If you werent - that was early on in my development as an improviser - but if you werent experienced, then yeah, they would not allow you to just get up there and play chorus after chorus. They let you know this is okay. They wouldnt tell you anything, but the way that they played. When I look back, Elvin Jones, early on, we played a lot of slow tempos. We played a lot of - and then, as we became more familiar, more comfortable with the material, the tempo gradually increased. Its not something that he ever said, but these guys knew music. They knew what was best for me or for each individual, and that was their concern. Thats something that I didnt realize until later - I didnt think about at the time. But as I listen back to recordings, I say, oh, this is - he knew exactly what was going on. For Art Blakey it was - hed start you off slow. If he thought that you only should play two choruses, well, it was going to be two choruses. So by the beginning of that second chorus, hes going to be up there. The volume was up there, and then by the end of the second chorus, hes going to hit that cymbal. If you didnt take the hint - thats just what it is. Max Roach and Elvin Jones - by the time I played with Max Roach, and Elvin Jones especially - I developed most with Elvin Jones - by the time I played with Max Roach, my improvising style was more advanced than when I started with Art Blakey.