Louis Aaron Cole was born July 5th, 1908 in Baltimore, Maryland to Lottie and Thomas Cole.
In 1926, shortly after graduating from Dunbar High School, he departed west for Chicago, working as a dancer at the Vendome Theater. The following year, he returned east to Harlem, dancing at Connie’s Inn and the Kentucky Club with Duke Ellington’s orchestra.
During the summer of 1927, he landed a supporting role in Clarence William’s “Bottomland” at New York’s Princess Theater. Following this engagement, Louis began building a name for himself as a popular female-impersonator at Harlem’s Lenox Club, a popular risqué interracial cabaret located between 143rd Street and Lenox Avenue. A popular establishment for New York’s gay community, Louis became extremely close with white, homosexual writer and photographer.
By mid-1928, Louis Cole found himself as the primary star of the Lenox Club’s extravagant floor show, “The Lenox Club Revue”, which ran for at least 11 months. In October, he found a place in Earl Dancer’s “Deep Harlem”, which opened at the Lafayette Theater. Two months later, the show relocated to the Biltmore Theater.
In January 1929, the show finally opened on Broadway, where it lasted a week before closing. Three months later, that April, Louis starred in “Springbirds”, a floor show at the Cotton Club. The following month, he joined the cast of Lew Leslie’s “Blackbirds of 1929”, boarding the SS Ile-de-France on May 24th bound for France. Opening June 7th, at Paris’ Moulin Rouge cabaret, the spectacle ran for three successful months before returning to America in early-September 1929. For the next five months, Louis remained with the revue, as it continued it’s US tour across Washington DC, Newark, Brooklyn, Pittsburgh, Lansing, Detroit, Indianapolis and Chicago before the show finally closed early 1930.
In the spring of 1930, Louis returned to the Lenox Club, quickly reclaiming his spot as the star of its floorshows. That April, he returned to Paris as the star of Eugene Newton’s “Chocolate Revue”. Not only was he showcased as a dancer, but he was now a popular vocalist as well. The show briefly had a run at the Gaiety cabaret before being shut down by French authorities. The show moved over to Eugene Ballard’s Embassy cabaret, where it was revamped and reorganized as, “Revue Noire: Hot Stuff”. Louis also doubled after hours at the Enfants-Terrible restaurant, Boeuf-Sur-Le-Toit and Chez Florence. In September, once the revue closed, he departed for a tour of the French Riviera and Hungary.
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| Photo by Van Vechten (July 1931) |
Early-1931, Louis became a regular vocalist at Ada “Bricktop” Smith’s nightclub, Chez Bricktop. He also soon became her pianist and secretary, soon moving into the top floor of her mansion located in the lavish Parisian suburb, Bougival, 40 minutes west of Paris. On February 3rd, alongside Bricktop, Josephine Baker and many other African-American entertainers, performed at the “Bal des Petits Lits Blanc”, an annual charity event held at the Paris-Opera.
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| Bricktop and Louis Cole (1930s) |
Throughout 1931-1933, besides performing at Chez Bricktop, he also appeared at various nightclubs and private parties around Paris, even reuniting with Carl Van Vechten in July 1931, photographed him in the streets of Paris. During the summer of 1932, Louis departed for a brief German tour. The following summer, accompanied by Freddie Johnson’s All-Star Orchestra, he recorded three songs for the French Brunswick Recording Company. He also began making frequent appearances on Radio Poste-Parisien.
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| Grill-room of the Cassino Atlantico |
In 1934, with France plunged into economic depression, Louis ended his partnership with Bricktop, becoming a vocalist with Romeu Silva’s Orchestra, which was mostly composed of African-American musicians. Throughout 1934-1935, he began appearing around the French Riviera and Paris. In May 1935, he left Europe for the final time, traveling to Brazil with a contract to appear in Rio de Janeiro’s brand new, ultra-modern Cassino Atlântico. Opening late-February 1935, the Atlântico became the most successful casino in the Brazilian capital. Droves of wealthy businessmen, gamblers and tourists from Europe and North America flocked to the casino nightly to lose their money and enjoy the elaborate floor shows held in the grill-room. Louis Cole’s appearance was not mentioned by the Brazilian press. This was a tactic organized by the artistic directors of the Cassino Atlântico, who used Louis’ nightly surprise performances as a way to compete with the nearby Cassino da Urca, who had its own Black band, Julio Galindo’s orchestra. After Romeu Silva’s contract ended early-1936, he and his orchestra departed for Argentina. However, Louis Cole remained in Rio, as a resident entertainer and artistic director of the Cassino Atlântico. He also became bandleader of the newly organized Orquestra do Cassino Atlântico, which made daily appearances on Radio-Ipanema.
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| Romeu Silva |
In May, he was working once again Romeu Silva, Louis made his only known film appearance, as a vocalist in Luiz de Barro’s *O Jovem Tataravô*. The film was released several months later, on September 14th. From 1936-1946, Louis Cole was the top vocalist and bandleader at Rio’s Cassino Atlântico. In Between his casino and radio appearances, Louis and his orchestra also began frequenting Sao Paulo for quick engagements at the Palácio de Rádio.
In February 1938, as Brazil was celebrating Carnival, Louis staged an elaborate revue at the Atlântico, “As Pastorinhas”, based on a popular 1934 song composed by João de Barro and Noel Rosa as well as being a personal favorite of Louis. Brazilian press immediately declared the song as the theme for Brazil’s Carnival of 1938.
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| Rio de Janeiro (1940s) |
As WWII broke out, instead of returning to the United States, Louis renewed his passport and moved into a lavish Copacabana apartment at 128 Rua Santo Clara. By 1940, Louis was performing in fluent Portugese onstage. That summer, he also recorded two congas for Brazil’s Victor Recording Company. His orchestra also accompanied the vocalists: Linda & Dircinha Batista in several sessions. The following year, Louis and his orchestra returned to the recording studio again to accompany Edmundo Silva and Nilton Paz.
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| Cassino Atlántico |
Throughout the 1940’s, Louis Cole continued to enjoy overwhelming success with Brazilian audiences until April 30th, 1946, when President Eurico Gaspar Dutra. The management of the Atlântico quickly converted the massive casino-hotel into a cabaret, the O Atlântico Nightclub. This establishment continued to run possibly until 1947. Afterwards, Louis’ Orquestra do Cassino Atlântico disbanded and throughout 1948, he became a vocalist at Chez Penny, another local cabaret.
In 1949, Louis Cole became the premier entertainer at Rio’s Club Vogue, a brand new cabaret, which since 1946, had replaced the old Atlântico as the latest hotspot in Copacabana. By 1950, Louis had quickly taken over the Orquestra do Vogue and recorded his debut album, “Uma Noite No Vogue”, which consisted of four popular American numbers performed by Louis himself and seven sambas performed in Portugese by other musicians in his orchestra. He soon purchased a home at 112 Rua Santo Amaro in the cozy hilltop Bairro Glória in Central Rio de Janeiro, where he resided with his lover, Leal Gomes.
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| Club Arpege (September 9, 1955) |
Louis Cole reigned at Club Vogue from 1949-1955. In October 1955, while appearing in Sao Paulo, Club Vogue suddenly burned to the ground. For the next 10 months, Louis remained in Sao Paulo, appearing in various establishments around the city and performing on early Brazilian television programs. In July 1956, after much difficulty, Louis was able to open a brand new Club Vogue in Sao Paulo, with funding from African-American pianist, Claude Austin (an old friend from his Romeu Silva days). However, the cabaret closed several days later.
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| Copacabana (1957) |
In January 1957, Louis and Claude had returned to Rio with an extended six-month contract with Club Rio. In April, Louis was suddenly hospitalized for an unknown ailment and the press soon announced his death. This proved to be false, when he returned to performing the following night. However, on May 14th, 1957, at 1:00 p.m., Louis Aaron Cole was discovered dead in his home from pulmonary tuberculosis, uremia and an asthma attack. On May 16th, after a catholic ceremony held at his favorite church, Louis Cole was buried at the nearby Cemitério de São Francisco Xavier.
