My own experience in the city [Los Angeles, California]--I can't remember this man's name. I don't know why, and may--and I can't remember anybody who would remember how to remember him, but he was a blues player. He--and I used to go to this club, and he was playing there. I sat in one night, and he asked me if I would be interested in working with him. I was underage for one thing (laughter). I wasn't supposed to be in there, but my mother [Corinne Meaux]--but I had told my mother that I had, had been there, and he came home with me to ask my mother if I could work with him on--I think it was--it wouldn't interfere with anything that I was doing, but like one night a week, Friday night, and, and I could--and I wanted to because here was a chance to work with a blues person, but I didn't have any business in this bar. So my mother said to him, "You know, I'm not supposed to let this child do this, so I'm, I'm putting her in your and God's hands. If anything happens to her, do you know you're going to jail?" (Laughter) And he said, "Yes, ma'am." He had his hat in his hand. "Okay, so we'll try it 'cause if she comes in here with liquor on her breath, or smelling like cigarettes, you going to jail. I know she wants to play this music, but you're going to jail." And she didn't say, "I'm coming with you," either. She didn't say, "You can do it but I'm coming with you." She told me I could, and she told him if anything happened to me, he was going to jail, so (unclear) (laughter).$$And he was hiring you to play piano?$$(Nods head) And he did. Boy, he--as soon as I got off that piano, he had a little place for me in the back, and he said, "Don't you move, don't you move," (laughter). But my mother let me do that, and I got a lot of ex- I mean it was a lot of experience. I guess maybe I was, I was about to graduate.$$Were you (simultaneous)--$$(Simultaneous) I was maybe fifteen, sixteen, you know, but I wasn't supposed to be in a bar, that's for sure. And then--I'm trying to think of one of the first people--well, my father [Clinton Rosemond] was the first person to hire me away from the jazz scene, but I played church concerts for him, and the very first one was he, he paid me seven dollars to play 'Joshua Fit the Battle of Jericho' and 'Balm in Gilead' ['There Is A Balm in Gilead], and all of those black spirituals that were arranged by Hall Johnson. Then I was hired by--now, I'm getting a little closer to be--to graduating from high school [Manual Arts High School, Los Angeles, California]--Teddy Edwards, who was a tenor saxophone player, and a woman named Vi Redd, who's still active on the West Coast. I think she's teaching now, but she might even be in administration, but she's still, she's still playing. Vi Redd hired me, and--who else? Vernon Slater was another tenor player, and the rooms that I played in were like--there was the Root Yacht [ph.], the Oasis--the Club Oasis [Los Angeles, California]; I worked with Johnny Otis Big Band, with Little Esther Phillips, in the Oasis, and she must have been about--I guess we were both about the same age, maybe 14, 15, 16. There was a room called The Purple Onion [San Francisco, California], and then there was another room owned by Kenny Dennis. Kenny Dennis--I think he was married to [HistoryMaker] Nancy Wilson--real pretty room. I played solo piano in there, and I can't remember the name of that room. It was a real pretty room up in Hollywood [Los Angeles, California]. Where else? Oh, the club, Troubadour [West Hollywood, California], was another room that I worked in, and it was kind of like a coffee house that was a little--maybe '52 , '53 , '54 , and I can't think of any more rooms that I worked when I was a kid.$$Did your folks--clearly, your friends probably weren't supposed to be in the bar either, but did your folks ever come and see you play?$$My mother [Corinne Meaux] never came to see me play until she came to New York [New York]. She didn't come. She didn't like bars.$So, you've heard Elmo Hope before you actually meet him--$$Yeah.$$--and you meet him at this [HistoryMaker] Sonny Rollins date. Now, we also wanna hear just like what happened when you met him. The show was over and you went--I mean tell me--let's get the anecdotal--the real deal (laughter).$$The real deal? Well, the real deal was that I was pretty awkward and shy, really, really, but I knew that I was gonna figure out a way to meet him without looking too awkward and silly, so at the end of the first set, I went up to the bandstand. I got my nerve together and went up to the bandstand and I introduced myself and I told him I really loved his music and I had been taking lessons from Bud Pow--from Bud Powell's brother [Richie Powell], and he was sort of looking at me askance, you know? Oh, yeah--you know, sort of (laughter). And that I had been listening to his music and Thelonious' [Thelonious Monk] music and that I was trying to learn a little bit of all of it, and that I had picked this one song of his that--to learn on the piano. So then he went, "You trying to play my music?" And I said, "I really am." So then he told Sonny 'cause they were all at the table together. He said, "Sonny, this young lady says she's trying to play my music, you know?" So Sonny was polite, and I was getting more and more nervous because now I, I was really sorry that I said that. I should've just sat there and, you know, had a drink (laughter). I didn't drink, actually. I didn't drink at that--I think I was having a Coke or something.$$Do they give--$$(TAPE INTERRUPTION)$$--and I--so they went back on the stand and I think they had another set to go. I had a car. In L.A. [Los Angeles, California], that's the--that was a--that was big among the musical community 'cause I had another job at that time--I was a kid. And, and so I--I al- I always took musicians home if I was at the club, as long as I didn't have to get--you know, as long as it wasn't gonna take me too far out of--I would take them home but I didn't wanna have to wait around 'cause I had to get up early in the morning and go to work and school. I was going to school and work. So (laughter)--so, I offered to take him--I--first of all I, I wanted him to hear that I was really playing his music, so I offered to take him home if he didn't have a way home, but I wanted him to come by my place because I wanted (laughter) to play his music for him and I thought--I didn't think about that 'til years later how bold that was to ask him to come to my house to play the piano, really play the piano. So, he--I did, not that night; I think it was the first night that I went, but I went every night to hear them, and at that time they came out for like six--when it was either one-week engagement or two, and it was six nights a week. So the last night--and I went every night. On the last night, I, I offered to take him by my house first to--so--because I really wanted him to hear that I was not kidding, and so I did. So I brought him by my house and I had a Wurlitzer Spinet at the time, and I played this piece for him. He used to smoke Pall Mall cigarettes and he had this cigarette hanging outta the side of his mouth over here, and he said, "Oh, you're not kidding; you really are serious. I didn't believe you, you know." And I was--I mean that just really vindicated the whole thing--that I had really worked hard enough to, to get the song played and to convince him to come over my house and hear it, you know, and then take him home you know (laughter). So--so that was the beginning of, of our--of my seeing him more and more.