gaussalgo/Canard_Wiki-augmented huggingface dataset:
Ronald Shannon Jackson

Context: His output slowed in the early 2000s due to nerve damage in his left arm. After consulting with a neurologist, Jackson declined surgery and was able to regain his strength through years of physical therapy. Physical limitations did not diminish his output as a composer, and he unveiled new material on YouTube in 2012.  Jackson joined trumpeter Wadada Leo Smith's Golden Quartet with pianist Vijay Iyer and double-bassist John Lindberg in 2005. Their collaboration is documented on the Tabligh CD and the Eclipse DVD.  He played with the Punk Funk All Stars in 2006, which included Melvin Gibbs, Joseph Bowie, Vernon Reid, and James Blood Ulmer. In 2008 Jackson and Jamaaladeen Tacuma toured Europe with The Last Poets; this collaboration was documented in the film "The Last Poets / Made in Amerikkka" directed by Claude Santiago.  In 2011 Jackson, Vernon Reid and Melvin Gibbs formed a power trio called Encryption. During their trip to the Moers Festival in Germany, Jackson suffered a heart attack and underwent an angioplasty. The next day, he checked himself out of the hospital to play with Reid and Gibbs at the festival. Afterwards, Jackson checked himself back in for medical observation.  On July 7, 2012, Jackson performed at the Kessler Theater in Dallas with the latest version of the Decoding Society, which includes violinist Leonard Hayward, trumpeter John Weir, guitarist Gregg Prickett, and bassist Melvin Gibbs. The new compositions were described as being as strong as the best of his recorded work. The performance was voted as one of the Ten Best Concerts of 2012 in the Dallas Observer. CANNOTANSWER

Question: How did  Ronald Shannon Jackson die?
Answer: Jackson suffered a heart attack and underwent an angioplasty.
Ronald Shannon Jackson

Context: His output slowed in the early 2000s due to nerve damage in his left arm. After consulting with a neurologist, Jackson declined surgery and was able to regain his strength through years of physical therapy. Physical limitations did not diminish his output as a composer, and he unveiled new material on YouTube in 2012.  Jackson joined trumpeter Wadada Leo Smith's Golden Quartet with pianist Vijay Iyer and double-bassist John Lindberg in 2005. Their collaboration is documented on the Tabligh CD and the Eclipse DVD.  He played with the Punk Funk All Stars in 2006, which included Melvin Gibbs, Joseph Bowie, Vernon Reid, and James Blood Ulmer. In 2008 Jackson and Jamaaladeen Tacuma toured Europe with The Last Poets; this collaboration was documented in the film "The Last Poets / Made in Amerikkka" directed by Claude Santiago.  In 2011 Jackson, Vernon Reid and Melvin Gibbs formed a power trio called Encryption. During their trip to the Moers Festival in Germany, Jackson suffered a heart attack and underwent an angioplasty. The next day, he checked himself out of the hospital to play with Reid and Gibbs at the festival. Afterwards, Jackson checked himself back in for medical observation.  On July 7, 2012, Jackson performed at the Kessler Theater in Dallas with the latest version of the Decoding Society, which includes violinist Leonard Hayward, trumpeter John Weir, guitarist Gregg Prickett, and bassist Melvin Gibbs. The new compositions were described as being as strong as the best of his recorded work. The performance was voted as one of the Ten Best Concerts of 2012 in the Dallas Observer. CANNOTANSWER

Question: Did  Ronald Shannon Jackson have any tributes made to him?
Answer: violinist Leonard Hayward, trumpeter John Weir, guitarist Gregg Prickett, and bassist Melvin Gibbs.
Ronald Shannon Jackson

Context: His output slowed in the early 2000s due to nerve damage in his left arm. After consulting with a neurologist, Jackson declined surgery and was able to regain his strength through years of physical therapy. Physical limitations did not diminish his output as a composer, and he unveiled new material on YouTube in 2012.  Jackson joined trumpeter Wadada Leo Smith's Golden Quartet with pianist Vijay Iyer and double-bassist John Lindberg in 2005. Their collaboration is documented on the Tabligh CD and the Eclipse DVD.  He played with the Punk Funk All Stars in 2006, which included Melvin Gibbs, Joseph Bowie, Vernon Reid, and James Blood Ulmer. In 2008 Jackson and Jamaaladeen Tacuma toured Europe with The Last Poets; this collaboration was documented in the film "The Last Poets / Made in Amerikkka" directed by Claude Santiago.  In 2011 Jackson, Vernon Reid and Melvin Gibbs formed a power trio called Encryption. During their trip to the Moers Festival in Germany, Jackson suffered a heart attack and underwent an angioplasty. The next day, he checked himself out of the hospital to play with Reid and Gibbs at the festival. Afterwards, Jackson checked himself back in for medical observation.  On July 7, 2012, Jackson performed at the Kessler Theater in Dallas with the latest version of the Decoding Society, which includes violinist Leonard Hayward, trumpeter John Weir, guitarist Gregg Prickett, and bassist Melvin Gibbs. The new compositions were described as being as strong as the best of his recorded work. The performance was voted as one of the Ten Best Concerts of 2012 in the Dallas Observer. CANNOTANSWER

Question: What else did  Ronald Shannon Jackson do in his later career besides act?
Answer: Jackson performed at the Kessler Theater in Dallas with the latest version of the Decoding Society,
Ronald Shannon Jackson

Context: His output slowed in the early 2000s due to nerve damage in his left arm. After consulting with a neurologist, Jackson declined surgery and was able to regain his strength through years of physical therapy. Physical limitations did not diminish his output as a composer, and he unveiled new material on YouTube in 2012.  Jackson joined trumpeter Wadada Leo Smith's Golden Quartet with pianist Vijay Iyer and double-bassist John Lindberg in 2005. Their collaboration is documented on the Tabligh CD and the Eclipse DVD.  He played with the Punk Funk All Stars in 2006, which included Melvin Gibbs, Joseph Bowie, Vernon Reid, and James Blood Ulmer. In 2008 Jackson and Jamaaladeen Tacuma toured Europe with The Last Poets; this collaboration was documented in the film "The Last Poets / Made in Amerikkka" directed by Claude Santiago.  In 2011 Jackson, Vernon Reid and Melvin Gibbs formed a power trio called Encryption. During their trip to the Moers Festival in Germany, Jackson suffered a heart attack and underwent an angioplasty. The next day, he checked himself out of the hospital to play with Reid and Gibbs at the festival. Afterwards, Jackson checked himself back in for medical observation.  On July 7, 2012, Jackson performed at the Kessler Theater in Dallas with the latest version of the Decoding Society, which includes violinist Leonard Hayward, trumpeter John Weir, guitarist Gregg Prickett, and bassist Melvin Gibbs. The new compositions were described as being as strong as the best of his recorded work. The performance was voted as one of the Ten Best Concerts of 2012 in the Dallas Observer. CANNOTANSWER

Question: What instruments did  Ronald Shannon Jackson play during 2000-2013?
Answer: pianist
Ronald Shannon Jackson

Context: His output slowed in the early 2000s due to nerve damage in his left arm. After consulting with a neurologist, Jackson declined surgery and was able to regain his strength through years of physical therapy. Physical limitations did not diminish his output as a composer, and he unveiled new material on YouTube in 2012.  Jackson joined trumpeter Wadada Leo Smith's Golden Quartet with pianist Vijay Iyer and double-bassist John Lindberg in 2005. Their collaboration is documented on the Tabligh CD and the Eclipse DVD.  He played with the Punk Funk All Stars in 2006, which included Melvin Gibbs, Joseph Bowie, Vernon Reid, and James Blood Ulmer. In 2008 Jackson and Jamaaladeen Tacuma toured Europe with The Last Poets; this collaboration was documented in the film "The Last Poets / Made in Amerikkka" directed by Claude Santiago.  In 2011 Jackson, Vernon Reid and Melvin Gibbs formed a power trio called Encryption. During their trip to the Moers Festival in Germany, Jackson suffered a heart attack and underwent an angioplasty. The next day, he checked himself out of the hospital to play with Reid and Gibbs at the festival. Afterwards, Jackson checked himself back in for medical observation.  On July 7, 2012, Jackson performed at the Kessler Theater in Dallas with the latest version of the Decoding Society, which includes violinist Leonard Hayward, trumpeter John Weir, guitarist Gregg Prickett, and bassist Melvin Gibbs. The new compositions were described as being as strong as the best of his recorded work. The performance was voted as one of the Ten Best Concerts of 2012 in the Dallas Observer. CANNOTANSWER

Question: Are there any other interesting aspects about  Ronald Shannon Jackson's aside from his late career?
Answer: The new compositions were described as being as strong as the best of his recorded work.
Ronald Shannon Jackson

Context: His output slowed in the early 2000s due to nerve damage in his left arm. After consulting with a neurologist, Jackson declined surgery and was able to regain his strength through years of physical therapy. Physical limitations did not diminish his output as a composer, and he unveiled new material on YouTube in 2012.  Jackson joined trumpeter Wadada Leo Smith's Golden Quartet with pianist Vijay Iyer and double-bassist John Lindberg in 2005. Their collaboration is documented on the Tabligh CD and the Eclipse DVD.  He played with the Punk Funk All Stars in 2006, which included Melvin Gibbs, Joseph Bowie, Vernon Reid, and James Blood Ulmer. In 2008 Jackson and Jamaaladeen Tacuma toured Europe with The Last Poets; this collaboration was documented in the film "The Last Poets / Made in Amerikkka" directed by Claude Santiago.  In 2011 Jackson, Vernon Reid and Melvin Gibbs formed a power trio called Encryption. During their trip to the Moers Festival in Germany, Jackson suffered a heart attack and underwent an angioplasty. The next day, he checked himself out of the hospital to play with Reid and Gibbs at the festival. Afterwards, Jackson checked himself back in for medical observation.  On July 7, 2012, Jackson performed at the Kessler Theater in Dallas with the latest version of the Decoding Society, which includes violinist Leonard Hayward, trumpeter John Weir, guitarist Gregg Prickett, and bassist Melvin Gibbs. The new compositions were described as being as strong as the best of his recorded work. The performance was voted as one of the Ten Best Concerts of 2012 in the Dallas Observer. CANNOTANSWER

Question: How many compositions did  Ronald Shannon Jackson make?
Answer: violinist Leonard Hayward, trumpeter John Weir, guitarist Gregg Prickett, and bassist Melvin Gibbs.
Oscar Robertson

Context: Robertson continued to excel while at the University of Cincinnati, recording an incredible scoring average of 33.8 points per game, the third highest in college history. In each of his three years, he won the national scoring title, was named an All-American, and was chosen College Player of the Year, while setting 14 NCAA and 19 school records.  Robertson's stellar play led the Bearcats to a 79-9 overall record during his three varsity seasons, including two Final Four appearances. However, a championship eluded Robertson, something that would become a repeated occurrence in his professional career. When Robertson left college he was the all-time leading NCAA scorer until fellow Hall of Fame player Pete Maravich topped him in 1970. It is interesting to note that Robertson took Cincinnati to national prominence during his time there, but the university's greatest success in basketball took place immediately after his departure, when the team won national titles in 1961, 1962, and just missed a third title in 1963.  He continues to stand atop the Bearcats' record book. The many records he still holds include: points in one game, 62 (one of his six games of 50 points or more); career triple-doubles, 10; career rebounds per game, 15.2; and career points, 2,973.  Robertson had many outstanding individual game performances, including 10 triple-doubles. His personal best might have been his line of 45 points, 23 rebounds and 10 assists vs. Indiana State in 1959.  Despite his success on the court, Robertson's college career was soured by racism. In those days, southern university programs such as those of Kentucky, Duke, and North Carolina did not recruit black athletes, and road trips to segregated cities were especially difficult, with Robertson often sleeping in college dorms instead of hotels. "I'll never forgive them", he told The Indianapolis Star years later. Decades after his college days, Robertson's stellar NCAA career was rewarded by the United States Basketball Writers Association when, in 1998, they renamed the trophy awarded to the NCAA Division I Player of the Year the Oscar Robertson Trophy. This honor brought the award full circle for Robertson since he had won the first two awards ever presented. CANNOTANSWER

Question: What did Oscar Robertson do at the university of cincinnati?
Answer: recording an incredible scoring average of 33.8 points per game,
Oscar Robertson

Context: Robertson continued to excel while at the University of Cincinnati, recording an incredible scoring average of 33.8 points per game, the third highest in college history. In each of his three years, he won the national scoring title, was named an All-American, and was chosen College Player of the Year, while setting 14 NCAA and 19 school records.  Robertson's stellar play led the Bearcats to a 79-9 overall record during his three varsity seasons, including two Final Four appearances. However, a championship eluded Robertson, something that would become a repeated occurrence in his professional career. When Robertson left college he was the all-time leading NCAA scorer until fellow Hall of Fame player Pete Maravich topped him in 1970. It is interesting to note that Robertson took Cincinnati to national prominence during his time there, but the university's greatest success in basketball took place immediately after his departure, when the team won national titles in 1961, 1962, and just missed a third title in 1963.  He continues to stand atop the Bearcats' record book. The many records he still holds include: points in one game, 62 (one of his six games of 50 points or more); career triple-doubles, 10; career rebounds per game, 15.2; and career points, 2,973.  Robertson had many outstanding individual game performances, including 10 triple-doubles. His personal best might have been his line of 45 points, 23 rebounds and 10 assists vs. Indiana State in 1959.  Despite his success on the court, Robertson's college career was soured by racism. In those days, southern university programs such as those of Kentucky, Duke, and North Carolina did not recruit black athletes, and road trips to segregated cities were especially difficult, with Robertson often sleeping in college dorms instead of hotels. "I'll never forgive them", he told The Indianapolis Star years later. Decades after his college days, Robertson's stellar NCAA career was rewarded by the United States Basketball Writers Association when, in 1998, they renamed the trophy awarded to the NCAA Division I Player of the Year the Oscar Robertson Trophy. This honor brought the award full circle for Robertson since he had won the first two awards ever presented. CANNOTANSWER

Question: what position did Oscar Robertson play at the University of Cincinnati?
Answer: CANNOTANSWER
Oscar Robertson

Context: Robertson continued to excel while at the University of Cincinnati, recording an incredible scoring average of 33.8 points per game, the third highest in college history. In each of his three years, he won the national scoring title, was named an All-American, and was chosen College Player of the Year, while setting 14 NCAA and 19 school records.  Robertson's stellar play led the Bearcats to a 79-9 overall record during his three varsity seasons, including two Final Four appearances. However, a championship eluded Robertson, something that would become a repeated occurrence in his professional career. When Robertson left college he was the all-time leading NCAA scorer until fellow Hall of Fame player Pete Maravich topped him in 1970. It is interesting to note that Robertson took Cincinnati to national prominence during his time there, but the university's greatest success in basketball took place immediately after his departure, when the team won national titles in 1961, 1962, and just missed a third title in 1963.  He continues to stand atop the Bearcats' record book. The many records he still holds include: points in one game, 62 (one of his six games of 50 points or more); career triple-doubles, 10; career rebounds per game, 15.2; and career points, 2,973.  Robertson had many outstanding individual game performances, including 10 triple-doubles. His personal best might have been his line of 45 points, 23 rebounds and 10 assists vs. Indiana State in 1959.  Despite his success on the court, Robertson's college career was soured by racism. In those days, southern university programs such as those of Kentucky, Duke, and North Carolina did not recruit black athletes, and road trips to segregated cities were especially difficult, with Robertson often sleeping in college dorms instead of hotels. "I'll never forgive them", he told The Indianapolis Star years later. Decades after his college days, Robertson's stellar NCAA career was rewarded by the United States Basketball Writers Association when, in 1998, they renamed the trophy awarded to the NCAA Division I Player of the Year the Oscar Robertson Trophy. This honor brought the award full circle for Robertson since he had won the first two awards ever presented. CANNOTANSWER

Question: did Oscar Robertson's team win any championships?
Answer: championship eluded Robertson,
Oscar Robertson

Context: Robertson continued to excel while at the University of Cincinnati, recording an incredible scoring average of 33.8 points per game, the third highest in college history. In each of his three years, he won the national scoring title, was named an All-American, and was chosen College Player of the Year, while setting 14 NCAA and 19 school records.  Robertson's stellar play led the Bearcats to a 79-9 overall record during his three varsity seasons, including two Final Four appearances. However, a championship eluded Robertson, something that would become a repeated occurrence in his professional career. When Robertson left college he was the all-time leading NCAA scorer until fellow Hall of Fame player Pete Maravich topped him in 1970. It is interesting to note that Robertson took Cincinnati to national prominence during his time there, but the university's greatest success in basketball took place immediately after his departure, when the team won national titles in 1961, 1962, and just missed a third title in 1963.  He continues to stand atop the Bearcats' record book. The many records he still holds include: points in one game, 62 (one of his six games of 50 points or more); career triple-doubles, 10; career rebounds per game, 15.2; and career points, 2,973.  Robertson had many outstanding individual game performances, including 10 triple-doubles. His personal best might have been his line of 45 points, 23 rebounds and 10 assists vs. Indiana State in 1959.  Despite his success on the court, Robertson's college career was soured by racism. In those days, southern university programs such as those of Kentucky, Duke, and North Carolina did not recruit black athletes, and road trips to segregated cities were especially difficult, with Robertson often sleeping in college dorms instead of hotels. "I'll never forgive them", he told The Indianapolis Star years later. Decades after his college days, Robertson's stellar NCAA career was rewarded by the United States Basketball Writers Association when, in 1998, they renamed the trophy awarded to the NCAA Division I Player of the Year the Oscar Robertson Trophy. This honor brought the award full circle for Robertson since he had won the first two awards ever presented. CANNOTANSWER

Question: did Oscar Robertson recieve any special recognition?
Answer: named an All-American, and was chosen College Player of the Year,
Oscar Robertson

Context: Robertson continued to excel while at the University of Cincinnati, recording an incredible scoring average of 33.8 points per game, the third highest in college history. In each of his three years, he won the national scoring title, was named an All-American, and was chosen College Player of the Year, while setting 14 NCAA and 19 school records.  Robertson's stellar play led the Bearcats to a 79-9 overall record during his three varsity seasons, including two Final Four appearances. However, a championship eluded Robertson, something that would become a repeated occurrence in his professional career. When Robertson left college he was the all-time leading NCAA scorer until fellow Hall of Fame player Pete Maravich topped him in 1970. It is interesting to note that Robertson took Cincinnati to national prominence during his time there, but the university's greatest success in basketball took place immediately after his departure, when the team won national titles in 1961, 1962, and just missed a third title in 1963.  He continues to stand atop the Bearcats' record book. The many records he still holds include: points in one game, 62 (one of his six games of 50 points or more); career triple-doubles, 10; career rebounds per game, 15.2; and career points, 2,973.  Robertson had many outstanding individual game performances, including 10 triple-doubles. His personal best might have been his line of 45 points, 23 rebounds and 10 assists vs. Indiana State in 1959.  Despite his success on the court, Robertson's college career was soured by racism. In those days, southern university programs such as those of Kentucky, Duke, and North Carolina did not recruit black athletes, and road trips to segregated cities were especially difficult, with Robertson often sleeping in college dorms instead of hotels. "I'll never forgive them", he told The Indianapolis Star years later. Decades after his college days, Robertson's stellar NCAA career was rewarded by the United States Basketball Writers Association when, in 1998, they renamed the trophy awarded to the NCAA Division I Player of the Year the Oscar Robertson Trophy. This honor brought the award full circle for Robertson since he had won the first two awards ever presented. CANNOTANSWER

Question: what year was Oscar Robertson named an All-American and chosen College Player of the Year?
Answer: CANNOTANSWER
Oscar Robertson

Context: Robertson continued to excel while at the University of Cincinnati, recording an incredible scoring average of 33.8 points per game, the third highest in college history. In each of his three years, he won the national scoring title, was named an All-American, and was chosen College Player of the Year, while setting 14 NCAA and 19 school records.  Robertson's stellar play led the Bearcats to a 79-9 overall record during his three varsity seasons, including two Final Four appearances. However, a championship eluded Robertson, something that would become a repeated occurrence in his professional career. When Robertson left college he was the all-time leading NCAA scorer until fellow Hall of Fame player Pete Maravich topped him in 1970. It is interesting to note that Robertson took Cincinnati to national prominence during his time there, but the university's greatest success in basketball took place immediately after his departure, when the team won national titles in 1961, 1962, and just missed a third title in 1963.  He continues to stand atop the Bearcats' record book. The many records he still holds include: points in one game, 62 (one of his six games of 50 points or more); career triple-doubles, 10; career rebounds per game, 15.2; and career points, 2,973.  Robertson had many outstanding individual game performances, including 10 triple-doubles. His personal best might have been his line of 45 points, 23 rebounds and 10 assists vs. Indiana State in 1959.  Despite his success on the court, Robertson's college career was soured by racism. In those days, southern university programs such as those of Kentucky, Duke, and North Carolina did not recruit black athletes, and road trips to segregated cities were especially difficult, with Robertson often sleeping in college dorms instead of hotels. "I'll never forgive them", he told The Indianapolis Star years later. Decades after his college days, Robertson's stellar NCAA career was rewarded by the United States Basketball Writers Association when, in 1998, they renamed the trophy awarded to the NCAA Division I Player of the Year the Oscar Robertson Trophy. This honor brought the award full circle for Robertson since he had won the first two awards ever presented. CANNOTANSWER

Question: Besides Oscar Robertson being named an All-American, what other interesting things happened during 1957-1960?
Answer: Robertson's stellar play led the Bearcats to a 79-9 overall record during his three varsity seasons,
Oscar Robertson

Context: Robertson continued to excel while at the University of Cincinnati, recording an incredible scoring average of 33.8 points per game, the third highest in college history. In each of his three years, he won the national scoring title, was named an All-American, and was chosen College Player of the Year, while setting 14 NCAA and 19 school records.  Robertson's stellar play led the Bearcats to a 79-9 overall record during his three varsity seasons, including two Final Four appearances. However, a championship eluded Robertson, something that would become a repeated occurrence in his professional career. When Robertson left college he was the all-time leading NCAA scorer until fellow Hall of Fame player Pete Maravich topped him in 1970. It is interesting to note that Robertson took Cincinnati to national prominence during his time there, but the university's greatest success in basketball took place immediately after his departure, when the team won national titles in 1961, 1962, and just missed a third title in 1963.  He continues to stand atop the Bearcats' record book. The many records he still holds include: points in one game, 62 (one of his six games of 50 points or more); career triple-doubles, 10; career rebounds per game, 15.2; and career points, 2,973.  Robertson had many outstanding individual game performances, including 10 triple-doubles. His personal best might have been his line of 45 points, 23 rebounds and 10 assists vs. Indiana State in 1959.  Despite his success on the court, Robertson's college career was soured by racism. In those days, southern university programs such as those of Kentucky, Duke, and North Carolina did not recruit black athletes, and road trips to segregated cities were especially difficult, with Robertson often sleeping in college dorms instead of hotels. "I'll never forgive them", he told The Indianapolis Star years later. Decades after his college days, Robertson's stellar NCAA career was rewarded by the United States Basketball Writers Association when, in 1998, they renamed the trophy awarded to the NCAA Division I Player of the Year the Oscar Robertson Trophy. This honor brought the award full circle for Robertson since he had won the first two awards ever presented. CANNOTANSWER

Question: did Oscar Robertson graduate from University of Cincinatti?
Answer: CANNOTANSWER
Stan Kenton

Context: When composer/arranger Pete Rugolo joined the Stan Kenton Orchestra as staff arranger in late 1945 he brought with him his love of jazz, Stravinsky and Bartok. Given free rein by Kenton, he experimented constantly, creating a sound that was at the same time innovative and popular. Although Kenton himself was already creating somewhat experimental scores prior to Rugolo's tenure, it was Rugolo who brought to the band the extra-jazz influences and the ultra-experimental approach that were to dominate the band through much of its existence.  During his first six months on the staff Rugolo tried to copy Kenton's sound. But on encouragement from the leader, he explored his own voice. By incorporating compositional techniques borrowed from the modern classical music he had studied, with the dramatic excitement of the Kenton sound, Rugolo helped catapult the Kenton band into one of its most fertile and creative periods.  After a string of mostly arrangements, Rugolo turned out three originals that Kenton featured on the band's first album in 1946: (Artistry in Rhythm): "Artistry in Percussion", "Safranski" and "Artistry in Bolero". Added to this mix came "Machito", "Rhythm Incorporated", "Monotony" and "Interlude" in early 1947 (though some were not recorded until later in the year). These compositions, along with June Christy's voice, came to define the Artistry in Rhythm band.  It was during this period that Cuban rhythms started infiltrating the Kenton sound. Rugolo's 1946 composition "Machito", named after the great Cuban band leader that had impressed Kenton, was a regular on concerts in 1947 and 1948. During the subsequent Progressive Jazz era the Cuban sound would become more profound, an influence that was to remain with Kenton until his death.  The Artistry in Rhythm outfit was a powerful band, with outstanding soloists, but with one foot firmly in the tradition. By early 1947, the Stan Kenton Orchestra had reached its highest point of financial and popular success. They played in the best theaters and ballrooms in America, they had hit records ... and the schedule was killing Kenton. Dances at the many ballrooms were typically four hours a night. Theater dates generally involved playing mini concerts between each showing of the movie, sometimes five or six a day, stretching from morning to late night. Most days not on location were spent in buses or cars, racing from town to town. Days off from performing were rare. And for Kenton they just allowed for more record signing, radio station interviews, and pushing the Capitol brand. He was beat. Following an April performance in Tuscaloosa, he broke up the band. CANNOTANSWER

Question: Did kenton handle rhythm in a special way?
Answer: CANNOTANSWER
Stan Kenton

Context: When composer/arranger Pete Rugolo joined the Stan Kenton Orchestra as staff arranger in late 1945 he brought with him his love of jazz, Stravinsky and Bartok. Given free rein by Kenton, he experimented constantly, creating a sound that was at the same time innovative and popular. Although Kenton himself was already creating somewhat experimental scores prior to Rugolo's tenure, it was Rugolo who brought to the band the extra-jazz influences and the ultra-experimental approach that were to dominate the band through much of its existence.  During his first six months on the staff Rugolo tried to copy Kenton's sound. But on encouragement from the leader, he explored his own voice. By incorporating compositional techniques borrowed from the modern classical music he had studied, with the dramatic excitement of the Kenton sound, Rugolo helped catapult the Kenton band into one of its most fertile and creative periods.  After a string of mostly arrangements, Rugolo turned out three originals that Kenton featured on the band's first album in 1946: (Artistry in Rhythm): "Artistry in Percussion", "Safranski" and "Artistry in Bolero". Added to this mix came "Machito", "Rhythm Incorporated", "Monotony" and "Interlude" in early 1947 (though some were not recorded until later in the year). These compositions, along with June Christy's voice, came to define the Artistry in Rhythm band.  It was during this period that Cuban rhythms started infiltrating the Kenton sound. Rugolo's 1946 composition "Machito", named after the great Cuban band leader that had impressed Kenton, was a regular on concerts in 1947 and 1948. During the subsequent Progressive Jazz era the Cuban sound would become more profound, an influence that was to remain with Kenton until his death.  The Artistry in Rhythm outfit was a powerful band, with outstanding soloists, but with one foot firmly in the tradition. By early 1947, the Stan Kenton Orchestra had reached its highest point of financial and popular success. They played in the best theaters and ballrooms in America, they had hit records ... and the schedule was killing Kenton. Dances at the many ballrooms were typically four hours a night. Theater dates generally involved playing mini concerts between each showing of the movie, sometimes five or six a day, stretching from morning to late night. Most days not on location were spent in buses or cars, racing from town to town. Days off from performing were rare. And for Kenton they just allowed for more record signing, radio station interviews, and pushing the Capitol brand. He was beat. Following an April performance in Tuscaloosa, he broke up the band. CANNOTANSWER

Question: Are there any interesting aspects about this article besides Kenton's special way of handling rhythm?
Answer: Rugolo turned out three originals that Kenton featured on the band's first album in 1946: (Artistry in Rhythm):
Stan Kenton

Context: When composer/arranger Pete Rugolo joined the Stan Kenton Orchestra as staff arranger in late 1945 he brought with him his love of jazz, Stravinsky and Bartok. Given free rein by Kenton, he experimented constantly, creating a sound that was at the same time innovative and popular. Although Kenton himself was already creating somewhat experimental scores prior to Rugolo's tenure, it was Rugolo who brought to the band the extra-jazz influences and the ultra-experimental approach that were to dominate the band through much of its existence.  During his first six months on the staff Rugolo tried to copy Kenton's sound. But on encouragement from the leader, he explored his own voice. By incorporating compositional techniques borrowed from the modern classical music he had studied, with the dramatic excitement of the Kenton sound, Rugolo helped catapult the Kenton band into one of its most fertile and creative periods.  After a string of mostly arrangements, Rugolo turned out three originals that Kenton featured on the band's first album in 1946: (Artistry in Rhythm): "Artistry in Percussion", "Safranski" and "Artistry in Bolero". Added to this mix came "Machito", "Rhythm Incorporated", "Monotony" and "Interlude" in early 1947 (though some were not recorded until later in the year). These compositions, along with June Christy's voice, came to define the Artistry in Rhythm band.  It was during this period that Cuban rhythms started infiltrating the Kenton sound. Rugolo's 1946 composition "Machito", named after the great Cuban band leader that had impressed Kenton, was a regular on concerts in 1947 and 1948. During the subsequent Progressive Jazz era the Cuban sound would become more profound, an influence that was to remain with Kenton until his death.  The Artistry in Rhythm outfit was a powerful band, with outstanding soloists, but with one foot firmly in the tradition. By early 1947, the Stan Kenton Orchestra had reached its highest point of financial and popular success. They played in the best theaters and ballrooms in America, they had hit records ... and the schedule was killing Kenton. Dances at the many ballrooms were typically four hours a night. Theater dates generally involved playing mini concerts between each showing of the movie, sometimes five or six a day, stretching from morning to late night. Most days not on location were spent in buses or cars, racing from town to town. Days off from performing were rare. And for Kenton they just allowed for more record signing, radio station interviews, and pushing the Capitol brand. He was beat. Following an April performance in Tuscaloosa, he broke up the band. CANNOTANSWER

Question: Who was Rugolo?
Answer: composer/arranger Pete Rugolo joined the Stan Kenton Orchestra as staff arranger in late 1945
Stan Kenton

Context: When composer/arranger Pete Rugolo joined the Stan Kenton Orchestra as staff arranger in late 1945 he brought with him his love of jazz, Stravinsky and Bartok. Given free rein by Kenton, he experimented constantly, creating a sound that was at the same time innovative and popular. Although Kenton himself was already creating somewhat experimental scores prior to Rugolo's tenure, it was Rugolo who brought to the band the extra-jazz influences and the ultra-experimental approach that were to dominate the band through much of its existence.  During his first six months on the staff Rugolo tried to copy Kenton's sound. But on encouragement from the leader, he explored his own voice. By incorporating compositional techniques borrowed from the modern classical music he had studied, with the dramatic excitement of the Kenton sound, Rugolo helped catapult the Kenton band into one of its most fertile and creative periods.  After a string of mostly arrangements, Rugolo turned out three originals that Kenton featured on the band's first album in 1946: (Artistry in Rhythm): "Artistry in Percussion", "Safranski" and "Artistry in Bolero". Added to this mix came "Machito", "Rhythm Incorporated", "Monotony" and "Interlude" in early 1947 (though some were not recorded until later in the year). These compositions, along with June Christy's voice, came to define the Artistry in Rhythm band.  It was during this period that Cuban rhythms started infiltrating the Kenton sound. Rugolo's 1946 composition "Machito", named after the great Cuban band leader that had impressed Kenton, was a regular on concerts in 1947 and 1948. During the subsequent Progressive Jazz era the Cuban sound would become more profound, an influence that was to remain with Kenton until his death.  The Artistry in Rhythm outfit was a powerful band, with outstanding soloists, but with one foot firmly in the tradition. By early 1947, the Stan Kenton Orchestra had reached its highest point of financial and popular success. They played in the best theaters and ballrooms in America, they had hit records ... and the schedule was killing Kenton. Dances at the many ballrooms were typically four hours a night. Theater dates generally involved playing mini concerts between each showing of the movie, sometimes five or six a day, stretching from morning to late night. Most days not on location were spent in buses or cars, racing from town to town. Days off from performing were rare. And for Kenton they just allowed for more record signing, radio station interviews, and pushing the Capitol brand. He was beat. Following an April performance in Tuscaloosa, he broke up the band. CANNOTANSWER

Question: Did Kenton do any composing/arranging on the album Artistry in Rhythm?
Answer: CANNOTANSWER
Stan Kenton

Context: When composer/arranger Pete Rugolo joined the Stan Kenton Orchestra as staff arranger in late 1945 he brought with him his love of jazz, Stravinsky and Bartok. Given free rein by Kenton, he experimented constantly, creating a sound that was at the same time innovative and popular. Although Kenton himself was already creating somewhat experimental scores prior to Rugolo's tenure, it was Rugolo who brought to the band the extra-jazz influences and the ultra-experimental approach that were to dominate the band through much of its existence.  During his first six months on the staff Rugolo tried to copy Kenton's sound. But on encouragement from the leader, he explored his own voice. By incorporating compositional techniques borrowed from the modern classical music he had studied, with the dramatic excitement of the Kenton sound, Rugolo helped catapult the Kenton band into one of its most fertile and creative periods.  After a string of mostly arrangements, Rugolo turned out three originals that Kenton featured on the band's first album in 1946: (Artistry in Rhythm): "Artistry in Percussion", "Safranski" and "Artistry in Bolero". Added to this mix came "Machito", "Rhythm Incorporated", "Monotony" and "Interlude" in early 1947 (though some were not recorded until later in the year). These compositions, along with June Christy's voice, came to define the Artistry in Rhythm band.  It was during this period that Cuban rhythms started infiltrating the Kenton sound. Rugolo's 1946 composition "Machito", named after the great Cuban band leader that had impressed Kenton, was a regular on concerts in 1947 and 1948. During the subsequent Progressive Jazz era the Cuban sound would become more profound, an influence that was to remain with Kenton until his death.  The Artistry in Rhythm outfit was a powerful band, with outstanding soloists, but with one foot firmly in the tradition. By early 1947, the Stan Kenton Orchestra had reached its highest point of financial and popular success. They played in the best theaters and ballrooms in America, they had hit records ... and the schedule was killing Kenton. Dances at the many ballrooms were typically four hours a night. Theater dates generally involved playing mini concerts between each showing of the movie, sometimes five or six a day, stretching from morning to late night. Most days not on location were spent in buses or cars, racing from town to town. Days off from performing were rare. And for Kenton they just allowed for more record signing, radio station interviews, and pushing the Capitol brand. He was beat. Following an April performance in Tuscaloosa, he broke up the band. CANNOTANSWER

Question: Can you tell me the name of one of the three original songs that Kenton featured on the band's first album?
Answer: Artistry in Bolero
Stan Kenton

Context: When composer/arranger Pete Rugolo joined the Stan Kenton Orchestra as staff arranger in late 1945 he brought with him his love of jazz, Stravinsky and Bartok. Given free rein by Kenton, he experimented constantly, creating a sound that was at the same time innovative and popular. Although Kenton himself was already creating somewhat experimental scores prior to Rugolo's tenure, it was Rugolo who brought to the band the extra-jazz influences and the ultra-experimental approach that were to dominate the band through much of its existence.  During his first six months on the staff Rugolo tried to copy Kenton's sound. But on encouragement from the leader, he explored his own voice. By incorporating compositional techniques borrowed from the modern classical music he had studied, with the dramatic excitement of the Kenton sound, Rugolo helped catapult the Kenton band into one of its most fertile and creative periods.  After a string of mostly arrangements, Rugolo turned out three originals that Kenton featured on the band's first album in 1946: (Artistry in Rhythm): "Artistry in Percussion", "Safranski" and "Artistry in Bolero". Added to this mix came "Machito", "Rhythm Incorporated", "Monotony" and "Interlude" in early 1947 (though some were not recorded until later in the year). These compositions, along with June Christy's voice, came to define the Artistry in Rhythm band.  It was during this period that Cuban rhythms started infiltrating the Kenton sound. Rugolo's 1946 composition "Machito", named after the great Cuban band leader that had impressed Kenton, was a regular on concerts in 1947 and 1948. During the subsequent Progressive Jazz era the Cuban sound would become more profound, an influence that was to remain with Kenton until his death.  The Artistry in Rhythm outfit was a powerful band, with outstanding soloists, but with one foot firmly in the tradition. By early 1947, the Stan Kenton Orchestra had reached its highest point of financial and popular success. They played in the best theaters and ballrooms in America, they had hit records ... and the schedule was killing Kenton. Dances at the many ballrooms were typically four hours a night. Theater dates generally involved playing mini concerts between each showing of the movie, sometimes five or six a day, stretching from morning to late night. Most days not on location were spent in buses or cars, racing from town to town. Days off from performing were rare. And for Kenton they just allowed for more record signing, radio station interviews, and pushing the Capitol brand. He was beat. Following an April performance in Tuscaloosa, he broke up the band. CANNOTANSWER

Question: What were the names of the other two original songs besides Artistry in Bolero that Kenton featured on Artistry in Rhythm? (or either one of the songs)
Answer: Artistry in Percussion", "Safranski" and "Artistry in Bolero
Stan Kenton

Context: When composer/arranger Pete Rugolo joined the Stan Kenton Orchestra as staff arranger in late 1945 he brought with him his love of jazz, Stravinsky and Bartok. Given free rein by Kenton, he experimented constantly, creating a sound that was at the same time innovative and popular. Although Kenton himself was already creating somewhat experimental scores prior to Rugolo's tenure, it was Rugolo who brought to the band the extra-jazz influences and the ultra-experimental approach that were to dominate the band through much of its existence.  During his first six months on the staff Rugolo tried to copy Kenton's sound. But on encouragement from the leader, he explored his own voice. By incorporating compositional techniques borrowed from the modern classical music he had studied, with the dramatic excitement of the Kenton sound, Rugolo helped catapult the Kenton band into one of its most fertile and creative periods.  After a string of mostly arrangements, Rugolo turned out three originals that Kenton featured on the band's first album in 1946: (Artistry in Rhythm): "Artistry in Percussion", "Safranski" and "Artistry in Bolero". Added to this mix came "Machito", "Rhythm Incorporated", "Monotony" and "Interlude" in early 1947 (though some were not recorded until later in the year). These compositions, along with June Christy's voice, came to define the Artistry in Rhythm band.  It was during this period that Cuban rhythms started infiltrating the Kenton sound. Rugolo's 1946 composition "Machito", named after the great Cuban band leader that had impressed Kenton, was a regular on concerts in 1947 and 1948. During the subsequent Progressive Jazz era the Cuban sound would become more profound, an influence that was to remain with Kenton until his death.  The Artistry in Rhythm outfit was a powerful band, with outstanding soloists, but with one foot firmly in the tradition. By early 1947, the Stan Kenton Orchestra had reached its highest point of financial and popular success. They played in the best theaters and ballrooms in America, they had hit records ... and the schedule was killing Kenton. Dances at the many ballrooms were typically four hours a night. Theater dates generally involved playing mini concerts between each showing of the movie, sometimes five or six a day, stretching from morning to late night. Most days not on location were spent in buses or cars, racing from town to town. Days off from performing were rare. And for Kenton they just allowed for more record signing, radio station interviews, and pushing the Capitol brand. He was beat. Following an April performance in Tuscaloosa, he broke up the band. CANNOTANSWER

Question: What was the most popular song on the album Artistry in Rhythm?
Answer: CANNOTANSWER