By James L Conyers
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Extra info for Black American intellectualism and culture : a social study of African American social and political thought
14 Ironically, within six years, Lunceford, the rejected lover, was gaining international acclaim, while his rival’s star was already on the wane. “Cullen has faded away, true, but he may return someday,” an optimistic Lewis commented. Nevertheless, Lunceford’s acquaintanceship with DuBois’s daughter A Versatile Varsity Man 23 had put him in touch with most of the major characters of the Harlem Renaissance. When he met Yolande, this new tide of black novelists, poets, and artists in Harlem, “the colored capitol of the world,” was still gaining momentum.
Shamefully, he chugged along until somehow he and the band teamed up again, which gave him a feeling of utter relief. After the set he went to the bandleader to apologize. “I’m sorry for not having been able to follow the band during the ‹rst half of the ‹rst fox-trot,” he stuttered. ”7 After working with the hotel band on Saturday nights, Jimmie quite often had to content himself with a short night’s rest, for on Sunday mornings he used to lead the choirs in Nashville’s largest black churches.
The pianist was a young woman named Bobbie Brown, and Lunceford played the alto saxophone. Within a matter of weeks, the band had grown into eleven pieces, Newborn was replaced by Jimmy Crawford, and on December 13, 1927, the Chickasaw Syncopators made their ‹rst recordings. The lineup of this primeval Lunceford orchestra was Charlie Douglas and Henry Clay (trumpets), H. B. Hall (trombone), Lunceford, George Clarke, Christopher Johnson, and Allen Williams (reeds), Brown (piano), Alfred Kahn (banjo), Allen (tuba), and Crawford (drums).
Black American intellectualism and culture : a social study of African American social and political thought by James L Conyers