Well you've got to remember that I didn't play flute so my studio work was limited in a sense. I mean I never did a Broadway show or that kind of thing. But you've also got to remember that the new writers were coming in at that point. We had Ralph Burns, Al Cohn, Brookmeyer, Manny Albam -- oh the list of writers in New York at that time is just incredible, you name them, they were all there. And they wanted young -- they didn't want the Sam Marowitz kind of old fashioned lead alto, they wanted the new kind of Bebop thing. You know I love Sam Marowitz, don't get me wrong, but they were looking for a little different stuff to serve the music. So I was always -- they would write me a clarinet part. I didn't have to worry about the flute. I kind of did jazzier kind of things. But that wasn't every week.