I think Norman Granz was smart. The way he did it was, he delegated Oscar Peterson to be the padrone," so to speak, because there always has to be somebody that says, what do you want to play? What do you want to play? What key do you want to do it in? How do you want to begin and end it? That's all. That's all you need. The in-between comes from there. But that was good, because Oscar Peterson was the right man to do it. Being a piano player, he could sort out the key. When [? ] would say, I'll do one of my tunes in e-flat, and I'll take the last two choruses. That's it. With those kind of players, you could do that. But the key to it was Oscar Peterson being able to handle players like that. Once in a while somebody would - like Lionel Hampton would turn around - which he usually did - and say, "Wait a minute. I got it. " He'd go into another tune. So that's okay. We followed him. But that was great. That gave Oscar Peterson a chance to shine too and gave the guys a chance to pick out what they wanted to play. Like with Coleman Hawkins, I remember a time he wanted to do Body and Soul. We know the key. Let him go. The other guys just sit around while he played it. Just let him have it. When you have - I think that Norman Granz has the idea he'd never hire that group before, if it would jell. Like saxophone players: Lester Young, Coleman Hawkins, and Ben Webster. There's different styles altogether, but yet Norman Granz said they could play together, because they're that great. It didn't make any difference what style they were. They were in that era. Like Charlie Shavers and Roy Eldridge. Dizzy Gillespie, Roy Eldridge, and Charlie Shavers. Or Dizzy Gillespie and Sweets Edison. Those combinations worked. You put them with anybody, and they worked. Norman Granz knew that.