INDIANA UNIVERSITY

DEPARTMENT OF ENGLISH

BLOOMINGTON, INDIANA

November 29, 1945

Dear Hughes:

Don't think that I didn't get a bang out of
that fine poem you so kindly sent to me - I read it to
all my classes - but I'm just the world's worst letter
writer. You know how much we appreciated the great job
you did at Indiana university. And we still talk about
it. So now, I'm asking for a little more help. In the
name of Ma Rainey and Clara Smith.

Here's the deal. Since you were here, the
NAACP enrollment has jumped to over 600. We've made
history on campus, with Negro students in dozens of erst-
while lily-white organizations, BUT the administration
and the towns-people have furnished subtle but solid oppo-
sition.

For example: the rumor is that I.U. is plan-
ning a Jim Crow dorm. The administration won't admit it
officially but the archetect told me so privately. Again,
the well-supported rumor, demonstrated in practice, is
that the Chamber of Commerce has pressured every restaurant
in town to sign a pledge not to serve Negroes. It's a
well-known secret that such an illegal document exists.

Well, the students want to fight. They selected
Brotherhood Week (Lincoln's birthday) for the zero hour, and
plan to mobilize the clergy, labor, the faculty, and every
other liberal group on a state-wide basis for a big push.
They can do it, too. But they need a speaker and they dream
of getting Mrs. Roosevelt to tee off the campaign. Would
you drop her a note saying you've been here and it's a fine
cause? This state university can set a powerful example for
cities such as Gary, and the situation here is like a tinder-
box. We need someone to arouse the people's consciences. A
note from you would carry a lot of weight.

Maybe you have some suggestions, too. The Chicago
SUN is interested in publicizing us. How could we get Paul
Robeson? We had Mordecai Johnson who was terrific. Well,
that's the picture; do what you can and accept everybody's
best regards.

Marshall W. Stearns

INDIANA UNIVERSITY

BLOOMINGTON, INDIANA

Mr. Langston Hughes
c/o William B. Foakins
500 Fifth Avenue
New York, N. Y.

PLEASE FORWARD

September 18

1950

Mr. Marshall W. Stearns
New York University
Division of General Education
Washington Square
New York 3, New York

Dear Marshall:

I was delighted to receive your note and the prospectus of the evening course on jazz being given at New York University. If I get a chance, I shall run down for one of the sessions. Maybe I'll write about it in my column in THE CHICAGO DEFENDER. It certainly looks very interesting.

Right now I am head-over-heels in three shows -- one, JUST AROUND THE CORNER, had a summer tryout at Ogunquit, Maine, and Mike Todd has taken an option on it. Another, is now in process of being written; and the third, THE BARRIER, starring Lawrence Tibbett and Muriel Rahn, is now in rehearsal to open at the Gayety Theater in Washington on September 26 -- so I have just had about the busiest summer ever. I am going to Washington with the show, but when I return in October I hope to see you. THE BARRIER goes on to Baltimore, Boston and other cities before coming into New York, but I won't have to go every place once things get set.

The actor playing SIMPLE, at the Club Barron, is very good. You might enjoy his characterization. They tell me they also hope to start a series of jam sessions there later on in the winter. I told them about your course at New York University.

Lots of good wishes to you and I hope we meet before long.

L H
HHS

P.S. I forget to say: this affair should become
an annual deal, following the Berkshire Fes-
tival & using
DIVISION OF GENERAL EDUCATION the Shed &c

WASHINGTON SQUARE, NEW YORK 3, N.Y.

TELEPHONE: SPRING 7-2000

32 West 10th St.
New York 11, N. Y.
October 5, 1950

Dear Langston,

Thank you for the pleasant
note. You sound about as busy as a man
can be. So here's something else --

I'm enclosing the program
I put on at Music Inn last August. It
was such a success (probably because of
the congenial surroundings and the ac-
cent on audience participation) that
we're planning a 3-week seminar next
summer, with a panel of top social
scientists, on the subject: "Jazz In Our
Society."

Now, I've located a sym-
pathetic & brilliant anthropologist, as
well as a psychiatrist, both fascinated
by the function of jazz in popular cul-
ture. I've also found a fistrate public
relations man, Mr. Philip Barber, who
owns Music Inn, is sold on the whole
idea, and will "promote" the whole deal.

But we need you to give
it depth & perspective. Would you be
interested in an exploratory meeting
with these key people, say, next Wednes-
day, the 9th? Any suggestions you might
make would be deeply appreciated. And,
of course, there's a lot more to it (for
example, Harpers in interested in pub-
lishing the lectures &c.), but I'm sure
you realise the potential.

NEW YORK UNIVERSITY
DIVISION OF GENERAL EDUCATION

TELEPHONE: SPRING 7-2000

March 1, 1951
32 West 10th St.
New York 11, N. Y.

Dear Langston,

The dates for the Post-Tanglewood Roundtable to be billed probably as "Definitions in Jazz," have been set for August 25th to September 3rd. And with a little luck, Henry Cowell, Bill Russell, George Herzog, and Dick Waterman will be there. It will be held at Music Inn, and I can guarrantee a fabulously pleasant vacation among truly congenial people and surroundings, expenses paid.

So let me know if you
can make it -- in whole or any part.
Our angel, Phil Barber, will bring up
any entertainers we think valuable to
illustrate discussions, and so far we
have settled on two fine jazz dancers,
a skiffle band, and Mahalia Jackson
if we can get her. Let me know your
suggestions about this, and maybe we
can get together in advance over a
more definite schedule.

P.S. Maybe get Edith Wilson
as example of singing style
of the '20's. She's on TV
now and living at Hotel Alvin

8

April 7, 1951

Mr. Marshall W. Stearns,
Division of General Education,
New York University,
Washington Square,
New York 3, N. Y.

Dear Marshall,

Since returning from a long Southern lecture tour, I have been so
rushed trying to meet a mid-April deadline on a musical show audition
with Elie Siegmeister that my mail has piled up like a mountain. I
found your note of March 1 awaiting me on my return from the South.
And I would indeed be delighted to attend the Post-Tanglewood Round-
table on Jazz at the end of August and to take part in it. Re Mahalia
Jackson, Jack Walker of Apollo Records (and the Willie Bryant Program)
can probably help you get her there, since she records for them and he
is a good friend of hers. But the approach should be from the religious
angle—the syncopated influence on gospel music—as she once told
me she'd have no truck with worldly singing because "the nghbah will be
here when the night clubs are gone".

Have you had a copy of my new book of poetry, MONTAGE OF A DREAM DEFERRED,
partially based on bo-bop nuances? If not, let me know, and I'll send you
one. I mentioned you in my talk at NYU's Washington Square Book Club the
other day in reading from the book.

Continued good wishes, as ever,

Sincerely,

THE INSTITUTE OF JAZZ STUDIES, INC.

a non-profit association incorporated under the laws of the state of New York

32 West 10th Street New York 11 New York

Algonquin 4-0331

Dr. Marshall W. Stearns, executive director

James T. Maher, secretary-treasurer

Dear Langston,

The officers and directors take great pleasure in announcing that the certificate for incorporation of the Institute of Jazz Studies, a non-profit educational organization, has been signed.

The general aim of the Institute of Jazz Studies is to foster an understanding and appreciation of the nature and significance of jazz in our society.

More specifically, the Institute of Jazz Studies proposes to pool the knowledge and skills of authors and musicians, who have pioneered in the field, with that of social scientists and other specialists whose disciplines may be brought to bear on the subject, in order to devote to jazz and related matters the scholarly study that it so richly deserves.

By assembling material, by aiding research and publication, by organizing study conferences and illustrative performances, and by making the resulting information available in the classroom and to the public, the Institute of Jazz Studies is confident that it can illuminate a vital but neglected area in American civilization.

In the coming year, the plans of the Institute of Jazz Studies are five-fold: first, to assemble an archive of recordings and literature on the subject, available to any qualified student; second, to organize field trips whereby documentary interviews with pioneer musicians may be recorded and the fast-disappearing material on the history of jazz preserved; third, to aid in the publication of material on the subject; fourth, to work out a series of courses on jazz at a university level; fifth, to continue the production of the annual Roundtable on Jazz at Music Inn, Lenox, Massachusetts.

The Institute of Jazz Studies cordially invites you to join its officers and incorporating directors on the Board of Advisors. May we please have your decision at your earliest convenience?

Incorporating Directors of the Institute of Jazz Studies:

MARSHALL W. STEARNS, Ph.D., professor of English, Hunter College; Guggenheim Fellow in Music; Course director: "Perspectives in Jazz," New York University.

PHILIP W. BARBER, Barber and Baar Associates, Public Relations; formerly professor Yale University.

RUDI BLESH, jazz historian; author of *Shining Trumpets, They All Played Ragtime*; president of Circle Records.

HENRY COWELL, Ph.D., composer, musicologist, professor of Music at Curtis Institute, lecturer at Columbia University and New School for Social Research.

MAURICE GREEN, M.D., psychologist, psychiatrist, staff member at Roosevelt Hospital.

THOMAS S. HALE, member of the New York Bar, senior partner of Hale, Kay, and Brennen.

JOHN HAMMOND, author, columnist, critic; formerly vice-president of Mercury Records.

WILLIS I. JAMES, folklorist, musicologist, professor of Music at Spelman College, Atlanta, Georgia.

TREMAINE MCDOWELL, Ph.D., professor of English and Chairman of the Program in American Studies at University of Minnesota.

RICHARD A. WATERMAN, PH.D., professor of Anthropology and Director of the Laboratory of Comparative Musicology at Northwestern University.

108 Waverly Place

New York 11

New York

Algonquin 4-0331

President and
Executive Director

MARSHALL W. STEARNS

Vice-President

JOHN HAMMOND

Secretary

RUDI BLESH

Treasurer

EUGENE M. KLINE

Board of Directors

RUDI BLESH
STERLING BROWN
HENRY COWELL
THOMAS SHAW HALE
S. I. HAYAKAWA
JOHN HAMMOND
TREMAINE McDOWELL
MARSHALL W. STEARNS
RICHARD A. WATERMAN

Planning Committee

GEORGE AVAKIAN
WILDER HOBSON
FREDERIC RAMSEY, JR.
ROSS RUSSELL
CHARLES EDWARD SMITH

Board of Advisors

LOUIS ARMSTRONG
PHILIP W. BARBER
B. A. BOTKIN
DAVE BRUBECK
DAN BURLEY
AL COLLINS
HAROLD COURLANDER
STUART DAVIS
ROGER PYROR DODGE
DUKE ELLINGTON
RALPH ELLISON
NESUHI ERTUGUN
LEONARD FEATHER
NORMAN GRANZ
BILL GRAUER
MAURICE R. GREEN, M.D.
W. C. HANDY
MELVILLE J. HERSKOVITZ
GEORGE HERZOG
LANGSTON HUGHES
WILLIS L. JAMES
STAN KENTON
LESTER KOENIG
M. KOLINSKI
JACOB LAWRENCE
PAUL A. MCGHEE
ALAN MORRISON
EDWARD ABBE NILES
PEARL PRIMUS
DAVID RIESMAN
CURT SACHS
CHARLES SEEGER
ARTIE SHAW
EDMOND SOUCHON, M.D.
LORENZO D. TURNER
CLARENCE WILLIAMS
BERNARD WOLFE
JOHN W. WORK

Curator

ROBERT GEORGE REISNER

July 17, 1953

Dear Langston,

I am enclosing a draft of a chap-
ter in my book which deals with your life and
experiences in jazz.

Will you do me a great favor by
reading the chapter through, in order to see
what I'm driving at, and then correct any
errors about yourself?

I should be both delighted and
grateful if you found the time or occasion to
add any personal remarks by way of bringing
the thing to life.

Meanwhile, thank you for the
much-needed cheque. The Institute is rolling,
-slowly but surely-so spread the good word.
It's a worthy cause.

Marshall W. Stearns

P.S. May I impose upon your good nature by re-
questing that you return the MS as soon as pos-
sible? I'm fighting a deadline.

HUNTER COLLEGE

OF THE CITY OF NEW YORK
695 PARK AVENUE

Journalism Office
Telephone
Rhinelander 4-1500

108 Waverly Place
New York 11, N. Y.
May 8, 1954

Dear Langston,

It's a wonderful book; how much of my commentary do you want? I have a lot of material that might permit you to emphasize the Negro's contribution more fully and yet accurately.

But I can't get your phone number! What is it?

Meanwhile, are you free August 15th to Labor Day this summer? A relaxed vacation at a comfortable lodge with congenial people--Music Inn's Jazz Roundtable. One week on folk music, Caribbean, & Jazz, each. I thought of you as the ideal guy to be there during the folk week (Brownie McGhee, and all the fine old stuff which is jazz and/or folk music). Hayakawa is going to bring Mama Yancey, whom he accompanies! How about it?

August 7, 1954

Mr. Marshall Stearns,
Music Inn,
Lenox, Mass.

Dear Marshall, The outline of the program you've sent me looks most interesting. Only thing is I don't know much to say about Square Dancing, but can talk a bit about Jug Bands, and about the artists you're having. (Brownie lives right back of me). For August 21, I'd have to come up Saturday and back to New York Monday, returning later for the September program—since I'm hard at work these days.

I gather one gets there by train to Lenox, Mass. Is that right?

Does the Inn have a gift shop, book counter, or anything of the sort, that might wish to display and sell a few of my books while I'm about to autograph them? There're blues and folk poems in a couple of them, and Simple has a chapter on Be-Bop. If so, let me know and I'll see that a dozen or so are sent up.

My JAZZ book for kids has just gone to press.

With continued good wishes, and best regards to the Barbers,

Sincerely yours,

P.S. If there're announcements of the Jazz Roundtable, send me a dozen or so to mail folks I know summering up that way, who might want to attend.

Langston Hughes

July 2, 1956

Mr. Marshall Stearns,
108 Waverly Place,
New York 11, New York.

Dear Marshall,

I can't seen to catch you by phone. But
since I see I'm listed on the program in
Downbeat, though I've heard no details from
you since your initial phone call, will you
kindly tell me where, when, and how? Please.

Are you driving up? If so, what's the leaving time?

Did the Festival folks make hotel reservations?
If not, what should one do about that, and
through whom? I'd like to stay over Thursday
and Friday nights.

I'll try to catch you on the phone Monday.
But if not, phone me, or drop a line with the
info in it.

Langston Hughes

AMERICAN JAZZ FESTIVAL OF NEWPORT R. I., INC.
A NON-PROFIT CORPORATION "TO ENCOURAGE AMERICA'S ENJOYMENT OF JAZZ AND TO SPONSOR THE STUDY OF JAZZ, A TRUE AMERICAN ART FORM"

OFFICERS:

LOUIS L. LORILLARD, PRESIDENT • GEORGE T. WEIN, VICE-PRESIDENT • RICHARD SHEFFIELD, SECRETARY • JEREMIAH P. MALONEY, TREASURER

DIRECTORS:

THE OFFICERS AND IRVING BECK • CHARLES BOURGEOIS • MARSHALL BROWN • WILLIS CONOVER • JOHN HAMMOND • LANGSTON HUGHES

MRS. LOUIS L. LORILLARD • CLARK SIMMONDS • MARSHALL STEARNS • MISS TERRI TURNER • CHARLES MCWHORTON

PUBLIC RELATIONS:

P. R. & R. INC. • 132 EAST 38TH STREET • NEW YORK CITY • OREGON 9-8090

March 12, 1958

Dear Langston,

By way of contributing to a better knowledge of jazz, the Newport Jazz Festival is making funds available for launching the first nation-wide Critics Symposium on jazz.

The aim of the Symposium is limited exclusively to bringing together writers who are professionally engaged in jazz criticism.

As one who is eminently qualified in this capacity, you are cordially invited to attend. We sincerely feel that the Symposium will profit greatly from your participation and that you, too, will be stimulated by the exchange of ideas during the meetings.

The Symposium will take place at the Viking Hotel in Newport, Rhode Island, on the 2nd and 3rd of July, preceding the public concert, and will offer the four sessions outlined in the enclosed program. There will also be a special viewing of TV kinescopes and movie shorts on jazz during 1957 and 1958, upon which you will be asked to confer awards. At the luncheon meeting, plans for making the Symposium an annual event will be formulated. (Also enclosed is the program of Lecture-Recitals for the general public).

We should like to take care of the expense of your room for the two days and also invite you to the Critics Luncheon on Thursday, July 3rd. Please be sure to let us know as soon as possible -- on the enclosed postcard -- if you will attend, and if you will be with us for the full two nights.

Hoping to see you at Newport, I am

Very sincerely yours,

Marshall W. Stearns, Chairman
Critics Symposium Committee

ADVISORY MEMBERS: NELSON ALDRICH • CLEVELAND AMORY • LOUIS ARMSTRONG • GEORGE AVAKIAN • ROBERT BACH • COUNT BASIE • RICHARD DYER BENNET • LEONARD BERNSTEIN • PROFESSOR DONALD BORN • DOM CERULLI • DEAN ROBERT CHOATE • AARON COPLAND • BILL COSS • HENRY COWELL • CYRUS DURGIN • RUDOLPH ELIE, JR.
RALPH ELLISON • DUKE ELLINGTON • NESUHI ERTEGUN • LEONARD FEATHER • ARTHUR FIEDLER • ARNOLD GINGRICH • RALPH J. GLEASON • BENNY GOODMAN • NORMAN GRANZ
JAY HARRISON • MAXIM KAROLIK • STAN KENTON • REV. ALLEN KERSHAW • SYLVIA MARLOWE • JOHNNY MERCER • ALLAN MORRISSON • FATHER NORMAN O'CONNOR • C.P.S.
JOHN BARRY RYAN, III • GUNTHER SCHULLER • GEORGE SIMON • RABBI EDGAR E. SISKIN • JEAN STEIN • BARRY ULANOV • GEORGE HENRY WARREN

Newport Jazz Festival
INCORPORATED

NEWPORT, RHODE ISLAND

OFFICERS:

LOUIS L. LORILLARD, PRESIDENT · GEORGE T. WEIN, FIRST VICE-PRESIDENT · JOHN HAMMOND, SECOND VICE-PRESIDENT · RICHARD SHEFFIELD, SECRETARY
JEREMIAH P. MALONEY, TREASURER

DIRECTORS:

THE OFFICERS AND IRVING BECK - CHARLES BOURGEOIS - MARSHALL BROWN - WILLIS CONOVER - LANGSTON HUGHES - DAVID WARREN
MARSHALL STEARNS - MISS TERRI TURNER - CHARLES MCWHORTER

PUBLIC RELATIONS:
WESTON ASSOCIATES

March 15, 1960

Mr. Langston Hughes
20 E. 127th Street
New York, New York

Dear Lang:

Everybody is happy that you have agreed to narrate the afternoon concert on the Blues at Newport. As you know you are sooner or later to deal directly with George Wein, whose New York address is 50 Central Park West, TR 3-0733.

In general your program might well consist of guitar players and blues singers, boogie woogie pianists, and a skiffle band alternating in any order you see fit.

Concerning guitar players and blues singers, Memphis Slim seems to be currently popular, but you might be interested in someone a little less known such as Lightnin' Hopkins, Howlin' Wolf, Little Richard, Champion Jack Dupree, Elmo James, Junior Wells, Smokey Hogg, or a dozen other top-notch but unknown blues singers whose names I can give you if you wish. My guess is that the way to obtain complete cooperation on the services of these singers is to work through the record companies which issue their records, such as Chess, Checker, Peacock, Trumpet, and States. This is something for George Wein to do.

In regard to boogie woogie pianists I suggest Sammy Price, Meade Lux Lewis (especially), Dan Burley (I have spoken to him and he can give a good demonstration of a dozen or so backwoods turpentine camp styles). Memphis Slim of course plays boogie, or anyone else whom you particularly like. You might possibly have the services of Earl Hines or Count Basie for that afternoon if they are performing that evening.

Regarding skiffle bands, I understand you have some contacts of your own which you can give to George Wein, but if they do not materialize I am sure Brownie McGhee and

108 Waverly Place

New York 11

New York

Algonquin 4-0331

MARSHALL W. STEARNS

Vice-President

JOHN HAMMOND

Secretary

SHELDON HARRIS

Treasurer

EUGENE M. KLINE

Board of Directors

RUDI BLESH
STERLING BROWN
HENRY COWELL
EUGENE M. KLINE
S. L. HAYAKAWA
JOHN HAMMOND
TREMAINE McDOWELL
MARSHALL W. STEARNS
RICHARD A. WATERMAN

Board of Advisors

STEVE ALLEN
LOUIS ARMSTRONG
GEORGE AVAKIAN
WHITNEY BALLIETT
PHILIP W. BARBER
B. A. BOTKIN
DAVE BRUBECK
DAN BURLEY
GILBERT CHASE
AL COLLINS
WILLIS CONOVER
HAROLD COURLANDER
STUART DAVIS
ROGER PRYOR DODGE
DUKE ELLINGTON
RALPH ELLISON
NESUHI ERTEGUN
LEONARD FEATHER
DAVE GARBOWAY
JOHN BIRKS GILLESPIE
RALPH J. GLEASON
BENNY GOODMAN
NORMAN GRANZ
BILL GRAUER
MAURICE R. GREEN, M. D.
W. C. HANDY
NAT HENTOFF
WOODY HERMAN
MELVILLE J. HERSKOVITS
GEORGE HERZOG
WILDER HOBSON
LANGSTON HUGHES
WILLIS L. JAMES
STAN KENTON
REVEREND ALVIN KERSHAW
LESTER KOENIG
M. KOLINSKI
ROY LAMSON
ERIC LARRABEE
JACOB LAWRENCE
LOUIS L. LORILLARD
PAUL A. MCGHE
ALAN MERRIAM
PHILIP L. MILLER
ALAN MORRISON
EDWARD ABBE NILES
FATHER NORMAN O'CONNOR
PEARL PRIMUS
FREDERIC RAMSEY, JR.
DAVID RIESMAN
ROSS RUSSELL
CURT SACHS
CHARLES SEEGER
ARTIE SHAW
GEORGE SIMON
B. F. SKINNER
CARLETON SPRAGUE SMITH
CHARLES EDWARD SMITH
EDMOND SOUCHON, M. D.
LORENZO D. TURNER
GEORGE T. WEIN
CLARENCE WILLIAMS
JOHN S. WILSON
BERNARD WOLFE
JOHN W. WORK

Curator

ROBERT GEORGE REISNER

July 30, 1963

Dear Langston,

It was just about ten years ago that you added your name to the formation of the Institute of Jazz Studies. We are proud to say that today the Institute is one of the world's leading research centers and library on jazz and related subjects.

We enclose our latest publicity that covers some of our more recent activities.

Our primary aim is to continue to make the Institute available to all students of jazz. Along these lines we are presently considering associating the Institute with some such organization as Lincoln Center in New York City.

Your past support and encouragement has been very valuable to us. If you have the time we would be happy to receive any suggestions that you may care to offer.

LANGSTON HUGHES

20 EAST 127TH STREET
NEW YORK 35, N. Y.

January 21, 1965

Mr. Marshall Stearns,
104 Waverly Place,
New York City.

Dear Marshall:

Your list of jazz selectees for the
Dakar Festival of Negro Art in 1966 is a
quite wonderful one, and I am in full
agreement with it. But I would like to
suggest its extension to include two
more categories. One was suggested by
a representative of the Senegal government
at today's committee meeting---who beat me
to the draw, as I was about to mention it,
too; namely that an old time band with the
basic beat is missing---New Orleans style.
I suggested possibly Henry Red Allen. Or
Basie might be another possibility.

My other suggestion is a solo pianist
like Erroll Garner, Benassi (b.) Willie
the Lion, old Eubie Blake, Mary Lou William,
or maybe an entertainer (who happens also to
play well) Dorothy Donegan; or Hazel Scott.

It was an excellent committee meeting,
and things are taking shape encouragingly
well---this far ahead of time.

Best ever,

January 22, 1964

Dear Marshall:

Your list of jazz selectees for the Dakar Festival of Negro Art in 1966 is a quite wonderful one, and I am in full agreement with it. But I would like to suggest its extension to include two more categories. One was suggested by a representative of the Senegalese Government at today's committee meeting—who beat me to the draw, as I was about to mention it, too; namely that an old time band with the basic beat is missing—New Orleans style. I suggested possibly Henry Red Allen. Or Basic might be another possibility.

My other suggestion is we might have one solo pianist like Erroll Garner, Willie the Lion, old Dubie Blake, Mary Lou Williams, or maybe an entertainer (who happens also to play well) Dorothy Donegan; or Hazel Scott.

It was an excellent committee meeting, and things are taking shape encouragingly well—this far ahead of time.

Best ever,

January 22, 1964

Dear Marshall:

Your list of jazz selectees for the Dakar Festival of Negro Art in 1966 is a quite wonderful one, and I am in full agreement with it. But I would like to suggest its extension to include two more categories. One was suggested by a representative of the Senegalese Government at today's committee meeting--who beat me to the draw, as I was about to mention it, too; namely that an old time band with the basic beat is missing--New Orleans style. I suggested possibly Henry Red Allen. Or Basie might be another possibility.

My other suggestion is we might have one solo pianist like Erroll Garner, Willie the Lion, old Eubie Blake, Mary Lou Williams, or maybe an entertainer (who happens also to play well) Dorothy Donegan; or Hazel Scott.

It was an excellent committee meeting, and things are taking shape encouragingly well--this far ahead of time.

Best ever,

Sincerely,

Langston Hughes

January 22, 1964

Dear Marshall:

My other suggestion is we might have one solo pianist like Erroll Garner, Willie the Lion, old Cubie Blake, Mary Lou Williams, or maybe an entertainer (who happens also to play well) Dorothy Donegan; or Hazel Scott.

Best ever,

Sincerely,

Langston Hughes