Showing posts with label ray charles. Show all posts
Showing posts with label ray charles. 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

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

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

Friday, May 28, 2010

B.B. King goes to Europe at age 84

You'll Always Have Paris
By Susan Cross




If all goes according to plan, B.B. King and his fabulous band have crossed the pond by now and will be in Paris Sunday or Monday. I won't be going but I hope the Europeans will be as kind to B.B. as the Americans have been. Keep in mind, he is an 84 year old blues legend and that can never change.

Why, you ask, is this significant to me, a little (4'10-1/2") blogger like me? Two of my dearest friends are likely to meet somewhere in France in the next few days. B.B.'s keyboard player, Ernest Vantrease, a.k.a. The Deacon, as he was known during the 30 years he played with Ray Charles, will meet with one of the co-founders of Soul Bag magazine, Joel Dufour. There should be two dots over the 'e' in Joel but I don't know how to make that happen on my blog.

Joel has devoted many years to interviewing and writing about American blues musicians, mostly black (or if I'm going to be p.c. African American or is it now Afro-American?) We all know what I mean and no offense is intended toward anyone, obviously since many of these musicians are my friends.

In his quest to identify the musicians behind the musicians, those whose names are recognizable only to serious music fans, Joel has sought out the people who played horns, drums, keyboards, guitars, etc. in order to give them credit and keep their memories alive. He is truly one of a kind.

I've seen a lot of concerts in the past 6 months. Each front-man introduced the members of their bands but usually the applause was louder than their names. Clapton gives his musicians their due and so does Roger Daltry but the only names I remember from their recent tour was Peter Townsend's brother (whose name I didn't catch) who is playing guitar in Peter's place due to his battle with deafness.

I realize the musicians in the background change from tour to tour, but don't you think that Clapton hand-picked those who would back him up? Can you name them? I can't.

Leon Russell and Willie Nelson did a better job. I liked the fact that Leon had a young guitar player, introduced him and let him do one of the guitar player's songs with the spotlight on him. That was classy.

When I saw Tony Bennett, he gave credit to every songwriter who had written the song he was about to sing as well as the artist who originally recorded the song and made it famous. That was super-classy, but I guess when you are 80 years old you have learned humility although Bennett always struck me as humble. Maybe that is something you can't learn.

Michael Buble is a terrific crooner who puts on a great show but he has not written a single song; he co-wrote "I just haven't met you yet" with his keyboard player, whose name I can't recall. He gives no credit to any songwriters and the young fans who created an atmosphere that could only be called 'Michael-mania' screamed and carried on, throwing roses on stage just as a teenager might for the Jonas Brothers. I interviewed a few of these love-sick girls, who would be very disappointed to know that he has a steady girlfriend, and asked them if they knew who wrote the songs he sang. They all believe Michael did. He sang a song written by Leon Russell, one written by Bobby Darin and the list goes on. I also asked if the girls knew who the bandmembers were and they could not name a single one.

Alas, Joel Dufour has taken on a mighty task. Many of the great musicians he is trying to credit for their work are no longer alive but still deserve to be remembered. Leroy Cooper, of course is one of them. Most people don't know his name even though he stood front and center leading the Ray Charles orchestra for 20 years, doubling on baritone sax.

So it is with a happy heart that I wish for my friend Ernest Vantrease to meet with my committed friend, Joel Dufour to try to put together some of the musicians with the songs and albums on which they played and got no credit for on the liner notes.

Hats off to both of them for doing something that rarely gets done anymore, remembering the greats that are no longer with us but whose music will live forever.

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

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, 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

Wednesday, August 26, 2009

Can you spell the name of Ray Charles back up singers

How many ways can you spell the the name of the group of women who sang with Ray Charles? Seems to me the most logical way would be Raylets. Wrong! I have seen Raylettes. Wrong! Raelettes? Wrong! Ralets? Wrong! Raelets? Wrong. I could go on and on.

Mable John, the lead singer of the ladies in the pretty dresses, singing “I Can’t Stop Loving You” and many of his other songs has informed me that the proper spelling of Ray’s backup singers is: Raeletts!

So, if you guessed Raeletts, you win. I can’t tell you how many times I was a loser until I spoke to the expert. All that matters is that I finally got it right.

Saturday, August 15, 2009

Leroy 'Hog' Cooper on Sax can RIP soon

2008 International Blues Challenge in Memphis
with the Smokin' Torpedoes (talking to a fan)


Writing Leroy 'Hog' Cooper on Sax has not been easy. The best part was sitting in his home listening to him tell me the stories of his life, dating back to about 1936. Stories about growing up in Dallas through hard times in a middle class black neighborhood, learning to play reed instruments as a child, attending high school, college and joining his first big band. Being drafted interrupted his musical career until he auditioned by the Army Band where he played baritone sax and became the bandleader.

Not long after leaving the service, he became a member of the Ray Charles Band, a small group at the time that wasn't getting much respect. It took years before the country recognized the blind, musical genius and his supporting cast, one of which was Leroy Cooper.

His life took many twists and turns and I enjoyed hearing every single story. I wish I could say the same about the work involved in writing the book. It has been a rigorous undertaking and a labor of love. Leroy and I had no signed contract, but as was Leroy's nature, we shook on the deal. Now Leroy has left us behind to listen to his music and read his story. He kept his end of the bargain by telling me his stories. Now I am honoring him by completing this labor of love.

I am delighted to have received some amazing photos of Leroy to use in the book; some with Ray Charles, others with the Dixieland Deltas from his 20 years strolling the grounds of Disney World entertaining guests. Pictures of Leroy being Leroy, with a cigar in his hand, a drink in front of him and empty dishes -- all of which he was known for, especially the empty dishes since his self described addiction was to food more than anything.

I'm still adding stories told to me at our last meeting. Then the manuscript goes to the professional editors, I go to the publisher's with the photos and work on the cover art. There is still plenty of work to be done before I hold the finished product in my hand but momentum is building.

Leroy Cooper knows I'm a woman of my word. I made a promise and I am keeping it.

Tuesday, August 11, 2009

Leroy Cooper's home - a place without race

The many hours interviewing and conversing with Leroy Cooper have built the foundation for Leroy 'Hog' Cooper, A Memoir. This was just the first step -- the easy one. Listening to Leroy talk was a pleasure. If I hadn't started with the intention of writing his memoir, as he had requested, I hope I would have taken the time to spend just as many hours in his 'prayer room' listening to his stories about musical history in parallel with racial history in America.

Not suprisingly, at 80 years old, he had experienced changes in both, intertwined throughout his life. I learned that there are black people in this country who lived in middle class neighborhoods back in 1928 and enjoyed positive experiences through childhood. Surprisingly (to me, at least) Leroy was encouraged to go to college and received a full music scholarship to The Pride of the South, Huston-Tillotson College (now University).

It's not that he was not affected by racial differences, it's just that he had access to the same benefits as white kids his age; they simply were separated. Growing up in the YMCA provided all the activities a child could want. Athletic teams, band, indoor swimming and motivational speakers.

Music is what caused the change in his perspective. Going to play alongside of the musicians at the University of Texas, who were white, and being invited to their homes gave him a peek into life outside of an all-black community. Not surprisingly, music continued to be the element that exposed him to differences and similarities around the country.

Leroy Cooper was never underprivileged. As his life progressed he experienced peaceful integration in some places and racist threats in others. He never used the word bitterness in relation to his own life and when he spoke about Ray Charles, he only used it in regard to Ray's blindness. It was generally known that Ray was bitter about not being sighted.

Cooper's life is a tribute to American musical history and a monument to a country that has overcome differences. Leroy felt blessed to witness the campaign of a black American running for President.

I was surprised when he asked me how I felt about Obama. We discussed campaign promises of both candidates that we liked and disliked. I asked him if he were more inclined to vote for Obama because he was black. Leroy was stunned! Although he felt pride that a black man was in the race, it never occurred to him to vote based on that single premise. Leroy Cooper was an educated man. He would vote for the person he thought was best qualified to deal with the issues at hand.

Leroy Cooper never focused on the differences between people. Instead he focused on the person.

Tuesday, August 4, 2009

Photos of Ray Charles & Leroy Cooper

These past few days have been challenging, as described in recent posts. The good news is that I received the photos I need for the book. It seemed essential to me to have pictures that included Leroy 'Hog' Cooper with Ray Charles, Hank Crawford, Phil Guilbeau and Marcus Belgrave. Although people who know Leroy Cooper know that he played with Ray, and the book tells some stories about those experiences, without photos I had an empty feeling relating to credibility.

The forces of the Universe have come together and from two different sources I have received photos of the old days. I have another person now searching for pictures of her with Leroy and David 'Fathead' Newman which would also be a treat to those who know about the jazz greats. When Fathead left Ray, he started playing jazz sax and worked with Cynthia Scott, a former Raelet quite often.

After interviewing Cynthia yesterday, she's now looking for photos. By the way, her new CD is fabulous (shameless plug) and all original. You can 'take a listen' (I hate that term that all the news readers -- I can't call them reporters -- use) to her yourself. There's a tribute song to Ray Charles on it. Check out Cynthia at http://www.cynthiascott.com/.

Looks liks I'll have to go with the glossy photo section in the center of the book instead of all black and white. That is not what I planned but I am very excited to have the pictures to make it happen! (Aside: I sure wish they had digital cameras back then!)

Thursday, July 30, 2009

Never underestimate the power of Twitter

Through a little help from Twitter (never underestimate the power of Twitter) I have secured some old photos of Leroy Cooper when he played with the Ray Charles band and orchestra. The upcoming book will feature photos from the old days to the final days. Nobody ever said this was going to be easy. Why did I think it would be? I had low expectations to avoid disappointments. My how things have changed.

Let me repeat, never underestimate the power of Twitter. If you search for a keyword and find people with whom you share a common interest, you might just hit on the right one. I did. Fate? Luck? Or all those many books I read about writers building a platform through the so-called social networks? Even Larry King claims to use Twitter (Leroy Cooper didn't know how to turn on a computer let alone use MySpace, where I maintain his page, or Twitter) and they're about the same age. Of course Larry has small children and a staff who can handle his computer needs.

Sunday, July 26, 2009

Josh Miller & the Blues Revue

The last time Leroy performed was January 10, 2009 with the Josh Miller & the Blues Revue. That night, Josh said he no longer felt comfortable with the name of the band since Leroy Cooper had joined, so he was now just going to call the band The Blues Revue.

The band's repertoire spans the history of blues of all styles from all cities; N'Orleans, Dallas, Chicago, Memphis and others. But that night, the entire show was dedicated to Coop. All songs performed were from recordings he had played on during his lengthy career. It was truly a tribute to the man who had played with so many recognized blues musicians but rarely got a mention. Five days later, Coop passed away.

Last night I saw Josh Miller & the Blues Revue for the first time since the funeral. The drummer was new but he settled in perfectly with Josh on guitar and vocals, and Kenny Clarke on his Hammond organ.

The content was different - a wide variety of blues with Josh's soft and raspy voice showing his usual humility. The one song I had never heard him do before was Amazing Grace. He and Kenny played it to honor those he had lost this year, the first of which was Coop.

I was reluctant to see Josh for fear that the emotional impact would be overwhelming. To my surprise, Josh had recovered and I found that I had, too. Listening to him was very soothing. It only surprises me that more people don't recognize his name.

This video was shot in a small club but features Cooper on sax. Listen up!

Friday, July 10, 2009

Blue Note Books to publish Leroy Cooper on Sax

It's All About Leroy
By Susan Cross

Looks like I've found a publisher and chosen a title. Blue Note Books, a small publishing house, is very excited about this project. The title: Leroy Hog Cooper on Sax.

We have set a very aggressive schedule with a target date of October 15 to have books in hand. My to do list is as long as my grocery list but one by one I'm picking the items off the shelf and crossing them off.

Yesterday I sent a "Request for Permission" letter to Perseus Books asking if I could use a quote from page 302 of Brother Ray where Ray Charles speaks about Leroy Cooper and his contribution to Ray's success. My hope is to use that quote on the back cover so that Leroy's fans will know just how Ray Charles felt about his long-time bandleader. The quote also mentions other members of the band, some of whom I have spoken with and have received permission to use their interviews in the book.

Now I'm moving on to requests to use photographs of Leroy taken with Ray Charles during the '60s. Both photographers are French and knew Leroy to some degree. Their pictures would add another dimension to photos taken in the last years of Leroy's life.

I've lined up 3 professional authors/editors to handle that process and next week I'm pursuing the issue of cover art. I want to oversee that process personally since I have a vision for my book.

Check! Check! Check! I have lined up a row of dominoes and when the check marks are next to every item on the to do list and the book goes to the printer, I'm going to tap that first one and watch them all fall, pop a balloon and eat some cake with buttercream frosting. Yum.

Then the first half of the work is done, leaving the second half which may require more work than the initial steps: marketing the book. I have a marketing strategy but am still fine tuning the plan itself which will become an ongoing project. Once the first printing is sold, (hopefully within the first month -- I have been known for my optimism) we will move on to the next printing. By then I will have a stack of excellent reviews and endorsements to select from for the back cover, if I have room.

Somewhere, I have to leave room for my little tiny head shot to give myself some credit. Leroy gave me the story but I'm doing all the work. I don't like the sound of 'ghostwriter' since I am not a ghost, I am a writer. The inability to edit someone else's words is the part of writing a memoir that makes it frustrating, but I can cope. It's not about ego. It's all about Leroy.

Copyright © 2009 Susan Cross – All rights reserved