Yeah. But it's a nice -- I could say this too -- one of things about jazz, at least for me, and just from the little history that I've read about certain performers and the origins in the beginnings of jazz music, one thing that might be different in some sort of way about the early musicians, like Buddy Bolden, I mean way back, is that I think they, either on a conscious level or unconscious, always thought of an instrument as trying to make it sound like the human voice, as opposed to I'm playing the saxophone so I want it to sound like a saxophone. Now of course I want it to sound like a saxophone. But I really want it to be an extension of my voice, the humanity, the human situation with it. And I don't want to commit any errors in like making it sound like unsaxophonish. I want it to sound like a saxophone. But I'm really trying to make this sound -- I'm bending and making and trying to make this horn sound like my voice as much as possible, as opposed to I'm just playing a saxophone. And this is probably why -- part of the elements that make jazz what it is, like bending the note, not being literal but being surrealistic to a point where you want an impression of a note, and all these little elements that make it what it is, probably comes from that thought process. Because the voice bends. When you sing a note, any singer, I don't care who it is, it doesn't have to be a jazz singer, they sing the note but there's a natural tendency to slightly bend the note a bit because it's human and it's something to do with the right kind of emotionality. It's the right thing to do.  Horns, you know when guys think of a horn as just a mechanical-physical frozen structure, and they're not thinking humanity, then they tend -- it tends just to be that. But if you're thinking, I want this to be an extension of my voice, then you are going to bend these notes, you are going to have an impressionistic. Because you're not just playing a piece of metal. You're making this be human as much as possible.