Showing posts with label leroy cooper. Show all posts
Showing posts with label leroy cooper. Show all posts

Friday, June 21, 2013

Leroy Cooper on Marcus Belgrave and Interview with Marcus Belgave


Cooper Meets Belgrave
By Susan Cross

I met Marcus when I came out of the military back in the ‘50s. He was in the Air Force in Wichita Falls, Texas. He would come down to Dallas on weekends where we would have the jam sessions. He was getting out of the Air Force. They brought him down to a jam session, and I just got out of the Army – that’s how long ago I met him. He figured that the guys in Dallas couldn’t play too much. He’s got people in New York so he figured he’s coming down south and these were nobodies. Well, he plays trumpet now, but he brought this trombone to the jam session. He was experimenting and those guys I played with were hot. He was surprised.

He said, “Next Sunday I’ll bring my trumpet.” Never underestimate your adversaries.

So people in this club where I was working in Dallas called the Harmony Lounge got to hear him. People like Pat Boone used to hang out in there. All the kids from north Texas, big college, up the road 30 miles, would come down to the Harmony Lounge and all the top musicians would come in and play. It was a regular Sunday shootout.

I told him, “Why don’t you try to get with Ray Charles?” A lot of the guys he knew from the sessions in Dallas were with Ray. When they went to his home town, Chester, Pennsylvania, he got in the band. When I came back into the band he was already there. We were old friends.
I’m talking back in the late 50s. We go back farther I think. We were so tight. It’s funny how a band would be so involved with people.

People don’t realize how tight. We used to go to night clubs and see these girls talking to a local guy, and we would say, that’s so and so’s wife. It was a shame. We would be upset. And some guy wouldn’t even know. He’d just say look at this. We’d say that’s a friend of mine. There was such a closeness.

Marcus always had such a good heart. He’s a good man. Guys used to gamble back in the early days. I remember in Detroit the road manager broke the band. But Marcus broke him. So we didn’t have any money. Every day Marcus would come by and take us to dinner. The band would line up like soldiers.

“Time to go eat,” Marcus said. We had a three dice game called 4-5-6. Poker with dice. We used to play it back in the day. It’s an interesting game and guys used to lose, lose, lose. I was just not a gambler.

I remember Marcus’ father, his brothers in Chester, all of them are deceased. We were tight. He left the band and then he came back. Every time I would go to Detroit, we’d have dinner or something and hang out. We keep in touch.

We went to Chicago for a reunion not too long ago. Cynthia Scott was there, too.
Marcus is very stable and very popular. He has a school in Detroit for jazz musicians that were very poor, ghetto kids. He’s gotten several awards. He’s highly respected.

Interview with Marcus Belgrave - August 2009

 Where are you from originally?
I’m from Chester, Pennsylvania. I knew Leroy before I joined the band. I met Leroy when I was in the Air force. I was stationed in Wichita Falls, Texas. I didn’t know too much about Texas so I was really despondent about being there. That’s when I met Leroy and he was working in a club. That was one of the first places that I got a chance to hear some real dyed in the wool jazz out of the southwest.
Everywhere you go you run into guys like Leroy and James Clay. They’ve got it all over the country. He was one of the great jazz musicians that I met. It was a revelation. I felt like I was a student. They gave me such a warm welcoming into a society of music that was not getting introduced to me. So it was an awakening to me. Running into Leroy Cooper and James Clay and Bobby Bradford in the same club. That was one of the most inspiring moments in my world. That’s my world. And John Hardee.

How long had you been playing trumpet by then?
My father taught me when I was young.  Then he sent me to a music conservatory in the Philadelphia area. Mike Boslet also taught me. I was all ears. My cousin, who is also a very fine baritone player in Dizzy Gillespie’s band, was the first one that taught me a Charlie Parker tune by ear. I was about 5-years old. My life has been one great musical experience and Leroy Cooper opened my eyes to the realities of places I could play. That was the most memorable experience. Being in Texas, I thought that being part of the Air Force band would be a great thing but it didn’t turn out that way. John Hardee taking me to Dallas and introducing me to these guys gave me a new life.

How long were you in the Air Force?
I was with them over two years. It was during the Korean War. It was a four-year hitch but after two years you could take a voluntary discharge and that’s what I did.

When did you join the Ray Charles band?
After I left the Air Force, I met Ray Charles and Leroy was with him then. I got a chance to sit in with them. I didn’t get a job with them then because one of the guys was sick and he went home so I did get a chance to sit in with them, but he was coming back. So it wasn’t until about three months later until I got hired. Ray came to my home town and spent about three weeks and I got the job. The last day Ray Charles was going to be in town I went by this club and someone said, Hey, they’ve been looking for you. Ray Charles asked could I be ready in an hour. I said I’ll do my best. Leroy wasn’t in the band then. Three months before that, a few months before Christmas, I guess he decided to stay home in Dallas. And for whatever reasons Ray told me that if you want this gig you can have it. I didn’t think too much about it. I wanted to play with Ray’s band because it was one of the first bands I heard that had that heart and soul. That was 1958.

How long were you with the band?
I stayed with him off and on until 1963 then I went back with him a couple of times 1970-71.
When was the last time you got together with the band members? 

We did a tribute to Ray in Chicago last year [2008] at the jazz festival. They wanted someone there who had been in the band so they asked me to put the band together from Ray’s small band. Leroy came up for that. They gathered us together; the ones who had played in Ray’s small band. Leroy was number one, Phil Guilbeau on trumpet, Hank Crawford, David Newman, and me on trumpet. Cynthia Scott was there, too. Leroy and David Newman are the ones I kept in touch more than the others. I’ve always been in contact with Cooper. The great reunion. Previously we had done one with Ray in Chicago in 1997.

Is that the last time you saw Ray?
That was one of the times that Ray got everyone back together. Ray was very much a part of that getting together of the band which he called his favorite small band. The last time was in 1979 for Saturday Night Live.

What are you involved with now?
I’m happily married to a beautiful lady named Joan. We perform together, playing jazz.
I founded an organization for underprivileged kids to learn music. Actually the kids had formed together so I just made it a foundation. They wanted to learn something about jazz and performing. I guess I was just in the right place at the right time. So many came through and became successful. It wasn’t planned. I was involved with a government sponsored program that lasted three years in Detroit. When that folded up, there was some kids that didn’t have the opportunity to come under that wing and they wanted to continue. So they came to me. They were very ambitious and dedicated.
It became so successful with those young people, and so many of them have made great lives and have done quite well on their own.

Copyright © 2013 Susan Cross – All rights reserved

Sunday, February 12, 2012

Leroy Cooper, the Righteous Brothers and Glen Campbell

As Leroy was reminiscing, sitting in that black and white chair in his living room he got that faraway look in his eyes. I knew he was visiting a special memory. Then he told me this little story.

I quit Ray’s band just to prove to myself that I could survive musically. While I was out of the band I played with the Righteous Brothers.

Glen Campbell was on the show. He was from Arkansas. Those guys didn’t even pay attention to him. He played so good we used to have him in the dressing room playing. He liked to play harmony with everything we played. That sucker would put his foot up in the locker room up on the place where he was sitting and be playing some impossible stuff on the guitar. He’s a great guitar player! Oh, he’d be eating that guitar up! Ooh, that sucker could play the guitar. He’d get wrapped up in it and start sweating.

After we were done he’d be heading to the bar.

He used to say “Anybody want to go with me?”

“We don’t want to listen to no more corny jokes.” Everyone said.

I said, “I’ll go with you.” I’d go up there and he’d be talking this Arkansas stuff.

After awhile I’d say, “I’ll be back in a minute.”

I’d go straight up to my room and wouldn't go back down. Then Glen messed around and got a hit and I didn’t see him again.

Glen was tight with Ray Charles and he used to be on Ray’s records for free, just to play with him. I was in the middle of this tight group and didn’t realize it.

When I was with the Righteous Bros it was Hatfield, the blond who sang real high and a replacement for Medley. When I left, Medley came back. I had met him before I was with the group. He was the bad boy. He used to come to Ray’s gigs.

Guys said, “Bill you’re selling all those records. You could at least buy us all a drink.”

Bill would say, "Come on over to my car" and then he’d give ‘em a beer.

They said, “Man you’re tight.”

He said, “I gave you a beer didn’t I?”

After I proved my point to myself I went back to Ray. You know, you owe it to yourself to see if you could survive on your own.

Copyright © 2012 Susan Cross – All rights reserved

Monday, April 11, 2011

Leroy Cooper talks about Nat 'King' Cole

This is an excerpt from Leroy Cooper's memoir as told to me back in 2007. Cooper was the bandleader for Ray Charles for about 20 years. The material is copyrighted by Susan Cross and cannot be copied, published or duplicated without permission.



During my years spending afternoons with Leroy Cooper he told me stories that paint a picture of American musical history. Nat 'King' Cole was somebody that played a major part in his youth.

*****
"Back in the ‘40s I went to a little church school down in Austin, Texas, Huston-Tillotson," Cooper said. "We used to call it the Pride of the Great Southwest. It was across town from the University of Texas. It was a Methodist school. They’d teach you to be a teacher or a preacher.

"It was a beautiful school, Huston-Tillotson. The band would play and the choir would sing and the president of the college would beg us to play The Bells of Saint Mary and it would make him cry.

"The president of the college would tell the students: 'In the early years, our forefathers got together to bring this institution about to lift the ban of ignorance…' he would say to us."

"People like Duke Ellington, Nat King Cole and Adam Clayton Powell used to come to the school. Every Wednesday night we had a celebrity speaker. They were so happy to see a bunch of kids trying to get educated. I enjoyed it. I played in the school band three years. I was the lead alto player which was a big deal. We had to try out for the school band like a football player. You earned a scholarship. I didn’t have to pay for nothing but books. Everything else was a freebee, food, dormitory.

"Every time Nat King Cole Trio would come through to play, our band would play the opening for them and then the Nat King Cole trio would play. All those bands would come through there and we would see those musicians dressed in those latest styles.

"Nat King Cole, he brought his wife. Well he wasn’t married to Maria then. He brought his girlfriend down. He was playing some job for the school so we used to go and watch them play tennis. I was really watching his girl in those tennis outfits. You know, a little young boy, he was laughing at us. Teenagers. Oh man, he was hitting the ball."

"We school boys didn’t have nothing. We’d be listening to the bands and the professor would say, “Stay in school.”

In another session Cooper talked about his experiences in Birmingham and the south touring with Ray Charles in the early days.

"Down there It got so bad when we’d play a gig they’d say, “No drinking in this dressing room. And if we catch one of you drinking in the dressing room you’re all going to jail. Everybody was calling home on the public phone out there. “Don’t stay too long on that phone.” Picky, picky, picky, picky, picky. To me, Birmingham was the worst place in the world.

"Nat King Cole was from Birmingham and I read that they had him going through the back door in the auditorium. Well with Ray, when our bus came in, they had us pull around to the back and we had to go in the back door."

Copyright © 2011 Susan Cross – All rights reserved

Friday, February 25, 2011

Before the Beatles were the Beatles and then there was Billy Preston

By George, Cowboy Clothes
By Susan Cross

This story was told to me by Leroy Cooper during our first session and I transcribed it from the recording. First I wanted to corroborate the story since Leroy was 78 years old and I was checking on his memory. He insisted the club was the Star Club and that they did NOT have a regular drummer during Ray's gig at the club. When I saw Paul, John and George in their 'cowboy clothes' just as Leroy described them I felt I would publish his personal memory of the events that followed. It is all in his own voice.

This is an excerpt from Leroy Cooper's memoir as told to me back in 2007. The material is copyrighted by Susan Cross and cannot be copied, published or duplicated without permission.

In Hamburg, Germany, I was with Ray and we played in a place called the Star Club. It was a very popular venue in Hamburg at the time. It was very impressive. They met us at the airport with Mercedes Benz convertibles, a whole parade of them.

We went to the club and there was a house band playing there. There was all these guys with English accents and they were wearing cowboy clothes and boots. That seemed real funny to us because they were from England, not from the States. Every night, all we did was play shows but they had to play for the dancing and we used to laugh because they had this black drummer at the time. He was a showman. He really impressed me. He was in the Air Force and just passing through, fillin’ in. We lived at the same hotel as this band

They would say, “Come on over and listen to some records,” in their English accent. You know and we used to hang with them. There were two or three of us to a room because we weren’t making the big bucks, and these guys were all bunched up in one room. We would go and listen to records. Back then, they weren’t the Beatles yet.

So when they came to the States to be on the Ed Sullivan show we were watching these guys and somebody said, “Hey, they are the same guys that were in Hamburg, Germany. They changed their haircuts.” When we first saw them in Germany they were playing rock ‘n’ roll. Now they were doing this other music.

I said, “Wow, they made it. They made it.” From then on they were the Beatles and they were big, big, big, big. What a difference a day makes. What a difference.

*****

Billy Preston

One year we were in Liverpool and we usually packed the place out, but this time the crowd was a little slim. We asked what’s happening?

They said, “They have a local group that’s real big. And they’ve got a movie out A Hard Day’s Night.” We had a big show that same night and that sort of hurt our crowd. So I said this new outfit must be dy-no-mite!

In Ray’s band at the time, Billy Preston was sitting next to me on the front line. He played organ and I played the baritone sax, and he met The Beatles at the rock ‘n’ roll show over here in the States.

Years later we were over in England again and the guys were laughing at Billy, saying the Beatles are big and you are supposed to be such good friends with them and everything.

I said “Why don’t you call them?” You know how guys put you on. “Have another drink. Why don’t you call the Beatles, you’re supposed to know them so much.”

He said, “Okay I’ll call ‘em,” We thought we could get a good laugh.

He calls and the housekeeper answers and she said, “They’re not in at the moment and did you want to leave a message?” So he left a message. Two or three days later he heard from one of them.

They said, “This is so and so and we bought your record contract.” At the time Billy was signed up with Ray Charles. They said, “Oh yeah, we bought it and we want you to join the group.” After that, he was like the fifth Beatle.

This must have been in the ‘60s. I remember he was driving a little ‘67 Plymouth and he was getting five hundred a week. He was always complaining about money.

“I’m tired of these cheeseburgers and I got to have more money,” he told Ray. He got with the Beatles and the next time I saw him he had a white Rolls Royce.

One time we were playing in San Francisco at The Fairmont Hotel there up on Nob Hill. It was real ritzy. We were on stage and I said, “Ray, Billy Preston’s in the audience.”

Ray said, “Aw he’s too big to sing with us now.”

Somebody announced Billy. McCartney and the other guys brought him up to the bandstand and he stayed up on the bandstand with us the rest of the night. The Beatles were sitting right next to him in the audience and Billy stayed up there with us. He didn’t forget. He admired Ray. I’ve never seen anything like him.

Anything Ray would play on the piano Billy would play exactly what Ray was playing and I thought this boy is a genius!

He was a young man at the time. He was so young guys would tell him how to dress. He was eating cheeseburgers and milk shakes. And I didn’t get to see him after he got to be a big wheel. He used to come through here and I was determined to try to get out to see him but you know you can’t get to people when they get that big. It changes.

Copyright © 2011 Susan Cross – All rights reserved

Monday, January 31, 2011

Ray Charles - Traveling in the South

Through The South
By Susan Cross

This is an excerpt from Leroy Cooper's memoir as told to me back in 2007. The material is copyrighted by Susan Cross and cannot be copied, published or duplicated without permission.


Traveling in the South

Ft. Lauderdale, Florida

There was a Jewish boy in Ray’s band when we were going through all of this named Donald Peake. I didn’t know anything about his religious background. There were about two or three white boys in Ray’s band during these critical times. I took it upon myself to try to be a protector of Peake’s down south and in Florida. Guys were selling Muhammad Speaks, it was the Muslim newspaper, and when they would see him with us, they’d have a circle on him; they were getting ready to do something. I’d come in the circle and say, “Man, he’s with us,” and blah, blah, blah. He’d be terrified, you know, and who wouldn’t? Having all these crazy people around you.

Miami, Florida

When we used to work in Miami, we couldn’t even stay on the beach. We had to stay up in Hollywood and travel down to the job. Ray was the only one who could stay down there. But we had a good old time and accepted how things were. One of our girls, one of our Raelets had bought some snake boots over in Germany. She paid about 700 or 800 dollars for these fabulous snake boots that come up to her knees. She had on a fur stole and all that and we were off in Miami. She went in the bar next door to the motel where we were living and the cops took her for prostitution. Ray had to go get her out of jail. She was just sitting at the bar having a drink and she told ‘em she was with the band but they didn’t believe her.

Things are better now. The hip hoppers can wear those snake boots and they’re all over Miami. Can you imagine putting one of them in jail? They can buy the jail.

Birmingham, Alabama

Ray started going to towns like Yazoo, Mississippi and Birmingham, Alabama. That was frightening. Back in the day, we were in the bus station and I had to be in the black part of the bus station. I was shooting the pinball machine.

This big cop came over with a fat stomach, a regular cop, and he asked the guy, “What do that big one do?”

“Oh, he’s a saxophone player.”

He said, “Can he blow it? Is he good?” In other words, he just wanted to have some kind of confrontation with me. And I kept ignoring him.

It got so bad when we’d play a gig they’d say, “No drinking in this dressing room. And if we catch one of you drinking in the dressing room you’re all going to jail. Everybody was calling home on the public phone out there. “Don’t stay too long on that phone.” Picky, picky, picky, picky, picky. To me, Birmingham was the worst place in the world.

Nat King Cole was from Birmingham and I read that they had him going through the back door in the auditorium. Well with Ray, when our bus came in, they had us pull around to the back and we had to go in the back door.

When we went to Mobile, Alabama they wouldn’t even let us in the arena unless we got rid of everybody we had white in the band. So the road manager told him we don’t have any whites, we have near whites. So the cops accepted that. The girls put powder on [Don] Peake, brown powder and he was scared that night. They made all the white patrons leave and we had to play to the black audience. The white people stayed outside the arena so they could wave to us when we left.

Things changed. Joe Namath, when he got popular years later opened up a club in Birmingham. We played the circuit in the south with Joe Namath. We went to his club and they had us in the biggest hotel downtown. I forget the name of it, and they had a massage parlor on the mezzanine. The manager of the hotel was telling the band, “You had your back rubbed?”

I said, “Wait a minute; that’s not for us.”

“Oh yes, they’ve got some nice girls up there.”

“This is not Birmingham. Time’s have really changed,” I thought.

We played the Bachelor’s Club in Ft. Lauderdale and we were treated royally everywhere and I said it can’t be the same south; it can’t be the same place.

Copyright © 2011 Susan Cross – All rights reserved

Thursday, January 13, 2011

Leroy Cooper...Drafted during Korean War


This is an excerpt from Leroy Cooper's memoir as told to me back in 2007. The material is copyrighted by Susan Cross and cannot be copied, published or duplicated without permission.

…Uncle Sam sent me a letter and I got drafted.

I went in the Army. They handed me a machine gun and said, “I’m going to send you down to the heathens. I’m going to send you down to F company where they don’t even give you commands, they give you whistles.” I said to myself, ‘Oh my goodness. I’ve got to audition for this band!’

They would have an all white outfit with a black leader. I went up to an all black band to audition and I tried to get out of playing the baritone. They said “What do you play?” I said ‘Alto.’ They said, “We only need a baritone.” I said, ‘Oh, oh, oh, I play the baritone.’ He said, “Okay, can you read?” I said ‘Yeah’ I saw music they had and it was something I had played every night so for my audition I took this song and said to this guy, ‘Kick it out for me.’ And he said, “Kick it out yourself.” And I kicked it off because I knew the song without the music and I played it and they were shocked.

He said “Okay, just mess around with the horn. I got to go to the office for minute.” I hadn’t played a horn in awhile because I’d been in training so I started messing around with the horn, blowing, and it felt good to me. I was just blowing away and the 55 piece band was sitting on the stage and they applauded. They said “Who was that?”

In Ernie Field’s band when I thought I was just keeping up I was a big deal to these guys. They knew who I was. I was only 21. They said, “We’re gonna get you in the band.”

Meanwhile I went down to my outfit, this machine gun company, and I was getting ready to go to Korea to fight. If you ever witnessed this, it was like a jail sentence. They said, “The following EM have been alerted for FECOM.” That was Greek to me. I said, ‘EM?’ They said, “Yeah, FECOM. Far East Command.” I said, ‘What does that mean, man?’ They said, “You’re going to Korea to fight.” I said ‘Oh Lord.’ They said, “Send all of your civilian clothes home. You won’t need them.” They gave you $10,000 insurance and they asked, “How do want your people to get the money? Ten thousand at once, or break it down?” I said, ‘Wait a minute. You can tell me nicer than that, man.’ I mean, they were sending us off to die. They said, “How do you want your people to be paid?” I said, “Just give it all to them at once, if something happens.” I went to mail my clothes home.

That’s not a good feeling. I was going to Korea, and in the machine gun company. They said, “The biggest man in the squad formation, the biggest man carries the ammo, the ammo bearer. One man carries the ammo, one carries the tripod.” I said, ‘I’m an ammo bearer, man. What do I fight with?’ They said, “You don’t need nothing. You just gonna carry the ammo. They knock you out first anyway.” Oh man, that’s not a good feeling.

Anyway, two days before I was shipping out, I’m in the barracks. Some guys were crying. It was sad, a depressing time. The CO who was the captain said, “Private Cooper?” I said to myself, ‘What have I done this time?’ So I said, ‘Sir, are you looking for me? Cooper?’

“Who is this damn band?” he asked. I said, ‘What do you mean?’ He said, “Who are you?” I said ‘I’m Private Cooper.’ He said, “This band sent a direct order and drafted you away from us. You’re going to that band.” In other words, going to that band is more important than going to Korea to fight? And I said, ‘Pardon the expression, sir, but don’t bullshit me.’ He said, “No. They’re sending a jeep for you as we speak.” Then a jeep pulled up and said, “Are you Private Cooper? We’re looking for Private Cooper. Get your gear; you’re outta here.”

I threw my stuff in the jeep. My buddies waving and I would never see them again. We went up to where the band lived, and we slept on mattresses. And they had two sheets and they were complaining that the sheets weren’t ironed.

On the same post, Fort Leonard Wood, Missouri, they had 20 or 40 square miles; four or five bands. It was a city out there. I got up to the band, and, oh boy, at the PX I saw women walking down the streets; I’d been in the jungle down there.

I used to work hard up there and then not in much time, about ten months, I was a Sergeant. I felt so impressive in the band and when the man gave me those stripes, I didn’t want it. I wanted to hang with those fellows. He said, “No, I’m giving you a direct order, I’m making you a Sergeant.”

They gave me an 18 piece band to be in charge of. I was booking one of my jobs. One of my duties was to book Friday night parties for the different outfits on the post. Where did they send me? To the 91st battalion where I came from! This time I had Sergeant stripes, got my own driver and Jeep and I go back down that hill and there was the same Sergeant that kicked me out and told me I would never be nothing, I walked in and said ‘Request command to see me.’

“Oh yes sir, go back in.” I went into the office. “Close the door, son.” He pulled his liquor out and said, “You drink son, don’t you?” We drank and we had this party and all these girls came from St. Louis and talked about the band and after we finished business we talked about anything; telling jokes and everything. Then he said, “Don’t I know you from somewhere?”

In the Army days they called me Boogie Red. I don’t know what that was about but that was my nickname. I said ‘You remember Boogie Red?’ He said, “You used to be down here?” ‘I told you all the time I was a musician,’ I said.

I keep thinking about those Army experiences and I think the angels are watching out for me.

Copyright © 2009 Susan Cross – All rights reserved

Sunday, January 2, 2011

Leroy Cooper, Ernie Fields, Charlie Barnet and Uncle Sam

Uncle Sam's Big Band
By Susan Cross

This is an excerpt from Leroy Cooper's memoir as told to me back in 2007. The material is copyrighted by Susan Cross and cannot be copied, published or duplicated without permission.

After I left school, I went to Waco, Texas, with the little band. While we were there we met a big band leader that had a territorial band. There was a guy named Ernie Fields from Tulsa, Oklahoma that had a big band and part of his band had quit him. I’ll tell you who he had in his band: J.J. Johnson, the trombone player that wrote for the movies; Miles Davis was in that band; Gene Ammons; and Yusef Lateef. All of these guys went on to be big names but back then they were young so they left his band.

Someone from Ernie Fields band called down to where we were staying in Waco. They heard there were some musicians staying there, and they wanted this trumpet player to come join them. We were all high and everything, drinking our wine.

I said, ‘Tell ‘em you got the greatest saxophone player in the world sitting here.’ The guy put him on the phone and he said, “You want a job?” And I said, ‘Yeah.’

I was all cocky; I was tough and I was big and he said, “Okay, I’ll send you a train ticket to come to Oklahoma.” There was four of us, they sent us train tickets. All the people in Waco said we were going to be nothing and we said, ‘We’re going to join Ernie Field’s band in Tulsa, Oklahoma.’

So we caught the train, and I got to the band, and they were more professional than I was accustomed to. These guys were warming up and I heard the sounds coming out of their instruments, and I was afraid to toot my little horn. So I was just sitting there. The bandleader could see I was terrified because I was just a teenager so he said, “I’ll tell you what. Just play anything you want to play and tell the piano player what key you want to play it in. The guys didn’t even want to speak to me—that’s how musicians are. So I played Lady Be Good. And they got all friendly and introduced themselves. I thought, Wow I made an impression.

They wanted me to take Yusef Lateef’s place. He was a famous tenor saxophone player. I didn’t play tenor, I played alto. So that night in bed I thought, the baritone is the same pitch as the alto, it’s an E-flat instrument. They had an opening for a baritone player and the baritone player didn’t have to play solos because it was a bit awkward. So I told the band leader at rehearsal to let me try the baritone. He said okay. I didn’t have a baritone so one of the guys lent me one. So I got on the baritone and I wasn’t used to playing those notes and going through all those changes, and finally I told the bandleader, ‘Look, you can just give me bus fare back to Dallas and I’ll try again.’ I was giving up.

Back in those days, the band leader was like the father. He called everybody Hoss.

“I see something in you, Hoss.” he said, “I’ll tell you what, why don’t you give Hal McIntyre or Mooney who played with Duke Ellington’s band, (he was playing lead alto) you give him a dollar or two when you can afford it, and get him to teach you our book. So I got a room down the hall from Geezil Minerve, who went on to play with Duke Ellington, and I would worry him every day to teach me something. I was practicing every day. He was strict and he was from Orlando, Florida. He was a West Indian guy. And he would kick things up. I would say, ‘Slow it down,’ and he would say, “HuH Hut hut”, so being under him I improved. I got this new instrument that was a baritone and I got to where I could play. Sometimes he would get his flute and I could keep up with him on the flute, and in fact I was getting pretty good and they told me anytime a band comes through, worry the baritone player to death about the ins and outs about the instrument.

Basie’s band was forming in Oklahoma City and I was living in Tulsa. So when they came to Tulsa I would worry the baritone player to death. His name was [Jack] Washington. I would ask him, ‘Why do you do this, and why do you do that?’ He would say “Leave me alone.” But still we messed around.

Ernie Fields gave us our first trip to New York. The band went to do the show at the Apollo Theatre. Charlie Barnet’s band was playing there. Charlie Barnet’s band had all these big studio musicians. I remember the drummer had all these drums up on the stage. I had never seen that many drums and our little drummer had some little $1.98 drums. He was my buddy so he said, help me put my drums up on the stage. He was ashamed to take his drums up.

That night, Charlie Barnet had a birthday party and said everybody’s invited. So I went up there and I was drinking up the booze. And I was shaking hands and they didn’t know we were little country bumpkins from Oklahoma that didn’t know nothing. I went out on the stage and sang that first night. Our little drummer got a job with Dizzy Gillespie so when they took the program out I said ‘We don’t have nobody to sing.’ Lemon Drop was the song. So I said ‘I’ll sing it.’ I was 19 and I would do anything. This was at the Apollo Theatre where they would throw bricks at you; I went out there and sang my little song, baboom boom boom and blew with them so long that I got ahead.

The bandleader was teaching me stage decorum. I went out there and I turned around and he said “back up, back up.” I was learning how to entertain. The band paid me more money than I ever had in my life. He called me into where everybody got paid, this was in the late ‘40s, and I never had seen $100, and this man counted me out 100 bucks and he kept going. I thought ‘He’s counting out the money for the band.’ And then he got to $125 and he said, “Okay. Spend it wisely.”

I said ‘I get all this money? And you get paid like this every week?’ He said, “Yeah, boy.” And I said, ‘Wheee! I got money in my pocket!’ I spent it wisely. It was January and I was wearing my little Texas raincoat. I said I need a coat, so one of the little guys hanging around said “I’ll show you where you can get a coat cheap, and uh maybe I can get one if you get it cheap enough.” I thought he’s pulling my leg because everybody in New York needed a coat in January. He took me to a dry cleaner and all the unclaimed stuff was on the rack. He said, “Pick you out a coat.” Oh man, I got this nice, warm overcoat and the guy said “Give me 20 bucks.” ‘20 bucks?’ I said. The other guy I was with said “Fifteen.” I paid $15 and had a nice warm coat and the other guy got him a coat for about five. So I spent 20 bucks and both of us had coats.

He said “Now you need some snow boots.” For my little $125 I had a new suit and everything for the first time in my life. I wanted to go to a barber shop and get the works—shoe shine, nails—like I had seen it in the movies, so they fixed me up. I thought, ‘Oh, I could get used to this.’

They did a record while we were over in Jersey and a Broadway producer saw me. I didn’t know the baritone was popular like that and he said, “I think I can use you in a Broadway show.” I’m with this band over here and he was paying over 2, and I was traveling. Too much was happening too fast, but in the midst of all this Uncle Sam sent me a letter and I was drafted.

Copyright © 2011 Susan Cross – All rights reserved

Monday, November 8, 2010

Leroy Cooper leaves Ray Charles - the 1st time

Hit The Road, Jack
By Susan Cross

During one of our interview sessions, Leroy Cooper told me a story about why he left the small Ray Charles band the first time. Leroy remembered clearly how his feelings were hurt. Just as clearly, he remember his friend, Marcus Belgrave, coming to his rescue. Leroy and Marcus had known each other before they were in Ray's band together, but that's another story. This story speaks for itself and the fact that he remembers the kindness of his friend over 50 years later gives some insight into Leroy's humility and love for his friends.

*****
Ray’s band was in Chicago and I went to Dallas on a break. Our next gig was in Chicago at the Regal Theater. I had to pay everything I had in my pocket for cab fare from the bus station to the south side. I didn’t realize that Chicago was that big. It left me with about two or three bucks in my pocket. I went to see the road manager.

Let me have a loan ‘til payday, I said to Jeff Brown, Ray’s first road manager. Payday was the next day. I had just spent every penny I had on a bus from Dallas to Chicago to rejoin the band.

“I’m sorry, Cooper, I don’t have any money,” he said.

I couldn’t believe it! I said to myself, what am I going to do? A country boy in the big city. I went to Woolworth’s and bought me a jack size bag of popcorn; I ate popcorn and I drank ice water to survive.

We were down in the band room in the theater after I’d asked for a loan and he said he didn’t have anything, he came downstairs and told the straw boss in the band, “I don’t like the neckties the guys in the band are wearing.”

There was a little shopping center up there and he said, “Go buy some kind of neckties that I like.” I was looking in another direction and he put his hand in his pocket and came out with a Philadelphia roll. That really made me feel bad. I said, Wow, he didn’t have any money and he brought out a roll like that.

“What kind of ties should I get?” He said, “I don’t care.”
Marcus Belgrave

The trumpet player, Marcus Belgrave [right] saw me and he said, “You don’t have no money do you?” I said no. So he straightened me out until payday. But I said to myself once I get back to Dallas, I won’t worry about leaving home anymore. That was the first time I was out of the band for a year and it was because of Jeff Brown. He used to not treat me too nice when I was first in the band. I was sensitive.

Here was this man, the road manager, having money in his pocket and not letting me have enough to survive. That’s when I said, when I get back to Texas I’ll be staying there, (I didn’t tell them that) and that’s what I did.

Ray was living in Dallas back then. When they got me back to Dallas, I was home. When they got ready to go back out I said I’m not going, man. They traveled by car in those days. I lived out by the airport in Dallas. Ray came out to my house.

“What’s wrong? How come you’re not going?” he asked me after we had returned to Dallas from Chicago. I had decided I would never tell him that I was upset about what happened in Chicago.

Copyright © 2010 Susan Cross – All rights reserved

Monday, November 1, 2010

Interview with David 'Fathead' Newman

Let's Talk A Bit
By Susan Cross


During the many afternoons I spent with Leroy Hog Cooper he talked about so many of his friends. Some of these people were relatively new friends, people he knew during his 20 year stint at Disney World playing in the Dixieland band, the jazz band and at private functions held in the park and hotels on property. Others were people he met after he retired and became more involved in the local jazz, blues and society bands that filled up his calendar and kept his lips on the mouthpiece of his various horns.

However, in the beginning of our time together, Leroy spoke mostly about his old friends. The ones he knew growing up. The ones that he played with in the school band. And the ones he played with in clubs. Probably the most important one of these was a fellow who was a couple of years younger than Leroy that he knew in school. They both played saxophone. And eventually, this friend would be the one that changed Leroy's life forever. His name was David Newman, also known as Fathead.

Here is the transcript of a telephone interview I did with David on April 23, 2007. Unfortunately, at that time I didn't have enough information to ask more relevant questions and my interview was mostly targeted at his relationship with Leroy. David was soft-spoken, warm, friendly and expressed his love for Leroy, just as Leroy had expressed his love for David.

Susan Cross:  How long were you with Ray Charles?

David Newman:  From September 1954 to 1964; 10 years. Then I went back in 1970 to 1971, so altogether 11 years.

Susan Cross:  What was your relationship with Leroy?

David Newman:  We were very good friends and colleagues. We go back a long way. Growing up in Dallas, I was a few years behind Leroy in school, being younger than he was. We got to know each other when we both had the same band director at Lincoln High school, Mr. Miller.

Susan Cross:  Was that Uncle Dud?

David Newman:  Yes. That was his nickname. I lost touch with Leroy when he went to college and then into the Army. When he got out and came back to Dallas, we got back together.

Leroy joined the Ernie Fields big band and was playing the baritone sax by then. He had started on the alto, but he was such a big man he was blowing the buttons off of it, not literally, but figuratively. The baritone was very fitting for him being the big guy that he was.

Susan Cross:  How did Leroy join Ray’s band?

David Newman:  Ray’s band needed a baritone sax and knowing Leroy, I recommended bringing him into the band. Later on, I also got James Clay to join.

When Leroy joined, it was a small band. It became a big band in 1960.

The movie, Ray, was inaccurate and so unfortunate.

Susan Cross:  When did you start playing the sax?

David Newman:  When I was about 8 or 9.

Susan Cross:  Was it your first instrument?

David Newman:  No. My mother had me taking piano lessons for about 2 years and the other kids were calling me a sissy. So I told my mother that I wanted to play a more masculine instrument. She asked me, like what? I said, I don’t know. A horn, maybe, a saxophone. So I started taking lessons on the alto sax which was the second smallest, soprano being the smallest. Mr. Miller gave me lessons.

In our youth, there was a place called the American Woodlands Hall. All the musicians would go there and jam and get to know each other. That went on for years.

Leroy’s dad was a fine musician. I never heard him play, but Buster Smith was my (and Leroy’s) main influence growing up, and he knew Leroy’s dad and said he was a fine musician.

Susan Cross:  Who are your favorite sax players today?

David Newman:  James Moody, Jimmy Heath, Benny Golson, Eric Alexander, Javon Jackson.

At the end of the conversation, David told me to feel free to call any time if I had more questions. Unfortunately I did not make a second call. David died less than 2 weeks after Leroy in January 2009. Their music lives on. You can learn more about David 'Fathead' Newman click here.

Copyright © 2010 Susan Cross – All rights reserved

Thursday, September 16, 2010

Leroy Cooper - One Man Band - in his own words

Saving Music History
By Susan Cross

This is an excerpt from Leroy Cooper's memoir as told to me back in 2007. The material is copyrighted by Susan Cross and cannot be copied, published or duplicated without permission.

Copyright Charles Wells Photography

Listen!

If the title doesn't show at first, refresh the page to listen.

Leroy Cooper had a wonderful life. His musical accomplishments include about 20 years as baritone sax player and bandleader for Ray Charles.

In addition, he was a great story teller. I had the great honor of sitting wth him and listening to him recount his tales. Here is a little clip about how his interest in music first developed.
To see Leroy back in 1975 leading the Ray Charles Orchestra, click here:

You can hear Joe Adams introduce him. The man with the very large Afro hairstyle playing keyboards when Ray comes out is the magnificent Ernest Vantrease, a.k.a. The Deacon. Ernest was with Ray for about 30 years and now plays keyboards for B.B. King.

Copyright © 2010 Susan Cross – All rights reserved

Wednesday, May 12, 2010

Meeting Leroy Cooper - memoir of conversations

We Should Write A Book
By Susan Cross

The great philosopher Yogi Berra once said, "If you come to a fork in the road take it." I had come to that fork. I have written a book that is near completion was not taking the right course. I had almost decided to ditch the book and close my business. I make a decent living writing articles and I thought that maybe I should stick to that for now.

Last week I had an epiphany. I saw my friend, Ernest Vantrease, keyboard player for B.B. King. The band was in town for a show. After visiting with Ernie and feeling the strong bond we share I considred our history and how we got to know each other. When I traced my steps back to our meeting I realized that I was taking the wrong approach to the book. My original plan had been to write Leroy Cooper's memoir. In fact, that project took on a life of its own during the 2-1/2 years that I worked with Leroy. I met many people who knew him, did interviews with a variety of people, many of whom played with Ray Charles when Leroy was his bandleader, and even had one of them visit and stay in my home in order to attend Leroy's funeral.

After seeing Ernie I realized that what I should be writing is my brief memoir describing the experiences since I met Leroy Cooper and how that first meeting led me to where I am today. Of course, Leroy's stories are a large part of my story but each one took me in a direction that I chose to pursue in tracking down old friends of his and forming some new relationships. And therein lies the story.

I have a new plan and will follow this path right up until the present. I have heard the expression, "Write about what you know." Well, there is nothing I know better than my own experiences told from my point of view. I was never intended to be a ghost writer on the project and I am not a ghost. I am a writer and have decided to start from the beginning, about 3 years ago and bring it forward.

Copyright © 2010 Susan Cross – All rights reserved

Sunday, February 14, 2010

Leroy Hog Cooper on Sax - excerpt from his college years

It was a beautiful school, Huston-Tillotson. The band would play and the choir would sing and the president of the college would beg us to play The Bells of Saint Mary and it would make him cry.

“In the early years, our forefathers got together to bring this institution about to lift the ban of ignorance…” he would say. I still remember that.

People like Duke Ellington, Nat King Cole and Adam Clayton Powell used to come to the school. Every Wednesday night we had a celebrity speaker. They were so happy to see a bunch of kids trying to get educated. I enjoyed it. I played in the school band three years. I was the lead alto player which was a big deal. We had to try out for the school band like a football player. You earned a scholarship. I didn’t have to pay for nothing but books. Everything else was a freebee, food, dormitory.

Every time the Nat King Cole Trio would come through to play, our band would play the opening for them and then the Nat King Cole trio would play. All those bands would come through there and we would see those musicians dressed in those latest styles.

Copyright © 2010 Susan Cross – All rights reserved

Tuesday, January 19, 2010

One year anniversary since Leroy Cooper passed

Missing The Man And The Music
By Susan Cross

This photo shows Leroy Cooper in Houston with friends. It was taken a couple of years before his passing. Leroy, of course, is the smiling man holding his bariton sax. To his left are John Bryant, drummer, and Ernest Vantrease (the Deacon), keyboard player.

This week marks the one year anniversary since we lost Leroy Cooper and his music. It occurred to me that his passing took place on January 15, 2009 but at the time, I didn't realize that the date was Martin Luther King, Jr. Day. My focus was so glued to my friend, Leroy, that I completely missed the significance of the date.

The next morning, when Leroy's wife called to tell me of his passing, I spent much of the day contacting his friends and musicians who knew him, both personally and by reputation, to give them the news. The news was shocking at the time. I had seen Leroy weeks before and done a final interview for the book about his life. During that interview he had given me a valuable piece of information which he had withheld up until that point. I didn't know it would be the last thing on his mind to share.

Of course there was sadness. I miss him still. I listen to the recordings of his voice, telling me his stories and I can see him in my mind. I listen to Ray Charles' CDs and pay special attention to the horns, hearing Leroy bringing up the bottom.

Leroy Cooper was a gentle soul. For anyone who has forgotten, his passing was followed by two of his friends and sax players, David 'Fathead' Newman and Hank Crawford. Last January was one of great loss to the music world.

During 2009, I attended five funerals, Leroy's being the first. Three of them were personal friends, all under 60 years old, and one was another musician and friend, Billy Hall, also in his 50's. It was a year of loss.

Now that we are into a new year, I look back and realize that as much as I miss Leroy, he was 80 years old when he died. He lived a very full life, which has been chronicled and will be published this spring. The other friends that I lost were so young to pass on, some after long years of suffering, others more suddenly.

The sadness is deep for all but I celebrate Leroy's life and am grateful that he did not suffer from a long illness. I watched him grow older during the few years that I knew him. Towards the last year, his physical strength weakened and his final show he played the alto in lieu of the baritone saxophone because he just didn't have the lung power to blow that big horn anymore. That was five days before he died.

January 22 will be the anniversary of his memorial service. My thoughts are with his family who miss him more than I do, I'm sure. Although he was a quiet man, his presence in the household was a calming one and his smile always sweet.

It is important that Leroy is not forgotten. He leaves a long legacy of music and a life that was defined by it.

Copyright © 2010 Susan Cross – All rights reserved

Saturday, October 17, 2009

Mrs. Leroy Cooper

Clemmie & Leroy Cooper, (c) Charles Wells Photography 2007


It was a joy working with Leroy Cooper and becoming close friends with him as he told me his many stories. Leroy was such a special man. It should have come as no surprise, then, when I got to know his wife, Clemmie.

The first time Leroy saw Clemmie's picture he said he knew she was the one. He had probably known many women before her and had been married and divorced twice. This time, he had seen the woman who captured his heart and soul. Getting to know Clemmie these last few years, I could understand why he felt that way.

They had been married over 30 years when I met them and his face still lit up when she entered the room. When she spoke of him her eyes brightened and she consistently said, "What a sweet man." She was delighted by his smile, his demeanor and his music. And he was absolutely taken by her beauty, gentility and loving ways. If any two people were meant for each other, Leroy and Clemmie defined those terms.

Imagine being Leroy, a member of the Ray Charles band in 1977 when the band was beginning to peak. Then meeting a woman that affected him so much that he would quit the band and take a job at Disney where people didn't know who he was or anything about his musical background. To be with Clemmie, Leroy took that leap of faith and never regretted it for a single moment.

Copyright © 2009 Susan Cross – All rights reserved

Tuesday, October 13, 2009

Photography by Charles Wells



Photo of Leroy Cooper taken in the studio, copyright Charles Wells Photography

Writing for a magazine on a monthly basis is almost like having a 'real' job with a flexible schedule. In my case, almost all of the stories (they don't call them articles anymore) that I wrote were the result of my pitches to the editor and were featured in the Arts & Entertainment section. Fortunately, I had a lot of ideas and contacts in the music business, but I ventured out into other areas of A&E to mix things up on occasion.

As I've said before, I've interviewed many celebrities and written stories/articles about them. In some cases, I worked with publicists and attended concerts in order to provide my editor with a review and supporting material about the artist.

It was my good fortune to work with the same photographer for most of my stories. After the first experience working with Charles Wells (Chuck), we got into a groove. I knew what photos would complement my content but conveying my ideas to Chuck could be a challenge. He stands about a foot and a half taller than I do. Sometimes I had to stand on a chair to see things from his level and sometimes he had to kneel on the floor to see things from mine. The size difference gave us an advantage because we saw the same image from different perspectives. Together we made a great team and our professional relationship was successful.

Why am I telling you this? My photo on this blog and the one of Leroy Cooper were taken by Chuck. He also took pictures of Carlos Santana and Tony Bennett (whom I interviewed) when they performed at the University of Central Florida. We worked together every month for almost two years.

Rather than describing more of Chuck's work, take a look for yourself. You will probably be surprised at some of the celebrities (musical, artistic, political, etc.) that he has photographed. To view his gallery, follow the trail of breadcrumbs that leads to this link: crumb, crumb, crumb, http://www.charleswellsphotography.com/. His photography still appears in several magazines. He also does studio work and sometimes is lucky enough to travel on assignment.

Saturday, September 26, 2009

Saturday Night Blues

Silent Nights
By Susan Cross

It's Saturday morning. I'm sitting here thinking about what has changed in the past year. A year ago on a Saturday morning, I would have been planning my day and then looking forward to going to see Leroy Cooper play with the Smokin' Torpedoes. By then, Leroy had become the main attraction of the band and played solos on almost every song. When Coop stood up from his chair and started blowing the bari, people would stand up and applaud when he was done and sat back down.

It really wasn't fair to the other members of the band who were also accomplished musicians. Before Coop joined them, everyone applauded after each musician's solo but eventually Leroy seemed to fill the stage and the anticipation of his performance became the highlight of each number. Jeff Willey was blowing his lungs out on the harp. Rob Mola was tearing up his git-ar. Tom Bastedo was blasting out the rhythm on his drums. And Mo Baker was thumping out the bass.

Looking back, it's hard to imagine the band before Leroy joined. There were several other sax players before him but nobody compared to him once he was established.

Once Leroy moved on to join the Josh Miller Blues Revue, the other members of the Smokin' Torps left, one by one, and the whole band took on a new flavor. It was like going from strawberry to pistachio; both were delicious but strawberry was always my favorite.

Tonight, there is no music up at Harry's. I'll go to my meeting of the National League of American Pen Women this afternoon and come home. Maybe my hubby and I will go to dinner and a movie. It's about nine months since he stopped performing on January 10 and passed away on January 15 but not a single Saturday night goes by that I don't miss the sound of his horn.

Copyright © 2009 Susan Cross – All rights reserved

Tuesday, September 15, 2009

B.B. King, Ray Charles and Leroy Cooper

Teasing You
By Susan Cross

Excerpt for Leroy 'Hog' Cooper on Sax

"B.B. King is better than you’ll ever know. He can play jazz.

Those young boys used to come into the band and say “I’m tired of playing this old stuff. Don’t you ever play jazz, man?”

He would say, “Alright young man? You want to play so-and-so?”

I was shocked when they had B.B. and Ray on the show together, and Oscar Peterson. That was some music. We’d just be sitting there watching when the band would be going on. Where else can I get a job where I’m getting paid to listen to Ray Charles sing with all these guys, and sitting here being paid? What kind of job is that?

B.B. King and Ray were very close and any time he and Ray would have a chance he would come in to talk with Ray. I was the bandleader so Ray would have me in there discussing the show. I would be in on their intimate conversations. B’s a Virgo like myself. He’s very friendly."

For the rest of the story you'll have to buy the book when it comes out! Hah!

Copyright © 2009 Susan Cross – All rights reserved

Monday, September 14, 2009

Full Steam Ahead - Leroy 'Hog' Cooper on Sax




Although I had run into some difficulties and planned to revise my publication goal to 2010, as plans often do, mine have changed once again. With the assistance of some valuable sources I am moving forward and am hoping to publish by mid-November of this year.

This on-again, off-again working process has caused a lot of stress for me and countless conversations with a number of people. I'm putting that all behind me now and securing the necessary photos from my secret (for now) national and international sources. After receiving my draft from the editors, I am in the process of making corrections and adding new content that I obtained.

Unfortunately, the Tribute to Leroy Cooper at B.B. King's Blues Club in Orlando has been cancelled, or at least postponed for now. I will consider rescheduling in January or February closer to the anniversary of Leroy's passing in order to honor his memory.

Now, I must get back to work. Hopefully, from here forward things will go smoothly. If they do, it will be a new experience for me!

Saturday, September 12, 2009

Leroy 'Hog' Cooper Tribute has been postponed

Originally scheduled for November 1, 2009, to coincide with the release of my book, Leroy 'Hog' Cooper on Sax, I have run into some minor problems. As a result, I expect o celebrate Leroy's life and career in early 2010.

I have been fortunate enough to locate a photo-journalist that knew Leroy in the '70s in Europe. Leroy was touring with Ray Charles at the time and the band returned to Europe annually. Val Wilmer and Leroy become strong acquaintances during those visits. In fact, I remember Leroy telling me that Val was one of the writers and photographers that took a particular interest in him, as opposed to other members of Ray Charles' band, and wrote articles about him. He specifically remembered her writing one for a publication named Melody Maker.

Val has chosen to be the last person to use a computer as her primary means of communicating. In fact, she does not have an email address or website, so finding her was a challenge. With the help of a researcher and musical archivist, Joel Dufour, I finally reached Val by way of cables under the 'pond' or through some complicated satellite device orbiting the earth. Val has provided me with some new (old, really, but new to me) photos and articles about Leroy. I feel that her contributions add enough value to the book to continue our mutual pursuit in preserving Leroy Cooper's memory.

Additionally, I have had the opportunity to speak to one of Leroy Cooper's high school teachers, Myrtle Sloane. We spoke once and she remembers Leroy. I am hoping to interview her in upcoming weeks.

As more information has become available, my decision was to postpone publication until all avenues and resources had been exhausted. It is important to me that this book provide a complete chronicle, or as close as possible, of Leroy's life story. There is so much I will never know that I can't share with the world, but every little piece of the puzzle adds more depth to his character and I don't want any of it to be lost.

Joel Dufour has sent me some detailed information about some of the musicians Leroy played with during his career. The humility that Leroy displayed prevented him from describing himself in terms of some of the great blues musicians that others in his field would want to learn about.

Deadlines can be moved. Tributes can be delayed. For the sake of my subject, it seems important to do both.

Monday, September 7, 2009

Adventures at the YMCA - Excerpt

"There was always some professor at the YMCA on weekends. Langston Hughes used to have these poetic sayings and we’d learn about them. They would always make us aware of the black heroes. They didn’t say what they were doing but they wanted us to be aware. Joe Louis used to come out and visit during his heyday.

"We weren’t allowed to go downtown because it was segregated back then. But we had a beautiful Y on the north side. We had a tumbling teacher named Charles Parker. We had whites come over to teach us but we couldn’t go to their Y. But we had everything we needed. On Saturdays they had basketball games all day. I used to take a bologna sandwich and watch games all day. During the summers I went to YMCA camp.

"At the Y we played every kind of music. Red Garland, the famous piano player that played with Miles Davis, was going to the Y at the same time. And Red had a little boys’ band at the Y, so I played clarinet in Red’s band. When I was a junior or senior in high school, Red used to hang around the school. He was older than us. And always playing piano. I knew Red very well.

"I wanted to play sports. That was the fashionable thing to do. At the YMCA my daddy took me away to play the horn. Guys would say, 'Man I thought you was going to be an athlete. Why are you messing with the horn?'"

Copyright Susan Cross, August 2009

It sounds to me like Leroy's dad knew what was best for him.