DE: Yeah, and I realized, when I was transcribing the Duke Ellington, I could hear anything I needed to hear. I could play a little bit of the record, stop it, freeze it, and get all the piano parts that he played. I could get it all down exactly. And I also learned, in those years, that I was able to hear parts that the musicians, who were all better than me, couldn’t hear, and I thought that was odd. He’d play a wrong harmonic conversion in a chord, and I said, “No, no, it’s like that, like I wrote it.” And he goes, “Oh, are you sure? I hear it the other way.” And I’d listen to it and go, “No, it’s definitely that.” And then he’d go, “Oh, okay.” So I learned to trust my ear, basically, in those years.
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