Al Morgan. He looked like he was almost seven foot tall. And immaculate. And always immaculate. And I was afraid to talk to him because he was just too great. But I'd stand, when his show was over I'd stand out by the curb and see how a bass player conducted himself. And he come out all sharply dressed and the ladies would ask him for his autograph, and he'd write autographs over there, and he would write his autograph on apiece of paper, and he'd reach in his pocket and pull out a sheet of stamps, and tear one off, and put it on his autograph. And I said "wow, man. If I get ever so ... one day I will do that." I haven't made it yet, but ... give me a sheet of stamps. But he was wonderful. And how I got the gig was they went to California to do this movie with Al Jolson, the singer. And Al Jolson was so great, I mean Al Morgan was so great and he had such photogenic features and things, that Cab looked around and the camera was on Al Morgan, it wasn't on him. Well that didn't sit too cool. And the director of the movie told Al Morgan, said "look, you've got a lot of style. If you're out in here in California we'll try to do a movie with music in it, you have the job." So Al Morgan quit. He stayed with Les Hite's band, with Lionel and all those guys. And Cab Calloway had to come back east without a bass player, with Budd Johnson's brother, Kay Johnson was in Cab's band, and he say "well look, check out Milt Hinton if you're going through Chicago. He's down to the Three Deuces with Zutty Singleton and Art Tatum and Lee Childs." I'm down there with them guys, $35 a week, best job in town.