in a way, ray did because in seattle during the '40s you had to play every big man from julius reddingsr mitzvahs and strippers in the black clubs and rhythm and blues. you played everything, man. souza, baby souza. i played the prettiest composition piece on the planet. copeland, leonard bernstein. i studied in paris for five years. hooked it up. she aid only 12 notes, if you learned what everybody did with them, you know, until they send 13, you'll be okay. and no genre ever bothered me, big band, bee bop, hip-hop, due won, not a problem. >> hard to go anywhere without finding your imprint, television, music. >> a long time, man. >> did you imagine this? >> no. >> did you imagine playing the trumpet would lead to this? >> absolutely not. art linkletter used to live next door to me before he died. he used to say all the time, quincy, if you want to make god laugh, tell him your plans. we have nothing to do with it. the identity. and i've always believed that music is terminals for a higher power. i can feel it going through you. i get curious about it, guys get all these egos, you know