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Charles Edward "Charlie" Haden (August 6, 1937 - July 11, 2014) was an American jazz double bass player, bandleader, composer and educator known for his deep, warm sound, and whose career spanned more than fifty years. In the late 1950s, Haden was an original member of the ground-breaking Ornette Coleman Quartet. Haden revolutionized the harmonic concept of bass playing in jazz. About him, German musicologist Joachim-Ernst Berendt commented, "His ability to create serendipitous harmonies by improvising melodic responses to Coleman's free-form solos (rather than sticking to predetermined harmonies) was both radical and mesmerizing.
In addition to his lyrical playing, Haden was known for his warm tone and subtle vibrato on the double bass. His approach to the bass stemmed from his belief that the bassist should move from an accompanying role to a more direct role in group improvisation. This is particularly clear in his work with the Ornette Coleman Quartet where he frequently improvised melodic responses to Coleman's free-form solos instead of playing previously written lines. He frequently closed his eyes while performing, and assumed a posture in which he bent himself around the bass until his head was almost at the bottom of the bridge of the bass.  In an interview with Haden, pianist Ethan Iverson noted that Haden's "combination of folk song, avant-garde sensibility, and Bach-like classical harmony is a stream in this music just as distinctive as Thelonious Monk or Elvin Jones."  Haden owned one three-quarter-sized bass, and one seven-eighth-sized bass. The larger bass is one of a small number of basses made by Jean-Baptiste Vuillaume, a French luthier, in the mid-nineteenth century. He greatly valued this bass, playing it only at recording sessions and jobs in close proximity to his home so as not to risk damaging it in transit. He attributed the bass's special and valuable nature to the varnish used by Vuillaume, which is similar to Italian varnish.  Haden suffered from tinnitus, a ringing in both ears that he believed he acquired from constant exposure to playing in proximity to drums, and possibly from an extremely loud concert in which he played during the late 1960s. He also suffered from hyperacousis, or sensitivity to loud noises. As a result, when he played with a drummer, he had to play behind a Plexiglass divider.  "American Quartet" pianist, Keith Jarrett, said of Charlie's way of playing, "He wanted to relate to the material in a very personal style all the time. He wasn't somebody to get into a groove and just enjoy it simply because it was a groove".
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Who or what is his style influence by?

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Question:
The Rock and Roll Hall of Fame, located on the shore of Lake Erie in downtown Cleveland, Ohio, recognizes and archives the history of the best-known and most influential artists, producers, engineers, and other notable figures who have had some major influence on the development of rock and roll. The Rock and Roll Hall of Fame Foundation was established on April 20, 1983, by Atlantic Records founder and chairman Ahmet Ertegun. In 1986, Cleveland was chosen as the Hall of Fame's permanent home. Since opening in September 1995, the "Rock Hall" - part of the city's redeveloped North Coast Harbor - has hosted more than 10 million visitors and had a cumulative economic impact estimated at more than $1.8 billion.
There are seven levels in the building. On the lower level is the Ahmet M. Ertegun Exhibition Hall, the museum's main gallery. It includes exhibits on the roots of rock and roll (gospel, blues, rhythm & blues and folk, country and bluegrass). It also features exhibits on cities that have had a major impact on rock and roll: Memphis, Detroit, London and Liverpool, San Francisco, Los Angeles, New York and Seattle. There are exhibits about soul music, the Fifties, Sun Records, Atlantic Records, hip hop music, Cleveland's rock and roll legacy, the music of the Midwest, rock and roll radio and dee-jays, and the many protests against rock and roll. This gallery also has exhibits that focus on individual artists, including the Beatles, the Rolling Stones, Jimi Hendrix and others. Finally, the Ahmet M. Ertegun Exhibition Hall includes two theaters, one of which features a film about the roots of rock and roll and one that features films on various subjects.  The first floor of the museum is the entrance level. It includes a cafe, a stage that the museum uses for various special performances and events throughout the year, and a section called "Backstage Stories." The second floor includes several interactive kiosks that feature programs on one-hit wonders and the Songs That Shaped Rock and Roll. This level also includes a gallery with artifact-filled exhibits about Les Paul, Alan Freed, Sam Phillips and the evolution of audio technology.  Visitors enter the Hall of Fame section of the museum on the third floor. This section includes "The Power of Rock Experience," which includes one of Jonathan Demme's final works, a film shown in the Connor Theater. The film includes musical highlights from some of the Hall's induction ceremonies. Visitors exit the Hall of Fame section on the fourth floor. That level features the Foster Theater, a state-of-the-art 3-D theater that is used for special events and programs.  Finally, the top two levels of the Rock and Roll Hall of Fame feature large, temporary exhibits. Over the years, numerous exhibits have been installed on these two levels, including exhibits about Elvis Presley, hip-hop, the Supremes, the Who, U2, John Lennon, the Clash, Bruce Springsteen, Women Who Rock, and the Rolling Stones.
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What is the layout of the Rock and Roll Hall of Fame?

Answer:
There are seven levels in the building.