The Dakota Staton deal came up, so I got involved with Dakota. In her - she'd already done a session - one recording session - before I got into the picture. That was the session of The Late, Late Show, which was the first - that album took off for her. That really made her to the general public. She was just an r-and-b singer. She used to - her main - her show, when I first met her, was, she was an impersonator - in other words, impressions. She did impressions of different people. She could sing anybody. She'd do Ella. She'd do Sarah Vaughan. She'd do Dinah Washington. All of the different singers - black singers - she could do. She'd take one of their   songs and do it. That was her whole show. I said, "Look, you've got a talent. Do the stuff that you made on your record. You made a record - got a record out there, and it's a hit. " So I worked with her and put together a background - a group of musicians to work with her. This became very difficult, because she finally keyed into a guy, or he keyed into her. I don't know how it all came about, but he was a Muslim and a trumpet player. His name was Talib Dawud. That was his name. He was a third trumpet player in Dizzy[ Gillespie]'s big band. He had another name, his regular name. I can't remember it now. Anyway, I don't know how he got connected up with her, but he immediately got involved in her career, trying to tell her what to do. She just went overboard with this Muslim thing. Then the problems began. I stayed with her as long as I could and still work and function, because she came on with the idea that she didn't have to pay any taxes, because it was - she belonged to this religious organization. He was married with a family living in Philadelphia. He took her on and they made so much money . . .