Major N. Clark Smith in Chicago

Journal of the Illinois State Historical Society, Spring 2003 by Ohman, Marian M

Coleridge-Taylor made United States tours in 1904 and 1906, and each year scheduled concerts in Chicago. England, one writer observed, had no race question to consider and they accepted the man on the merit of his work, and on his own culture. Chicago's leaders invited him because they believed that the appearance of this distinguished international figure before an audience of his own race, would stimulate the African Americans to more serious endeavor in the field of music, for which their "natural abilities" had long been acknowledged.18 The Chicago Tribune concurred:

There seems to be a field for the Negro in music which has not yet been sufficiently utilized. He undoubtedly can take a high place in it if he will cultivate his natural abilities. He need not fear that race prejudice will antagonize him. Music is the universal art and language and begins where speech ends. The Negro should have more to say in it.19

Smith's initial contact with Coleridge-Taylor possibly occurred during the first Chicago concert. For his second appearance in 1906, advance copies of the music were sent to Smith, who was to rehearse and then direct the New Pekin orchestra.20 For the return engagement, planners leased Robert T. Motts's recently opened New Pekin Theatre, one of the largest in the United States operated by blacks for black productions. Motts had previously operated a cabaret, or music hall, in conjunction with his saloon at this site until damaged by fire. Extensive remodeling transformed the saloon into the theatre, which opened in March 1906, committed to elevating the standard of accessible entertainment.21 Coleridge-Taylor later reflected that in many ways the best concert of his United States tour might have come in Chicago, where the caliber of musicians impressed him: "really musical people," he observed.22 Years later, a writer for the Chicago Defender, A. N. Fields, vividly recalled the occasion when several accomplished local musicians honored Coleridge-Taylor and his touring partner, American baritone Harry T. Burleigh, with an evening of entertainment. N. Clark Smith, Fields remembered, was "one of the stellar attractions of the evening," and mirrored "one of the outstanding musical sidelights of his many musical talents."23

Following his service with the Illinois National Guard, Smith accepted an invitation from Booker T. Washington to serve as bandleader at Tuskegee Institute, Tuskegee, Alabama. The federal government offered assistance to state based schools for military programs and at Tuskegee, Smith rose to the rank of captain.24 But the specific role of the federal government and the National Guard in assisting Tuskegee is unclear, and National Archives and Records Administration could not find the appropriate documents to confirm Smith's appointments.25 In 1913, after an exhausting tour and disagreements with Booker T. Washington about the choice of music the band should play, Smith left Tuskegee. He settled in Kansas and accepted a teaching position at Western University. After the 1916 National Defense Act created the Junior Reserve Officer's Training Corps (JROTC) and offered federal assistance with personnel and equipment, Smith received the rank of major.26