Yeah, at that time I was fast on the bass you know. And I had a different sound from most of the guys, because I never learned to put the strings where they're really supposed to be. But being around Ray Brown and Oscar Pettiford, all these guys, they got me out of that. They said "look, put the strings down. " They said "the bass don't have the sound it's supposed to have. Anyway you don't have to play as hard or anything. " So I did it and I got used to it after a few weeks. And Joe Williams used to come in and he was very shy at that time. You know he'd come walking on the bandstand and he used to sing these little love songs you know, just real sweet and then he'd walk off the stand. And I said I wonder why Basie likes him so well. And so I asked Basie one day. I said, "Basie, what do you see in Joe Williams? " He say "you just wait. " He said "I see something that maybe nobody else sees. " But he said "that man can sing. " I said okay. So I stayed with Basie and we worked the Brass Rail down at the loop. We opened up one night and all the people were sitting at the table you know, and so Basie started off real soft. We started playing soft you know. I thought I was playing louder than anybody, I mean I'm just playing it. Basie says "don't play so loud. " He said "they'll hear ya. " So I cut down on the bass. And Basie set a tempo and then he'd watch the people's feet. He said "okay, everybody's starting to feel you over the conversation. " He said "now Gus, pick up your sticks. " Gus was playing with brushes. He said "pick up your sticks. " He said "we've got `em now. " And by the time we opened up, everybody turned and you couldn't believe it.  Buddy DeFranco walked out to the stand, and man, everybody would start to play. He and Clark Terry started doing tricks. Clark would take his horn, take the mouthpiece off and just put it in the end of a glass and blow you know, and make all kinds of funny sounds you know. And Gus Johnson, then here comes Wardell Gray. He'd walk up and he'd just play something like Lester Young you know. And we started playing anything he had. Neal Hefti was making arrangements for the band. And Neal wrote all these beautiful things. And we'd make the thing sound like a sixteen piece band. And Freddie Green boy, he was like a metronome sitting there. And you couldn't get away from him.  The tempo might move up a little bit, I'd get excited, and Freddie would say "come back here. Right here. " And boy that thing would take off. And Basie, he'd sit there and give signs. He had all kinds of signs. He'd do his face, you know when he'd want you to play louder or softer you know. And when he'd get ready to close a number he'd double his fists you know. And like if he wanted some excitement, he'd stand up from the piano and look at you you know. And boy, and Gus was sitting on the drums and you'd hear this thing, it sounded like it was coming up out of the floor. And boy the people just went crazy. We went there for two weeks. And they kept us six weeks in there. And after we left there, we went to another club called the Capitol Lounge. And we went there for two weeks. By that time we had added another horn. We had Marshall Royal. Marshall Royal came in the band and when we went to the Capitol Lounge, man, people just couldn't believe it, you know. People would stand there and look and they would applaud for the same tune over and over. And we'd play and play and play, the man would say, Basie'd say "well I guess our two weeks are up here. " And the man said "no," he said "you've got eight more weeks here. " The man at the theater gave us ten weeks. And then we went out to California to a place called The Oasis. And we went in the Oasis and the same thing happened there, you know, just over and over. And then we got a call from one these agents that said we had to do a movie with Sugar Child Robinson, he was a little piano player, looked like he was a little midget. And so he went and did the movie, I think until around 4:30 or 5:00 in the morning. But we'd get paid for that time, being there. Bing Crosby, he'd come through in his car you know. And Frank Sinatra, we went out to his house, went out to Ester Williams' house. She had it all set up for all that swimming stuff. I think she must have made a picture back there. And we went to Rochester's house, you know he had an open house. He never closed his doors. People were sitting all around the pool, with ice buckets and food, and anything you wanted to do. He hardly was there.