Question: Clarence White (born Clarence Joseph LeBlanc; June 7, 1944 - July 14, 1973), was an American bluegrass and country guitarist and singer. He is best known as a member of the bluegrass ensemble the Kentucky Colonels and the rock band the Byrds, as well as for being a pioneer of the musical genre of country rock during the late 1960s. White also worked extensively as a session musician, appearing on recordings by the Everly Brothers, Joe Cocker, Ricky Nelson, Pat Boone, the Monkees, Randy Newman, Gene Clark, Linda Ronstadt, Arlo Guthrie, and Jackson Browne amongst others. Together with frequent collaborator Gene Parsons, he invented the B-Bender, a guitar accessory that enables a player to mechanically bend the B-string up a whole tone and emulate the sound of a pedal steel guitar.

During 1964, White began to look beyond bluegrass music towards rock 'n' roll as an avenue for artistic expression. Although he was influenced by Country guitarists like Doc Watson, Don Reno and Joe Maphis, he also idolized the playing of jazz guitarist Django Reinhardt, rock 'n' roller Chuck Berry, and studio musician James Burton. White even anticipated the viability of a folk/rock hybrid when, in the summer of 1964, he was approached by Jim Dickson to record a version of the then-unreleased Bob Dylan song "Mr. Tambourine Man" with electric instruments. However, despite White's enthusiasm for the project, he was unable to convince his bandmates in the Kentucky Colonels of the experiment's validity and ultimately, the song was instead recorded by Dickson's proteges, the Byrds. By the time the original line-up of the Kentucky Colonels folded in late 1965, White had become a respected and well-known guitarist. Abandoning bluegrass temporarily, he switched from his Martin D-28 acoustic guitar to an electric Fender Telecaster, with the intention of becoming a studio musician like his hero James Burton. Transitioning to electric guitar required White to modify his right hand playing technique, switch from open chording to fretting the whole guitar neck with his left hand, and practice using the tone and volume controls. However, he soon mastered the intricacies of the instrument and, between 1965 and 1968, he undertook session work for artists including Ricky Nelson, the Monkees, and the Gosdin Brothers. As 1965 turned into 1966, White met Gene Parsons and Gib Guilbeau at a recording session for the Gosdin Brothers and shortly after, he began to perform live with the duo in local California clubs, as well as doing regular session work on their records, which were released under the moniker of Cajun Gib and Gene. 1966 also saw White begin playing with a country group called Trio, which featured drummer Bart Haney and former Kentucky Colonel, Roger Bush, on bass. In autumn of that year, as a result of his friendship with Gilbeau, Parsons and the Gosdin Brothers, White was asked to provide lead guitar to ex-Byrd Gene Clark's debut solo album, Gene Clark with the Gosdin Brothers. White also briefly joined Clark's touring band shortly thereafter. During the Clark album sessions, White reconnected with mandolin player and bassist Chris Hillman, who he had known during the early 1960s as a member of the bluegrass combo the Hillmen. Hillman was currently a member of the Byrds and in December 1966, he invited White to contribute countrified lead guitar playing to his songs "Time Between" and "The Girl with no Name", which both appeared on the Byrds' Younger Than Yesterday album. The country-oriented nature of the songs was something of a stylistic departure for the group and can be seen as an early indicator of the experimentation with country music that would color the Byrds' subsequent work. White also contributed guitar to the band's follow-up album, The Notorious Byrd Brothers, and to their seminal 1968 country rock release, Sweetheart of the Rodeo.

Using a quote from the above article, answer the following question: What did he do with the Monkees
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Answer: between 1965 and 1968, he undertook session work for artists including Ricky Nelson, the Monkees, and the Gosdin Brothers.

Question: MC5 was an American rock band from Lincoln Park, Michigan, formed in 1964. The original band line-up consisted of vocalist Rob Tyner, guitarists Wayne Kramer and Fred "Sonic" Smith, bassist Michael Davis, and drummer Dennis Thompson. "Crystallizing the counterculture movement at its most volatile and threatening", according to AllMusic critic Stephen Thomas Erlewine, the MC5's leftist political ties and anti-establishment lyrics and music positioned them as emerging innovators of the punk movement in the United States.

The origins of MC5 can be traced to the friendship between guitarists Wayne Kramer and Fred Smith. Friends since their teen years, they were both fans of R&B music, blues, Chuck Berry, Dick Dale, The Ventures, and what would later be called garage rock: they adored any music with speed, energy and a rebellious attitude. Each guitarist/singer formed and led a rock group (Smith's Vibratones and Kramer's Bounty Hunters). As members of both groups left for college or straight jobs, the most committed members eventually united (under Kramer's leadership and the "Bounty Hunters" name) with Billy Vargo on guitar and Leo LeDuc on drums (at this point Smith played bass), and were popular and successful enough in and around Detroit that the musicians were able to quit their day jobs and make a living from the group. Kramer felt they needed a manager, which led him to Rob Derminer, a few years older than the others, and deeply involved in Detroit's hipster and left-wing political scenes. Derminer originally auditioned as a bass guitarist (a role which he held briefly in 1964, with Smith switching to guitar to replace Vargo and with Bob Gaspar replacing LeDuc), though they quickly realized that his talents could be better used as a lead singer: Though not conventionally attractive and rather paunchy by traditional frontman standards, he nonetheless had a commanding stage presence, and a booming baritone voice that evidenced his abiding love of American soul and gospel music. Derminer renamed himself Rob Tyner (after Coltrane's pianist McCoy Tyner). Tyner also invented their new name, MC5: it reflected their Detroit roots (it was short for "Motor City Five'). In some ways the group was similar to other garage bands of the period, composing soon-to-be historic workouts such as "Black to Comm" during their mid-teens in the basement of the home of Kramer's mother. Upon Tyner's switch from bassist to vocalist, he was initially replaced by Patrick Burrows, however the lineup was stabilised in 1965 by the arrival of Michael Davis and Dennis Thompson to replace Burrows and Gaspar respectively. The music also reflected Smith and Kramer's increasing interest in free jazz--the guitarists were inspired by the likes of Albert Ayler, Archie Shepp, Sun Ra and late period John Coltrane, and tried to imitate the ecstatic sounds of the squealing, high-pitched saxophonists they adored. MC5 even later opened for a few U.S. midwest shows for Sun Ra, whose influence is obvious in "Starship". Kramer and Smith were also deeply inspired by Sonny Sharrock, one of the few electric guitarists working in free jazz, and they eventually developed a unique interlocking style that was like little heard before: Kramer's solos often used a heavy, irregular vibrato, while Smith's rhythms contained an uncommon explosive energy, including patterns that conveyed great excitement, as evidenced in "Black to Comm" and many other songs.

Using a quote from the above article, answer the following question: Are there any other interesting aspects about this article?
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Answer:
The music also reflected Smith and Kramer's increasing interest in free jazz