Background: John the Apostle (Aramaic: ywHnn shlyH' Yohanan Shliha; Hebrew: yvkhnn bn zbdy Yohanan ben Zavdi; Koine Greek: Ioannes; Coptic:  or ; Latin: Ioannes; c. AD 6-100) was one of the Twelve Apostles of Jesus according to the New Testament, which refers to him as Ioannes. Generally listed as the youngest apostle, he was the son of Zebedee and Salome or Joanna.
Context: Peter, James and John were the only witnesses of the raising of Daughter of Jairus. All three also witnessed the Transfiguration, and these same three witnessed the Agony in Gethsemane more closely than the other Apostles did. John was the disciple who reported to Jesus that they had 'forbidden' a non-disciple from casting out demons in Jesus' name, prompting Jesus to state that 'he who is not against us is on our side'.  Jesus sent only John and Peter into the city to make the preparation for the final Passover meal (the Last Supper).[Lk 22:8] At the meal itself, the "disciple whom Jesus loved" sat next to Jesus. It was customary to lie along upon couches at meals, and this disciple leaned on Jesus. Tradition identifies this disciple as Saint John[Jn 13:23-25]. After the arrest of Jesus, Peter and the "other disciple" (according to Sacred Tradition), John followed him into the palace of the high-priest.  John alone among the Apostles remained near Jesus at the foot of the cross on Calvary alongside myrrhbearers and numerous other women; following the instruction of Jesus from the Cross, John took Mary, the mother of Jesus, into his care as the last legacy of Jesus [Jn 19:25-27]. After Jesus' Ascension and the descent of the Holy Spirit at Pentecost, John, together with Peter, took a prominent part in the founding and guidance of the church. He was with Peter at the healing of the lame man at Solomon's Porch in the Temple [Ac 3:1 et seq.] and he was also thrown into prison with Peter.[Acts 4:3] He went with Peter to visit the newly converted believers in Samaria.[Acts 8:14]  While he remained in Judea and the surrounding area, the other disciples returned to Jerusalem for the Apostolic Council (about AD 51). Paul, in opposing his enemies in Galatia, recalls that John explicitly, along with Peter and James the Just, were referred to as "pillars of the church" and refers to the recognition that his Apostolic preaching of a gospel free from Jewish Law received from these three, the most prominent men of the messianic community at Jerusalem.  According to the Book of Revelation, its author was on the island of Patmos "for the word of God and for the testimony of Jesus", when he was honoured with the vision contained in Revelation.[Rev. 1:9]
Question: Are there any other interesting aspects about this article?
Answer: John alone among the Apostles remained near Jesus at the foot of the cross on Calvary alongside myrrhbearers and numerous other women;

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: In 1947, Miles Davis was playing in Charlie Parker's quintet, replacing Dizzy Gillespie, who had left in 1945 due to Parker's growing alcohol and drug problems. Davis recorded several albums worth of material with Parker at this time, including Parker's Sessions for the Savoy and Dial labels. Davis' first records sold under his own name were recorded with Parker's band, in 1947, and were more arranged and rehearsed than Parker's usual approach to recording. By 1948, Davis had three years of bebop playing under his belt, but he struggled to match the speed and ranges of the likes of Gillespie and Parker, choosing instead to play in the mid range of his instrument. In 1948, Davis, becoming increasingly concerned about growing tensions within the Parker quintet, left the group and began looking for a new band to work with.  At the same time, arranger Gil Evans began hosting informal salons at his apartment, located on 55th Street in Manhattan, three blocks away from the jazz nightclubs of 52nd Street. Evans had gained a reputation in the jazz world for his orchestration of bebop tunes for the Claude Thornhill orchestra in the mid-1940s. Keeping an open door policy, Evans' apartment came to host many of the young jazz artists of late-1940s New York. The salon featured discussions about the future of jazz, including a proposed group with a new sound. According to jazz historian Ted Gioia:  [The salon members] were developing a range of tools that would change the sound of contemporary music. In their work together, they relied on a rich palette of harmonies, many of them drawn from European impressionist composers. They explored new instrumental textures, preferring to blend the voices of the horns like a choir rather than pit them against each other as the big bands had traditionally done with their thrusting and parrying sections. They brought down the tempos of their music . . . they adopted a more lyrical approach to improvisation . . .
Question: Did any if the albums have great success?
Answer: