Any chance to talk about Clifford? So talk about this and what it did for you in terms of changing directions.

Well, I mean, it's hard to talk about or to explain in a way that I think would be like truly sort of accurate, except to just say that it was it's hard to it's hard to say in any other way except to say it was instantaneous.

I heard that sound and then I just switched.

You know, because I was at North Carolina School of the Arts.

And, you know, I was studying classical music and really, you know, the history of the trumpet and stuff like that.

But, you know, it was kind of like a recognition that... really the voice of the trumpet has a much, a much more fruitful sort of life in the world of jazz music, in my opinion, you know, you get, you can, you know, you can do all the things in classical music, but then you also get to, you know, improvise, you get to sort of inject a little bit of your personality into melodies and things like that.

So it was just kind of like, you know, everything that I had been studying, um, kind of done in a way that I had never really heard it done before, kind of like personalized.

Talk about sleepy time down south, because your approach to this was a bit different too, and I loved it.

Any chance to talk about Clifford? So talk about this and what it did for you in terms of changing directions.

Well, I mean, it's hard to talk about or to explain in a way that I think would be like truly sort of accurate, except to just say that it was, it's hard to say in any other way, except to say it was instantaneous.

I heard that sound and then I just switched.

You know, because I was at North Carolina School of the Arts.

And, you know, I was studying classical music and really, you know, the history of the trumpet and stuff like that.

But, you know, it was kind of like a recognition that...

Really, the voice of the trumpet has a much more fruitful sort of life in the world of jazz music, in my opinion.

I