Happy accidents. That's a good way to put it. Well let's put it like this. I remember when they came out with my first transcription of -- I had recorded "Body and Soul. " And I remember coming home and putting it next to Coleman Hawkins, putting it next to, bar by bar, next to Coleman Hawkins' solo and playing through mine, playing through his, playing through mine, playing through his. And then I realized that what I was doing, I mean on a solo like that you could, because in that particular solo I was pretty much playing in a more traditional kind of way. It would depend on which solo you transcribe.  If it was a song where I just took off, then I'm not sure that the chord changes, at one point, sometimes when I'm playing sometimes the chord changes becomes more like, not necessarily that I'm not following the chord changes because I am, but I'm playing across the chord changes through the harmonic series. That would probably be very difficult to transcribe and be accurate as far as what I'm thinking when I'm playing. Now a happy accident -- mmm -- I'm not sure an accident would describe it. Because I always know where I am now. Maybe other people might not think I know where I am, but I'm always -- when I'm playing with songs that have chords I'm very aware of the chord structure.  I'm challenging that structure is what I'm trying to do. I'm trying to defy it. I'm trying very hard to defy it and dispel it at the same time that I'm playing it. Perhaps it sounds like an accident because I'm covering some new ground on it. And usually I would have probably played that song so many times before it got to that recording that I'm playing across that song like I own that song. That song, and it probably is mine anyway. So I feel like well I can do anything with my own song that I want to. And this is how I want the final result to sound like. So be it somebody else's idea of an accident or a train wreck or whatever, fine, if you want to call it that, that's cool. But that's exactly what I was trying to get to, otherwise I wouldn't have let it out. I mean I wouldn't have let that version come out. So that's pretty much the way I see it. I feel like what I'm trying to do as a soloist is to stretch the boundaries. Because to me everybody that comes to New York, each person that comes in, each soloist comes in, they set the bar a little higher and they challenge people to think a different way. And that's kind of what I'm trying to do.  I'm trying to let people think a different way about how they could approach even playing chord changes.