Monterey, and he called me, said, "John wants you to be in part of a "piano playhouse.'" And uh, because John Lewis was the director at that time, the music director. And that kept me ... stopped me from ... quitting. So I had a few times like that before, because Joe Termini offered me [a job] to play solo, so this was ... John offered me the playhouse. That time it was Billy Taylor, John Lewis, and Erskine Hawkins, and myself. There was that ... and I, this was the first time I played Monterey. I'd never played Monterey before. So that saved my career, so to speak, and John was.... So anyway, he was a very important person in my life, and I didn't know him then, not much, but he used to come to--I think I mentioned before--when I was a soloist at the Top of the Gate, he used to come around quite often. But I just said "Hello," and that's about all. So I got to know him after that, and found out he loves wine and, you know, and I collect wine. So, he became a very good friend. His wife Mirjana Lewis is an accomplished, a very accomplished harpsichord player, and uh, also a wonderful cook. So Lew and I would go to their home, or they would come to our house, and so on, and became very, very good friends. But he was really ... little things like that kept me alive. He used to say, he said, um, "When people identify with your music, you should always play it. You should always play it." And he said, "In my case, I think it's "Django.'" That's what he said. So he said that he always played "Django." So, my case, it was "Long Yellow Road," I guess. So ... in Japan, they always say, if I don't play that, some fan will say, "I don't feel like I heard you," so they kinda expect me to play that. So I always play that. Lew calls it my signature tune. But John was really helpful to me. And one time he said, uh, "You know, why don't you write a tenor lead?" "cause he played, when we were there he played a record, it was Coleman Hawkins playing the lead. I don't quite remember the music, though, tune, but.... So I had a couple of music [pieces] that were tenor leads, and uh, so that was a little bit different, you know, gives a different color, so to speak. So ... I think I was also very much influenced by--because when I used to listen to Modern Jazz Quartet, when it came out, first came out when I was still in Japan--he was still playing standards. The first one [ The Quartet, Savoy MG ] had "All the Things You Are," things like that, it was very different, and nothing like ... you know, I mentioned before, I was into Bud Powell, and this was like totally different. And it was so European and I felt like ... [sighs] "Maybe this man would like to become a European."