No. I'd made a recording with Red Allen. Red Allen. I missed a date with Jelly Roll. He couldn't find me, or who he sent to get me, they couldn't. But I didn't regret it, because Jelly Roll Morton Morton's music was something special in them days. It's embarrassing to go in the studio, and they give you something to play, and you can't cut it. A lot of things I turned down if I felt I couldn't cut the mustard, as they say. I didn't go. All right. I'm there. Now I'm known, you understand, because I'm around everywhere. I ain't no great soloist, but I'm a great rhythm man. "Danny Barker. Yeah, man. Keep that beat going, man. " So Cab Calloway needs a guitar player. So Chu Berry . . . I'd been playing with him and Roy Eldridge . . . reluctantly, he was a yes man, and he had a way of ooing into the boss. He get the boss's ear. He's got the boss's ear. "Get Danny Barker. " "Yeah, Cab Calloway want you to . . . they want . . . they were looking . . . they want you . . . you going to join Cab Calloway's band. " What's the matter? Like I'm making nothing with anticipation. I been doing this for nine years now, from 1930 to 1939. So, all right. Go join Cab Calloway's band. So, Cab Calloway . . . Where the hell's Cab Calloway's playing? Cab Calloway's playing at the big auditorium in New York. The Palace, they call it. Grand . . . Can't think of the name. Palace. Like 10,000 people there. So I'm going. I go up there, and I'm sitting next to Milt Hinton. Milt Hinton and Cozy Cole. Cozy Cole know me. Cozy Cole had been working dancing schools as a leader. Them dime-a-dance joints. There's Milt Hinton. He's playing bass, but I have heard Pops Foster and I have heard Wellman Braud. So he ain't impressing me the least bit. He's just young and he's fast. I sit next to him. We greet one another. But they watching me. I just did what I did with Lucky Millinder. Played the biggest, fattest chords I could find. Give them, give the music a lilt, which they didn't have. Something about rhythm. You play anticipation.