question:You are a helpful assistant, who always provide explanation. Think like you are answering to a five year old. News article: The first week of March in 1963 was busy for John Coltrane. He was in the midst of a two-week run at Birdland and was gearing up to record the famed John Coltrane and Johnny Hartman album, which he did on March 7. But there was a session the day before that was the stuff of legend, until now. On Wednesday, March 6, Coltrane and the quartet went to Van Gelder Studios in Englewood, NJ and cut a complete album's worth of material, including several original compositions that were never recorded elsewhere. They spent the day committing these to tape, taking time with some, rehearsing them two, three times, playing them in different ways and in different configurations. At the end of the day, Coltrane left Van Gelder Studios with a reference tape and brought it to the home in Queens that he shared with his wife, Naima. These tapes remained untouched for the next 54 years until Impulse! approached the family about finally releasing this lost album. Though the master tape was never found—Rudy Van Gelder wasn't one for clutter—the reference tape was discovered to be in excellent condition. As the legendary saxophonist Sonny Rollins so rightly put it, "This is like finding a new room in the Great Pyramid." The musical implications of this album, the original compositions, the arrangements, the band, the year it was recorded, all amount to a rediscovery and re-contextualization of one of the most important musicians of our time. Danny Bennett, President and CEO of the Verve Label Group and home of Impulse! records, says, "Jazz is more relevant today than ever. It's becoming the alternative music of the 21st century, and no one embodies the boundary-breaking essence of jazz more than John Coltrane. He was a visionary who changed the course of music, and this lost album is a once-in-a-lifetime discovery. It gives us insight into his creative process and connects us to his artistry. This album is a cultural moment and the release coincides perfectly with our relaunch of the iconic Impulse! label." On this album, there are two completely unknown and never-before-heard originals. "Untitled Original 11383" and "Untitled Original 11386," both played on soprano sax. "11383" features an arco bass solo by Jimmy Garrison, a relative rarity, and "11386" marks a significant structural change for the quartet, in that they keep returning to the theme between solos, not typical in the quartet's repertoire. In addition to the two unheard originals, "One Up, One Down" – released previously only on a bootleg recording from Birdland – is heard here as a studio recording for the first and only time. It contains a fascinating exchange between Elvin Jones and Coltrane. "Impressions," one of Coltrane's most famous and oft-recorded compositions, is played here in a piano-less trio. In fact, McCoy Tyner lays out a number of times during this recording session. It's one of the more interesting aspects of this session and reflects the harmonic possibilities that Coltrane was known to be discussing regularly with Ornette Coleman around this time. This studio session also yielded Coltrane's first recording of "Nature Boy," which he would record again in 1965, and the two versions differ greatly. The one we know is exploratory, meandering. This version is tight, solo-less and clocking in at just over three minutes. The other non-original composition on the album is "Vilia," from Franz Lehár's operetta "The Merry Widow". The soprano version on the Deluxe Edition is the only track from this session to have been previously released. This incredible, once-in-a-lifetime discovery reveals a number of creative balances at work, like developing original melodies while rethinking familiar standards. Trying out some tunes first on tenor saxophone, then on soprano. Using older techniques like the arpeggio runs of his "sheets of sound" while experimenting with false fingerings and other newer sounds. This session was pivotal, though to call it such overlooks the fact Coltrane was ever on pivot, always pushing the pedal down while still calling on older, tested ideas and devices. Both Directions at Once: The Lost Album is a major addition to the Coltrane catalogue and the most important jazz discovery in recent memory. This historic session resulted in 14 tracks in total. On the standard edition, there are 7 takes, chosen by Ravi Coltrane. The rest of the takes exist on the second disc of the deluxe set. There will be a standard CD and LP and a deluxe CD and LP available on June 29 on Impulse! The deluxe edition will exist on all digital streaming platforms as well. Impulse! Records Impulse! Records was founded in 1960 by Creed Taylor and was home to John Coltrane, one of the label's earliest signings. Known sometimes as "the house that Trane built," the legendary label signed jazz artists such as Pharoah Sanders, McCoy Tyner, Alice Coltrane, Charlie Haden and the Liberation Music Orchestra, among others. Today, Impulse! sits under the umbrella of Verve Label Group, a division of the Universal Music Group. Artists signed to Impulse! include saxophonist Shabaka Hutchings and his groups Sons of Kemet, The Comet Is Coming, and Shabaka & The Ancestors, and pianist Sullivan Fortner. Verve Label Group The Verve Label Group (VLG), a division of Universal Music Group based in New York City, is home to many of the most acclaimed artists in jazz and classical music, while also strongly focused on championing emerging talent across all genres. Verve Label Group is home to Impulse! Records, Verve Records, Verve Forecast, Deutsche Grammophon, Decca, Mercury KX and more. Universal Music Group Universal Music Group (UMG) is the world leader in music-based entertainment, with a broad array of businesses engaged in recorded music, music publishing, merchandising and audiovisual content in more than 60 countries. Featuring the most comprehensive catalog of recordings and songs across every musical genre, UMG identifies and develops artists and produces and distributes the most critically acclaimed and commercially successful music in the world. Committed to artistry, innovation and entrepreneurship, UMG fosters the development of services, platforms and business models in order to broaden artistic and commercial opportunities for our artists and create new experiences for fans. Universal Music Group is a Vivendi company. Find out more at: http://www.universalmusic.com. Standard Edition Track List: Untitled Original 11383 (5:41) Nature Boy (3:24) Untitled Original 11386 (8:43) Vilia (5:32) Impressions (4:36) Slow Blues (11:28) One Up, One Down (8:01) Deluxe Edition Track List: CD1 Untitled Original 11383 (Take 1) (5:41) Nature Boy (3:24) Untitled Original 11386 (Take 1) (8:43) Vilia (Take 3) (5:32) Impressions (Take 3) (4:36) Slow Blues (11:28) One Up, One Down (Take 1) (8:01) CD2 Vilia (Take 5) (4:37) Impressions (Take 1) (4:06) Impressions (Take 2) (4:37) Impressions (Take 4) (3:40) Untitled Original 11386 (Take 2) (8:41) Untitled Original 11386 (Take 5) (8:23) One Up, One Down (Take 6) (7:17) View original content with multimedia:http://www.prnewswire.com/news-releases/lost-studio-album-from-john-coltrane-to-be-released-on-impulse-on-june-29-300662180.html SOURCE Verve Label Group ||||| Focused crawls are collections of frequently-updated webcrawl data from narrow (as opposed to broad or wide) web crawls, often focused on a single domain or subdomain. ||||| If you heard the John Coltrane Quartet live in the early-to-mid-1960s, you were at risk of having your entire understanding of performance rewired. This was a ground-shaking band, an almost physical being, bearing a promise that seemed to reach far beyond music. The quartet’s relationship to the studio, however, was something different. In the years leading up to “A Love Supreme,” his explosive 1965 magnum opus, Coltrane produced eight albums for Impulse! Records featuring the members of his so-called classic quartet — the bassist Jimmy Garrison, the drummer Elvin Jones and the pianist McCoy Tyner — but only two of those, “Coltrane” and “Crescent,” were earnest studio efforts aimed at distilling the band’s live ethic. But now that story needs a major footnote. On Friday, Impulse! will announce the June 29 release of “Both Directions at Once: The Lost Album,” a full set of material recorded by the quartet on a single day in March 1963, then eventually stashed away and lost. The family of Coltrane’s first wife, Juanita Naima Coltrane, recently discovered his personal copy of the recordings, which she had saved, and brought it to the label’s attention. ||||| A lost album of originals by John Coltrane, the American saxophonist who took jazz to new heights of freedom and expression, has been unearthed. The album, being released on 29 June as Both Directions at Once: the Lost Album, was recorded in a session on 6 March 1963, at the Van Gelder studios in New Jersey. Joining Coltrane in the quartet that also recorded classic albums such as A Love Supreme, Coltrane, and Ballads, are Jimmy Garrison on double bass, Elvin Jones on drums, and McCoy Tyner on piano. The master tape left in the studio was lost, and it’s likely it was destroyed in the early 70s when the label, Impulse!, was trying to reduce storage fees. But Coltrane gave his own reference tape of the recording to his wife Naima, despite their then disintegrating relationship – the pair divorced in 1966, and the tape has stayed in her family’s possession ever since. Sonny Rollins, a peer of Coltrane’s and also regarded as one of the greatest jazz saxophonists of all time, described the discovery as “like finding a new room in the Great Pyramid”. Among the seven tracks are two completely unheard original compositions, called Untitled Original 11383 and Untitled Original 11386, both of which are played on soprano saxophone. Another composition, One Up, One Down, has been heard only in a live bootleg from the Birdland jazz club, and never before in this studio version. Facebook Twitter Pinterest John Coltrane quartet … from left, John Coltrane, Elvin Jones, Jimmy Garrison, McCoy Tyner. Photograph: Jim Marshall Photography LLC The sessions capture Coltrane at a crucial juncture in his music. It was still two years before Ascension, where he opened up his quartet into an experimental, spiritually minded big band, but he was already heading towards its “free jazz” sound. Impressions (1963), recorded across the previous two years, features some unmoored and raw soloing quite different from the previous bebop era. Nevertheless, he was still in love with melody: Ballads, recorded during the same period and also released in 1963, features some of his most accessible material. The 11386 recording similarly sees the quartet play in a traditional style, revisiting a melodic chorus theme between solos, and the album also features Coltrane’s first, never before heard version of Nat King Cole’s Nature Boy – unlike the freer 1965 version, the Both Directions at Once version is a straight three-minute take without solos. Ben Ratliff, former New York Times jazz writer and author of Coltrane: the Story of a Sound, told the Guardian: “This is Coltrane’s quartet starting to move into the last stages of their stable and authoritative phase, when they were often playing the same handful of songs. There’s no concept or grand design here. But he’s trying some new tunes, and playing a strange blues, and fine-tuning Impressions – and that’s a lot.” Facebook Twitter Pinterest Cover artwork for John Coltrane’s Both Directions at Once: the Lost Album. Photograph: Impulse! Both Directions at Once was recorded at an intensely fertile time for Coltrane and his quartet – as well as Ballads and Impressions, he also released a collaboration with Duke Ellington in 1963. The lost session was recorded during a two-week run of shows at Birdland – Coltrane played the club straight after the session – and the following day, 7 March, he recorded the album John Coltrane and Johnny Hartman with the jazz singer (its tracklisting changed on the way to the studio, after the pair heard Nat King Cole singing Lush Life on the radio and decided to include their own version). Saxophonist Wayne Shorter, interviewed for the album’s liner notes, says the title Both Directions at Once came from a compositional tip Coltrane gave to him: “about starting a sentence in the middle, and then going to the beginning and the end of it at the same time.” The Guardian’s jazz critic John Fordham finds another meaning: “Coltrane was looking back at bebop – the virtuosity and melodic resources of which he had stretched to breaking point – and the song-based lyricism of jazz he had recently explored with Duke Ellington, and was about to with Johnny Hartman. But he was also looking forward to imagining the more intense, mantra-like, spiritually-driven music that produced A Love Supreme in 1964.” British jazz and improv saxophonist Evan Parker meanwhile told the Guardian: “This release is most welcome – the ‘classic quartet’ was where Coltrane did his best work.” He picked out Coltrane’s interplay with drummer Elvin Jones as being “the core of the music ... which reached astonishing levels of intuitive understanding.” Ratliff adds that “most of all, Both Directions at Once is a study in how seriously strong the band was, and how powerful his intent, or his concentration, had become.” ||||| What is a shorter version of the above article?

question:You are an AI assistant. Provide a detailed answer so user don’t need to search outside to understand the answer. Process: - A red giant burns mass - This mass creates high core temperatures - The mass decreases - The red giant can no longer fuse the carbon and oxygen in its center - The gravity of the star can no longer hold the outside layers - The layers break away - Only the inner core remains - This inner core is known as a white dwarf. Perturbation hypothesis: suppose more items thrown away that can be reused happens, how will it affect the inner core is smaller. Does the supposed perturbation have an effect (direct or indirect) on the process?

question:You are an AI assistant. User will you give you a task. Your goal is to complete the task as faithfully as you can. While performing the task think step-by-step and justify your steps. Question: I was a waitress at the New England regional chain Newport Creamery for seven years in Jr. High, High School, and College. In college, I needed money for school supplies, so in addition to slinging ice cream cones and “Awful Awfuls” at the Creamery, I picked up a few more jobs: working the dinner shift at a family restaurant, heaving trays of cocktails at a bar until 3AM, and cleaning houses. Needless to say, I was a wreck, and a big time abuser of coffee and cigarettes. One day just before my shift at the Creamery began, I slung back a huge coffee and hauled on a Newport cigarette in the kitchen (this was when you could do things like smoke in a restaurant kitchen.) I then went out to the dining floor and approached my first table, who had been given menus and was waiting for me to take their order. “Hi, How are you today?”, I cheerfully asked the mother and her three daughters, all looking under 12. “What may I get you?…..” Then, fade to black as a huge swooshing sound took over my head. Next thing I know, I’m on the floor, covered in blood, the girls are screaming blue murder, and my manager is shaking like a leaf as he coddles me. Apparently, I passed out right onto the table of the nice family I was waiting on, then fell back and whacked my head on the corner of a wall. I remember noticing that my kelly green polyester dress was an awful shade of bloodied brown. My main concern was that I had a hot date that night, and now I had to go to the emergency room! The ER doctor was able to sew my head up, and sent me home with a diagnosis of “syncope, unknown origin”. After a few hours, I still felt spacey, but insisted on going on the date. I remember we went to a nice Italian place on Federal Hill! Here’s the Garden City location, where I worked. Why are the young girls screaming? - The waitress passed out and hit her head. - not enough information - They saw the waitress smoking. - They were waiting on the waitress to take their order. Answer:

question:You are a helpful assistant, who always provide explanation. Think like you are answering to a five year old. In some decorative applications, wood with knots may be desirable to add visual interest. In applications where wood is painted, such as skirting boards, fascia boards, door frames and furniture, resins present in the timber may continue to 'bleed' through to the surface of a knot for months or even years after manufacture and show as a yellow or brownish stain. A knot primer paint or solution, correctly applied during preparation, may do much to reduce this problem but it is difficult to control completely, especially when using mass-produced kiln-dried timber stocks. Answer this question, if possible (if impossible, reply "unanswerable"): What term is used to describe what knots can do to affect the finish of things made from wood even when they've been painted?