You get scared to death man, because what happens, for the first time, you're on your own. You know? There's many revealing moments in playing this music and in your development. And in talking about Betty Carter, she would be so far behind that if you listened to her and not -- so you're listening to her and you're listening to the piano player, and you know that they are in two different places. And you've got to be with the piano player. Because she knows what she's doing. And you can not skip a beat and you can't fall behind to try and -- no, no, she knows exactly what she's doing. She wants you to be where you're supposed to be, so that she can be where she is. So that was a revealing moment. And in order for it to work you have to do exactly what you're supposed to do. That week that I started with Gene Ammons and Sonny Stitt, we were playing "Savoy" and we were playing it fast. And I'm watching the drummer's sock cymbal, to help me keep the time. So Sonny Stitt sees me doing this, so he goes and stands in front of the sock cymbal and looks me dead in the eye with a frown on his face.  Stands in front of the sock cymbal so I can't see it, and then he moves his lips to say "listen ... don't look listen. " A revealing moment. But you know this music makes you fearless.