Yeah. Max Roach and I did the first clinic - it has to be close to 55 years ago, or maybe more. We did it in Brooklyn. Max Roach and I were the two set players. Sol <span class="otherMatch" rel="popover" id="other_1154_787110">Good</span>win was the tympani, and <span class="fullMatch" id="match_313">Jose Bettancourt</span> was mallets. During that clinic, I learned so much from Max Roach, because when I played my segment, Max Roach told me - he says, "Lou, I got a big charge out of listening to you play. Do you ever think of the melody when you're playing a drum solo? " I said, "No. I don't think so. " He said, "If you are playing Cherokee, that should be your main thing. " So every time I played Cherokee from that point on, I thought about the melody. He taught me how to play melody on the drums, pertaining to the song that I'm playing. It makes a lot of sense. Also, I went to hear him quite often when he was on 52nd Street, playing with Dizzy Gillespie, Bird. Every time I got a lesson. He did something different that I didn't know about. I was always aware of the fact that he was listening to Bird and Dizzy Gillespie. That's what really impressed me. In those days they didn't have monitors and too much, but they were able to hear one another. Max Roach said, "If I'm playing too loud and can't hear Dizzy Gillespie, that means I'm playing too loud. So simmer down, so I can hear what's going on in the front line. " Because otherwise Dizzy Gillespie would turn around and say, "What kind of house are you building back there? " Dizzy Gillespie taught me how to lay off the bass drum quite a bit, because I came from an era of - when Buddy Rich and Jo Jones and all of us played hard swing, that swing era where you played four beats to the bar on the bass drum, because the music called for that. But now,  with the bass players like Ray Brown and Milt Hinton and all those greats today like Christian McBride, they've got the four covered. So now this is syncopated - the bass drum - which you know, and the left hand is syncopated. So I learned from Dizzy Gillespie. Dizzy Gillespie said, "Lou" - the first time I played with him, he says, "You don't have to play the bass drum on all four beats. You mix it up a little bit. " I found it hard to do first, because [I was] coming from that other school, but it didn't take me long, working with Dizzy Gillespie, doing recordings and things with him, to grab a hold of that idea, especially listening to Klook. He'd swing you into bad health any time. Just listening to him play four bars was enough.