Question:
Mercury was born Farrokh Bulsara (Gujarati: phaarokh blsaaraa, Pharokh Balsara) in Stone Town in the British protectorate of the Sultanate of Zanzibar, East Africa (now part of Tanzania) on 5 September 1946. His parents, Bomi (1908-2003) and Jer Bulsara (1922-2016), were Parsis from the Gujarat region of the then-province of Bombay Presidency in British India. As Parsis, Mercury and his family practised the Zoroastrian religion. The Bulsara family had moved to Zanzibar so that his father could continue his job as a cashier at the British Colonial Office.
Although Mercury's speaking voice naturally fell in the baritone range, he delivered most songs in the tenor range. His known vocal range extended from bass low F (F2) to soprano high F (F6). He could belt up to tenor high F (F5). Biographer David Bret described his voice as "escalating within a few bars from a deep, throaty rock-growl to tender, vibrant tenor, then on to a high-pitched, perfect coloratura, pure and crystalline in the upper reaches." Spanish soprano Montserrat Caballe, with whom Mercury recorded an album, expressed her opinion that "the difference between Freddie and almost all the other rock stars was that he was selling the voice". She adds,  His technique was astonishing. No problem of tempo, he sang with an incisive sense of rhythm, his vocal placement was very good and he was able to glide effortlessly from a register to another. He also had a great musicality. His phrasing was subtle, delicate and sweet or energetic and slamming. He was able to find the right colouring or expressive nuance for each word.  The Who lead singer Roger Daltrey called Mercury "the best virtuoso rock 'n' roll singer of all time. He could sing anything in any style. He could change his style from line to line and, God, that's an art. And he was brilliant at it."  A research team undertook a study in 2016 to understand the appeal behind Mercury's voice. Led by Professor Christian Herbst, the team identified his notably faster vibrato and use of subharmonics as unique characteristics of Mercury's voice, particularly in comparison to opera singers, and confirmed a vocal range from F#2 to G5 (just over 3 octaves) but were unable to confirm claims of a 4-octave range. The research team studied vocal samples from 23 commercially available Queen recordings, his solo work, and a series of interviews of the late artist. They also used an endoscopic video camera to study a rock singer brought in to imitate Mercury's singing voice.
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what was he like as a singer?

Answer:
His technique was astonishing. No problem of tempo, he sang with an incisive sense of rhythm,


Question:
Modern Sounds in Country and Western Music is a studio album by American R&B singer-songwriter and musician Ray Charles. It was recorded by Charles in February 1962 at Capitol Studios in New York City and at United Recording Studios in Hollywood, then released in April of that year by ABC-Paramount Records. The album departed stylistically from the singer's previous rhythm and blues music. It featured country, folk, and Western music standards reworked by Charles in popular song forms of the time, including R&B, pop, and jazz.
Modern Sounds in Country and Western Music was the 18th overall LP Charles had recorded. According to him, the title of the album was conceived by producer Sid Feller and ABC-Paramount's executives and management people. The recording sessions for the album took place at three sessions in mid-February 1962. The first two sessions were set on February 5 and 7 at Capitol Studios in New York, New York, at which one half of the album was recorded and produced. The other half was recorded on February 15 of that same year at United Recording Studios in Hollywood, California. Instead of drawing what he should record from memory and his knowledge of country music, Charles asked Feller, his newly appointed A&R (Artists and Repertoire) man, to research top country standards through major country music publishers.  By canvassing premier country publishing companies, such as Acuff-Rose Publishing (which featured the Hank Williams catalog) and Hill & Range Songs (most of which were located in Nashville, Tennessee), Feller amassed around 250 songs on tape for Charles to consider recording for Modern Sounds in Country and Western Music. From New York City, Feller sent the recordings to Charles, who was living in California at the time, for him to choose. According to music essayist Daniel Cooper:  While his selections provided the album's country and western foundation, the musical arrangements represented its contemporary influence. Eager to display his big band ensemble in studio, Charles enlisted premier jazz arrangers Gerald Wilson and Gil Fuller, while Marty Paich, who was active in the West Coast jazz scene, was hired to arrange the lush strings and chorus numbers. Despite enlisting a roster of professional arrangers and musicians, Charles intended to control the artistic direction of the recordings. To indicate specific licks he wanted emphasized for certain songs, Charles would put together voice-and-piano demos and pass them along to the arrangers, informing them of what he wanted to do with specific sounds. According to Feller, at one point during recording, Charles rewrote an entire botched arrangement and dictated the parts to each of the 18 backing musicians.
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What else stood out in this article

Answer:
Charles asked Feller, his newly appointed A&R (Artists and Repertoire) man, to research top country standards through major country music publishers.


Question:
Victor Jara was born in 1932 in Lonquen, near Santiago, to two peasants, Manuel Jara and Amanda Martinez. His father was illiterate and encouraged his children to work from an early age to help the family survive, rather than attend school. By the age of 6, Jara was already working on the land. His father could not support the family on his earnings as a peasant at the Ruiz-Tagle estate, nor was he able to find stable work.
After joining the choir at the University of Chile in Santiago, Jara was convinced by a choir-mate to pursue a career in theater. He subsequently joined the university's theater program and earned a scholarship for talent. He appeared in several of the university's plays, gravitating toward those with social themes, such as Russian playwright Maxim Gorky's The Lower Depths, a depiction of the hardships of lower-class life.  In 1957, he met Violeta Parra, a singer who had steered folk music in Chile away from the rote reproduction of rural materials toward modern song composition rooted in traditional forms, and who had established musical community centers called penas to incorporate folk music into the everyday life of modern Chileans. Jara absorbed these lessons and began singing with a group called Cuncumen, with whom he continued his explorations of Chile's traditional music. He was deeply influenced by the folk music of Chile and other Latin American countries, and by artists such as Parra, Atahualpa Yupanqui, and the poet Pablo Neruda.  In the 1960s, Jara started specializing in folk music and sang at Santiago's La Pena de Los Parra, owned by Angel Parra. Through these activities, he became involved in the Nueva Cancion movement of Latin American folk music. He released his first album, Canto a lo humano, in 1966, and by 1970, he had left his theater work in favor of a career in music. His songs were inspired by a combination of traditional folk music and left-wing political activism. From this period, some of his best-known songs are "Plegaria a un Labrador" ("Prayer to a Worker") and "Te Recuerdo Amanda" ("I Remember You Amanda").
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what did he sing with this group?

Answer:
with whom he continued his explorations of Chile's traditional music.