Right. Yes. A jazz solo should be like a flow of conversation. If I would say to you "you're dressed nicely today" that's an original statement. You've got on a nice white shirt and then the rest of the solo flows. You make a statement, and then reiterate that statement from the kind of jazz I come from. There is another kind of jazz that sounds like mathematics. It sounds like guys just playing patterns. And that's what he's doing a lot of times because when you get concerned with the Blues scale and all of that, first of all, before you dealt with the Blues scale you just find out what the Blues is. I never did know whether that was plural or singular. The Blues. That doesn't sound right. You know I really, this is a favorite pastime for me. I love talking about jazz because a lot of the things that you're bringing up I do feel are missing from jazz now. And unless people will talk about that and put that back in ... when I first joined Randy Weston fifteen years ago, he said something that impressed me then and made me understand him. He said "BP," most people who like me call me BP, he said "I'm just trying to put the magic back in music. " And boy can he ever do it. He is a spellbinder. Every gig I've played with him has been a whole total experience. He has put the magic back in, I'll tell you. We're going to do a show for BET next August, the 8th I think. I really hope so. Because for me, I feel I'm extremely fortunate ... working with Count Basie's band, and I've had an amazing career, if I do say so myself. Because for one thing, it's been interesting to me.  I've really loved every second of it. But after having played with Lionel Hampton, that was my first entrance into it, then Count Basie. I recorded a little with Duke Ellington.  Then I did the Merv Griffin Show for ten years. I did Broadway. I just did the whole gamut. So I thought by now, on the graph of things, I'd be at the peak and on the downward side. But amazingly enough, it seems like it just keeps going up. And I'm more amazed than anybody. Because Randy Weston for an instance, he's just like Count Basie, I can't say only better. I guess well the difference is Count Basie is dead and he's alive you know. But still he's a man who leads by example first of all. And then for me, it's the greatest platform I've ever had just playing with bands. Big bands are nice. You get a little eight bar solo here or a little twelve bar. I think I was known for the bridge I played in "April in Paris" because "April in Paris" became a hit and I had the solo, I don't know it must be eight bars. In big bands that's all I got a chance to play sometimes.  I knew I was going to get a chance to play that solo. But now with this group, there's only, for the most part, basically five pieces. Two horns out front. So I get a chance to blow until I'm blue in the face. And a lot of it is music I've created myself because when I first joined his band there wasn't really that much written music. I had to listen to some records and sometimes ask "what note goes here? " He'd say, "I don't know, find a pretty one and play it. "