Louis Douglass was mixed up in overlapping worlds of music posting and live theater in the ’30s. Centered out of NY, he was a genuine proponent of fusion a long time before Chick Corea and/or Scientology, collaborating with ragtime jazz pianist, bandleader, and composer Wayne P. Johnson on the show entitled Plan Kings. An entertainment that combines an account of corrupt policemen and gangsters skimming moolah off daily gambling schemes with unique tracks and syncopated rhythms may be expected to have already been a smash, maybe even make Broadway background. Unfortunately, while Plan Kings may possess sold several tickets, it’s been pretty much neglected as a meeting. The participation with Douglass barely represented a special venture in to the theatre world for Johnson. That occupied personality was stuffing eggs into many picnic baskets through the period, also collaborating with composer Andy Razaf on displays with more energetic titles such as for example Proceed Harlem and Havin’ a Ball. Douglass, whose surname occasionally shows up shorn of the next “s,” was also a fantastic dancer. Among his interesting credits for the reason that field is normally a French-German film co-production, British title Burglar, manufactured in 1930 with music from Sidney Bechet.