I would say it would have to be more like a Chicago style band, because our main connection would be the acoustical model, the living model would have been the Eddie Condon guys in New York City. And that would be Wild Bill Davison, Pee Wee Russell, Vic Dickinson, Cutty Cutshall, all those great trombonists, and George Wettling. When I was just over in Europe this time, the piece that I wrote was for George Wettling. Yeah, it was great. Because there's a drummer over in Holland, even though he's a very young guy, he's always been a very big fan of George Wettling and so he was able to re-create some of George's classical performances of different songs. I write -- when I write for bands I write in the style that I don't really have a name for but it's best described as "collage." I like to draw from all different eras, so you never know what's going to jump up. And in this piece you find George Wettling right up in your face, and on either side some pretty mad Bop and maybe something from New Guinea you know. You just don't know what's going to happen with my stuff, because like I say I've been the recipient of all kinds of sounds now for 62 years, and there's a whole lot rattling around in me, and some of it hasn't quite fused yet. Some of it is still in the separate entity that it was when it went in there, so a lot of times I'll just bounce around and do some funny timewarps. Mingus would do that and Sun Ra. There are plenty of people that just get very eclectic for a minute you know. And it's a way of getting people's attention you know.