In this task, you're expected to write answers to questions involving multiple references to the same entity. The answer to the question should be unambiguous and a phrase in the paragraph. Most questions can have only one correct answer.

[EX Q]: Passage: After the Southwest became part of the U.S., explorers continued to look for good east–west routes along the 35th parallel. In 1853, a crew led by U.S. Army Lieutenant Amiel Whipple surveyed along a sandy wash in the northern part of the Petrified Forest. So impressed was Whipple by the petrified wood along the banks of the arroyo that he named it Lithodendron Creek (Stone Tree Creek). Geologist Jules Marcou, a member of the Whipple expedition, observed that the petrified trees were from the Triassic.A slightly later route along the parallel was a wagon road, built between 1857 and 1860, that involved experimental use of camels as transport. In the late 19th century, settlers and private stagecoach companies followed similar east–west routes. Homesteaders who stayed in the area developed cattle ranches on the grasslands, and cattle grazed in the Petrified Forest until the mid-20th century.Also close to the 35th parallel was the Atlantic and Pacific Railroad. Its opening in the early 1880s led to the founding of towns like Holbrook and Adamana. Visitors could stop at the Adamana train station, book a hotel room, and take a tour of what was then called the Chalcedony Forest. Over the years, the line changed hands, becoming the Atchison, Topeka and Santa Fe Railway, and then the BNSF. More than 60 BNSF trains, mostly carrying freight, pass through the park every day. U.S. Route 66, a former transcontinental auto highway developed in 1926 from part of the National Old Trails Road, ran parallel to the railroad tracks until it was decommissioned in 1985. The park has preserved within its boundaries a small grassy section of the road. Interstate 40, which crosses the park, replaced the older highway. 
Question: What is the name of the place that 60 BNSF trains pass through everyday?
[EX A]: Petrified Forest.

[EX Q]: Passage: Fickle Juliet Marsden breaks off her engagement to Lucius Lorimer for the third time to marry handsome singer and ladykiller Rodney Trask. After the wedding, Juliet's Southern cousin, Laura Anders, calls from South Carolina to apologize for not attending because of appendicitis. Juliet promises to visit Laura on her honeymoon and has Rodney write down the address.
Before the newlyweds can leave, Rodney is visited by a woman named Clara Raymond, who blackmails him over their past relationship. Juliet's friend, Betty Trent, sees them drive away in Rodney's car. Rodney refuses to pay and is hit over the head by Clara's accomplice and develops amnesia. The would-be blackmailers drive the car over a cliff, where it bursts into flames, and although no body is found, Rodney is believed to be dead.
Rodney, not knowing who he is, takes the name "Happy Homes" from an F.H.A. billboard he chances to see, finds Laura's address in his pocket, and travels to her cotton plantation in search of his true identity. Laura has no idea who he is, but Rodney talks her into hiring him to run the nearly bankrupt plantation.
A year passes and love develops between Happy and Laura. They marry, and before leaving on their honeymoon, make a surprise visit to Juliet. Family and friends (including Lucius) immediately recognize "Happy" as Rodney, but are not quite certain if he is really Rodney or just someone who looks like him. Laura and Happy are unaware of the true situation, and when the household concocts a series of delays to prevent the couple from proceeding on their honeymoon, conclude everyone is crazy. They decide to sneak out to Niagara Falls, but Juliet discovers the plan. She diverts fuel oil into the water pipes and drenches both in goo when they take showers. 
Question: What is the full name of the woman who gets drenched with fuel oil?
[EX A]: Laura Anders.

[EX Q]: Passage: In New Orleans, jazz had traditionally been expressed through polyphonic ensemble playing, with the various instruments weaving their parts into a single and coherent aural tapestry. By the early 1920s, developments in jazz saw the rise of the jazz soloist, with solos becoming longer and more complex. Both Beiderbecke and Armstrong were key figures in this evolution, as can be heard on their earliest recordings. According to the critic Terry Teachout, they are "the two most influential figures in the early history of jazz" and "the twin lines of descent from which most of today's jazz can be traced."Beiderbecke's cornet style is often described by contrasting it with Armstrong's markedly different approach. Armstrong was a virtuoso on his instrument, and his solos often took advantage of that fact. Beiderbecke was largely, although not completely, self-taught, and the constraints imposed by that fact were evident in his music. While Armstrong often soared into the upper register, Beiderbecke stayed in the middle range, more interested in exploring the melody and harmonies than in dazzling the audience. Armstrong often emphasized the performance aspect of his playing, while Beiderbecke tended to stare at his feet while playing, uninterested in personally engaging his listeners. Armstrong was deeply influenced by the blues, while Beiderbecke was influenced as much by modernist composers such as Debussy and Ravel as by his fellow jazzmen.Beiderbecke's most famous solo was on "Singin' the Blues", recorded February 4, 1927. It has been hailed as an important example of the "jazz ballad style"—"a slow or medium-tempo piece played gently and sweetly, but not cloyingly, with no loss of muscle." The tune's laid-back emotions hinted at what would become, in the 1950s, the cool jazz style, personified by Chet Baker and Bill Evans. More than that, though, "Singin' the Blues" has been noted for the way its improvisations feel less improvised than composed, with each phrase building on the last in a logical fashion. Benny Green describes the solo's effect on practiced ears:
When a musician hears Bix's solo on 'Singing the Blues', he becomes aware after two bars that the soloist knows exactly what he is doing and that he has an exquisite sense of discord and resolution. He knows also that this player is endowed with the rarest jazz gift of all, a sense of form which lends to an improvised performance a coherence which no amount of teaching can produce. The listening musician, whatever his generation or his style, recognizes Bix as a modern, modernism being not a style but an attitude. 
Question: What is the name of the solo work that is an important example of the "jazz ballad style"?
[EX A]:
Singin' the Blues.