input: In 1933 Young settled in Kansas City, where after playing briefly in several bands, he rose to prominence with Count Basie. His playing in the Basie band was characterized by a relaxed style which contrasted sharply with the more forceful approach of Coleman Hawkins, the dominant tenor sax player of the day. One of Young's key influences was Frank Trumbauer, who came to prominence in the 1920s with Paul Whiteman and played the C-melody saxophone (between the alto and tenor in pitch). Young left the Basie band to replace Hawkins in Fletcher Henderson's orchestra. He soon left Henderson to play in the Andy Kirk band (for six months) before returning to Basie. While with Basie, Young made small-group recordings for Milt Gabler's Commodore Records, The Kansas City Sessions. Although they were recorded in New York (in 1938, with a reunion in 1944), they are named after the group, the Kansas City Seven, and comprised Buck Clayton, Dicky Wells, Basie, Young, Freddie Green, Rodney Richardson, and Jo Jones. Young played clarinet as well as tenor in these sessions. Young is described as playing the clarinet in a "liquid, nervous style." As well as the Kansas City Sessions, his clarinet work from 1938-39 is documented on recordings with Basie, Billie Holiday, Basie small groups, and the organist Glenn Hardman. Billie and Lester met at a Harlem jam session in the early 30s and worked together in the Count Basie band and in nightclubs on New York's 52nd St. At one point Lester moved into the apartment Billie shared with her mother, Sadie Fagan. Holiday always insisted their relationship was strictly platonic. She gave Lester the nickname "Prez" after President Franklin Roosevelt, the "greatest man around" in Billie's mind. Playing on her name, he would call her "Lady Day." Their famously empathetic classic recordings with Teddy Wilson date from this era. After Young's clarinet was stolen in 1939, he abandoned the instrument until about 1957. That year Norman Granz gave him one and urged him to play it (with far different results at that stage in Young's life--see below).

Answer this question "did he become successful?"
output: Their famously empathetic classic recordings with Teddy Wilson date from this era.

input: After a year of success, the Devils were in the middle of the pack for most of the 1995-96 season and barely missed the playoffs. Brodeur played in 74 of his team's 82 games, setting a single-season record for most minutes played by a goalie, while having the 2nd-most shutouts (6) in the league. He was named the starter in the All-Star Game for the Eastern Conference and stopped all 12 shots he faced. He finished fourth in voting for the Vezina Trophy, which is awarded to the league's top goaltender. Brodeur also played on Team Canada during the 1996 World Cup of Hockey, where Canada lost to the United States in the gold medal finals. In the 1996-97 season, the Devils finished 3rd in the NHL. Brodeur was runner-up for the Vezina Trophy, was named to the All-Star team, and had the lowest goals against average by a goalie in almost 30 years, earning him the Jennings Trophy. He also had 10 shutouts and a .927 save percentage. On April 17, 1997, in the first game of a first-round playoff matchup against the Montreal Canadiens, Brodeur fired the puck the length of the ice and into the Canadiens' empty net to ensure a 5-2 victory. It was only the second time in NHL history that a goaltender had scored in the playoffs, and the fifth time overall. The Devils went on to win that series, but lost in the second round to the rival New York Rangers. The following year, Brodeur had 43 wins and 10 shutouts in the regular season. The Devils finished first in the Eastern Conference, but lost in the first round of the playoffs to the eighth-seeded Ottawa Senators. Once again, Brodeur made the All-Star Team, finished as a runner-up for the Vezina Trophy, and won the Jennings Trophy. In the 1998-99 season, the Devils finished first in the Eastern Conference for the third straight year, with Brodeur winning 39 games. He was among the contenders for the Vezina Trophy and started in the All-Star game, making his fourth appearance. However, the Devils lost in the first round to the Penguins. It was Brodeur's worst playoff performance to date statistically, as he allowed 20 goals in seven games with an .856 save percentage.

Answer this question "Did anything else notable happen during that season?"
output: It was Brodeur's worst playoff performance to date statistically, as he allowed 20 goals in seven games with an .856 save percentage.

input: In 1929, Monroe moved to Indiana to work at an oil refinery with his brothers Birch and Charlie, and childhood friend and guitarist William "Old Hickory" Hardin. Together with a friend Larry Moore, they formed the "Monroe Brothers", to play at local dances and house parties. Birch Monroe and Larry Moore soon left the group, and Bill and Charlie carried on as a duo, eventually winning spots performing live on radio stations-- first in Indiana and then, sponsored by Texas Crystals, on several radio broadcasts in Iowa, Nebraska, South Carolina and North Carolina from 1934 to 1936. RCA Victor signed the Monroe Brothers to a recording contract in 1936. They scored an immediate hit single with the gospel song "What Would You Give in Exchange For Your Soul?" and ultimately recorded 60 tracks for Victor's Bluebird label between 1936 and 1938. After the Monroe Brothers disbanded in 1938, Bill Monroe formed The Kentuckians in Little Rock, Arkansas, but the group only lasted for three months. Monroe then left Little Rock for Atlanta, Georgia, to form the first edition of the Blue Grass Boys with singer/guitarist Cleo Davis, fiddler Art Wooten, and bassist Amos Garren. Bill had wanted "Old Hickory" to become one of the original members of his "Blue Grass Boys", however William Hardin had to decline. In October 1939, Monroe successfully auditioned for a regular spot on the Grand Ole Opry, impressing Opry founder George D. Hay with his energetic performance of Jimmie Rodgers's "Mule Skinner Blues". Monroe recorded that song, along with seven others, at his first solo recording session for RCA Victor in 1940; by this time, the Blue Grass Boys consisted of singer/guitarist Clyde Moody, fiddler Tommy Magness, and bassist Bill Wesbrooks. While the fast tempos and instrumental virtuosity characteristic of bluegrass music are apparent even on these early tracks, Monroe was still experimenting with the sound of his group. He seldom sang lead vocals on his Victor recordings, often preferring to contribute high tenor harmonies as he had in the Monroe Brothers. A 1945 session for Columbia Records featured an accordion, soon dropped from the band. Most importantly, while Monroe added banjo player David "'Stringbean" Akeman to the Blue Grass Boys in 1942, Akeman played the instrument in a relatively primitive style and was rarely featured in instrumental solos. Monroe's pre-1946 recordings represent a transitional style between the string-band tradition from which he came and the musical innovation to follow.

Answer this question "When did he eventually get signed?"
output:
Carolina and North Carolina from 1934 to 1936. RCA Victor signed the Monroe Brothers to a recording contract in 1936.