input: Born in Cleveland, Ohio, Ayler was first taught alto saxophone by his father Edward, who was a semiprofessional saxophonist and violinist. Edward and Albert played alto saxophone duets in church and often listened to jazz records together, including swing era jazz and then-new bop albums. Ayler's upbringing in the church had a great impact on his life and music, and much of his music can be understood as an attempt to express his spirituality, including the aptly titled Spiritual Unity, and his album of spirituals, Goin' Home, which features "meandering" solos that are meant to be treated as meditations on sacred texts, and at some points as "speaking in tongues" with his saxophone. Ayler's experience in the church and exposure to swing jazz artists also impacted his sound: his wide vibrato was similar to that of gospel saxophonists, who sought a more vocal-like sound with their instruments, and to that of brass players in New Orleans swing bands.  Ayler attended John Adams High School on Cleveland's East Side, and graduated in 1954 at the age of 18. He later studied at the Academy of Music in Cleveland with jazz saxophonist Benny Miller. Ayler also played the oboe in high school. As a teenager, Ayler's understanding of bebop style and mastery of standard repertoire earned him the nickname of "Little Bird", after Charlie "Bird" Parker, in the small Cleveland jazz scene.  In 1952, at the age of 16, Ayler began playing bar-walking, honking, R&B-style tenor with blues singer and harmonica player Little Walter, spending two summer vacations with Walter's band. In 1958, after graduating from high school, Ayler joined the United States Army, where he switched from alto to tenor sax and jammed with other enlisted musicians, including tenor saxophonist Stanley Turrentine. Ayler also played in the regiment band, along with future composer Harold Budd. In 1959 he was stationed in France, where he was further exposed to the martial music that would be a core influence on his later work. After his discharge from the army, Ayler tried to find work in Los Angeles and Cleveland, but his increasingly iconoclastic playing, which had moved away from traditional harmony, was not welcomed by traditionalists.  Ayler relocated to Sweden in 1962, where his recording career began, leading Swedish and Danish groups on radio sessions and jamming as an unpaid member of Cecil Taylor's band in the winter of 1962-63. (Long-rumored tapes of Ayler performing with Taylor's group were released by Revenant Records in 2004, as part of a 10-CD set.) The album My Name Is Albert Ayler is a session of standards recorded for a Copenhagen radio station with local musicians including Niels-Henning Orsted Pedersen and drummer Ronnie Gardiner, with Ayler playing tenor and soprano on tracks such as "Summertime".

Answer this question "When was Albert Ayler born?"
output: Born in Cleveland, Ohio,

input: In 1842, Deburau was inadvertently responsible for translating Pierrot into the realm of tragic myth, heralding the isolated and doomed figure--often the fin-de-siecle artist's alter-ego--of Decadent, Symbolist, and early Modernist art and literature. In that year, Gautier, drawing upon Deburau's newly acquired audacity as a Pierrot, as well as upon the Romantics' store of Shakespearean plots and of Don-Juanesque legend, published a "review" of a pantomime he claimed to have seen at the Funambules.  He entitled it "Shakespeare at the Funambules", and in it he summarized and analyzed an unnamed pantomime of unusually somber events: Pierrot murders an old-clothes man for garments to court a duchess, then is skewered in turn by the sword with which he stabbed the peddler when the latter's ghost lures him into a dance at his wedding. The pantomime under "review" was a fabrication (though it inspired a hack to turn it into an actual pantomime, The Ol' Clo's Man [1842], in which Deburau probably appeared--and also inspired Barrault's wonderful recreation of it in Children of Paradise). But it importantly marked a turning-point in Pierrot's career: henceforth Pierrot could bear comparisons with the serious over-reachers of high literature, like Don Juan or Macbeth; he could be a victim--even unto death--of his own cruelty and daring.  When Gustave Courbet drew a crayon illustration for The Black Arm (1856), a pantomime by Fernand Desnoyers written for another mime, Paul Legrand (see next section), the Pierrot who quakes with fear as a black arm snakes up from the ground before him is clearly a child of the Pierrot in The Ol' Clo's Man. So, too, are Honore Daumier's Pierrots: creatures often suffering a harrowing anguish. In 1860, Deburau was directly credited with inspiring such anguish, when, in a novella called Pierrot by Henri Riviere, the mime-protagonist blames his real-life murder of a treacherous Harlequin on Baptiste's "sinister" cruelties. Among the most celebrated of pantomimes in the latter part of the century would appear sensitive moon-mad souls duped into criminality--usually by love of a fickle Columbine--and so inevitably marked for destruction (Paul Margueritte's Pierrot, Murderer of His Wife [1881]; the mime Severin's Poor Pierrot [1891]; Catulle Mendes' Ol' Clo's Man [1896], modeled on Gautier's "review").

Answer this question "What role did Pierrot play in Shakespeare at the Funambules?"
output:
Pierrot murders an old-clothes man for garments