I think I've already said it in that the secret I think is to get it up in your head and do a lot of listening. Listen to things that you like, and store up all these songs. If you want to be a performer and play with other guys, you have to spend a lot of time together, and both like the same things and learn the same things. And if you write original tunes, teach them to each other and you'll work out an act, just like the rock groups, that's the way they start they get together and the piano player will write some kind of a thing and they'll all learn it. And it's mostly vocal, it's all vocal things in rock. But there's hardly any vocal things in the kind of jazz we're doing. It doesn't have to be all vocal. It can be instrumental and there's all kind of combinations of instruments you can write for. You can have a flute and a cello and a clarinet and write jazz for that. But actually it doesn't sound much like jazz when you get the legitimate instruments. You know the classical instruments doesn't really send you. A jazz flute to me doesn't have an awful lot of impact like a tenor saxophone, you know. And I prefer the lower instruments like trombone and tenor rather than the high clarinets and high note trumpet players, you know. All together they sound good, but if you just have a band of three trumpets in the rhythm section, what are you going to do? It's like a string quartet, you have the first violin, second viola and cello. And everybody's got their lines. Nobody interferes. So you've got a baritone sax, maybe a trombone, and an alto and a trumpet, or there's all kinds of combinations you could have. Usually one trumpet, one trombone, a tenor and a clarinet, that's what we usually have. That seems to work pretty good.