IN: Cowdrey's father, Ernest Arthur Cowdrey, played for the Surrey County Cricket Club Second XI and Berkshire County Cricket Club in the Minor Counties, but lacked the talent to enter first-class cricket and his father made him join a bank. Ernest Cowdrey had been born in Calcutta, moved to India to run a tea plantation and played the 1926-27 MCC touring team for the Madras Europeans XI and top scored with 48. His mother, Molly Cowdrey (nee Taylor), played tennis and hockey. Michael Colin Cowdrey was born on his father's tea plantation at Ootacamund, Madras Presidency, although his birthplace was usually misrecorded as Bangalore 100 miles to the north.

His cover-drive was still his chief glory, but other shots were scarcely inferior: the glory of the moon and stars as opposed to the rich glory of the sun. There seemed to be no effort about his work. With a short back-swing he persuaded the ball through the gaps, guiding it with an iron hand inside the velvet glove which disguised his power and purpose.  Johnny Moyes  Cowdrey was a prodigy who learned to bat as soon as he could walk thanks to his cricket-mad father. When he arrived at Tonbridge School he was placed immediately in the First XI even though he was only 13, and became the youngest cricketer to play at Lord's. He was a fine strokemaker who possessed a full array of stokes around the wicket "a masterly batsman with an excellent technique he... delighted crowds throughout the world with his style and elegance". His favourite stroke was the most pleasing - the cover drive, his son Chris Cowdrey was always asked "Why don't you caress the ball through extra cover like your father?" and replied "If I could, I would". Cowdrey also liked to experiment with new grips and unconventional strokes, to the annoyance of purists who thought his technique was already near perfect and Cowdrey himself noted that "I have not been a good player when the going is easy... unless the match provided a problem to solve, a theory to test, a hurdle to leap, a challenge worthy of battle, I have never been fully plugged in".  At the start of his career the England batting was fragile and Cowdrey never forgot that his wicket was too important to throw away, sometimes treating bowlers too cautiously for a man of his great talents, John Arlott commenting "Cowdrey could sink into pits of uncertainty when the fire ceased to burn, allowing himself to be dominated by bowlers inferior to him in skill". Cowdrey himself thought that "the proudest thing in my career was that I kept surviving", playing Lindwall and Miller at 21 and Lillee and Thomson at 41, still able to move immaculately into line even though he hadn't played for months. His quick reflexes also made him an outstanding slip, whose 120 catches was a Test record for a fielder. In his youth, Cowdrey was a useful leg-spinner at club level, but only took 63 first-class wickets at a cost of 51.21 apiece. He claimed if Alan Knott hadn't misread a googly he would have picked up a Test wicket, though his son Chris wrote "I can't see Knotty losing sleep over that one". In Cowdrey's last Test at Melbourne the fans famously hung out a banner 'M.C.G. FANS THANK COLIN - 6 TOURS', with Cowdrey "wearing a large straw sun-hat ... signing endless autographs, posing for photographs and exchanging friendly talk with young and old in the way that has made him as popular a cricketer as has ever visited Australia".
QUESTION: What were some of Chris's other shots like?
IN: 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 1959 Mingus and his jazz workshop musicians recorded one of his best-known albums, Mingus Ah Um. Even in a year of standout masterpieces, including Dave Brubeck's Time Out, Miles Davis's Kind of Blue, John Coltrane's Giant Steps, and Ornette Coleman's prophetic The Shape of Jazz to Come, this was a major achievement, featuring such classic Mingus compositions as "Goodbye Pork Pie Hat" (an elegy to Lester Young) and the vocal-less version of "Fables of Faubus" (a protest against segregationist Arkansas governor Orval E. Faubus that features double-time sections). Also during 1959, Mingus recorded the album Blues & Roots, which was released the following year. As Mingus explained in his liner notes: "I was born swinging and clapped my hands in church as a little boy, but I've grown up and I like to do things other than just swing. But blues can do more than just swing."  Mingus witnessed Ornette Coleman's legendary--and controversial--1960 appearances at New York City's Five Spot jazz club. He initially expressed rather mixed feelings for Coleman's innovative music: "...if the free-form guys could play the same tune twice, then I would say they were playing something...Most of the time they use their fingers on the saxophone and they don't even know what's going to come out. They're experimenting." That same year, however, Mingus formed a quartet with Richmond, trumpeter Ted Curson and multi-instrumentalist Eric Dolphy. This ensemble featured the same instruments as Coleman's quartet, and is often regarded as Mingus rising to the challenging new standard established by Coleman. The quartet recorded on both Charles Mingus Presents Charles Mingus and Mingus. The former also features the version of "Fables of Faubus" with lyrics, aptly titled "Original Faubus Fables".  Only one misstep occurred in this era: 1962's Town Hall Concert. An ambitious program, it was plagued with troubles from its inception. Mingus's vision, now known as Epitaph, was finally realized by conductor Gunther Schuller in a concert in 1989, 10 years after Mingus's death.
QUESTION:
Did the albums win any awards