Please answer this: Read the following paragraph and extract the answer for the question: What is the first name of the person who suggested that clarinetists, by virtue of their not being tied to the melody as much as cornetists and trumpet players, could explore harmonies Like Green, who made particular mention of Beiderbecke's "amount of teaching," the jazz historian Ted Gioia also has emphasized Beiderbecke's lack of formal instruction, suggesting that it caused him to adopt "an unusual, dry embouchure" and "unconventional fingerings," which he retained for the rest of his life. Gioia points to "a characteristic streak of obstinacy" in Beiderbecke that provokes "this chronic disregard of the tried-and-true." He argues that this stubbornness was behind Beiderbecke's decision not to switch from cornet to trumpet when many other musicians, including Armstrong, did so. In addition, Gioia highlights Beiderbecke's precise timing, relaxed delivery, and pure tone, which contrasted with "the dirty, rough-edged sound" of King Oliver and his protege Armstrong, whose playing was often more energetic and whose style held more sway early in the 1920s than Beiderbecke's. Beiderbecke's playing - both as a cornetist and a pianist - had a profound effect on a number of his contemporaries. Eddie Condon, for instance, described Beiderbecke's cornet playing as "like a girl saying yes" and also wrote of being amazed by Beiderbecke's piano playing: "All my life I had been listening to music [] But I had never heard anything remotely like what Beiderbecke played. For the first time I realized music isn't all the same, it had become an entirely new set of sounds" "I tried to explain Bix to the gang," Hoagy Carmichael wrote, but "[i]t was no good, like the telling of a vivid, personal dream [] the emotion couldn't be transmitted."Mezz Mezzrow described Beiderbecke's tone as being "pickled in alcohol [] I have never heard a tone like he got before or since. He played mostly open horn, every note full, big, rich and round, standing out like a pearl, loud but never irritating or jangling, with a powerful drive that few white musicians had in those days."Some critics have highlighted "Jazz Me Blues", recorded with the Wolverines on February 18, 1924, as being particularly important to understanding...
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Answer: Richard
Problem: Read the following paragraph and extract the answer for the question: What is the last name of the person Ray pleaded with to return for the sessions for their upcoming album? In early 1969, Quaife told the band he was leaving. The other members did not take his statement seriously, until an article appeared in New Musical Express on 4 April featuring Quaife's new band, Maple Oak, which he had formed without telling the rest of the Kinks. Ray Davies pleaded with him to return for the sessions for their upcoming album, but Quaife refused. Davies immediately called up John Dalton, who had filled in for Quaife in the past, as a replacement. Dalton remained with the group until 1977, when the album Sleepwalker was released.Ray Davies travelled to Los Angeles in April 1969 to help negotiate an end to the American Federation of Musicians' ban on the group, opening up an opportunity for them to return to touring in the US. The group's management quickly made plans for a North American tour, to help restore their standing in the US pop music scene. Before their return to the US, the Kinks recorded another album, Arthur (Or the Decline and Fall of the British Empire). As with the previous two albums, Arthur was grounded in characteristically English lyrical and musical hooks. A modest commercial success, it was well received by American music critics. Conceived as the score for a proposed but unrealised television drama, much of the album revolved around themes from the Davies brothers' childhood; their sister Rosie, who had migrated to Australia in the early 1960s with her husband, Arthur Anning, the album's namesake; and life growing up during the Second World War. The Kinks embarked on their tour of the US in October 1969. The tour was generally unsuccessful, as the group struggled to find cooperative promoters and interested audiences; many of the scheduled concert dates were cancelled. The band did, however, manage to play a few major venues such as the Fillmore East and Whisky a Go Go.

A: Quaife
Q: Read the following paragraph and extract the answer for the question: What was the first name of the person who was expected to follow his father into the family firm? Francis Jean Marcel Poulenc (French: [fsis masl pulk]; 7 January 1899 30 January 1963) was a French composer and pianist. His compositions include melodies, solo piano works, chamber music, choral pieces, operas, ballets, and orchestral concert music. Among the best-known are the piano suite Trois mouvements perpetuels (1919), the ballet Les biches (1923), the Concert champetre (1928) for harpsichord and orchestra, the Organ Concerto (1938), the opera Dialogues des Carmelites (1957), and the Gloria (1959) for soprano, choir and orchestra. As the only son of a prosperous manufacturer Poulenc was expected to follow his father into the family firm, and he was not allowed to enrol at a music college. Largely self-educated musically, he studied with the pianist Ricardo Vines, who became his mentor after the composer's parents died. Poulenc soon came under the influence of Erik Satie, under whose tutelage he became one of a group of young composers known collectively as Les Six. In his early works Poulenc became known for his high spirits and irreverence. During the 1930s a much more serious side to his nature emerged, particularly in the religious music he composed from 1936 onwards, which he alternated with his more light-hearted works. In addition to composing, Poulenc was an accomplished pianist. He was particularly celebrated for his performing partnerships with the baritone Pierre Bernac (who also advised him in vocal writing) and the soprano Denise Duval, touring in Europe and America with each, and making many recordings. He was among the first composers to see the importance of the gramophone, and he recorded extensively from 1928 onwards. In his later years, and for decades after his death, Poulenc had a reputation, particularly in his native country, as a humorous, lightweight composer, and his religious music was often overlooked. During the 21st century more attention has been given to his serious works, with many new productions of Dialogues des Carmelites and La voix humaine worldwide,...
A:
Francis