Well this can be explained, I'll tell you why, because I don't never get tired of listening, you know? And I listen to everybody, everything. I listen to Free Jazz. I listen to Bebop. I listen to Fusion. And I find I get something from everything. Dixieland. I worked in a Dixieland band three years at Jimmy Ryan's. So, I worked in a Blues band, see for a year and a half. So I didn't like the band so well, see but the guy liked me so I stayed there see until I got tired and I left. But if it seems that I play fresh, I think that's what you are trying to say see, it's because I listen, well the first thing is I studied. I know harmony. I know what I'm doing see? I know the chords. I may not play all that I know but I know the harmonies you know. See I played the piano you know see? And everything I play on saxophone I can play on the piano. I don't care how hard it may be, oh songs such as "I Remember April" and things like that. I remember when "Laura" first got popular in France, I didn't know it on my saxophone, but I could play it on the piano, see, so I transferred the chords from that, from the piano to the saxophone, see? Then I listen to the other guy. I think that's one of the great things, listen to everybody. You don't have to play like everybody, or copy it, but you can get so much from everybody. I was telling, I tell, when it comes to alto saxophone, I have three idols that I've admired, three people who I've admired, see and I was inspired, influenced I will say, huh? That was first Johnny Hart at 13 years of age in Boston; second I worked and arranged for Earl Bostic, that's when he had a small band there. I worked in the band and also arranged for Earl.  Not exclusive, but I made several arrangements for him, see? And then the next was Benny Carter, the young Benny Carter. That's on alto. And on tenor, there was no one in that period but Coleman Hawkins. Because he was the greatest of all at that period, see?  Then you listen to everybody else, see, so you can get something from everybody.