I'm trying to bring it into focus, exactly how a lot of this came about. I recall hearing from friends that a musician - I knew of Eddie Cole, for example, which is Nat Cole's older brother - I knew him, just from - like you know socially different people. I knew him. He was talking to us on the block. He was mentioning the fact that he was going to Egypt to play at the Alexandria Hotel with Noble Sissle's band. Noble Sissle, of Sissle and Eubie Blake - Noble Sissle was a society band in Chicago during that era - period of time that I'm talking about, when I'm a teenager. So I knew about the band. I knew about Eubie Blake and Noble Sissle and these people, although I wasn't professionally playing any music. But there were bands being played. For example, there was nightclubs where they were having broadcasts from. You'd hear bands coming from the Grand Terrace, and later on, the Benny Goodman band from the Congress Hotel in Chicago in later years. So all of that was a part of what I was hearing and learning. I was - that's when I realized, that's what I really wanted to do. I wanted to be a musician. If I wanted to do anything, it was to work at this. And I was good at that. I had the natural - it was - the bass, I picked it up and it was natural for me when I played. I had the uncle who used to sing - was singing bass, so my ear was attuned to the bass line, and that brought me into the feeling of the bass. Bass was an accompanying instrument. I felt strongly about the accompaniment of an instrument in a group. Whether it be a band, a trio, or in the background, the bass was the basic thing. It's the foundation of all of the rest of the music that - if it's the orchestra, or it's the vocal group, or whatever, the bass is exactly what it says. It is the basis. It is the foundation. Then everything rises above that foundation. It's based on that. So I was always thinking in terms of accompaniment. As it turned out, my forte, or what was I best known for as a musician, was a bass player - was the accompanying part of it. I had the sense of rhythm and I had the sense of the bass line and what it meant to the soloist who was playing. So I was always thinking in terms and listening to what the singer was singing or what the saxophone was playing or what the   trumpeter was playing - always thinking in terms of how can I best - what is the best note or what is the best way to accompany this person, to make what they're doing - accompany them. That's been the whole - my whole theory, as far as music is concerned.