When I play I love to play. So that's why I play less now, and I usually play - it's usually my project. I do what I want to do. I seem to get to the audience. People, when they leave, they - some people that may have never heard that type of music before  they're saying great compliments. So there must be something, the way I can do something my way, that can work, and works. When I'm in with somebody else's thing, I'm trying to get in between. I'm trying to find a happy medium. But sometimes there's a way - there's something in me that hasn't been out enough to let enough of the people that think they know everything, learn about me. It's been happening. I've been noticing it. People - "wow. " One guy - a writer once said in <span class="otherMatch" rel="popover" id="other_2097_920691">Chicago</span> when I was with John Coltrane, "I didn't know you could play like that. " I didn't like it, the way he said it. The writer, I don't think he's living now. My reply to him - I said, "You should have asked Elvin. " I was saying that for a purpose, because Elvin knew. We would respect. But they were acting like they - then this guy went back and asked - called up John Coltrane. That's how those notes on that record that they use - The <span class="otherMatch" rel="popover" id="other_2104_923787">Beat</span> of a Different Drummer - whatever - this new stuff they put out - that's why that was written, because John Coltrane was answering this guy, whoever that is. I can't think of his name. Don't really want to think of his name. But there are a lot of people like that. One time, I'm in - I'm jumping around, but that's the way I live and that's the way I talk - I'm in Texas for a festival there one time. I had been playing with Stan Getz then, whom you didn't mention yet. I spent a lot of time with Stan Getz. After we finished out performance - this is for George Wein, the guy that I said that I knew, and we almost grew up together. We're the same age in Boston. It's George Wein's gig. He comes up. Meantime, Miles is there too with his band, standing at the end of the stage. He wants to put Coleman Hawkins on, and I'm getting an attitude, because I haven't been able to play my little ... with Stan Getz yet. Now here come - I love Coleman Hawkins, but I'm part of the thing too. [? ] to respect him. So George Wein says, Play some fast, Roy. " I say I don't necessarily want to play something fast. I think he wanted to play Body and Soul. Anyhow, at the end I go and play something. Tony Williams]'s there at the end of the stage. Miles's at the end of the stage. Everyone. So when I come off, I'm talking to Miles about it. I say, "Here's a guy, Miles, that knew me   since I was a youngster, a teenager. " Miles said, "He don't know you. " I'm talking again. I say, "Yeah, but he knew me since then. " "He don't know you. " Miles knows - or knew. A lot of people - then so many other people - somebody sit back - they'll put this guy here or something and say - so when I do my thing, and I don't do it that often now. I go out and play. I pace my own way, and I try to put in it a lot of the little things I learned, a lot of important things that are going to mean something to me and listener and the musicians playing. It seems to work. That's all I want to say.