Record companies? I've never had a problem. I was with Prestige, nobody told us what to play. In those days, in the days of the independents, they were quite willing to rip you off modestly. No I mean you always had to give your tunes away in those days, I mean that was part of the deal. It was okay. At the time I didn't understand it but I was really never asked to compromise the music. Never asked to compete with the majors. Whereas today, some of the big record companies -- now you're talking about a big rip. Some of these kids with the limos and stuff, they think the record company is paying for the limos. No, kids, check the fine print. I mean it's megabucks now. They want jazz to compete with all the other musics and it's messing it up a bit I think. Instead of just being an art music, we are not ready to accept just an art music. And maybe we shouldn't, maybe it should be a mass music, or at least more distribution. I don't know, I'm not a businessman, I don't know, but I do know that it's going to change, and I think the Internet's going to change that. The whole technology is going to change that. The way we buy records is going to be completely different. I mean for years and years and years I heard about it's distribution, I can't get distribution. Well it all started with 78's. They're pretty heavy. So there's only a few limited stores that had jazz. You had to go to New York to get them. I mean I couldn't find jazz records in my hometown. Then you got into LP's and you've still got bulk, you know what I mean? You still need kind of a specialty store. You're not going to find them in every K-Mart and all that. I think that in the future, you're going to be able to tap in through your computer and your hi-fi set. If you want to get a Phil Woods record or a Johnny Coates record or whatever, you just find it, put a blank CD in there and it'll burn it and you've got it. You make up your own. It's happening already.  So there's no more problem about distribution. It'll solve that. I mean all they need is one copy in a bank somewhere. In other words, my music won't take up any more room than Sting's. But if you think about it though, you don't have to compete for space, for shelf space. And I'm also hopeful, I don't know if I'll live to see this, but the equipment is getting so sophisticated. The reproduction with the DAT tapes and the CD's and all that. I have a dream that a sensitive listener will be able to tell the difference between a record that was recorded all together in a hall with the ambience and everybody playing together, because it sounds better. You know there's nothing like hearing a band all live.  And you can always tell the difference. A musician can tell the difference between that and a layered one that takes eight months to make. First they add the bass this month and then ... you know. And eventually people will put that on and say "oooh that's awful, that's one of those layered records. " Which means that the only people that are going to be able to make records are the people that can read and do it quickly. There'll be no more eight months to make a record, we can do it the way we used to do it, you go in and do it in a week or three days, and you've got to be a good musician. Now it's so much lame stuff. In the old days, even garbage music was played by good musicians. Whether you were with Guy Lombardo or Vaughan Monroe, the same guys could go with Woody Herman and cut it, or a polka band or a symphony. They could do it all. It's not that way.  Just look at Berklee where they've got forty thousand guitar players who can't even tune up. Perfect ears, no holes.