Some context: Eric Garth Hudson (born August 2, 1937) is a Canadian multi-instrumentalist. As the organist, keyboardist and saxophonist for Canadian-American rock group the Band, he was a principal architect of the group's unique sound. Hudson has been called "the most brilliant organist in the rock world" by Keyboard magazine. As of 2018, Hudson and fellow musician Robbie Robertson are the last original members of The Band who are still alive.
Hudson was born in Windsor, Ontario, Canada. His parents, Fred James Hudson and Olive Louella Pentland, were musicians. His mother played piano and accordion and sang. His father, a farm inspector who had fought as a fighter pilot in World War I, played drums, C melody saxophone, clarinet, flute and piano. Hudson moved with his family to London, Ontario, around 1940. Classically trained in piano, music theory, harmony and counterpoint, Hudson wrote his first song at the age of eleven and first played professionally with dance bands in 1949 at the age of twelve. He attended Broughdale Public School and Medway High School before studying music (primarily Bach's chorales and The Well-Tempered Clavier) at the University of Western Ontario for one year; nevertheless, he grew increasingly frustrated with the rigidity of the classical repertoire.  In 1958, he joined a rock and roll band called "the Capers". He was reported to have said that he also gained some performance experience from playing at his uncle's funeral parlor. In December 1961, the 24-year-old Hudson joined the Hawks, the backing band for Ronnie Hawkins, which already consisted of 21-year-old Levon Helm on drums, 18-year-old Robbie Robertson on guitar, 18-year-old Rick Danko on bass and 18-year-old Richard Manuel on piano.  Fearing that his parents would think he was squandering his years of music education by playing in a rock and roll band, Hudson joined the band on the condition he be given the title "music consultant" and that his bandmates each pay him $10 a week for music lessons. Revealing a bit of the thinking behind his early fears, in The Last Waltz Hudson told interviewer-director Martin Scorsese: "There is a view that jazz is 'evil' because it comes from evil people, but actually the greatest priests on 52nd Street and on the streets of New York City were the musicians. They were doing the greatest healing work. They knew how to punch through music that would cure and make people feel good."
What bands did he play with?
A: In 1958, he joined a rock and roll band called "the Capers".

Some context: La Monte Thornton Young (born October 14, 1935) is an American avant-garde composer, musician, and artist generally recognized as the first minimalist composer. His works are cited as prominent examples of post-war experimental and contemporary music, and were tied to New York's downtown music and Fluxus art scenes. Initially inspired by sources such as Indian classical music, serialism, and jazz, Young is perhaps best known for his pioneering work in Western drone music (originally referred to as "dream music"), prominently explored in the 1960s with the experimental music collective the Theatre of Eternal Music. He has engaged in musical and multimedia collaborations with a wide range of artists, including Tony Conrad, Pandit Pran Nath, John Cale, Terry Riley, and visual artist Marian Zazeela, with whom he developed the Dream House sound and light installation.
Young's first musical influence came in early childhood in Bern. He relates that "the very first sound that I recall hearing was the sound of wind blowing under the eaves and around the log extensions at the corners of the log cabin". Continuous sounds--human-made as well as natural--fascinated him as a child. He described himself as fascinated from a young age by droning sounds, such as "the sound of the wind blowing", the "60 cycle per second drone [of] step-down transformers on telephone poles", the tanpura drone and the alap of Indian classical music, "certain static aspects of serialism, as in the Webern slow movement of the Symphony Opus 21", and Japanese gagaku "which has sustained tones in it in the instruments such as the Sho". The four pitches he later named the "Dream chord", on which he based many of his mature works, came from his early age appreciation of the continuous sound made by the telephone poles in Bern.  Jazz is one of his main influences and until 1956 he planned to devote his career to it. At first, Lee Konitz and Warne Marsh influenced his alto saxophone playing style, and later John Coltrane shaped Young's use of the sopranino saxophone. Jazz was, together with Indian music, an important influence on the use of improvisation in his works after 1962. La Monte Young discovered Indian music in 1957 on the campus of UCLA. He cites Ali Akbar Khan (sarod) and Chatur Lal (tabla) as particularly significant. The discovery of the tambura, which he learned to play with Pandit Pran Nath, was a decisive influence in his interest in long sustained sounds. Young also acknowledges the influence of Japanese music, especially Gagaku, and Pygmy music.  La Monte Young discovered classical music rather late, thanks to his teachers at university. He cites Bela Bartok, Igor Stravinsky, Perotin, Leonin, Claude Debussy and Organum musical style as important influences, but what made the biggest impact on his compositions was the serialism of Arnold Schoenberg and Anton Webern.  Young was also keen to pursue his musical endeavors with the help of psychedelics. Cannabis, LSD and peyote played an important part in Young's life from mid-1950s onwards, when he was introduced to them by Terry Jennings and Billy Higgins. He said that "everybody [he] knew and worked with was very much into drugs as a creative tool as well as a consciousness-expanding tool". This was the case with the musicians of the Theatre of Eternal Music, with whom he "got high for every concert: the whole group". He considers that the cannabis experience helped him open up to where he went with Trio for Strings, though sometimes it proved a disadvantage when performing anything which required keeping track of the number of elapsed bars. He commented on the subject:  These tools can be used to your advantage if you're a master of [them]... If used wisely - the correct tool for the correct job - they can play an important role... It allows you to go within yourself and focus on certain frequency relationships and memory relationships in a very, very interesting way.
Are there any other interesting aspects about this article?
A:
also keen to pursue his musical endeavors with the help of psychedelics.