Answer the question at the end by quoting:

Jose Raul Capablanca y Graupera (19 November 1888 - 8 March 1942) was a Cuban chess player who was world chess champion from 1921 to 1927. A chess prodigy, he is considered by many as one of the greatest players of all time, widely renowned for his exceptional endgame skill and speed of play. Born in Havana, he beat Cuban champion Juan Corzo in a match two days before his thirteenth birthday on 17 November 1901.
Capablanca's skill in rapid chess lent itself to simultaneous exhibitions, and his increasing reputation in these events led to a US-wide tour in 1909. Playing 602 games in 27 cities, he scored 96.4% - a much higher percentage than, for example, Geza Maroczy's 88% and Frank Marshall's 86% in 1906. This performance gained him sponsorship for an exhibition match that year against Marshall, the US champion, who had won the 1904 Cambridge Springs tournament ahead of World Champion Emanuel Lasker and Dawid Janowski, and whom Chessmetrics ranks as one of the world's top three players at his peak. Capablanca beat Marshall by 15-8 (8 wins, 1 loss, 14 draws) - a margin comparable to what Emanuel Lasker achieved against Marshall (8 wins, no losses, 7 draws) in winning his 1907 World Championship match. After the match, Capablanca said that he had never opened a book on chess openings. Following this match, Chessmetrics rates Capablanca the world's third strongest player for most of the period from 1909 through 1912.  Capablanca won six games and drew one in the 1910 New York State Championship. Both Capablanca and Charles Jaffe won their four games in the knock-out preliminaries and met in a match to decide the winner, who would be the first to win two games. The first game was drawn and Capablanca won the second and third game. After another gruelling series of simultaneous exhibitions, Capablanca placed second, with 9 1/2  out of 12, in the 1911 National Tournament at New York, half a point behind Marshall, and half a point ahead of Charles Jaffe and Oscar Chajes. Marshall, invited to play in a tournament at San Sebastian, Spain, in 1911, insisted that Capablanca also be allowed to play.  According to David Hooper and Ken Whyld, San Sebastian 1911 was "one of the strongest five tournaments held up to that time", as all the world's leading players competed except the World Champion, Lasker. At the beginning of the tournament, Ossip Bernstein and Aron Nimzowitsch objected to Capablanca's participation because he had not fulfilled the entry condition of winning at least third prize in two master tournaments. Capablanca won brilliantly against Bernstein in the very first round, more simply against Nimzowitsch, and astounded the chess world by taking first place, with a score of six wins, one loss and seven draws, ahead of Akiba Rubinstein, Milan Vidmar, Marshall, Carl Schlechter and Siegbert Tarrasch, et al. His loss, against Rubinstein, was one of the most brilliant achievements of the latter's career. Some European critics grumbled that Capablanca's style was rather cautious, though he conceded fewer draws than any of the next six finishers in the event. Capablanca was now recognized as a serious contender for the world championship.

Did they play each other again?



IN: A big band is a type of musical ensemble that usually consists of ten or more musicians with four sections: saxophones, trumpets, trombones, and a rhythm section. Big bands originated during the early 1910s and dominated jazz in the early 1940s when swing was most popular. The term "big band" is also used to describe a genre of music. One problem with this usage is that it overlooks the variety of music played by these bands.

Although big bands are identified with the swing era, they continued to exist after those decades, though the music they played was often different from swing. Bandleader Charlie Barnet's recording of "Cherokee" in 1942 and "The Moose" in 1943 have been called the beginning of the bop era. Woody Herman's first band, nicknamed the First Herd, borrowed from progressive jazz, while the Second Herd emphasized the saxophone section of three tenors and one baritone. In the 1950s, Stan Kenton referred to his band's music as "progressive jazz", "modern", and "new music". He created his band as a vehicle for his compositions. Kenton pushed the boundaries of big bands by combining clashing elements and by hiring arrangers whose ideas about music conflicted. This expansive eclecticism characterized much of jazz after World War II. During the 1960s and '70s, Sun Ra and his Arketstra took big bands further out. Ra's eclectic music was played by a roster of musicians from ten to thirty and was presented as theater, with costumes, dancers, and special effects.  As jazz was expanded during the 1950s through the 1970s, the Basie and Ellington bands were still around, as were bands led by Buddy Rich, Gene Krupa, Lionel Hampton, Earl Hines, Les Brown, Clark Terry, and Doc Severinsen. Progressive bands were led by Dizzy Gillespie, Gil Evans, Carla Bley, Toshiko Akiyoshi and Lew Tabackin, Don Ellis, and Anthony Braxton.  Other bandleaders used Brazilian and Afro-Cuban music with big band instrumentation, and big bands led by arranger Gil Evans, saxophonist John Coltrane (on the album Ascension from 1965) and bass guitarist Jaco Pastorius introduced cool jazz, free jazz and jazz fusion, respectively, to the big band domain. Modern big bands can be found playing all styles of jazz music. Some large contemporary European jazz ensembles play mostly avant-garde jazz using the instrumentation of the big bands. Examples include the Vienna Art Orchestra, founded in 1977, and the Italian Instabile Orchestra, active in the 1990s.  In the late 1990s, there was a swing revival in the U.S. The Lindy Hop became popular again and young people took an interest in big band styles again.  Big bands maintained a presence on American television, particularly through the late-night talk show, which has historically used big bands as house accompaniment. Typically the most prominent shows with the earliest time slots and largest audiences have bigger bands with horn sections while those in later time slots go with smaller, leaner ensembles.

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OUT:
Big bands maintained a presence on American television, particularly through the late-night talk show,