But he loved drums, having <span class="partialMatch" rel="popover" id="partial_679_103">Buddy Rich</span> and <span class="fullMatch" id="match_151">Gene Krupa</span> in the band for years, Davey Tough, <span class="fullMatch" id="match_152">Big Sid Catlett</span>. Jo Jones did some recording with him. We devised an idea. I told him I should have some kind of idea in the theaters that people  ordinary laymen - hear that sound. They don't know I've got two bass drums. So I told Tommy Dorsey I need to make a table to put my drum set on, and it goes around. He said, That's it. " So he had one made. That was a big thing at the Strand Theater. When I did my number with him, he'd press a button, and I'd go around. He didn't stop me until my back was to the audience. Then the audience said, "Oh, he's got two bass drums. " That opened up a new thing. Then also, later on, we had florescent drum sticks. When they turned the lights out, not only the sticks, but as I hit a tom-tom, a light would go on. So all this sound - it was really a tremendous - it was a good gimmick. It really was. It was a musical gimmick. That job with Tommy Dorsey was one of the most difficult, in that you played about three or four long drum solos during the night, and you played hard. Of course I was young then. I could do that easily. For example, working with Tommy Dorsey the first year, we played six months of one-nighters, on the bus without a day off, 500 miles a night on the bus. We played from 9:00 to 12:30 without taking a break, took a half-hour break, and played an hour overtime. He was right there with you. It was something else. But it was a good band, and he was a great trombone player. I gained a lot of knowledge working with him.