I was working in clubs, I was working at different
ah, dance halls. Many, many year ago I used to have like all the Catholic
Schools would have a hall in it. And every Monday in the... in the city of
New Orleans we played from one hall to the other. And that would happen on
Monday nights. We'd be at, just to name a few, St. Catherine, which is
across the street from now Alvatrairian Hospital in New Orleans, Louisiana.
There's Lamore. Plus St. Catherine moved and what actually happened, and for
many, many year, I can't name them all at the present time. They all were in
the archdiocese of New Orleans, Louisiana. And that would give us that extra
Monday. Plus when the weekend would come we'd play different places like I
was playing like in Ponce de Tour, Armand, Louisiana, Baton Rouge. Most...
most people don't know what I'm talking about but all this is Louisiana. And
ah, what actually happened at that time, we were working Friday, Saturdays,
and Sundays all in different places. But we were very busy, not to leave out
Miss... Mississippi, Biloxi, Gulf Port, Passagoola, Mobile, Alabama, and all
the college towns, we were very popular. And in what happened, I happened to
be working in Houston, Texas for the late Don Roby, and I got ah, introduced
to the late Lou Ch... not late Lou Churn, he's not late yet. And he ah, sat
around for a week before he say anything to me, because I had come up with
quite a few instrumentals that we had just put together and I just say it
sound pretty good. No name to it, whatever, what have you, but what went on,
I said, well, Luke said... well, what happened Bartholomew, I never did hear
this music before. And I said, well, what actually happened, I put it
together, you know, just a little ditty and you know, something that swings.
So he said, do you think you can get somebody to put a nickel on one of your
records? Five cents at that time. So I said, um, I don't know, but I can
try. So sure enough, a month later he came to New Orleans, Louisiana and
knocked on my door, and said, I'm ready. So during that same time we went
out, we found Fats Domino, and I was instrumental in working with Jules
King. So we went in the studio a week later, we got time -- ah, he gave us
time to get our stuff together, and went in the studio and cut with Cosmo
came out with two million sellers the first night.