The viability of The Tennessee State Collegians is the main reason that instrumental music ensemble activity did not cease entirely between the tenures of Professor Clarence Wilson (1926-1930) and Professor Jesse Hayes (1937-1943). Although Professor Frank T. Greer (Father of the Aristocrat of Bands, Director of Bands 1951-1972) earned his bachelor’s degree in music from West Virginia State University, his undergraduate studies started at Tennessee State University. According to Greer’s memoirs he was a student member of the Collegians from 1936 to 1938 before deciding to leave school to pursue performing as a Professional Jazz Trumpeter/Jazz Band Music Arranger and Composer (McDonald, 2009). The Tennessee State Collegians/Band was likely at least overseen, if not conducted by Professor Marie Brooks-Strange, TSU’s Music Department Chair 1930-1948, for whom the current Music Building on the main campus of TSU is named in honor of.  Any research of The Tennessee State University Aristocrat of Bands must include an exhaustive observation of the Collegians/Jazz Orchestra/Orchestra in which the TSU Jazz Ensemble carried one of those names during different eras 1917 through today. The legacy, history and success of The Aristocrat of Bands and The Tennessee State Collegians is deeply intertwined. McDonald’s personal communications with various alumni from 2006 to 2009 revealed that Professor Marie Brooks-Strange was a Jack of All Trades in the Music Department at TSU. She is often credited with single-handedly administrating the entire music curriculum from 1930-1948. “And then… the Grand Finale!”. That luscious part in every program where the best part is presented. A real honest to goodness highbrow presentation! The Music Department with a combination of Concert Singers, Orchestra, a early common name used for Jazz Bands/Ensembles and not to describe traditional String Orchestras), and Chorus under the efficient direction of Mrs. Marie Brooks-Strange, Music Director, presented the musical production ‘From the Old South’” (Nashville Globe, 1937, pg. 1). Multiple historical artifacts suggests that she likely directed instrumental ensembles as well as the chorus (her primary ensemble) during periods of transitions between Instrumental Directors (McDonald, 2009).