Oh, I was disappointed how it looked. Even before that. When I went back at night, it took on a whole different thing, but in the daytime, to walk in any of those joints, you'd say, I don't believe this - like a dump. But at night, it took on a whole aura of - I don't know. It was altogether different at night, and you realized how important those clubs were. [recording interrupted] I went down to get a bass. I was going to try out just - I knew I needed a bass, so I went to, here again, Wurlitzer, which is downtown. They have new pianos and new basses. They had basses   all in a rack - on a rack, about maybe 12 or 13 string basses. I went along and tried each one of them and played a little bit on it, fingered it. I came to this white bass. Nobody was playing any white bass nowhere. I'd never seen one before. I picked this thing up. It was a little heavier than the other basses. I said, this thing feels a little heavy. But when I started to play on it, and then I put the bow on it, I said, wow, this thing sounds great, but it doesn't look right. Everybody, when I finally - to make a long story short, I took that bass. It was cheaper than some of the other basses that were lying at the place. So I took that one, and that was it. I got this white bass. Everybody was teasing me about it, with the white bass. But I got more out of it and stayed with it right through my whole career. I never bought one of these real expensive instruments. People would say, how do you get that out of that thing, this plywood bass? It's just wonderful. It turned out a wonderful instrument. I ended up - even Israel Crosby after a while, I think. What did I do? I finally gave it away to a guy that his son was taking lessons. He [? ] beside me. He was learning to be a bass - I gave the bass away to him. [recording interrupted]