gaussalgo/Canard_Wiki-augmented huggingface dataset:
Mashantucket Pequot Tribe

Context: By the time of the 1910 US Census, only 13 tribal members lived on the reservation. By the early 20th century, the reservation of 214 acres had a total population of 20 or 30 persons. In 1973, with the death of Elizabeth George (1894-1973), the last Pequot living on the reservation, the federal government started planning to take back the land. But in this period, the number of tribal members had increased, and they had maintained some continuity of culture. They began to organize politically and planned to assert their sovereignty and try to reclaim some of the land they had lost in the 19th-century Connecticut sale. In 1976, under the leadership of newly appointed tribal council chairman, Richard "Skip" Hayward, son of Elizabeth George, the Mashantucket Pequot filed a federal land claim against the state. They challenged the state's illegal sale of more than 800 acres of reservation lands in 1855. The US Department of Justice entered the suit, as it dealt with federal issues and constitutionality of the state action. The suit's settlement was documented by federal legislation in 1983: the Mashantucket Pequot Indian Land Claims Settlement Act included the tribe's federal recognition, and was signed into law by President Ronald Reagan. also filing a federal land claims suit against the state of Connecticut for its sale of land in 1855. The tribe achieved political success by persuading Congressmen and appropriate committees in making the case for recognition and land claims. In this period, some tribes based in New York filed land claim suits against its state government, winning in court. On October 18, 1983, President Ronald Reagan signed the Connecticut Indian Land Claims Settlement Act, which included federal recognition of the Mashantucket Pequot. They were the eighth American Indian tribe to gain federal recognition through an act of Congress rather than through the administrative process of the Bureau of Indian Affairs (BIA) and Department of Interior. At least one other case of recognition had also been tied to the settlement of a tribe's legitimate land claim. The Mashantucket Pequot have since added to their reservation by purchase and placed the additional lands into trust with the Bureau of Indian Affairs (BIA) on behalf of the tribe. As of the 2000 census, their total land area was 2.17 square miles (5.6 km2). CANNOTANSWER

Question: What happened in the 21st in the lands of Pequot?
Answer: As of the 2000 census, their total land area was 2.17 square miles (5.6 km2).
Mashantucket Pequot Tribe

Context: By the time of the 1910 US Census, only 13 tribal members lived on the reservation. By the early 20th century, the reservation of 214 acres had a total population of 20 or 30 persons. In 1973, with the death of Elizabeth George (1894-1973), the last Pequot living on the reservation, the federal government started planning to take back the land. But in this period, the number of tribal members had increased, and they had maintained some continuity of culture. They began to organize politically and planned to assert their sovereignty and try to reclaim some of the land they had lost in the 19th-century Connecticut sale. In 1976, under the leadership of newly appointed tribal council chairman, Richard "Skip" Hayward, son of Elizabeth George, the Mashantucket Pequot filed a federal land claim against the state. They challenged the state's illegal sale of more than 800 acres of reservation lands in 1855. The US Department of Justice entered the suit, as it dealt with federal issues and constitutionality of the state action. The suit's settlement was documented by federal legislation in 1983: the Mashantucket Pequot Indian Land Claims Settlement Act included the tribe's federal recognition, and was signed into law by President Ronald Reagan. also filing a federal land claims suit against the state of Connecticut for its sale of land in 1855. The tribe achieved political success by persuading Congressmen and appropriate committees in making the case for recognition and land claims. In this period, some tribes based in New York filed land claim suits against its state government, winning in court. On October 18, 1983, President Ronald Reagan signed the Connecticut Indian Land Claims Settlement Act, which included federal recognition of the Mashantucket Pequot. They were the eighth American Indian tribe to gain federal recognition through an act of Congress rather than through the administrative process of the Bureau of Indian Affairs (BIA) and Department of Interior. At least one other case of recognition had also been tied to the settlement of a tribe's legitimate land claim. The Mashantucket Pequot have since added to their reservation by purchase and placed the additional lands into trust with the Bureau of Indian Affairs (BIA) on behalf of the tribe. As of the 2000 census, their total land area was 2.17 square miles (5.6 km2). CANNOTANSWER

Question: Has Pequot tribe done anything in particular with the additional land they purchased on 21st century?
Answer: CANNOTANSWER
Mashantucket Pequot Tribe

Context: Archeological and linguistic research has revealed that the recorded historic tribes encountered by the Europeans emerged at different periods and often undertook migrations. Various tribal oral histories also attest to major migrations of tribes and the emergence of new tribes over time. But such archeological studies have shown that the Pequot people and their ancestors had been in this region for thousands of years before European encounter. In the early years after European contact through trading with fishermen, the coastal tribes began to suffer high fatalities from new infectious diseases, to which they had no immunity. During the colonial years, Europeans recorded intertribal warfare, shifts in boundaries, and changes in power among the tribes. At one time some scholars believed that the Pequot migrated from the upper Hudson River Valley into central and eastern Connecticut around 1500. The theory of Pequot migration to the Connecticut River Valley can be traced to Rev. William Hubbard, a Puritan colonist. In 1677 he suggested that the Pequot had invaded the region some time before the establishment of Plymouth Colony. In the aftermath of King Philip's War, Hubbard wrote Narrative of the Troubles with the Indians in New-England, to explore the ferocity with which New England's Native peoples had attacked the English. He did not recognize that Connecticut and the Massachusetts Bay Colony had failed in their diplomatic efforts and promoted conflict through their encroachment on Native lands. Hubbard may have projected the colonists' status by classifying the Pequot as "foreigners" to the region. He described them as invaders from "the interior of the continent" who "by force seized upon one of the places near the sea, and became a Terror to all their Neighbors." The book was published in the mid-nineteenth century. Contemporary scholars have generally concluded that archaeological, linguistic, and documentary evidence all show the Pequot and their ancestors were indigenous for centuries in the Connecticut Valley before the arrival of Europeans. By the time the English colonies of Plymouth and Massachusetts Bay were being established, the Pequot had established dominance of the political, military, and economic spheres among Native Americans in what is now central and eastern Connecticut. Occupying the coastal area between the Niantic River of present-day Connecticut and the Wecapaug River in western Rhode Island, the Pequot numbered some 16,000 persons in the most densely inhabited portion of southern New England. CANNOTANSWER

Question: how long has the Mashantucket Pequot Tribe been part of the world?
Answer: tribes encountered by the Europeans emerged at different periods and often undertook migrations.
Mashantucket Pequot Tribe

Context: Archeological and linguistic research has revealed that the recorded historic tribes encountered by the Europeans emerged at different periods and often undertook migrations. Various tribal oral histories also attest to major migrations of tribes and the emergence of new tribes over time. But such archeological studies have shown that the Pequot people and their ancestors had been in this region for thousands of years before European encounter. In the early years after European contact through trading with fishermen, the coastal tribes began to suffer high fatalities from new infectious diseases, to which they had no immunity. During the colonial years, Europeans recorded intertribal warfare, shifts in boundaries, and changes in power among the tribes. At one time some scholars believed that the Pequot migrated from the upper Hudson River Valley into central and eastern Connecticut around 1500. The theory of Pequot migration to the Connecticut River Valley can be traced to Rev. William Hubbard, a Puritan colonist. In 1677 he suggested that the Pequot had invaded the region some time before the establishment of Plymouth Colony. In the aftermath of King Philip's War, Hubbard wrote Narrative of the Troubles with the Indians in New-England, to explore the ferocity with which New England's Native peoples had attacked the English. He did not recognize that Connecticut and the Massachusetts Bay Colony had failed in their diplomatic efforts and promoted conflict through their encroachment on Native lands. Hubbard may have projected the colonists' status by classifying the Pequot as "foreigners" to the region. He described them as invaders from "the interior of the continent" who "by force seized upon one of the places near the sea, and became a Terror to all their Neighbors." The book was published in the mid-nineteenth century. Contemporary scholars have generally concluded that archaeological, linguistic, and documentary evidence all show the Pequot and their ancestors were indigenous for centuries in the Connecticut Valley before the arrival of Europeans. By the time the English colonies of Plymouth and Massachusetts Bay were being established, the Pequot had established dominance of the political, military, and economic spheres among Native Americans in what is now central and eastern Connecticut. Occupying the coastal area between the Niantic River of present-day Connecticut and the Wecapaug River in western Rhode Island, the Pequot numbered some 16,000 persons in the most densely inhabited portion of southern New England. CANNOTANSWER

Question: What has the Mashantucket Pequot Tribe done in the early ages?
Answer: the coastal tribes began to suffer high fatalities from new infectious diseases,
Mashantucket Pequot Tribe

Context: Archeological and linguistic research has revealed that the recorded historic tribes encountered by the Europeans emerged at different periods and often undertook migrations. Various tribal oral histories also attest to major migrations of tribes and the emergence of new tribes over time. But such archeological studies have shown that the Pequot people and their ancestors had been in this region for thousands of years before European encounter. In the early years after European contact through trading with fishermen, the coastal tribes began to suffer high fatalities from new infectious diseases, to which they had no immunity. During the colonial years, Europeans recorded intertribal warfare, shifts in boundaries, and changes in power among the tribes. At one time some scholars believed that the Pequot migrated from the upper Hudson River Valley into central and eastern Connecticut around 1500. The theory of Pequot migration to the Connecticut River Valley can be traced to Rev. William Hubbard, a Puritan colonist. In 1677 he suggested that the Pequot had invaded the region some time before the establishment of Plymouth Colony. In the aftermath of King Philip's War, Hubbard wrote Narrative of the Troubles with the Indians in New-England, to explore the ferocity with which New England's Native peoples had attacked the English. He did not recognize that Connecticut and the Massachusetts Bay Colony had failed in their diplomatic efforts and promoted conflict through their encroachment on Native lands. Hubbard may have projected the colonists' status by classifying the Pequot as "foreigners" to the region. He described them as invaders from "the interior of the continent" who "by force seized upon one of the places near the sea, and became a Terror to all their Neighbors." The book was published in the mid-nineteenth century. Contemporary scholars have generally concluded that archaeological, linguistic, and documentary evidence all show the Pequot and their ancestors were indigenous for centuries in the Connecticut Valley before the arrival of Europeans. By the time the English colonies of Plymouth and Massachusetts Bay were being established, the Pequot had established dominance of the political, military, and economic spheres among Native Americans in what is now central and eastern Connecticut. Occupying the coastal area between the Niantic River of present-day Connecticut and the Wecapaug River in western Rhode Island, the Pequot numbered some 16,000 persons in the most densely inhabited portion of southern New England. CANNOTANSWER

Question: Did Mashantucket Pequot Tribe have any competition?
Answer: the Pequot had established dominance of the political, military, and economic spheres among Native Americans in what is now central and eastern Connecticut.
Mashantucket Pequot Tribe

Context: Archeological and linguistic research has revealed that the recorded historic tribes encountered by the Europeans emerged at different periods and often undertook migrations. Various tribal oral histories also attest to major migrations of tribes and the emergence of new tribes over time. But such archeological studies have shown that the Pequot people and their ancestors had been in this region for thousands of years before European encounter. In the early years after European contact through trading with fishermen, the coastal tribes began to suffer high fatalities from new infectious diseases, to which they had no immunity. During the colonial years, Europeans recorded intertribal warfare, shifts in boundaries, and changes in power among the tribes. At one time some scholars believed that the Pequot migrated from the upper Hudson River Valley into central and eastern Connecticut around 1500. The theory of Pequot migration to the Connecticut River Valley can be traced to Rev. William Hubbard, a Puritan colonist. In 1677 he suggested that the Pequot had invaded the region some time before the establishment of Plymouth Colony. In the aftermath of King Philip's War, Hubbard wrote Narrative of the Troubles with the Indians in New-England, to explore the ferocity with which New England's Native peoples had attacked the English. He did not recognize that Connecticut and the Massachusetts Bay Colony had failed in their diplomatic efforts and promoted conflict through their encroachment on Native lands. Hubbard may have projected the colonists' status by classifying the Pequot as "foreigners" to the region. He described them as invaders from "the interior of the continent" who "by force seized upon one of the places near the sea, and became a Terror to all their Neighbors." The book was published in the mid-nineteenth century. Contemporary scholars have generally concluded that archaeological, linguistic, and documentary evidence all show the Pequot and their ancestors were indigenous for centuries in the Connecticut Valley before the arrival of Europeans. By the time the English colonies of Plymouth and Massachusetts Bay were being established, the Pequot had established dominance of the political, military, and economic spheres among Native Americans in what is now central and eastern Connecticut. Occupying the coastal area between the Niantic River of present-day Connecticut and the Wecapaug River in western Rhode Island, the Pequot numbered some 16,000 persons in the most densely inhabited portion of southern New England. CANNOTANSWER

Question: How dominant were the Mashantucket Pequot Tribe compared to the united states political influence?
Answer: During the colonial years, Europeans recorded intertribal warfare, shifts in boundaries, and changes in power among the tribes.
Mashantucket Pequot Tribe

Context: Archeological and linguistic research has revealed that the recorded historic tribes encountered by the Europeans emerged at different periods and often undertook migrations. Various tribal oral histories also attest to major migrations of tribes and the emergence of new tribes over time. But such archeological studies have shown that the Pequot people and their ancestors had been in this region for thousands of years before European encounter. In the early years after European contact through trading with fishermen, the coastal tribes began to suffer high fatalities from new infectious diseases, to which they had no immunity. During the colonial years, Europeans recorded intertribal warfare, shifts in boundaries, and changes in power among the tribes. At one time some scholars believed that the Pequot migrated from the upper Hudson River Valley into central and eastern Connecticut around 1500. The theory of Pequot migration to the Connecticut River Valley can be traced to Rev. William Hubbard, a Puritan colonist. In 1677 he suggested that the Pequot had invaded the region some time before the establishment of Plymouth Colony. In the aftermath of King Philip's War, Hubbard wrote Narrative of the Troubles with the Indians in New-England, to explore the ferocity with which New England's Native peoples had attacked the English. He did not recognize that Connecticut and the Massachusetts Bay Colony had failed in their diplomatic efforts and promoted conflict through their encroachment on Native lands. Hubbard may have projected the colonists' status by classifying the Pequot as "foreigners" to the region. He described them as invaders from "the interior of the continent" who "by force seized upon one of the places near the sea, and became a Terror to all their Neighbors." The book was published in the mid-nineteenth century. Contemporary scholars have generally concluded that archaeological, linguistic, and documentary evidence all show the Pequot and their ancestors were indigenous for centuries in the Connecticut Valley before the arrival of Europeans. By the time the English colonies of Plymouth and Massachusetts Bay were being established, the Pequot had established dominance of the political, military, and economic spheres among Native Americans in what is now central and eastern Connecticut. Occupying the coastal area between the Niantic River of present-day Connecticut and the Wecapaug River in western Rhode Island, the Pequot numbered some 16,000 persons in the most densely inhabited portion of southern New England. CANNOTANSWER

Question: Besides establishing dominance of the political, military, and economic spheres among Native Americans, are there any other interesting aspects about this article?
Answer: At one time some scholars believed that the Pequot migrated from the upper Hudson River Valley into central and eastern Connecticut around 1500.
Layla

Context: The album Layla and Other Assorted Love Songs opened to lacklustre sales as the album never actually reached the music charts in the United Kingdom, possibly in part because Clapton's name was found only on the back cover. In addition, the song's length proved prohibitive for radio airplay. As a result, an edited version of the song, trimmed to 2:43, was released as a single in March 1971 by Atco Records in the United States. The version peaked at #51 on the Billboard Hot 100 singles chart. When "Layla" was re-released on the 1972 compilations The History of Eric Clapton and Duane Allman's An Anthology and then released the full 7:10 version as a single, it charted at number seven in the United Kingdom and reached number 10 in the United States. With good sales figures, the Billboard magazine was able to rank the Rock single as the 60th best-selling song in 1972. In 1982, "Layla" was re-released as a single in the United Kingdom, and peaked at number four. This time the whole seven-minute single charted, containing the trailing two-thirds which is instrumental only. Critical opinion since has been overwhelmingly positive. Dave Marsh, in The Rolling Stone Illustrated History of Rock and Roll, wrote that "there are few moments in the repertoire of recorded rock where a singer or writer has reached so deeply into himself that the effect of hearing them is akin to witnessing a murder or a suicide... to me 'Layla' is the greatest of them." Marsh listed "Layla" at number 156 in his The Heart of Rock & Soul: The 1001 Greatest Singles Ever Made. In May 1980, "Layla" was covered by the London Symphony Orchestra, but without the lyrics, being recorded at EMI Studio One, Abbey Road, London. A similar version has been performed by the Royal Philharmonic Orchestra. On 20 September 1983, a benefit show called the ARMS Charity Concert for Multiple Sclerosis at the Royal Albert Hall in London featured a jam with Eric Clapton, Jeff Beck, and Jimmy Page performing "Layla". Clapton, Beck, and Page were the Yardbirds' successive lead guitarists from 1963 to 1968. In 2003, the Allman Brothers Band began playing the song in concert. Warren Haynes sang the vocal, Gregg Allman played the piano part, and Derek Trucks played Duane Allman's guitar parts during the coda. The performances were seen as a tribute not only to Allman, but also to producer Tom Dowd, who had died the previous year. Eric Clapton recorded yet a third version. "Layla" appears as track seven on Play the Blues: Live from Jazz at Lincoln Center. Personnel on this version include Wynton Marsalis (vocals, trumpet), Eric Clapton (vocals, guitar), Victor Goines (clarinet), Marcus Printup (trumpet), Chris Crenshaw (trombone, vocals), Don Vappie (banjo), Chris Stainton (keyboards), Dan Nimmer (piano), Carlos Henriquez (bass), and Ali Jackson (drums). CANNOTANSWER

Question: What was beyond the original album?
Answer: The album Layla and Other Assorted Love Songs opened to lacklustre sales
Layla

Context: The album Layla and Other Assorted Love Songs opened to lacklustre sales as the album never actually reached the music charts in the United Kingdom, possibly in part because Clapton's name was found only on the back cover. In addition, the song's length proved prohibitive for radio airplay. As a result, an edited version of the song, trimmed to 2:43, was released as a single in March 1971 by Atco Records in the United States. The version peaked at #51 on the Billboard Hot 100 singles chart. When "Layla" was re-released on the 1972 compilations The History of Eric Clapton and Duane Allman's An Anthology and then released the full 7:10 version as a single, it charted at number seven in the United Kingdom and reached number 10 in the United States. With good sales figures, the Billboard magazine was able to rank the Rock single as the 60th best-selling song in 1972. In 1982, "Layla" was re-released as a single in the United Kingdom, and peaked at number four. This time the whole seven-minute single charted, containing the trailing two-thirds which is instrumental only. Critical opinion since has been overwhelmingly positive. Dave Marsh, in The Rolling Stone Illustrated History of Rock and Roll, wrote that "there are few moments in the repertoire of recorded rock where a singer or writer has reached so deeply into himself that the effect of hearing them is akin to witnessing a murder or a suicide... to me 'Layla' is the greatest of them." Marsh listed "Layla" at number 156 in his The Heart of Rock & Soul: The 1001 Greatest Singles Ever Made. In May 1980, "Layla" was covered by the London Symphony Orchestra, but without the lyrics, being recorded at EMI Studio One, Abbey Road, London. A similar version has been performed by the Royal Philharmonic Orchestra. On 20 September 1983, a benefit show called the ARMS Charity Concert for Multiple Sclerosis at the Royal Albert Hall in London featured a jam with Eric Clapton, Jeff Beck, and Jimmy Page performing "Layla". Clapton, Beck, and Page were the Yardbirds' successive lead guitarists from 1963 to 1968. In 2003, the Allman Brothers Band began playing the song in concert. Warren Haynes sang the vocal, Gregg Allman played the piano part, and Derek Trucks played Duane Allman's guitar parts during the coda. The performances were seen as a tribute not only to Allman, but also to producer Tom Dowd, who had died the previous year. Eric Clapton recorded yet a third version. "Layla" appears as track seven on Play the Blues: Live from Jazz at Lincoln Center. Personnel on this version include Wynton Marsalis (vocals, trumpet), Eric Clapton (vocals, guitar), Victor Goines (clarinet), Marcus Printup (trumpet), Chris Crenshaw (trombone, vocals), Don Vappie (banjo), Chris Stainton (keyboards), Dan Nimmer (piano), Carlos Henriquez (bass), and Ali Jackson (drums). CANNOTANSWER

Question: Did Beyond the Original Album win any music awards?
Answer: CANNOTANSWER
Layla

Context: The album Layla and Other Assorted Love Songs opened to lacklustre sales as the album never actually reached the music charts in the United Kingdom, possibly in part because Clapton's name was found only on the back cover. In addition, the song's length proved prohibitive for radio airplay. As a result, an edited version of the song, trimmed to 2:43, was released as a single in March 1971 by Atco Records in the United States. The version peaked at #51 on the Billboard Hot 100 singles chart. When "Layla" was re-released on the 1972 compilations The History of Eric Clapton and Duane Allman's An Anthology and then released the full 7:10 version as a single, it charted at number seven in the United Kingdom and reached number 10 in the United States. With good sales figures, the Billboard magazine was able to rank the Rock single as the 60th best-selling song in 1972. In 1982, "Layla" was re-released as a single in the United Kingdom, and peaked at number four. This time the whole seven-minute single charted, containing the trailing two-thirds which is instrumental only. Critical opinion since has been overwhelmingly positive. Dave Marsh, in The Rolling Stone Illustrated History of Rock and Roll, wrote that "there are few moments in the repertoire of recorded rock where a singer or writer has reached so deeply into himself that the effect of hearing them is akin to witnessing a murder or a suicide... to me 'Layla' is the greatest of them." Marsh listed "Layla" at number 156 in his The Heart of Rock & Soul: The 1001 Greatest Singles Ever Made. In May 1980, "Layla" was covered by the London Symphony Orchestra, but without the lyrics, being recorded at EMI Studio One, Abbey Road, London. A similar version has been performed by the Royal Philharmonic Orchestra. On 20 September 1983, a benefit show called the ARMS Charity Concert for Multiple Sclerosis at the Royal Albert Hall in London featured a jam with Eric Clapton, Jeff Beck, and Jimmy Page performing "Layla". Clapton, Beck, and Page were the Yardbirds' successive lead guitarists from 1963 to 1968. In 2003, the Allman Brothers Band began playing the song in concert. Warren Haynes sang the vocal, Gregg Allman played the piano part, and Derek Trucks played Duane Allman's guitar parts during the coda. The performances were seen as a tribute not only to Allman, but also to producer Tom Dowd, who had died the previous year. Eric Clapton recorded yet a third version. "Layla" appears as track seven on Play the Blues: Live from Jazz at Lincoln Center. Personnel on this version include Wynton Marsalis (vocals, trumpet), Eric Clapton (vocals, guitar), Victor Goines (clarinet), Marcus Printup (trumpet), Chris Crenshaw (trombone, vocals), Don Vappie (banjo), Chris Stainton (keyboards), Dan Nimmer (piano), Carlos Henriquez (bass), and Ali Jackson (drums). CANNOTANSWER

Question: Other than the album, are there any other interesting aspects about this article?
Answer: In May 1980, "Layla" was covered by the London Symphony Orchestra,
Layla

Context: The album Layla and Other Assorted Love Songs opened to lacklustre sales as the album never actually reached the music charts in the United Kingdom, possibly in part because Clapton's name was found only on the back cover. In addition, the song's length proved prohibitive for radio airplay. As a result, an edited version of the song, trimmed to 2:43, was released as a single in March 1971 by Atco Records in the United States. The version peaked at #51 on the Billboard Hot 100 singles chart. When "Layla" was re-released on the 1972 compilations The History of Eric Clapton and Duane Allman's An Anthology and then released the full 7:10 version as a single, it charted at number seven in the United Kingdom and reached number 10 in the United States. With good sales figures, the Billboard magazine was able to rank the Rock single as the 60th best-selling song in 1972. In 1982, "Layla" was re-released as a single in the United Kingdom, and peaked at number four. This time the whole seven-minute single charted, containing the trailing two-thirds which is instrumental only. Critical opinion since has been overwhelmingly positive. Dave Marsh, in The Rolling Stone Illustrated History of Rock and Roll, wrote that "there are few moments in the repertoire of recorded rock where a singer or writer has reached so deeply into himself that the effect of hearing them is akin to witnessing a murder or a suicide... to me 'Layla' is the greatest of them." Marsh listed "Layla" at number 156 in his The Heart of Rock & Soul: The 1001 Greatest Singles Ever Made. In May 1980, "Layla" was covered by the London Symphony Orchestra, but without the lyrics, being recorded at EMI Studio One, Abbey Road, London. A similar version has been performed by the Royal Philharmonic Orchestra. On 20 September 1983, a benefit show called the ARMS Charity Concert for Multiple Sclerosis at the Royal Albert Hall in London featured a jam with Eric Clapton, Jeff Beck, and Jimmy Page performing "Layla". Clapton, Beck, and Page were the Yardbirds' successive lead guitarists from 1963 to 1968. In 2003, the Allman Brothers Band began playing the song in concert. Warren Haynes sang the vocal, Gregg Allman played the piano part, and Derek Trucks played Duane Allman's guitar parts during the coda. The performances were seen as a tribute not only to Allman, but also to producer Tom Dowd, who had died the previous year. Eric Clapton recorded yet a third version. "Layla" appears as track seven on Play the Blues: Live from Jazz at Lincoln Center. Personnel on this version include Wynton Marsalis (vocals, trumpet), Eric Clapton (vocals, guitar), Victor Goines (clarinet), Marcus Printup (trumpet), Chris Crenshaw (trombone, vocals), Don Vappie (banjo), Chris Stainton (keyboards), Dan Nimmer (piano), Carlos Henriquez (bass), and Ali Jackson (drums). CANNOTANSWER

Question: Other than making the music charts, did the album receive any other recognition?
Answer: With good sales figures, the Billboard magazine was able to rank the Rock single as the 60th best-selling song in 1972.
Layla

Context: The album Layla and Other Assorted Love Songs opened to lacklustre sales as the album never actually reached the music charts in the United Kingdom, possibly in part because Clapton's name was found only on the back cover. In addition, the song's length proved prohibitive for radio airplay. As a result, an edited version of the song, trimmed to 2:43, was released as a single in March 1971 by Atco Records in the United States. The version peaked at #51 on the Billboard Hot 100 singles chart. When "Layla" was re-released on the 1972 compilations The History of Eric Clapton and Duane Allman's An Anthology and then released the full 7:10 version as a single, it charted at number seven in the United Kingdom and reached number 10 in the United States. With good sales figures, the Billboard magazine was able to rank the Rock single as the 60th best-selling song in 1972. In 1982, "Layla" was re-released as a single in the United Kingdom, and peaked at number four. This time the whole seven-minute single charted, containing the trailing two-thirds which is instrumental only. Critical opinion since has been overwhelmingly positive. Dave Marsh, in The Rolling Stone Illustrated History of Rock and Roll, wrote that "there are few moments in the repertoire of recorded rock where a singer or writer has reached so deeply into himself that the effect of hearing them is akin to witnessing a murder or a suicide... to me 'Layla' is the greatest of them." Marsh listed "Layla" at number 156 in his The Heart of Rock & Soul: The 1001 Greatest Singles Ever Made. In May 1980, "Layla" was covered by the London Symphony Orchestra, but without the lyrics, being recorded at EMI Studio One, Abbey Road, London. A similar version has been performed by the Royal Philharmonic Orchestra. On 20 September 1983, a benefit show called the ARMS Charity Concert for Multiple Sclerosis at the Royal Albert Hall in London featured a jam with Eric Clapton, Jeff Beck, and Jimmy Page performing "Layla". Clapton, Beck, and Page were the Yardbirds' successive lead guitarists from 1963 to 1968. In 2003, the Allman Brothers Band began playing the song in concert. Warren Haynes sang the vocal, Gregg Allman played the piano part, and Derek Trucks played Duane Allman's guitar parts during the coda. The performances were seen as a tribute not only to Allman, but also to producer Tom Dowd, who had died the previous year. Eric Clapton recorded yet a third version. "Layla" appears as track seven on Play the Blues: Live from Jazz at Lincoln Center. Personnel on this version include Wynton Marsalis (vocals, trumpet), Eric Clapton (vocals, guitar), Victor Goines (clarinet), Marcus Printup (trumpet), Chris Crenshaw (trombone, vocals), Don Vappie (banjo), Chris Stainton (keyboards), Dan Nimmer (piano), Carlos Henriquez (bass), and Ali Jackson (drums). CANNOTANSWER

Question: What did Rolling Stone write?
Answer: few moments in the repertoire of recorded rock where a singer or writer has reached so deeply into himself
Layla

Context: The album Layla and Other Assorted Love Songs opened to lacklustre sales as the album never actually reached the music charts in the United Kingdom, possibly in part because Clapton's name was found only on the back cover. In addition, the song's length proved prohibitive for radio airplay. As a result, an edited version of the song, trimmed to 2:43, was released as a single in March 1971 by Atco Records in the United States. The version peaked at #51 on the Billboard Hot 100 singles chart. When "Layla" was re-released on the 1972 compilations The History of Eric Clapton and Duane Allman's An Anthology and then released the full 7:10 version as a single, it charted at number seven in the United Kingdom and reached number 10 in the United States. With good sales figures, the Billboard magazine was able to rank the Rock single as the 60th best-selling song in 1972. In 1982, "Layla" was re-released as a single in the United Kingdom, and peaked at number four. This time the whole seven-minute single charted, containing the trailing two-thirds which is instrumental only. Critical opinion since has been overwhelmingly positive. Dave Marsh, in The Rolling Stone Illustrated History of Rock and Roll, wrote that "there are few moments in the repertoire of recorded rock where a singer or writer has reached so deeply into himself that the effect of hearing them is akin to witnessing a murder or a suicide... to me 'Layla' is the greatest of them." Marsh listed "Layla" at number 156 in his The Heart of Rock & Soul: The 1001 Greatest Singles Ever Made. In May 1980, "Layla" was covered by the London Symphony Orchestra, but without the lyrics, being recorded at EMI Studio One, Abbey Road, London. A similar version has been performed by the Royal Philharmonic Orchestra. On 20 September 1983, a benefit show called the ARMS Charity Concert for Multiple Sclerosis at the Royal Albert Hall in London featured a jam with Eric Clapton, Jeff Beck, and Jimmy Page performing "Layla". Clapton, Beck, and Page were the Yardbirds' successive lead guitarists from 1963 to 1968. In 2003, the Allman Brothers Band began playing the song in concert. Warren Haynes sang the vocal, Gregg Allman played the piano part, and Derek Trucks played Duane Allman's guitar parts during the coda. The performances were seen as a tribute not only to Allman, but also to producer Tom Dowd, who had died the previous year. Eric Clapton recorded yet a third version. "Layla" appears as track seven on Play the Blues: Live from Jazz at Lincoln Center. Personnel on this version include Wynton Marsalis (vocals, trumpet), Eric Clapton (vocals, guitar), Victor Goines (clarinet), Marcus Printup (trumpet), Chris Crenshaw (trombone, vocals), Don Vappie (banjo), Chris Stainton (keyboards), Dan Nimmer (piano), Carlos Henriquez (bass), and Ali Jackson (drums). CANNOTANSWER

Question: Aside from the Rolling Stone article, did the album win any other awards?
Answer: CANNOTANSWER
Layla

Context: The album Layla and Other Assorted Love Songs opened to lacklustre sales as the album never actually reached the music charts in the United Kingdom, possibly in part because Clapton's name was found only on the back cover. In addition, the song's length proved prohibitive for radio airplay. As a result, an edited version of the song, trimmed to 2:43, was released as a single in March 1971 by Atco Records in the United States. The version peaked at #51 on the Billboard Hot 100 singles chart. When "Layla" was re-released on the 1972 compilations The History of Eric Clapton and Duane Allman's An Anthology and then released the full 7:10 version as a single, it charted at number seven in the United Kingdom and reached number 10 in the United States. With good sales figures, the Billboard magazine was able to rank the Rock single as the 60th best-selling song in 1972. In 1982, "Layla" was re-released as a single in the United Kingdom, and peaked at number four. This time the whole seven-minute single charted, containing the trailing two-thirds which is instrumental only. Critical opinion since has been overwhelmingly positive. Dave Marsh, in The Rolling Stone Illustrated History of Rock and Roll, wrote that "there are few moments in the repertoire of recorded rock where a singer or writer has reached so deeply into himself that the effect of hearing them is akin to witnessing a murder or a suicide... to me 'Layla' is the greatest of them." Marsh listed "Layla" at number 156 in his The Heart of Rock & Soul: The 1001 Greatest Singles Ever Made. In May 1980, "Layla" was covered by the London Symphony Orchestra, but without the lyrics, being recorded at EMI Studio One, Abbey Road, London. A similar version has been performed by the Royal Philharmonic Orchestra. On 20 September 1983, a benefit show called the ARMS Charity Concert for Multiple Sclerosis at the Royal Albert Hall in London featured a jam with Eric Clapton, Jeff Beck, and Jimmy Page performing "Layla". Clapton, Beck, and Page were the Yardbirds' successive lead guitarists from 1963 to 1968. In 2003, the Allman Brothers Band began playing the song in concert. Warren Haynes sang the vocal, Gregg Allman played the piano part, and Derek Trucks played Duane Allman's guitar parts during the coda. The performances were seen as a tribute not only to Allman, but also to producer Tom Dowd, who had died the previous year. Eric Clapton recorded yet a third version. "Layla" appears as track seven on Play the Blues: Live from Jazz at Lincoln Center. Personnel on this version include Wynton Marsalis (vocals, trumpet), Eric Clapton (vocals, guitar), Victor Goines (clarinet), Marcus Printup (trumpet), Chris Crenshaw (trombone, vocals), Don Vappie (banjo), Chris Stainton (keyboards), Dan Nimmer (piano), Carlos Henriquez (bass), and Ali Jackson (drums). CANNOTANSWER

Question: In addition to the success of the album, is there anything else notable about the album?
Answer: "Layla" appears as track seven on Play the Blues: Live from Jazz at Lincoln Center.
Jascha Heifetz

Context: Heifetz was "regarded as the greatest violin virtuoso since Paganini," wrote Lois Timnick of the Los Angeles Times. "He set all standards for 20th-century violin playing...everything about him conspired to create a sense of awe," wrote music critic Harold Schonberg of the New York Times. "The goals he set still remain, and for violinists today it's rather depressing that they may never really be attained again," wrote violinist Itzhak Perlman. Virgil Thomson, possibly referencing Richard Wagner's reputed taste for silk next to his skin, called Heifetz's style of playing "silk underwear music", a term he did not intend as a compliment. Other critics argue that he infused his playing with feeling and reverence for the composer's intentions. His style of playing was highly influential in defining the way modern violinists approach the instrument. His use of rapid vibrato, emotionally charged portamento, fast tempi, and superb bow control coalesced to create a highly distinctive sound that makes Heifetz's playing instantly recognizable to aficionados. The violinist Itzhak Perlman, who himself is noted for his rich warm tone and expressive use of portamento, describes Heifetz's tone as like "a tornado" because of its emotional intensity. Perlman said that Heifetz preferred to be recorded relatively close to the microphone; as a result, one would perceive a somewhat different tone quality when listening to Heifetz during a concert hall performance. Heifetz was very particular about his choice of strings. He used a silver wound Tricolore gut G string, plain gut unvarnished D and A strings, and a Goldbrokat steel E string medium including clear Hill brand rosin sparingly. Heifetz believed that playing on gut strings was important in rendering an individual sound. CANNOTANSWER

Question: Is Jascha is a good violin player?
Answer: Heifetz was "regarded as the greatest violin virtuoso since Paganini,"
Jascha Heifetz

Context: Heifetz was "regarded as the greatest violin virtuoso since Paganini," wrote Lois Timnick of the Los Angeles Times. "He set all standards for 20th-century violin playing...everything about him conspired to create a sense of awe," wrote music critic Harold Schonberg of the New York Times. "The goals he set still remain, and for violinists today it's rather depressing that they may never really be attained again," wrote violinist Itzhak Perlman. Virgil Thomson, possibly referencing Richard Wagner's reputed taste for silk next to his skin, called Heifetz's style of playing "silk underwear music", a term he did not intend as a compliment. Other critics argue that he infused his playing with feeling and reverence for the composer's intentions. His style of playing was highly influential in defining the way modern violinists approach the instrument. His use of rapid vibrato, emotionally charged portamento, fast tempi, and superb bow control coalesced to create a highly distinctive sound that makes Heifetz's playing instantly recognizable to aficionados. The violinist Itzhak Perlman, who himself is noted for his rich warm tone and expressive use of portamento, describes Heifetz's tone as like "a tornado" because of its emotional intensity. Perlman said that Heifetz preferred to be recorded relatively close to the microphone; as a result, one would perceive a somewhat different tone quality when listening to Heifetz during a concert hall performance. Heifetz was very particular about his choice of strings. He used a silver wound Tricolore gut G string, plain gut unvarnished D and A strings, and a Goldbrokat steel E string medium including clear Hill brand rosin sparingly. Heifetz believed that playing on gut strings was important in rendering an individual sound. CANNOTANSWER

Question: What were some of Jascha Heifetz's famous songs?
Answer: CANNOTANSWER
Jascha Heifetz

Context: Heifetz was "regarded as the greatest violin virtuoso since Paganini," wrote Lois Timnick of the Los Angeles Times. "He set all standards for 20th-century violin playing...everything about him conspired to create a sense of awe," wrote music critic Harold Schonberg of the New York Times. "The goals he set still remain, and for violinists today it's rather depressing that they may never really be attained again," wrote violinist Itzhak Perlman. Virgil Thomson, possibly referencing Richard Wagner's reputed taste for silk next to his skin, called Heifetz's style of playing "silk underwear music", a term he did not intend as a compliment. Other critics argue that he infused his playing with feeling and reverence for the composer's intentions. His style of playing was highly influential in defining the way modern violinists approach the instrument. His use of rapid vibrato, emotionally charged portamento, fast tempi, and superb bow control coalesced to create a highly distinctive sound that makes Heifetz's playing instantly recognizable to aficionados. The violinist Itzhak Perlman, who himself is noted for his rich warm tone and expressive use of portamento, describes Heifetz's tone as like "a tornado" because of its emotional intensity. Perlman said that Heifetz preferred to be recorded relatively close to the microphone; as a result, one would perceive a somewhat different tone quality when listening to Heifetz during a concert hall performance. Heifetz was very particular about his choice of strings. He used a silver wound Tricolore gut G string, plain gut unvarnished D and A strings, and a Goldbrokat steel E string medium including clear Hill brand rosin sparingly. Heifetz believed that playing on gut strings was important in rendering an individual sound. CANNOTANSWER

Question: Besides , Technique and timbre, are there any other interesting aspects about this article?
Answer: "He set all standards for 20th-century violin playing...everything about him conspired to create a sense of awe," wrote music critic Harold Schonberg
Jascha Heifetz

Context: Heifetz was "regarded as the greatest violin virtuoso since Paganini," wrote Lois Timnick of the Los Angeles Times. "He set all standards for 20th-century violin playing...everything about him conspired to create a sense of awe," wrote music critic Harold Schonberg of the New York Times. "The goals he set still remain, and for violinists today it's rather depressing that they may never really be attained again," wrote violinist Itzhak Perlman. Virgil Thomson, possibly referencing Richard Wagner's reputed taste for silk next to his skin, called Heifetz's style of playing "silk underwear music", a term he did not intend as a compliment. Other critics argue that he infused his playing with feeling and reverence for the composer's intentions. His style of playing was highly influential in defining the way modern violinists approach the instrument. His use of rapid vibrato, emotionally charged portamento, fast tempi, and superb bow control coalesced to create a highly distinctive sound that makes Heifetz's playing instantly recognizable to aficionados. The violinist Itzhak Perlman, who himself is noted for his rich warm tone and expressive use of portamento, describes Heifetz's tone as like "a tornado" because of its emotional intensity. Perlman said that Heifetz preferred to be recorded relatively close to the microphone; as a result, one would perceive a somewhat different tone quality when listening to Heifetz during a concert hall performance. Heifetz was very particular about his choice of strings. He used a silver wound Tricolore gut G string, plain gut unvarnished D and A strings, and a Goldbrokat steel E string medium including clear Hill brand rosin sparingly. Heifetz believed that playing on gut strings was important in rendering an individual sound. CANNOTANSWER

Question: What were Jascha Heifetz's choices?
Answer: Heifetz was very particular about his choice of strings.