input: In 1947, Miles Davis was playing in Charlie Parker's quintet, replacing Dizzy Gillespie, who had left in 1945 due to Parker's growing alcohol and drug problems. Davis recorded several albums worth of material with Parker at this time, including Parker's Sessions for the Savoy and Dial labels. Davis' first records sold under his own name were recorded with Parker's band, in 1947, and were more arranged and rehearsed than Parker's usual approach to recording. By 1948, Davis had three years of bebop playing under his belt, but he struggled to match the speed and ranges of the likes of Gillespie and Parker, choosing instead to play in the mid range of his instrument. In 1948, Davis, becoming increasingly concerned about growing tensions within the Parker quintet, left the group and began looking for a new band to work with. At the same time, arranger Gil Evans began hosting informal salons at his apartment, located on 55th Street in Manhattan, three blocks away from the jazz nightclubs of 52nd Street. Evans had gained a reputation in the jazz world for his orchestration of bebop tunes for the Claude Thornhill orchestra in the mid-1940s. Keeping an open door policy, Evans' apartment came to host many of the young jazz artists of late-1940s New York. The salon featured discussions about the future of jazz, including a proposed group with a new sound. According to jazz historian Ted Gioia: [The salon members] were developing a range of tools that would change the sound of contemporary music. In their work together, they relied on a rich palette of harmonies, many of them drawn from European impressionist composers. They explored new instrumental textures, preferring to blend the voices of the horns like a choir rather than pit them against each other as the big bands had traditionally done with their thrusting and parrying sections. They brought down the tempos of their music . . . they adopted a more lyrical approach to improvisation . . .

Answer this question "Why were there tensions?"
output: Dizzy Gillespie, who had left in 1945 due to Parker's growing alcohol and drug problems.

input: Evans was born in Boonville, Missouri, in 1971, and is of Welsh, English, Irish, and Native American descent. She was raised on a farm near New Franklin, Missouri, the eldest girl of seven children. By five, she was singing weekends in her family's band. At the age of eight, she was struck by an automobile in front of the family home, and her legs suffered multiple fractures. Recuperating for months in a wheelchair, she continued singing to help pay her medical bills. When she was 16, she began performing at a nightclub near Columbia, Missouri, a gig that lasted two years. Evans moved to Nashville, Tennessee, in 1991 to be a country music artist. She met fellow musician Craig Schelske and left Nashville with him in 1992, moving to Oregon. They married in 1993. She returned to Nashville in 1995 and began recording demos. Nashville songwriter Harlan Howard was impressed by her demo of his song "Tiger by the Tail". He decided to help her music career, leading to a signed contract with RCA Nashville. In 1997, Evans released her debut album for RCA, Three Chords and the Truth. Although none of its three singles ("True Lies," the title track, and "Shame About That") reached the Top 40 of the Billboard Hot Country Songs chart, the album received critical praise for its neotraditional country sound. In 1998, Evans released her second album, No Place That Far. The album's lead single, "Cryin' Game," also failed to reach the Top 40. However, the album's second single and title track, gave Evans her first Number One hit on the Hot Country Songs chart in March 1999. The album was eventually certified Gold by the RIAA, and produced one additional Top 40 country hit in "Fool, I'm a Woman."

Answer this question "Who were her parents?"
output: She was raised on a farm near New Franklin, Missouri, the eldest girl of seven children. By five, she was singing weekends in her family's band.

input: A film version of the musical was made in 1956, starring Gordon MacRae and Shirley Jones. It follows the musical's story fairly closely, although a prologue, set in the Starkeeper's heaven, was added. The film was released only a few months after the release of the film version of Oklahoma!. It garnered some good reviews, and the soundtrack recording was a best seller. As the same stars appeared in both pictures, however, the two films were often compared, generally to the disadvantage of Carousel. Thomas Hischak, in The Rodgers and Hammerstein Encyclopedia, later wondered "if the smaller number of Carousel stage revivals is the product of this often-lumbering [film] musical". There was also an abridged (100 minute) 1967 network television version that starred Robert Goulet, with choreography by Edward Villella. The New York Philharmonic presented a staged concert version of the musical from February 28 to March 2, 2013, at Avery Fisher Hall. Kelli O'Hara played Julie, with Nathan Gunn as Billy, Stephanie Blythe as Nettie, Jessie Mueller as Carrie, Jason Danieley as Enoch, Shuler Hensley as Jigger, John Cullum as the Starkeeper, and Kate Burton as Mrs. Mullin. Tiler Peck danced the role of Louise to choreography by Warren Carlyle. The production was directed by John Rando. Charles Isherwood of The New York Times wrote, "this is as gorgeously sung a production of this sublime 1945 Broadway musical as you are ever likely to hear." It was broadcast as part of the PBS Live from Lincoln Center series, premiering on April 26, 2013.

Answer this question "was it ever on television"
output:
The New York Philharmonic presented a staged concert version