Question: Saint Pedro Calungsod (Latin: Petrus Calungsod, Spanish: Pedro Calungsod or archaically Pedro Calonsor, Italian: Pietro Calungsod; July 21, 1654 - April 2, 1672), also known as Peter Calungsod and Pedro Calonsor, was a Roman Catholic Filipino migrant, sacristan and missionary catechist who, along with the Spanish Jesuit missionary Diego Luis de San Vitores, suffered religious persecution and martyrdom in Guam for their missionary work in 1672. While in Guam, Calungsod preached Christianity to the Chamorro people through catechism, while baptizing infants, children and adults at the risk and expense of being persecuted and eventually murdered.

Few details of the early life of Calungsod (spelled Calonsor in Spanish records) are known. Historical records do not mention his exact birthplace or birth date and merely identified him as "Pedro Calonsor, el Visayo". Historical research identifies Ginatilan in Cebu, Hinunangan and Hinundayan in Southern Leyte, and the Molo district of Iloilo City as possible places of origin; Loboc, Bohol also makes a claim. Of these claims, the ones from Molo, Iloilo and Ginatilan, Cebu are considered the strongest. Proponents of an Ilonggo origin argue that in the early Spanish period, the term "Visayan" exclusively referred to people from the islands of Negros or Panay, whereas people from Cebu, Bohol and Leyte were called "Pintados". Thus, had he been born in Cebu he would have been referred to as "Calonsor El Pintado" instead of "Calonsor El Visayo"; the term "Visayan" received its present scope (i.e., including inhabitants of Cebu, Bohol and Leyte) sometime the 1700s. However, American historian and scholar John N. Schumacher, S.J. disputes the Bisaya/Pintados dichotomy claim as at that time the Pintados were also referred to as Visayans regardless of location and said Pedro "was a Visayan" and may have been but doubtfully "from the island of Cebu" or "could have come any other Visayas islands." The Cebu camp reasoned that Ginatilan contains the highest concentrations of people surnamed Calungsod and that during the beatification process, they were the original claimants to having been Calungsod's birthplace. The Calungsod family in Iloilo also claims to be the oldest branch, based on baptismal records containing the surname "Calungsod" dating to circa 1748, compared to branches in Cebu and Leyte who possess baptismal records dating only to 1828 and 1903. Regardless of his precise origin, all four locations were within the territory of the Diocese of Cebu at the time of Calungsod's martyrdom.

Using a quote from the above article, answer the following question: anything else i should know about pedro
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Answer: Regardless of his precise origin, all four locations were within the territory of the Diocese of Cebu at the time of Calungsod's martyrdom.

Problem: Charles Mingus Jr. (April 22, 1922 - January 5, 1979) was an American jazz double bassist, pianist, composer and bandleader. His compositions retained the hot and soulful feel of hard bop, drawing heavily from black gospel music and blues, while sometimes containing elements of Third Stream, free jazz, and classical music. He once cited Duke Ellington and church as his main influences. Mingus espoused collective improvisation, similar to the old New Orleans jazz parades, paying particular attention to how each band member interacted with the group as a whole.

In 1952 Mingus co-founded Debut Records with Max Roach so he could conduct his recording career as he saw fit. The name originated from his desire to document unrecorded young musicians. Despite this, the best-known recording the company issued was of the most prominent figures in bebop. On May 15, 1953, Mingus joined Dizzy Gillespie, Parker, Bud Powell, and Roach for a concert at Massey Hall in Toronto, which is the last recorded documentation of Gillespie and Parker playing together. After the event, Mingus chose to overdub his barely audible bass part back in New York; the original version was issued later. The two 10" albums of the Massey Hall concert (one featured the trio of Powell, Mingus and Roach) were among Debut Records' earliest releases. Mingus may have objected to the way the major record companies treated musicians, but Gillespie once commented that he did not receive any royalties "for years and years" for his Massey Hall appearance. The records, however, are often regarded as among the finest live jazz recordings. One story has it that Mingus was involved in a notorious incident while playing a 1955 club date billed as a "reunion" with Parker, Powell, and Roach. Powell, who suffered from alcoholism and mental illness (possibly exacerbated by a severe police beating and electroshock treatments), had to be helped from the stage, unable to play or speak coherently. As Powell's incapacitation became apparent, Parker stood in one spot at a microphone, chanting "Bud Powell...Bud Powell..." as if beseeching Powell's return. Allegedly, Parker continued this incantation for several minutes after Powell's departure, to his own amusement and Mingus's exasperation. Mingus took another microphone and announced to the crowd, "Ladies and Gentleman, please don't associate me with any of this. This is not jazz. These are sick people." This was Parker's last public performance; about a week later he died after years of substance abuse. Mingus often worked with a mid-sized ensemble (around 8-10 members) of rotating musicians known as the Jazz Workshop. Mingus broke new ground, constantly demanding that his musicians be able to explore and develop their perceptions on the spot. Those who joined the Workshop (or Sweatshops as they were colorfully dubbed by the musicians) included Pepper Adams, Jaki Byard, Booker Ervin, John Handy, Jimmy Knepper, Charles McPherson and Horace Parlan. Mingus shaped these musicians into a cohesive improvisational machine that in many ways anticipated free jazz. Some musicians dubbed the workshop a "university" for jazz.

What did he say about these Pepper Adams, Jaki Byard, Booker Ervin, John Handy, Jimmy Knepper, Charles McPherson and Horace Parlan?

Answer with quotes:
Mingus shaped these musicians into a cohesive improvisational machine that in many ways anticipated free jazz.