Albert Nicholas is working with Red Allen, Pops Foster, Paul Barbarin, in Luis Russell's band, who [Russell] was a Panamanian piano player. Came through here. They treated him nice here. He had a band in Tom Anderson['s New Cabaret and Restaurant, New Orleans]. He's a very sweet gentleman, and he's nice, nice smile, always got a smile. It's a [expletive deleted] smile. Always got a smile. He'd get in tune. A good piano player. He comes to New Orleans. He got jazz. Then he got the Panamanian rhythms, so he could play funky. He knows about shaking and having a loose, moving body, because he's from down there with them gutbucket people in Panama. You got them barrelhouse people all over the world. In Chinatown. In China they got some Chinamens that swing out. You're with them people, and Barney Bigard and Wellman Braud. You got something to look forward to. Barney Bigard and Wellman Braud are with Duke Ellington. That's the top band. That's in the Cotton Club. Cotton Club is like heaven of jazz in them days. Then you got Red Allen, Pops Foster, Albert Nicholas, Paul Barbarin in Luis Russell's band. That's a New Orleans band. Wellman Braud was upsetting all the bass players. When they get a chance to see him, they trying to find out what he's doing with that bass. Duke Duke Ellington's putting out them records, and you heard it, if you heard the early Duke Ellington records, you hear that bass. He just took Sonny Greer with him, because Sonny Greer  didn't know New Orleans jazz. He had a big mouth, so he would talk, but Wellman Braud would just take him, override him. It goes like this, playing that bass, man. He'd take Sonny Greer and Duke Ellington with him, and Freddie Guy. If you hear one of them records, like, what's the name? Name some of them.