Problem: Robert Wilson "Robb" Royer (born December 6, 1942 in Los Angeles, California) is an American musician and songwriter, best known as a founding member of Bread from 1968 to 1971. While he was with the band, they had a #5 UK/#1 US hit single with "Make It With You". He was replaced by Larry Knechtel in 1971.

In 1982 Royer wrote the song "Quittin' Time" (co-written with Roger Linn) which eight years later was recorded by Mary Chapin Carpenter and won an ASCAP Airplay award. Royer traveled to Nashville to receive the award and stayed with Griffin, who had previously relocated from L.A. to Nashville. Larry Knechtel had also been living and working as a session musician in Nashville. Royer relocated to Nashville in 1994.  Todd Cerney was already a grammy-nominated songwriter when Royer met him in 1994 at Jim Della Croce's house. Cerney had written two top-forty songs (Loverboy's "Notorious" and Restless Heart's "I'll Still Be Loving You," which reached number one on the Country charts). Cerney had established a private recording studio in his home where he engineered a number of other singer-songwriters' albums.  Griffin, Royer and Cerney first collaborated by co-writing the song "Kyrie" in 1994. Knechtel later joined the trio and together they performed and co-wrote songs (including the 1995 song "Slow Train") under the band name "Toast". Toast performed at various Nashville venues including the Bluebird, Third and Lindsley, and 12th & Porter. They wrote and performed their own songs including such titles as "Road Kill," "Knechtelodeon," "No More Smokin'," "Grenadine," "Magdelena," and "Radio Dixie." The group used session drummers for their recordings and performances. The group would later be known as Radio Dixie in 1998. The name change was intended to help with promotion of the group, but the group disbanded by the end of 1998. Royer and Cerney continued to write together, generating additional titles including "Hurtin' Cowboy," "New Orleans Prayer," "I Believe I Kissed an Angel," and "Beside Myself."

why did they disband?

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Problem: Callen Radcliffe "Cal" Tjader, Jr. ( CHAY-d@r; July 16, 1925 - May 5, 1982) was an American Latin jazz musician, known as the most successful non-Latino Latin musician. He explored other jazz idioms, even as he continued to perform the music of Cuba, the Caribbean, and Latin America for the rest of his life. Tjader played the vibraphone primarily. He was accomplished on the drums, bongos, congas, timpani, and the piano.

After recording for Fantasy for nearly a decade, Tjader signed with better-known Verve Records, founded by Norman Granz but owned then by MGM. With the luxury of larger budgets and seasoned recording producer Creed Taylor in the control booth, Tjader cut a varied string of albums. During the Verve years Tjader worked with Donald Byrd, Lalo Schifrin, Anita O'Day, Willie Bobo, Armando Peraza, a young Chick Corea, Clare Fischer, Jimmy Heath, Kenny Burrell, and others. Tjader recorded with big band orchestras for the first time, and even made an album based on Asian scales and rhythms.  His biggest success was the album Soul Sauce (1964). Its title track, a Dizzy Gillespie cover Tjader had been toying with for over a decade, was a radio hit (hitting the top 20 on New York's influential pop music station WMCA in May 1965), and landed the album on Billboard's Top 50 Albums of 1965. Titled "Guachi Guaro" (a nonsensical phrase in Spanish), Tjader transformed the Gillespie/Chano Pozo composition into something new. (The name "Soul Sauce" came from Taylor's suggestion for a catchier title and Bobo's observation that Tjader's version was spicier than the original.) The song's identifiable sound is a combination of the call-outs made by Bobo ("Salsa ahi na ma ... sabor, sabor!") and Tjader's crisp vibes work. The album sold over 100,000 copies and popularized the word salsa in describing Latin dance music.  The 1960s were Tjader's most prolific period. With the backing of a major record label, he could afford to stretch out and expand his repertoire. The most obvious deviation from his Latin jazz sound was Several Shades of Jade (1963) and the follow-up Breeze From the East (1963). Both albums attempted to combine jazz and Asian music, much as Tjader and others had done with Afro-Cuban. The result was dismissed by the critics, chided as little more than the dated exotica that had come and gone in the prior decade.  Other experiments were not so easily dismissed. Tjader teamed up with New Yorker Eddie Palmieri in 1966 to produce El Sonido Nuevo ("The New Sound"). A companion LP was recorded for Palmieri's contract label, Tico, titled Bamboleate. While Tjader's prior work was often dismissed as "Latin lounge", here the duo created a darker, more sinister sound. Cal Tjader Plays The Contemporary Music Of Mexico And Brazil (1962), released during the bossa nova craze, actually bucked the trend, instead using more traditional arrangements from the two countries' past. In the late 1960s Tjader, along with guitarist Gabor Szabo and Gary McFarland, helped to found the short-lived Skye record label. Tjader's work of this period is characterized by Solar Heat (1968) and Tjader Plugs In (1968-69), precursors to acid jazz.

What happened after he signed with VErve?

Answer with quotes:
With the luxury of larger budgets and seasoned recording producer Creed Taylor in the control booth, Tjader cut a varied string of albums.