A lot of them, because, as I said before, I heard them on records. The first record I played when I was a kid, that had a drum solo on it, was Lionel Hampton, Jack the Bellboy. He was playing drums, not vibes. He was one hell of a drummer, too. Lionel Hampton was a living legend. That's the first record I heard. Then of course along came Gene Krupa], and I got to know him. He's one of the first guys that brought drums to the foreground, where you couldn't say, "We've got 17 guys and a drummer in the band. " I used to say, "What do you mean, 17 guys and a drummer? We're included in that. We're  " They'd say, "You guys are noisemakers. " I said, "No, no, no, no. We're sound- makers, not noisemakers. We're a very important part of the band. " Later on we proved it. Buddy Rich and I were almost the same age. He had me by about five years. He was about five years older than me. We pal'd around. We were pals for over 50 years. That was one hell of a drummer too. But this guy up here, Jo Jones, and Big Sid Catlett, were my two teachers, along with Argo Percy Walker at the Rendezvous. They taught me how to play brushes, how to play the hi-hat, how to listen, develop a style, listen to the soloist. When you listen to a soloist, you become a background, not a soloist. Then I started listening to Dizzy Gillespie and Charlie Parker. That came later. But when I first heard those guys play, I didn't understand it at first, but I knew something special was happening. When I went the second time, I said, aha. I see what they're doing. The third and fourth times, I became a big fan.