Yeah. Murray Spivack took me through that book. I thought I was a good player before I went to study with Murray Spivack. Somebody recommended him. I went up to see him in North Hollywood. He said, "Okay. " He says, "I want you to play for me on a practice pad. " He said, "Play me a single-stroke roll. Open it up, and then close it. Play me a five-stroke roll. Seven-stroke roll. Play me a flam. Flam accent. " This went on for about a half hour. Then he said, "See that chair over there. Go sit down. " So I sat down. He said, "When I finally get the boards off your hands, I'll make a good player out of you. " I said, "Oh. " I've been looking for this guy for a long time. I thought I played well. He took me through my paces. I studied off and on, on and off with him for a couple of years. Maintained a friendship right up until he passed away. He was a great teacher, great player. Did you see that video that's out, where he's giving me a lesson? A big picture of him in the front. It says, "Murray Spivack giving Louie Bellson a lesson. " What he did was, we went to the basics. He said, "Just play a single for me. " So I did this. I did a up-stroke and down-stroke. He said, "No, no, no, no, no, no. That's not right. Just play the right and left hand. " All he wanted was a tap. So he's chastising me, and I left it on the video. I said, "No. Leave it on the video. It's a lesson. " David Garibaldi's also on that, because he studied with <span class="partialMatch" rel="popover" id="partial_4968_954">Murray Spivack</span> too. You know something? You're going to preach - you guys are both drummers. As a young kid, I was puzzled by the rudiments. I was all for them, because I knew that I went to Battle Creek, Michigan, for three straight years and won competitions - first-class competitions - on the parade drum with gut snares. So I know about rudiments. But naming the rudiments always puzzled me, because I was taught, like you guys, a stroke is when you employ the use of the full arm, wrist, and everything. That's a stroke. A tap is when you use the wrist only. So when you tell me to play a five-stroke roll, I'm going to go 1 - 2 - 3 - 4 - 5. Right? When it's a number 5 roll, it's a two-bounce tap roll. A bounce is one attack and two sounds, as in ta-da ta-da tum, ba-da ba-da bum, ba-da ba-da. So when you tell me to play a five-stroke roll, I went - I showed that to Murray - Murray Spivak. He said, "Why you little rascal you. Where'd you think about that? " So I came out with the road chart, showing the number 7 roll is three bounces and a tap. Technically, that's what it is. I showed that to Steve Gadd. Steve Gadd said, "You're right. You're completely right. I never thought of that. " But I thought of it. I pat myself on the back.