In '84. And I recorded it with Steve Coleman, who was a beautiful saxophonist, came to see me at Sweet Basil's when I came back to New York. They didn't have a dressing room. They had a hole behind the bar that you're supposed to go down and tell the musicians did it. I said, "I'm supposed to go there and make magic and then come and fall down and break my neck behind the bar and disappear into the ground, right? " And they sent me outside for an honest to God manhole cover. It wasn't their fault, though. It was this woman who was representing me. I asked her if there was a dressing room. She said, "Oh, yes. " I mean, you know, selling me down the river. Steve Coleman came to see me when I was at Sweet Basil's with his railroad worker's outfit on. He had a big Afro and a railroad worker's cap and coveralls and his big broken shoes and I don't know why I said to him, "Are you a musician? " He said, "Yeah. " So, I asked him to come and sit in with us on Saturday. Well, he tore the house down. Brilliant, and I went to the Blue Note with him and his band. I asked him, because I didn't have a band then, I said, "Do you know some other musicians like yourself? " He said, "Yeah. " And he brought me James Weidman and the Johnson Brothers, Mark Johnson on drums and Bill Johnson on bass. At the Blue Note, we did "Sophisticated Lady. " I will always remember he did a solo, and the people in the audience, it was like this, like they couldn't believe it. They were applauding. It was like that, and then we recorded for Enja, and I got that. I wrote "People On The Street, Taking All The Heat, Here's a Little Ditty of a Song, Ding, Dang, Dong, Sing A Simple Song, because the people in the houses ain't got long," and they don't. Yeah. So, I've seen a lot in the world over the years. I've had a chance to witness it. It's another planet. It's another country and it doesn't make me feel good and I'm glad I don't have to stay here forever. I don't know what's going to happen.