Problem: Background: Birth of the Cool is a compilation album by American jazz musician Miles Davis, released in 1957 on Capitol Records. It compiles eleven tracks recorded by Davis's nonet for the label over the course of three sessions during 1949 and 1950. Featuring unusual instrumentation and several notable musicians, the music consisted of innovative arrangements influenced by classical music techniques such as polyphony, and marked a major development in post-bebop jazz. As the title suggests, these recordings are considered seminal in the history of cool jazz.
Context: The nonet recorded twelve tracks for Capitol during three sessions over the course of nearly a year and a half. Davis, Konitz, Mulligan and Barber were the only musicians who played on all three sessions, though the instrumental lineup was constant (excepting the omission of piano on a few songs and the addition of Hagood on "Darn That Dream"). The first session occurred on January 21, 1949, recording four tracks: Mulligan's "Jeru" and "Godchild" as well as Lewis's "Move" and "Budo". Jazz critic Richard Cook hypothesizes that Capitol, wanting to get a good start, recorded these numbers first because they were the most catchy tunes in the nonet's small repertoire. That date Kai Winding replaced Zwerin on trombone, Al Haig replaced Lewis on piano, and Joe Shulman replaced McKibbon on bass. The second recording date came three months later on April 22, 1949 with Davis filling in for Fats Navarro in Tadd Dameron's band with Charlie Parker during the interim. The band returned to the studio with five substitutions in personnel: J. J. Johnson on trombone, Sandy Siegelstein on French horn, Nelson Boyd on bass, and Kenny Clarke on drums, and John Lewis returning to piano. At this session, the nonet recorded Mulligan's "Venus de Milo", Lewis's "Rouge", Carisi's "Israel", and "Boplicity", a collaboration between Davis and Evans, credited to the pseudonym "Cleo Henry". The band did not return to the studio again until March 9, 1950. Davis did not call the band for any rehearsals or live performances between the second and third recording dates. The March 1950 date featured Mulligan's "Darn That Dream", "Rocker", and "Deception", and Evans's arrangement of Chummy MacGregor's "Moon Dreams", which had been released in a jazz arrangement by Glenn Miller and the AAF Band in 1944 on V-Disc. The band saw more substitutions, with Gunther Schuller on French horn and Al McKibbon on bass. Kenny Hagood returned for vocals on "Darn That Dream".
Question: How was it recorded?
Answer: recorded twelve tracks for Capitol during three sessions over the course of nearly a year and a half. Davis, Konitz, Mulligan and Barber were the only musicians who played on

Problem: Background: Burt Freeman Bacharach ( BAK-@-rak; born May 12, 1928) is an American composer, songwriter, record producer, pianist, and singer who has composed hundreds of popular hit songs from the late 1950s through the 1980s, many in collaboration with popular lyricist Hal David. A six-time Grammy Award winner and three-time Academy Award winner, Bacharach's songs have been recorded by more than 1,000 different artists. As of 2014, he had written 73 US and 52 UK Top 40 hits. He is considered one of the most important composers of 20th-century popular music.
Context: Bacharach's music is characterized by unusual chord progressions, influenced by jazz harmony, with striking syncopated rhythmic patterns, irregular phrasing, frequent modulation, and odd, changing meters. He arranged, conducted, and produced much of his recorded output. Sometimes called "easy listening", he has expressed apprehension regarding that label. According to NJ.com contributor Mark Voger, "It may be easy on the ears, but it's anything but easy. The precise arrangements, the on-a-dime shifts in meter, and the mouthfuls of lyrics required to service all those notes have, over the years, proven challenging to singers and musicians." Bacharach's selection of instruments included flugelhorns, bossa nova sidesticks, breezy flutes, molto fortissimo strings and cooing female voices. According to editors of The Mojo Collection, it led to what became known as the "Bacharach Sound." He explains: I didn't want to make the songs the same way as they'd been done, so I'd split vocals and instrumentals and try to make it interesting ... For me, it's about the peaks and valleys of where a record can take you. You can tell a story and be able to be explosive one minute then get quiet as kind of a satisfying resolution. While he didn't mind singing during live performances, he tried to mostly avoid it on records. And when he did sing, he explains, "I try to sing the songs not as a singer, but just interpreting it as a composer and interpreting a great lyric that Hal [David] wrote." When performing in front of live audiences, he would often conduct while playing piano., as he did during a televised performance on The Hollywood Palace, where he played piano and conducted at the same time.
Question: who did he work with the most?
Answer: Mark Voger, "

Problem: Background: Ann Margaret Veneman (born June 29, 1949) was the Executive Director of UNICEF from 2005 to 2010. Her appointment was announced on January 18, 2005 by UN Secretary-General Kofi Annan. Previously, Veneman was the United States Secretary of Agriculture, the first, and as of 2018 the only, woman to hold that position. Veneman served as USDA Secretary from January 20, 2001 to January 20, 2005, leaving to become the fifth executive director of UNICEF.
Context: Veneman began her legal career as a staff attorney with the General Counsel's office of the Bay Area Rapid Transit District in Oakland, California, in 1976. In 1978, she returned to Modesto, where she served as a Deputy Public Defender. In 1980, she joined the Modesto law firm of Damrell, Damrell and Nelson, where she was an associate and later a partner. Veneman joined the United States Department of Agriculture's Foreign Agricultural Service in 1986, serving as Associate Administrator until 1989. During this time she worked on the Uruguay Round talks for the General Agreement on Tariffs and Trade (GATT). She subsequently served as Deputy Undersecretary of Agriculture for International Affairs and Commodity Programs from 1989 to 1991. From 1991 to 1993, she served as United States Department of Agriculture's Deputy Secretary, the first woman appointed as the Department's second-highest-ranking official. At this point Veneman took a break from political and administrative office to practice with the law firm and lobby group Patton, Boggs & Blow and also served on several boards of directors and advisory groups. In 1995 Veneman re-entered government, when she was appointed Secretary of the California Department of Food and Agriculture, again being the first woman to hold the position. From 1999 to 2001 Veneman was an attorney with Nossaman LLP, where she focused her attention on food, agriculture, environment, technology, and trade related issues. On 20 January 2001 she was unanimously confirmed by the United States Senate and sworn in as Secretary of Agriculture, a position she held until January 20, 2005.
Question: did she do good in her corporate career?
Answer:
On 20 January 2001 she was unanimously confirmed by the United States Senate and sworn in as Secretary of Agriculture, a position she held until January 20, 2005.