Problem: Background: Sam Benjamin Harris (born April 9, 1967) is an American author, philosopher, neuroscientist, blogger, and podcast host. He is a critic of religion and proponent of the liberty to criticize religion. He is concerned with matters that touch on spirituality, morality, neuroscience, free will, and terrorism. He is described as one of the "Four Horsemen of atheism", with Richard Dawkins, Christopher Hitchens and Daniel Dennett.
Context: Harris considers Islam to be "especially belligerent and inimical to the norms of civil discourse," relative to other world religions. He asserts that the "dogmatic commitment to using violence to defend one's faith, both from within and without" to varying degrees, is a central Islamic doctrine that is found in few other religions to the same degree, and that "this difference has consequences in the real world."  In 2006, after the Jyllands-Posten Muhammad cartoons controversy, Harris wrote, "The idea that Islam is a 'peaceful religion hijacked by extremists' is a dangerous fantasy--and it is now a particularly dangerous fantasy for Muslims to indulge. It is not at all clear how we should proceed in our dialogue with the Muslim world, but deluding ourselves with euphemisms is not the answer. It now appears to be a truism in foreign policy circles that real reform in the Muslim world cannot be imposed from the outside. But it is important to recognize why this is so--it is so because the Muslim world is utterly deranged by its religious tribalism. In confronting the religious literalism and ignorance of the Muslim world, we must appreciate how terrifyingly isolated Muslims have become in intellectual terms." He states that his criticism of the religion is aimed not at Muslims as people, but at the doctrine of Islam.  Harris wrote a response to controversy over his criticism of Islam, which also aired on a debate hosted by The Huffington Post on whether critics of Islam are unfairly labeled as bigots:  Is it really true that the sins for which I hold Islam accountable are "committed at least to an equal extent by many other groups, especially [my] own"? ... The freedom to poke fun at Mormonism is guaranteed [not by the First Amendment but] by the fact that Mormons do not dispatch assassins to silence their critics or summon murderous hordes in response to satire. ... Can any reader of this page imagine the staging of a similar play [to The Book of Mormon] about Islam in the United States, or anywhere else, in the year 2013? ... At this moment in history, there is only one religion that systematically stifles free expression with credible threats of violence. The truth is, we have already lost our First Amendment rights with respect to Islam--and because they brand any observation of this fact a symptom of Islamophobia, Muslim apologists like Greenwald are largely to blame.  Harris has criticized common usage of the term "Islamophobia". "My criticism of Islam is a criticism of beliefs and their consequences," he wrote following a controversial clash with Ben Affleck in October 2014 on the show Real Time with Bill Maher, "but my fellow liberals reflexively view it as an expression of intolerance toward people." During an email exchange with Glenn Greenwald, a critic of the New Atheists, Harris argued that "Islamophobia is a term of propaganda designed to protect Islam from the forces of secularism by conflating all criticism of it with racism and xenophobia. And it is doing its job, because people like you have been taken in by it."
Question: What is his view on Islam?
Answer: "The idea that Islam is a 'peaceful religion hijacked by extremists' is a dangerous fantasy--and it is now a particularly dangerous fantasy for Muslims to indulge.

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