input: 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.

Answer this question "What was the second album?"
output: 

input: The new band began a hectic schedule of performing in Britain and the World and prepared material for a new album. The result was the all-instrumental Expletive Delighted! (1986). This showcased the virtuosity of Sanders and Allcock, but perhaps inevitably was not popular with all fans. This was followed by the recording In Real Time: Live '87 which managed to capture the energy and power of the new Fairport on stage, despite the fact that it was recorded in the studio with audience reactions dubbed on.  In this period the band were playing to larger and larger audiences, both on tour and at Cropredy, and it was very productive in terms of recording. Fairport had the considerable composing and arranging skills of Allcock and, to fill the gap created by a lack of a songwriter in the band, they turned to some of the most talented available in the contemporary folk scene. The results were Red & Gold (1989) The Five Seasons (1990) and Jewel in the Crown (1995), the last of which was judged 'their bestselling and undoubtedly finest album in years.'  At this point, with Mattacks busy with other projects, the band shifted to an acoustic format for touring and released the unplugged Old, New, Borrow Blue as 'Fairport Acoustic Convention' in 1996. For a while the four-piece acoustic line-up ran in parallel with the electric format. When Allcock left the band, he was replaced by Chris Leslie on vocals, mandolin and fiddle, who formerly worked with Swarbrick in Whippersnapper, and had a one-off stint with the band replacing Ric Sanders for 1992 Cropredy Festival. This meant that for the first time since reforming, the band had a recognized songwriter who contributed significantly to the band's output on the next album Who Knows Where the Time Goes (1997), particularly the rousing 'John Gaudie'. By the time of the 1997 thirty-year anniversary Festival at Cropredy, the new Fairport had been in existence for over a decade and contributed a significant chapter to the history of the band.

Answer this question "what happened at the convention in1986?"
output:
The new band began a hectic schedule of performing in Britain and the World and prepared material for a new album.