. . . and Chu Berry. They were buddies. They got angry with me and never liked me no more, because they used to go around Harlem at night, going from joint to joint. They're having a cutting contest. Going look for people. They say, "Roy Eldridge be on too, and Chu Berry's in town. Yeah, they be in tonight. They say they be here. Tell all them tenor players and all them trumpet players, come in and get their whippin'. " That was the thing. Everybody used to pack the joint, pack them joints. I don't know if the boss gave them any money, but they was a drawing card, man. They say, "Chu Berry and Roy Eldridge are going to be there. " Chu Berry and Roy Eldridge. Who else? It was somebody else. It was a drummer. Tommy Benford. He would be with them sometime. They'll work you to death, man. You'll be streaming wet, because they're playing . . . Roy Eldridge like to play 20 choruses. Chu Berry like . . . They wanted me to play the guitar with them. They like what I did. After I get through, I ain't going to play nowhere with nobody. Going out there to please all these critics. [ Expletive deleted] you got all these critics hang in the joint. They going to stand around. Can't blow his nose, but he going to tell you, man, so and so. Be pointing at you. Deliberate. Look at you. "He's Danny Barker. He's all right, but he don't come to" so and so. You can see them . . . You leave yourself open for criticism. I don't need that. I done played with Lee Collins. I had the pleasure of playing for Louis. I don't need that expletive deleted]. So they mad at me, because I wouldn't come out with them, because some joints didn't have a piano, and they liked my rhythm, when I played the right chords for them. So I wasn't going out there, expose myself.