Background: Blood, Sweat & Tears (also known as "BS&T") is a jazz-rock American music group. They are noted for their combination of brass and rock band instrumentation. The group recorded songs by rock/folk songwriters such as Laura Nyro, James Taylor, the Band and the Rolling Stones as well as Billie Holiday and Erik Satie. They also incorporated music from Thelonious Monk and Sergei Prokofiev into their arrangements.
Context: Al Kooper, Jim Fielder, Fred Lipsius, Randy Brecker, Jerry Weiss, Dick Halligan, Steve Katz and Bobby Colomby formed the original band. The creation of the group was inspired by the "brass-rock" ideas of the Buckinghams and its producer, James William Guercio, as well as the early 1960s Roulette-era Maynard Ferguson Orchestra (according to Kooper's autobiography). Al Kooper was the group's initial bandleader, having insisted on that position based on his experiences with the Blues Project, his previous band with Steve Katz, which had been organized as an egalitarian collective. Jim Fielder was from Frank Zappa's the Mothers of Invention and had played briefly with Buffalo Springfield. Kooper's fame as a high-profile contributor to various historic sessions of Bob Dylan, Jimi Hendrix and others was a catalyst for the prominent debut of Blood, Sweat & Tears in the musical counterculture of the mid-sixties. Kooper, Colomby, Katz and Fielder did a few shows as a quartet at the Cafe Au Go Go in New York City in September 1967, opening for Moby Grape. Fred Lipsius then joined the others two months later. A few more shows were played as a quintet, including one at the Fillmore East in New York. Lipsius then recruited the other three, Dick Halligan, Randy Brecker and Jerry Weiss, who were New York jazz horn players Lipsius knew. The final lineup debuted at the Cafe Au Go Go on November 17-19, 1967, then moved over to play The Scene the following week. The band was a hit with the audience, who liked the innovative fusion of jazz with acid rock and psychedelia. After signing to Columbia Records, the group released Child Is Father to the Man. The album cover was considered quite innovative showing the band members sitting and standing with child-sized versions of themselves. The album slowly picked up in sales despite growing artistic differences among the founding members which resulted in several personnel changes for the second album. Colomby and Katz wanted to move Kooper exclusively to keyboard and composing duties, while hiring a stronger vocalist for the group, causing Kooper's departure in April 1968. He became a record producer for the Columbia label, but not before arranging some songs that would be on the next BS&T album. The group's trumpeters, Randy Brecker and Jerry Weiss, also left and were replaced by Lew Soloff and Chuck Winfield. Brecker joined Horace Silver's band with his brother Michael, and together they eventually formed their own horn-dominated musical outfits, Dreams and The Brecker Brothers. Jerry Weiss went on to start the similarly-styled group Ambergris.
Question: What was the name of one of his albums.
Answer: Child Is Father to the Man.

Background: Born in Drouin to Alfred and Colleen Ablett, Gary Ablett grew up in the Latrobe Valley in Victoria's Gippsland region alongside his four elder brothers and three sisters. Ablett displayed a love for sport at an early age, winning the state school high jump at 10 years of age. He was also awarded both club and competition best and fairest awards for Drouin at the under-11s, under-12s and under-14s levels. After citing waning interest in school, Ablett dropped out of high school at the age of 15 years to become a bricklayer's labourer.
Context: The 1989 season was marked by the arrival of Ablett's third coach, former North Melbourne Brownlow Medallist Malcolm Blight. Ablett helped the Cats reach the finals on the back of a ten match winning streak to end the regular season. In a 134-point victory against Richmond, Ablett scored 14 goals, breaking a 22-year club record, and moving club legend and former club premiership coach Bobby Davis to laud Ablett as the equal of the legendary Graham 'Polly' Farmer, the finest footballers he had seen at Geelong. His season lowlight occurred in Round 12 when he was suspended for 3 matches after he controversially felled the Melbourne captain, Gary Lyon behind the play. In his first ever final, the Qualifying Final at the MCG versus Essendon, Gary Ablett kicked three goals, but this was not enough. The Bombers humbled Geelong by 76 points to force the Cats into a sudden-death Semi Final showdown with Melbourne. The Cats posted a 63-point win against the Demons. Ablett kicked seven goals, and helped set up another meeting with Essendon in the Preliminary Final. Ablett kicked 8 goals this time, as the Cats crushed Essendon by 94 points to advance to their first Grand Final since 1967. Against the reigning premiers Hawthorn in the 1989 VFL Grand Final, Ablett asserted himself from the opening bounce, leading out from full forward, marking the first centre clearance kick and slotting through the game's first goal. By half-time, Ablett had kicked four goals, but the Cats trailed at the main break by 37 points. Ablett kicked a further five goals in the second half, which saw an injury-depleted Hawthorn's lead reduced to just 6 points with less than a minute to go. However, the Cats fell short, and Hawthorn held on to defeat Geelong in one of the toughest Grand Finals of the modern era, winning by 6 points. Ablett's performance in kicking 9 goals earned him the Norm Smith Medal, and in doing so became only the second member of the losing team in VFL/AFL history to be awarded the honour - a performance regarded by many as unrivalled on football's biggest stage. Ablett's 9 goals also saw him equal Gordon Coventry's goals record set in the 1928 Grand Final.
Question: Did he win any awards or honors?
Answer:
Ablett scored 14 goals, breaking a 22-year club record,