I think that there's a wealth of knowledge that you learn from singers that you don't learn from horn players, or it's not as pronounced. See with singers you learn right away that you've got to play in tune. Not because they necessarily sing in tune. But in my case I spent two years with Sarah Vaughan. Sarah Vaughan not only sang in tune all the time but she had perfect pitch. So she knew when you were out of tune. Now the antithesis to that was when I worked with Betty Carter who always sang out of tune but you still better play in tune. And out of tune did not affect her effectiveness. It was sort of like an art form for her. But with Betty Carter, she was the consummate canned heat. She was like a can of Sterno. You open it up and you put a flame to it and you get this beautiful blue flame. She could swing slower than anybody I had ever played with. She could sing a ballad or she could count off a tempo that was just perfect for the tune that you're going to play. She could lay back so far you'd be damn near half a chorus ahead of her and she's still singing in the right place.