Question: Utada Hikaru (Yu Duo Tian  hikaru, born January 19, 1983), who also goes by the mononym Utada (English: ), is a Japanese-American singer-songwriter and producer. Born in New York City to Japanese parents, record producer Utada Teruzane and enka singer Abe Junko, Utada began to write music and lyrics at an early age and often traveled to Tokyo, as a result of her father's job. Eventually, a recording contract with Toshiba-EMI was signed and, under the stage name "Cubic U", Utada released her English-language debut album Precious in early 1998, but was a commercial failure. In the following year, heavily influenced by R&B and dance-pop, her Japanese-language debut First Love was released and became an instant success.

On December 16, 2008, information leaked onto the Internet that Utada's next English-language single, titled "Come Back to Me", would be scheduled for airplay release through U.S. Rhythmic/Crossover and Mainstream formats on February 9 and 10, 2009 respectively via Island Records. The new English album, titled This Is the One, was released on March 14, 2009 in Japan and on May 12, 2009 in the United States. This Is the One debuted at number 1 in Japan on March 13, 2009, the day it was released in Japan, but became Utada's first album not to top the weekly chart since Precious. On March 30, 2009 she appeared on New York City radio station Z-100 (100.3), the largest pop radio program in the U.S., and granted a live on-air interview on the station's Elvis Duran Morning Show, a breakthrough that would lead to a promotional schedule up and through the album's international physical release on May 12. Utada also sang the theme song for the second Evangelion film, Evangelion: 2.0 You Can (Not) Advance. The single was released on June 27, 2009, and is a remix of her previous single, "Beautiful World". The new single is titled Beautiful World -PLANiTb Acoustica Mix-.  On October 14, Utada stated that she was writing lyrics that were due on October 15. She also added that some "German magic" would be added to the music. It was revealed that Goetz B, who had previously worked with Utada on her album Ultra Blue was in the process of mixing tracks for her.  On November 30, 2009, at Studio Coast, Tokyo, Utada sung a duet of Let It Snow with pop singer Mika.  On December 21, 2009, Utada's Dirty Desire remixes were released only on Amazon.com, Zune Marketplace, and the U.S. iTunes Store, in support of This Is the One and her upcoming tour. The tour, Utada: In the Flesh 2010, was her first concert tour outside Japan and included eight cities in the US and two dates in London, UK. The tickets for the second London performance went on public sale November 13, and reportedly sold out in just 5 hours.

Using a quote from the above article, answer the following question: When did she return to the US?
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Answer: February 9 and 10, 2009


Question: Charles Mingus Jr. (April 22, 1922 - January 5, 1979) was an American jazz double bassist, pianist, composer and bandleader. His compositions retained the hot and soulful feel of hard bop, drawing heavily from black gospel music and blues, while sometimes containing elements of Third Stream, free jazz, and classical music. He once cited Duke Ellington and church as his main influences. Mingus espoused collective improvisation, similar to the old New Orleans jazz parades, paying particular attention to how each band member interacted with the group as a whole.

In 1952 Mingus co-founded Debut Records with Max Roach so he could conduct his recording career as he saw fit. The name originated from his desire to document unrecorded young musicians. Despite this, the best-known recording the company issued was of the most prominent figures in bebop. On May 15, 1953, Mingus joined Dizzy Gillespie, Parker, Bud Powell, and Roach for a concert at Massey Hall in Toronto, which is the last recorded documentation of Gillespie and Parker playing together. After the event, Mingus chose to overdub his barely audible bass part back in New York; the original version was issued later. The two 10" albums of the Massey Hall concert (one featured the trio of Powell, Mingus and Roach) were among Debut Records' earliest releases. Mingus may have objected to the way the major record companies treated musicians, but Gillespie once commented that he did not receive any royalties "for years and years" for his Massey Hall appearance. The records, however, are often regarded as among the finest live jazz recordings.  One story has it that Mingus was involved in a notorious incident while playing a 1955 club date billed as a "reunion" with Parker, Powell, and Roach. Powell, who suffered from alcoholism and mental illness (possibly exacerbated by a severe police beating and electroshock treatments), had to be helped from the stage, unable to play or speak coherently. As Powell's incapacitation became apparent, Parker stood in one spot at a microphone, chanting "Bud Powell...Bud Powell..." as if beseeching Powell's return. Allegedly, Parker continued this incantation for several minutes after Powell's departure, to his own amusement and Mingus's exasperation. Mingus took another microphone and announced to the crowd, "Ladies and Gentleman, please don't associate me with any of this. This is not jazz. These are sick people." This was Parker's last public performance; about a week later he died after years of substance abuse.  Mingus often worked with a mid-sized ensemble (around 8-10 members) of rotating musicians known as the Jazz Workshop. Mingus broke new ground, constantly demanding that his musicians be able to explore and develop their perceptions on the spot. Those who joined the Workshop (or Sweatshops as they were colorfully dubbed by the musicians) included Pepper Adams, Jaki Byard, Booker Ervin, John Handy, Jimmy Knepper, Charles McPherson and Horace Parlan. Mingus shaped these musicians into a cohesive improvisational machine that in many ways anticipated free jazz. Some musicians dubbed the workshop a "university" for jazz.

Using a quote from the above article, answer the following question: What did he say about these Pepper Adams, Jaki Byard, Booker Ervin, John Handy, Jimmy Knepper, Charles McPherson and Horace Parlan?
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Answer:
Mingus shaped these musicians into a cohesive improvisational machine that in many ways anticipated free jazz.