Yeah. And basketball players, they run around with these weight vest things and they take them off and they're gone you know. I mean there's ways to get to yourself. And you've got to use everything that's there. You can't just think you can just get a concept out of a book. That's somebody else's concept, that's not yours. You've got to work hard to develop. And I think the whole thing with conceptualizing who you want to be, seeing yourself in the future, seeing a composition, writing a composition like all these great composers, it takes time and it takes a lot of thinking power to envision something that's not completed, something way down the road, to write a piece for a year and figure out what that is. After that year is up, you've seen the end before, but in the middle of that process you learned a lot about you. You have to force yourself to make these projects happen for yourself. I do that all the time. I put limitations on myself and I always have a goal too, as far as what I want to accomplish. Like the last thing that I did was I went to Cuba, this was the third time I recorded in Cuba. The first time I recorded a Cuban big band, some Cuban cats and I brought a few Americans. The second time I recorded a string album in Cuba, and I used ten Cuban string players but the music has nothing to do with Cuba, it was jazz, I just used the string players because I found that the Cuban string players had a little bit more rhythm when it came to executing my parts, my string parts. And this last recording, I used some people from Guadeloupe and I took them to Cuba and recorded in Cuba, and I used Cuban horn players but not to solo, only to play my lines. So that's a project. And then I put Pharoh Saunders on it the other day, as a guest artist. And I'm going up to Montreal to mix it tonight after I finish the concert. So this is something that I've seen, last year, and I've been writing little lines, and then when I got down to Cuba it all came together to me, okay, I've had this band together four years, it's called the go-kwa Masters. The go-kwa means the kwa drum from Guadeloupe, that's the drum that they had on the slave ships and they had a little tent around the side and when they got to Guadeloupe and the slaves, they seen all these drum barrels, they put a skin on it and it became their drums, the kwa drums, and they named their music after it. So it was the go-kwa Masters, because it's Guadeloupe. So I envisioned putting that concept of the machte and the boulah drum, which is tuned by your bare foot hitting on the skin while you play it, and the other one you play upright. Putting that with jazz, putting that with my kind of jazz, putting that with my octet version of what I do, so now I'm calling it the Grotet, which means nothing to anybody but me. But this is my world. This is all my world. And nobody cares about it but me. But when it comes out and they hear that, they say woah, what a concept. But for me that was a work in progress, and it still is. It's just growing in my mind. I'm trying to figure out how to incorporate jazz into, and then there's the singing on top which is in Creole, which is something that we might not understand here, but they understand it in New Orleans, it's the French Creole. It's a version, you know most people from Guadeloupe are from Guinea, so you hear this accent. It's African and then it's partly Caribbean too. And then it's me, so it's American, it's jazz, it's these different things. To me that's what's interesting about jazz right now is that I can use my influence to do anything I want.