Lopez also began accompanying performer Blossom Sealey in this period, continuing to work with her until the outset of the Roaring Twenties. Other Chicago affiliations followed, Lopez brandishing his golden horn in Clint Brush's Jazz Babies as well as a fine ensemble helmed by Tommy Rogers. Abe Lyman encouraged Lopez to head west; establishing himself in California, Lopez hopped from the Lyman group to that of Gus Arnheim, an even busier schedule part of the attraction. The calendar included a tour of Europe in the late '20s.
This is not the same musician as the Ramon Lopez who played percussion in the Stan Kenton band in the '50s, however. By this time the cornetist was completely out of the music business. In the late '30s, he joined the list of jazz musicians who quit to become part of the airplane industry. A more interesting affiliation is with musicians who have become involved in important legal cases involving copyright issues. Lopez and one of his musical associates, Alcide Nunez, plotted to steal the authorship of a tune entitled Livery Stable Blues, originally recorded by the Original Dixieland Jass Band, with whom Nunez had various issues. That group's leader, Nick LaRocca, went to court for the grand sum of $10,000; while this type of trial generally receives only minimal publicity, this particular harangue became a sensational item in the New Orleans papers, especially the fact that nobody won. ~ Eugene Chadbourne, Rovi