Oh Oscar, that is a beautiful tune. Thank you. Thank you, Mary. And welcome. It's nice to have you here doing the show with me. Nice to be here. It's been a long time. You know, I was just thinking while you were playing how long it's been, and people always bring this up to me, so I guess you're used to it too. But it was at Colonial Tavern. In Toronto. In Toronto, and I had to go through this ghastly torment of working with Jimmy's band opposite you and Ray Brown. Those were the very formative years, actually. The very early years for us. I think it was just, was it a duo or a trio? It was a duo. Yeah, well it was the early, early years. It was. I think it was not too long, probably after you had, Norman Granz had become your manager. That's right. Is that right? I had done the first tour or two, maybe the first tour of the United States with Jazz the Phil. And had gone out with a duo that comprised, was made up of myself and Ray Brown. I don't know. I don't think you've had any formative years. I just think you're still out playing. I'm still having, still having a lot of them. But you know, of course you're used to hearing this all the time about prodigious technique, or as I prefer to say, great chops. You know, you must get tired of hearing that all the time. But also there are some things that you do that are so typical of you that nobody else does. Like that chord we were speaking about just now, and you just did it again. It's, in old folks, it's like two seconds together, like two notes. But the way you do it in the tune, it just gives a very sad aura to that phrase. Well, I guess we had to be very classical in our rationalization about it. It would be a form of mild dissonance, wouldn't it? Because it's actually the... Instead of playing, I would play. Yeah, I see that. Well, I think what it does, Marion, is that I've been doing a bit of, studying a bit of synthesis recently. I noticed that. I want to talk to you about that. You do? And I find that, for instance, in synthesis, if they want to thicken a note, they will take another voice, or a VCO, or whatever you want to call it, and add almost any note and put it in sync, which gives you a fatter note. So you get the same effect almost when you play. But depending on how you control, I mean, what I do is I control the timbre of the, in this case, a B natural against a C, the melody being C. I just barely imply the B natural. What do you play in the bass? C. Right. See, already I copped something. It's only the first tune. Because it really is me. Well, but it does. It does, because if you have something that sets a mood, because to me that's a sad song, old folks. I don't know if you know. Well, I'm sure you must know the lyrics to a lot of tunes. Right, I do. Ben, is it Ben Webster that always worked everything he did? He knew the lyrics. That's right. And one night he came off shaking his head and didn't like the way he played the tune. And somebody said to him, what's the matter? And he says, I forgot the lyric. Yeah, a lot of instrumentals take that very seriously. I do to some extent, but I don't claim to know the lyrics to everything I play. Many of the things I play, I learn the lyric because I happen to admire the fusion between a great lyric and certainly a great melody. And I don't try to get too romantic about trying to make the song sound like the lyric. Oh, no. That would be untrue. But I do remain cognizant of the fact that a certain lyric has been written for this particular song. Yeah. Back to the technical aspects of things. Like even on that song, you managed to include so many clear and clean octaves and certain runs that you do, which again are your trademark. Where did you ever learn to do that? As a kid? Did you start very young? I started at five, Marion. And I started classically, of course. And I went through the Czerny, Hannon, Duck Nanny, and so forth. Oh, God. But also- Those are hard if you get all those down. Did you- Well, I didn't go through them all, but I've certainly went through enough of them. Certainly Czerny. I found I retained an interest in Czerny because he's so linear. And for the lines in jazz, you need that kind of thing, I think. But also what I found was that the easiest way to get over all of the hassles of playing the piano, which is really what we're talking about. Because you need a vocabulary, as we both know, or else you can't communicate. And I decided that it would be easier to try and get rid of all of the technical digital hassles. And what I did was I would take lines and just sing lines to myself and make myself play them. Like- Anything. What a great idea. And once I did that, I had a premise that if I could play that with one hand, there was no reason why I shouldn't be able to play with two. Or close enough. The thing is, and that graduated to points where maybe now, certainly recently since the advent of my solo period in my life, I sometimes now, not too often, venture into playing fours or eights one hand to the other. But in doing what I did with the- trying to get the hands together, I learned to respect the fact that I think people have a misguided concept about piano. They think that because if their right hand- they look at their right hand, they see the thumb sitting on the left hand of the hand, and they immediately figure the left hand is that way, except that maybe the little finger is playing the part of the thumb. And I found this to be untrue a long time ago. There are two separate types of fingering. And if you can overcome that kind of thought where you try to force the left hand, it's like making a left-handed person right right-handed, you know. And I think once you overcome that, I found that I had a lot less trouble. So you really- you've thought that through and that really practically made you ambidextrous. Well, it did make you ambidextrous. Well, I think most pianists are ambidextrous in their thoughts anyway. I think they want to be- I am in my thoughts, but watch me when I get to the piano. Most of them. But you have to play- when you play and accompany yourself like this, if you're playing- they're two separate lines going. So regardless of the simplicity, there's a split thinking there. So you just increase that split thing. I think everyone does to their own particular needs. How about another tune? How about something of your own? All right. I'm going to do a tune from the Canadiana Suite. And this was written for the little section of Montreal that I was born and raised in. Where is that? Montreal, Quebec. It's called Place Saint-Henri.