at New York's Palace Theatre on Broadway (in February and in August). Both appearances were for a week's engagement. During Hall's February appearance, which was her first ever appearance at the Palace Theatre, she received a roaring welcome in front of a capacity house, and took six bows at the end of her performance. It was also noted in several newspapers that Lew Leslie had tried everything in his capacity bar from erecting a "Rock of Gibraltar" to prevent Hall from appearing at any venue without his consent since she quit Blackbirds. Having failed, Leslie did however manage to put a temporary restraint on her using any of the songs from Blackbirds in her show. So successful was Hall's collaboration with Bojangles that in October 1930, the pair were teamed up together again, this time by Marty Forkins (Bojangles' manager) to star in the Broadway musical Brown Buddies. The musical opened on Broadway at the Liberty Theatre, where it ran for four months before commencing a road tour of the States. Dubbed by the press as "a musical comedy in sepia", the core of the music was composed by Millard Thomas but also featured songs by Shelton Brooks, Ned Reed, Porter Grainger, J. C. Johnson, J. Rosamund Johnson, George A. Little, Arthur Sizemore and Edward G. Nelson. After an out-of-town try-out, the musical opened on 7 October at the Liberty Theatre, New York, where it ran a fairly solid run of 111 performances until 10 January 1931. 1931–1932: World concert tour In 1931, Hall embarked on a world concert tour that visited two continents (America and Europe). The tour was estimated to have performed to more than one million people. During the tour, she appeared four times at New York's Palace Theatre. She was accompanied on stage by two pianists who played white grand pianos. It was during this tour that Hall discovered and employed the blind pianist Art Tatum, whom she brought back to New York with her at the end of the tour. In August 1932, Hall recorded "Strange as It Seems", "I'll Never Be the Same", "This Time It's Love" and "You Gave Me Everything but Love" using Art Tatum as one of her pianists on the recordings. A review from 25 January 1932 of her show at the Riverside Theatre, Milwaukee in The Milwaukee Sentinel wrote of Hall's performance: Adelaide Hall, attractive young colored singer, dominates