. M. Segoins, Baltimore, Md., V. W. Tandy, New York City, W. T. White, Kansas City, Mo. and P. R. Williams, Los Angeles, Cal.

AMONG THE SCULPTORS

Magic Chisels.

Standing in the front ranks of this art is May Howard Jackson of Washington, D.C. In both the Vorhoff Art Gallery and the Corcoran Art Gallery the results of her talents have been successfully exhibited. Her recent bust of Paul Lawrence Dunbar, that was unveiled in one of the Washington High Schools, has aroused much interest and favorable comment not only in the national capital but throughout the country. (Ref.: Work’s Negro Year Book, 1918-1919 edition, pgs. 331-2)

IN VOCAL MUSIC

Heavens Repast.

“His sojourn in London has been marked with success after success, beginning with his premiere recital, significant with concurrent praise from the critics. An appearance at the dinner given by the American Society to British women at the Hotel Cecil, on which occasion he sang “The Star-Spangled Banner.” His appearances at two concerts given by the Samuel Coleridge-Taylor Choral Society (Mrs. I. F. Coleridge-Taylor, patron; Sir. Charles V. Stanford, president, and Douglas M. Durston, conductor) in aid of the mayor’s unemployment fund and numerous concerts, the last of which, April 16, was a huge success financially and artistically. The critics said many lovely things of Mr. Hayes anent his voice, his style, his intelligence and manner; but to us who know and love him, who feel his very heart throb as he pleads through his art for his people, recognize and understand that his voice wails in eagerness for deliverance, freedom, the right to breathe and live untrammeled and unoppressed.

“A word is here appropriate in praise of Lawrence Brown, who has been his sympathetic accompanist and collaborator in the settings of a number of spirituals for concert use. Mr. Brown is also an excellent pianist, and the critics recognize his dual talent by always giving him a share in their notes.”

The above quotation is extracted from an editorial that appeared on page 13 in the May 1921 issue of Nora Douglas Holt’s monthly magazine, Music and Poetry, that is published in Chicago, Ill.

Mr. Hayes received his musical education in the New England conservatory of Music, Boston, Mass., and today is acclaimed not only the foremost tenor in the Negro race but one of the greatest tenors in the world.

Colored and white song critics on both sides of the ocean have for many years recognized Harry T. Burleigh as the leading baritone soloist in the Negro race. For the past twenty or more years he has been a soloist in the choir of the St. George’s Protestant Church, which is one of the leading and wealthiest white churches in New York City, having on its membership roll such world-known names as Seth Low and J. Pierpont Morgan. Mr. Burleigh is also a composer of international fame, and his “Deep River” is frequently sung in different parts of the world by famous white singers. More mention of Mr. Burleigh’s celebrated compositions will be made elsewhere in this book.

“Guide to Voice Culture” is a book written by Madame E. Azalia Hackley. This book is soundly based on the ripe and rich experiences gained by Mrs. Hackley after an untiring and extensive preparation under the best voice culture masters in America and Europe. For many years she was the most prominent Colored singer in America. For several years past she has been devoting her time and energies in traveling throughout the country organizing and presenting chorus recitals dealing mostly or wholly with American Negro folklore songs. In thus constantly coming in personal contact with the masses of Colored people in all parts of the United States, Mrs. Hackley is doing more today than any musician in personally meeting and influencing so many Colored people to learn to love, sing, and preserve Negro plantation melodies.

Anita Patti Brown of Chicago, Ill., is today one of the most eminent sopranos belonging to the Negro race. She has made numerous and unusually successful trips throughout America and the West Indies, and those who have heard her remarkable singing instantly fall in love with her full round voice of natural richness and sweetness. Among her most catchy pieces is the one titled “Villanelle” which has been reproduced on Columbia Phonograph records with great success.

Florence Cole Talbert, aside from winning the diamond medal at the Chicago Musical College has also won national reputation as one of the leading sopranos among the American Colored people. Although high up on the ladder of songhood, she is continuing to climb to the top by taking special courses in Chicago under such famed teachers as Oscar Saenger and Madame Valerie. This great singer’s home is in Detroit, Michigan.

Cleota Collins, Columbus, Ohio, is a soprano of note, and, as the editor of Music and Poetry has so well said, “is a young woman with a frail body but such an enormous mentality and a voice that makes you close your eyes and listen to her interpretation of songs that set your senses titilating. But she has worked patiently to acquire this power and now condescends to tell young students how she did it.” She is associate editor of Music and Poetry.

Although he is at present living in New Zealand, where he has endeared himself in the hearts of all music lovers there H. Hodges can be rightly claimed an American product on account of his native home being Boston, Mass. His commanding and well trained talented voice is one of the wonders of Auckland where he conducts one of the most exclusive music studios.

After spending several years of personal sacrifices and hard study in America, France and England, Rachel Walker of Cleveland, Ohio was finally rewarded by receiving personal recognition and praise from kings and queens during her first successful appearance in Europe. And today she is classed among the best of American Colored song birds.

Worcester, Mass., and New England in general is justified in being so proud of Estelle P. Clough who has won for herself first place among great Colored singers. She has successfully appeared in most of the important cities in the United States.

Wm. H. Richardson of Boston, Mass., is one of the best Colored baritones in America. He has made numerous joint recitals with Maud Cuney Hare through the United States and has met with great success on all occasions.

In singing compositions of Negro, French, German, Italian and Russian musicians, Wilson Lamb of Orange, N. J., demonstrates in his recitals that he has a baritone voice of marked agreeableness and unusual control. Each year when he gives his big recitals his voice shows the favorable results of his continued hard study and practice, and white papers are unstinting in giving him praise.

For twenty years Sisseretta Jones has successfully managed a musical company of her own organization known as “The Black Patti Troubadors”. In all the European cities they visited they had over-crowded houses night after night. It must be said to the glowing credit and praise of Madame Jones that she is probably the only woman in America, Colored or white, who has been successful in organizing and keeping together for so many years such a high-classed group of musical entertainers.

During the early eighties Madame Selika better known as “Black Patti”, went to Europe and completely captivated the friendship of music lovers in the “Old Country” by her marvelous birdlike thrills and matchless renditions of her famous “Echo Song.” The great range and sweetness of her voice was a delightful mystery to all who heard her.

It was as far back as 1851, at the time the world-famed Jenny Lind (white) was enjoying her greatest fame, that Elizabeth T. Greenfield a Colored woman came into prominence as a noted singer. She was often called the “Black Jenny Lind” and won fame in America and Europe where she was given the pet name of “The Black Swan.”

In the minds of many people still living there are yet fond recollections of that human song bird, Flora Batson, (Mrs. Bergen) who was born in Providence, R. I.. The music people in America, Europe, Africa, Australia and New Zealand considered it a rare treat to hear her touching and pathetic voice that had such bell-like tones and clarity of enunciation. For ninety-one continuous nights at a revival in New York City her voice held vast crowds spellbound as they tearfully listened to her soul-touching voice sing “Six Feet of Earth Make Us All One Size.” And hundreds of curious and prejudiced white people who first went to those meetings to jeer and make fun had their set minds suddenly converted by listening to the truth and full meaning of that song and had their frozen hearts completely melted by the soulful shocks of that great singer’s voice. (Ref. Work’s Negro Year Book, 1918-1919 edition, pgs. 326-7-8).

Anna and Emma Hyers, soprano and contralto; Wallace Kine, tenor; John Lucca and Frederick Louidin, Bassos, of the Old School, were among the foremost singers of their times and proved vocal marvels to all who heard them sing in America and Europe. For years the well trained and talented quartettes of Fisk University, Hampton and Tuskegee Institutes have been winning fame throughout America and even in Europe as unsurpassed singers of Negro plantation songs.

Below are the names of just a few human Colored song-birds of today whom the writer was able to discover among the many flocks that, although now perched very high, are constantly flitting up and up toward the top branches of solo-song trees.

Marion Anderson, Phila., Pa., Martha B. Anderson, sopranos; E. H. Boatner, baritone, Boston, Mass.; Minnie Brown, soprano, N. Y.; Edmonia H. Brown, soprano, Kansas City, Mo.; Arthur Brown, baritone, Mayme C. Byron, soprano, T. Bryant, tenor, Grace Campbell, soprano, Chicago, Ill.; C. Carroll Clark, baritone, New York City; Dessa Clements, soprano, H. Delmore, tenor, Boston, Mass.; L. B. Duppe, baritone, Springfield, Mass.; Isabelle Givens, soprano, Cincinnati, O.; Leroy Goodman, tenor, Columbus, O.; Mrs. H. L. Grant, soprano, Washington, D.C.; C. J. Harbour, tenor, Okmulgee, Okla.; Blanche D. Harris, soprano, New York City; S. Hilliard, tenor, Chicago, Ill.; Revella Hughes, soprano, New York City; Mrs. H. Hunter, soprano, Durham, N. C.; Alfred H. Johnson, baritone, C. L. Johnson, tenor New York City; Marie P. Johnson, soprano, Ella F. Jones, soprano, Lulu R. Jones, soprano, Mary Jones, soprano, Chicago Ill.; Josephine A. Junius, contralto; Paige I. Lancaster, baritone, John T. Lattimore, tenor, Hampton, Va.,; Jennie C. Lee, soprano, Tuskegee, Ala.; Annie H. Lee, soprano, Baltimore, Md., Lawrence Lomax, tenor, C. A. Marshall, baritone, Junious Maxwell, tenor, Lydia McClain, soprano, Phila., Pa.; B. D. McCorkel, tenor, Carolyn Montgomery, contralto; J. A. Myers, tenor, Nashville, Tenn.; W. P. Norcum, baritone, Portsmouth, Va.; Alice M. Pettijohn, soprano, Amherst, Mass.; Mrs. C. Rechley, soprano, Baltimore, Md.; Wm. Simmons, basso, Chicago, Ill.; Maud J. Roberts, soprano, Chicago, Ill.; W. Ryder, basso, Cincinnati, O.; N. Clark Smith, tenor, Kansas City, Mo.; Innis Simpson, tenor, Leon Simpson, soprano, Princeton, N. J.; Luela D. Smith, soprano, Daisey Tapley, contralto, Grace W. Thompson, soprano, Lillian E. Tibbs, soprano, Washington D.C.; S. A. Thomas, basso, Newport News, Va.; Mabel O. Story, soprano, St. Louis, Mo.; Emlyne J. Tindley, contralto, Phila., Pa; Clarence Tisdale, tenor, Chicago, Ill.; Mrs. F. K. Watkins, soprano, Durham, N. C.; Junius Williams, basso, New York City; Mrs. L. Wilson, soprano, Baltimore, Md.; Sidney Woodward tenor, New York City; Mary Stafford, soprano, New York.

Having as its object, “To foster Negro talent; labor for economic and educational betterment”, The National Association of Negro Musicians, under the wise leadership of Henry L. Grant, is wielding a musical influence for good that is being felt and appreciated not only by American Colored and white musicians but by music lovers of both races even abroad. Other nationally known musicians, who, as officers in this organization, are ably assisting their president in furthering the inspirational and elevating work of this organ are; Melville Charleton, R. Nathaniel Dett, Carl Diton, Kemper Herreld, Nora Douglass Holt, Deacon Johnson, H. P. B. Johnson, R. Agustus Lawson, W. H. Loving, Harriet G. Marshall, James A. Mundy, Alice Carter Simmons, T. Theo. Taylor, Clarence C. White and Fred J. Work.

If there be Colored youths who, after reading these inspirational pages, still lack ambition and courage to develop musical talents they possess, because of their race and color, such youths should remember that:—

The most popular and sweetest singing bird in the world (the canary) is Colored. But if hundreds of years ago that bird had ruined his God-gifted voice with discouraged croakings about its yellow feathers, the canary bird of today would be not able to sing so sweetly as to cause its listeners to completely forget it is a bird with a colored complexion. Its singing is so sweet and beautiful that people learn to see beauty and loveliness in its yellow coat that Nature has given it.

IN INSTRUMENTAL MUSIC

Music’s Power.

A few of some other violinists of the first order are; Wm. Butler, Walter Craig, Brooklyn, N.Y., Harrison Farrell, Harrison Emanuel, Chicago, Ill., Kemper Herreld, Atlanta, Ga., Edwin F. Hill, Philadelphia., Pa., Louisa V. Jones, New York, Leonard Jeter, New York Hall, Johnson, H. Kerr, Baltimore, Md., David L. Martin, New York, Eugene Mars Martin, New York, A. W. Ross, New York, Prof. Tenyck, Brooklyn, N.Y., Harrison Watts, Baltimore, Md.

Maud Cuney Hare of Boston, Mass., has for years been recognized as one of the leading pianists in America. She is nationally and internationally known and her playing has met the stamped approval of the most critical of critics. She is a member of the Music and Lecture Guild of New England (a white organization) and is also music critic for the Crisis Magazine.

As an accomplished musician, Hazel Harrison is one of the best among the best Colored or white pianists in America. Although a musical prodigy from early childhood, her youthful life has been one constant grind of theory, study and practical application under such world-known pianists and teachers as Busoni, Egan, Petri and Victor Heinne. And still she improves.

Helen Hagan is another pianist who is recognized as being among the foremost musicians in the United States, as the result of her strenuous studies under such noted French masters as Saint-Saens, Vincent D’Indy, Claude Debussy and her playing under the severe criticisms of Gabriel Faure, Paul Dukas, Chaussons and Severac. As one of the associate editors on the staff of Music and Poetry, she is doing great inspirational work in its piano department.

Carl Diton’s transcription of “Swing Low Sweet Chariot” for the organ has been published by G. Schirmer Co., one of the largest white music publishers in America. This composition has a melody of remarkable sweetness and is one of the few pieces that brings into full play all parts of the organ. Mr. Diton has studied in Europe as well as in America and today is recognized as one of the leading pianists, organists and composers in this country.

Melville Charlton of Brooklyn, N. Y., is estimated by knowing critics as being one of the most talented and efficient pipe organist among Colored people in America. He is an unquestioned authority on this instrument that has taken up many of his years in theory study and practical application. The following named are a few mentioned from among the hundreds of other exceptionally trained organists in different parts of the country: Rudolph Grant, New York, William King, Phila., Pa., George Ruffin and Fred White, Boston, Mass., Mrs. Corinne Wilson, Chicago, Ill.

“It Takes Love to Cure the Heart’s Disease”, “Loveless Love” and “Caroline Shout” were among the first player-piano rolls that were recorded by Jas. P. Johnson, a Colored pianist, who has signed a contract to make recordings for the Q. R. S. Music Company, which is the largest player-piano roll manufacturers in the world.

One of the greatest musical wonders, Colored or white, America has ever produced was Thomas G. Bethune, who was born a blind slave at Columbus, Ga., He became known throughout the world as “Blind Tom”. He played difficult pieces on the piano when only four years old and began giving concerts when eight years old. Although he had never received any instructions he could correctly imitate the most difficult piece after hearing it played but once. He was taken to Europe where he won fame and honors playing before the crowned heads in all of the important countries. His audiences would sit spellbound and entranced as he imitated on the piano nearly every imaginable sound. Especially were they moved and seemed to feel they were going through the actual experience when he played “The Shipwreck.” At such times his magic fingers drew from the ivory keys the far and low rumblings of fast coming storms; the clanking of rattling chains among hastening crews; the weird moans of increasing winds; the blood-curdling shrieks of swooping sea-gulls; the distant booms of beach-breaking waves; the flapping slaps of wind-whipped sails; the creaking timbers of tossed-about ships; the soft murmurs of praying voices; the sudden crashes of lightning bolts; loud rolling peals of overhead thunder and the splashing sounds of down-pouring rains.

Another piano prodigy of the race is J. W. Boone of Columbia, Mo., who became blind in his infancy. He is known as “Blind Boone” and although he has been touring the country for forty years, he is still giving piano recitals that hold his audiences in wonder and awe. He has such a wonderful memory for musical details and such a delicate ear for detecting musical sounds that he frequently listens to the playing of a recognized pianist who has the sight of both eyes, and when that person has finished, “Blind Boone” will go to the piano and amuse the audience by showing the mistakes made by the other player and then presenting the piece correctly. By many critics he is considered today as the equal if not the superior of the famous “Blind Tom”. (Ref. Work’s Negro Year Book, 1918-1919 edition, pgs. 327-28-29).

Named below are a few of the many Colored pianists in America today, many of them having studied under some of the best masters in Europe as well as in America, and all of them being finished musicians, and several of them of national renown.

Nettie C. Asberry, Tocoma, Wash., S. N. Arter, Neola Bailey, Hampton, Va., Bertha Beaumann, Boston, Mass., “Eubie” Blake, Lawrence Brown, Boston, Mass., J. H. Buchanan, Durham, N. C., Mrs. L. E. Cain, Princeton, N. J., Mae Clements, Mrs. R. N. Dett, Hampton, Va., Cleo M. Dickerson, Chicago, Ill., N. Doxey, Eva Dykes, Washington, D.C., J. H. Hebron, Phila., Pa., Mary Gibson, Washington, D.C., Clyde Glass, Wilhelmina Harrison, and Mildren B. Jones of Chicago, Ill., E. Aldama Jackson, N. Y., William King, Phila., Pa., Mrs. E. Lambert, Princeton, N. J., Wm. S. Lawrence, Boston, Mass., Andradas Lindsay, A. Matthews, Cincinnati, Ohio, Susie McDonald, Newark, N. J., Martha Mitchell, Nellie M. Mundy, N. Y., Josephine Muse, Washington, D.C., Portia W. Pittman, Maud Powell, A. W. Quarles, Cincinnati, Ohio., Helen H. Price, Brooklyn, N. Y., C. Luckeyth Roberts, N. Y., Arthur W. Ross, Ruth Rowan, Durham, N. C., Amy Steffens, Milwaukee, Wis., Samuel Stewart, Columbus, Ohio, T. T. Taylor, Chicago, Ill., Roy Tibbs, Washington, D.C., Hazel D. Thomas, E. Torney, Baltimore, Md.

The Pace Phonograph Corporation, New York City, is the first of its kind in the world to be composed only of Colored people. It is presided over by Harry H. Pace, a Colored man who founded it, and it is turning out records reproducing only Negro music sung or played only by Colored musicians. All of its officials and employees are Colored, and its chief purpose is to preserve in vocal form such as are left of the slave-songs of America. Its records are known as the “Black Swan Records,” that are already in much demand and finding large sales.

Today the original and unique, singing of Perry Bradford’s “blues” by Mamie Smith, is attracting admiration and endless praise on both sides of the ocean. Her successful singing for the reproduction of her voice on the records of the Okeh Phonograph Co., has made her the first Colored female singer to so suddenly achieve world fame along that line. It is said that the royalties from her records amount to such a sum that it would gladden and look big in the eyes of even prima donna singers in the operatic world. The records containing her voice are in such demand by the public that the manufacturers turning out the disc have to put on night shifts in conjunction with day shifts in order to fill the orders piled up on their desks. In the fall of 1920 Miss Smith’s stage singing had become so popular that she had to table engagements from Paris and London in order to fill a thirty week touring engagement in the United States.

Band Musicians throughout the world heard of and learned to admire the late James Reese Europe, who was one of the greatest “jazz” musicians the world has ever heard. Of the four best bands overseas during the World War and representing the four greatest nations, James Europe’s American Colored bandmen were in demand more than any of the others, especially in England and France.

At the St. Louis World Exposition of 1904 and at the Panama Exposition held at San Francisco, Cal., in 1915, Major W. H. Loving, as conductor of the famous Philippine Band, was among those who were awarded the highest band honors for being among the greatest bandmasters of the world. Other Colored musicians who have achieved success and recognition as band leaders are quite numerous in America, and a few of them are mentioned herewith; Lieut. Tim Bryan, F. L. Drye, W. H. Howard, W. L. Jackson, C. Wesley Johnson, N. Clarke Smith, A. J. Thomas, W. H. Vodery, and P. G. Lowery who has developed such a great band that yearly throughout the seasons it is to be found with the Ringling Bro. Show as one of its most important bands. W. H. Graham, as well as a great band leader is a talented composer of band music. His home is in Denver, Colorado.

According to the determinations of one of America’s nationally recognized authorities and critics on Negro music composition, the following ten named Colored composers are among the foremost in the United States:

The “blue song” compositions of W. C. Handy are known and sung all over the world. He is president of the Handy Music Co., of New York City, which is the leading firm of its kind among Colored people in the world. Perry Bradford is composer of the “Crazy Blues” that have made himself, Mamie Smith and the Okeh phonograph records nationally and internationally famous.

N. Clark Smith is second to none among American Colored musicians as a composer of instrumental, especially, band music. For several years he was band leader of the Tuskegee Institute expert band and also served for a long period as bandmaster of the famous Old Illinois 8th Regiment. Today he is Director of Music at the Lincoln High School, Kansas City, Mo.

The following list contains the names of some of the leading musicians who are foremost composers of different lines of music: Mrs. B. Consuelo Cook, J. E. Dowell, E. Edmonds, W. H. Farrell, Harry Freeman, Jessie L. Gaynor, A. P. Grant, H. P. Gilbert, L. Godfrey, Nora Douglass Holt, Edwin F. Hill, E. A. Jackson, Scott Jolpin, E. T. Jenkins, Joe. Jordan, Turner Layton, Therwold Otterstrom, Dave Payton, J. S. Pollen, Alex Rogers, H. E. Stewart, Dekiven Thompson, Clarence Williams, Spencer Williams, Geo. Hoff.