So Donald introduced me to Miles about a year and a half or two years prior to my joining Miles' band. But the way I actually got into Miles' band, I had been hearing rumors that Miles was looking for me. And finally I had started hearing so many rumors that I began to believe it because at first I said "come on, get out of here, Miles Davis calling me? " Forget it. That will never happen. I mean I had never even dreamed of playing with Miles. That was beyond my fondest dreams. And anyway so Donald Byrd, again, because he was my roommate, said "if Miles calls you, tell him you're not working with anybody. " I said, "but Donald, I owe you so much. " He said "shut up, man. " He said "I would never stand in the way of you having such a great opportunity like that. " He says, "tell him you're not working with anybody. " And it was almost within about an hour, the phone rang and it was Miles. First question Miles asked was "are you working with anybody? " And I looked at Donald and I said "no. " And then he invited me to his house the next day at 2:30 I think it was. Click. And he hung up the phone. I didn't know his phone number. Fortunately I knew Donald Byrd knew where he lived, but I started to panic. And then a half hour later, Tony Williams, a great drummer, called me. And it turned out that Miles had called him too. And he had Miles' address and everything, so the next day we went to Miles' place. And Miles ushered us into his basement, his rec room there. And Ron Carter the bassist was there, and George Coleman, the tenor saxophonist, he was there. And Tony Williams and myself. And Miles. And Miles didn't pick up his horn. He just said "play some of these" I think he got Ron to kind of lead this, what I thought was an audition, and he says "play some of these tunes. " There were some new tunes they were working on I guess. And then Miles split. He went upstairs somewhere. And so we started playing these tunes and they had music there. This went on for three days. And I saw Miles maybe twice in those three days. And once Gil Evans and Philly Jo Jones came down. Gil Evans, who did these incredible arrangements of "Porgy & Bess" and "Sketches of Spain," "Miles Ahead," a bunch of things. Anyway and Philly Jo Jones, who was Miles' former drummer. They came down. And by the way I found out much later that Miles was upstairs in one of his other rooms listening to us play over the intercom. So I think he suspected that if he had been there we would have felt intimidated. So he wasn't there, he was away, we didn't even know where he was. So he could really hear what we could do. Anyway, after the third day, he came downstairs and he said "okay, tomorrow we meet at 3:30 at Columbia Studios on 30th Street. " And that was a very famous recording studio. I knew that studio, but I'd never recorded there. And I said, I was just shocked. And I said "Miles, does that mean I'm in the band? " And he said "you're making the record. " And then he smiled. And the one statement he made that gave me the most indication that he liked what was going on, because he hadn't said anything yet, nothing complimentary, nothing. At the studio, we walked in there, and Teo Macero, who was the producer, came in to the booth, the recording booth, and Miles said, "hey Teo, listen to this. " And I could tell by Miles' face he was just champing at the bit to show Teo his new band. And so we kicked off one of the tunes. I think it was "Seven Steps to Heaven. " And Teo almost fell off his chair, he couldn't believe it. Because it was a very exciting group you know, and Tony at the time was seventeen years old. So he was -- talking about a prodigy, that's the prodigy. And he was a real phenomenon. And we played there, and then we recorded the album "Seven Steps to Heaven," and the following week we played our first gig. I played Bowdoin College in Maine. And I was there for five and a half years after that.