Question: 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.

Using a quote from the above article, answer the following question: What happened next?
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Answer: 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.

Problem: Elmo Hope was born on June 27, 1923, in New York City. His parents, Simon and Gertrude Hope, were immigrants from the Caribbean, and had several children. Elmo began playing the piano aged seven. He had classical music lessons as a child, and won solo piano recital contests from 1938.

In June 1961, Hope was part of Philly Joe Jones' quintet, which included trumpeter Freddie Hubbard. Their first gigs were arranged by Hope's old friend, Monk, as was a recording session for Riverside Records that month, with Hope as leader. The pianist recorded four albums in New York around 1961, including Hope-Full, which contained his only solo tracks and some piano duets with his wife. Some of the companies that he recorded for at this stage in his career reduced Hope's dignity, in the view of musician and critic Robert Palmer. One album was entitled High Hope! (1961), and another, released as Sounds from Rikers Island (1963) in reference to a New York City jail complex, featured performances exclusively by musicians who had at some point been imprisoned for drug-related crimes. Between these two sessions as leader, Hope was briefly in prison again for drug offenses. These and other album releases in the early 1960s did little to develop a wider awareness of Hope. Hope played with McLean again late in 1962. He also led a piano trio: early in 1963 it contained Ray Kenney on bass and Lex Humphries on drums; in late 1964, it had John Ore on bass and Billy Higgins on drums. In 1965, Hope was continuing to lead a trio and quartet in the New York area. Drug and health problems, however, meant that he played less often late in his career. His last recordings were made in 1966, but not released for 11 years. Hope's final concert was at Judson Hall in New York City in 1966. Fellow pianist Horace Tapscott reported that, later, Hope's "hands were all shot up and he couldn't play". Visits to one hospital that was experienced in addressing the health problems of drug addicts left Hope feeling that he was being experimented on, so he went to another, St. Clare's. Here, according to his wife, the treatment was not adjusted for the methadone program he was on, putting added strain on his heart. Hope was hospitalized with pneumonia in 1967 and died a few weeks later, on May 19, of heart failure. His wife was aged 31 at the time of his death. They had three children; their daughter, Monica Hope, became a singer.

Did he have any children?

Answer with quotes:
They had three children;