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Shelton Brooks was one of the early pioneers of jazz. Born in Amesburg, Ontario, he and his family moved to Detroit when Brooks was 15 years old. He met Sophie Tucker in 1910 and gave her one of his songs, Some of These Days. She loved the song immediately and it turned into a wildly popular audience favorite. In 1911 Brooks performed in the musical comedy, Dr. Herb's Prescription, or, It Happened in a Dream. It was performed in the legendary Chicago Pekin Theater. He soon gained a reputation as an eminent, versatile performer who was an impressive pianist, comedian and singer.
As the second decade of the twentieth century opened Brooks's popularity continued. His 1912 All Night Long was a smash hit in the nightclub, dance, and private party scenes. His 1916 Walking the Dog inspired a dance craze of the same name. Brooks was exceedingly generous and aware of the difficulties black performers faced in breaking into show business, and did all he could to help other musicians through his own connections. The result of one such effort was the launching of the career of Noble Sissle and Eubi Blake; Brooks used his influence with Sophie Tucker to persuade her to sing the Sissle-Blake song It's All Your Fault, published. The song turned out to be one of Tucker's greatest hits.
In 1915 Brooks led the syncopated orchestra of Chicago's Grand Theater. This was a grand success, but he would find even more fame with the publication of his most famous song, Darktown Strutters' Ball in 1917. Darktown Strutters' Ball was recorded by James Reese Europe's 39th Infantry Band in 1919. During the 1920s Brooks got into the blues scene and with the help of a connection from Perry Bradford, was able to get a recording session. He produced the comedy record; the record's flip side was You Can't Come In and sold over 80,000 copies.92
91 Ian Whitcomb. "Shelton Brooks is Alive and Strutting." Los Angeles Times. May 18, 1969. p. N12. [this footnote applies to the quote in the image above]
92 Eileen Southern. The Music of Black Americans: A History. p. 324. Thomas L. Moran and William Barlow. From Cakewalks to Concert Halls: An Illustrated History of African American Popular Music from 1895 to 1930. p. 73-74.
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