Yeah, I've taken guitar lessons . . . wouldn't say it was lessons, from George Augustin, who was supposed to be a good banjo player. I took some lessons from him, every Sunday for about a summer. Got the basics, but I was getting the basics of playing by ear, because none of them, rarely any of them knew anything about no music. Maybe Charlie Bocage or John Marrerro or Narvin Kimball. Narvin Kimball was a youngster then too. So you just learned enough to play and watched those guys. They had a limited number of jazz tunes they played, the jazz repertoire. Just very few bands brought in a new innovative tune. Kid Rena was the one who when I heard him would bring out a new tune, a popular tune, but jazz wasn't as complicated as singing. You go and play it, you learn a dozen songs and you was in business. You was a pro. You did more posing, like you meant maybe you was playing, than what you was playing. There were a lot of these guys [laughter], sit up and hold the instrument and play it like it was very important what they was doing, and there wasn't nothing coming out of the banjo. That was a big shuck instrument, in other words. Because they didn't expect much of you, because you was in the rhythm section, and they wanted three horns and three rhythm, and they wanted you to give them a straight beat. You hear like, in <span class="fullMatch" id="match_177">George Lewis</span>'s band, or Lawrence Marrerro, he played just a straight beat.