In the morning. A.M. I don't remember exactly. But I mean, if it was a hot show, where the people were coming, they'd have lines, so they would do - they would add shows. It wouldn't be a contract saying you had to do this amount. They would add. Every time you come off, you'd see what time the half was - the half hour before the show. So I'm this youngster, playing with Luis Russell's band. Nervous, yeah. Playing a show. I learned one thing with Luis Russell. He says, "If you ever get lost, lose the meter, or you lose your place, playing for something," he said, he told me to roll. If you roll, there's no bap-bap-bap-bap-bap. There's no time. It's almost like playing free. That's how I learned to play free, because you don't give no definite beat. You just let it flow. So I got that from Luis Russell, when you roll. Anyhow, many years later, after I became - I'm in my thirties or forties. I'm with Panama Francis. Panama Francis was one of the hot drummers from that area. He played with Cab Calloway. He used to play with Lucky Millinder a lot. He told me that they would   always wait in the front row - a group of drummers - so if the drummer couldn't play the show, they would get the gig for the week. If a new drummer with a band or a young guy come in that couldn't play the show, you wouldn't work that week. You have to be off or something [?]. Panama Francis told me this many years later. He said, "When you came, them guys looked at each other and said, we might as well go home. " That's the whole ... It was so great. But I managed to weather the storm. I did it, whatever it was to do. It looked a little stormy in there to me.