Some context: Sir Curtly Elconn Lynwall Ambrose, KCN (born 21 September 1963) is a former cricketer from Antigua who played 98 Test matches for the West Indies. A fast bowler, he took 405 Test wickets at an average of 20.99 and topped the ICC Player Rankings for much of his career to be rated the best bowler in the world. His great height--he is 6 feet 7 inches (2.01 m) tall--allowed him to make the ball bounce unusually high after he delivered it; allied to his pace and accuracy, it made him a difficult bowler for batsmen to face. A man of few words during his career, he was notoriously reluctant to speak to journalists.
The West Indies toured Australia in 1992-93, recovering from losing the second Test to win the final two matches and take the series 2-1. The team also won the annual World Series Cup. In the first three Tests, Ambrose was hampered by pitches which did not suit his bowling and, according to Tony Cozier writing in Wisden, was often unlucky when he bowled, although he took five for 66 in the first Test. In the final two Tests, he took 19 wickets. In the fourth he took ten wickets, including six for 74 in the first innings; in the second innings, he took three wickets in 19 deliveries and the West Indies won the match by one run. According to Cozier, the captains of both teams, Richie Richardson and Allan Border, "paid tribute to the man who made the result possible: Ambrose consolidated his reputation as the world's leading bowler". On the first day of the decisive final Test, Ambrose took seven wickets at the cost of one run from 32 deliveries and finished with figures of seven for 25. Cozier described it as "one of Test cricket's most devastating spells". West Indies won by an innings and Ambrose was named man of the series, having taken 33 wickets to equal the record in an Australia-West Indies Test series. He topped the West Indian bowling averages with an average of 16.42. Cozier described Ambrose's performance as "instrumental in winning [the series]" and his bowling as "flawless".  In the one-day tournament, Ambrose took 18 wickets at 13.38. He took eight wickets in the two-match final--both games were won by the West Indies. In the first final, he took five for 32, driven to bowl with more hostility when the Australian batsman Dean Jones asked him to remove his white wristbands while bowling. He followed up with three for 26 in the second match to be named player of the finals. After a one-day tournament in South Africa, West Indies returned home for Test and ODI series against Pakistan. The ODI series was drawn, but the West Indies defeated Pakistan 2-0 in the Tests. Ambrose took nine wickets at 23.11 to be fifth in the team bowling averages. The Wisden report suggested that he was suffering from fatigue after his team's busy schedule, but although not at his best, he continued to take important wickets. For Northamptonshire in 1993, Ambrose was second in the team first-class bowling averages with 59 wickets at 20.45.  Having developed a slower ball, and using the yorker more sparingly, Ambrose took five wickets in three games as West Indies won an ODI tournament in Sharjah in late October and November 1993. The team competed in another tournament, this time in India, later that November. They finished as runners-up, and Ambrose took four wickets in five matches. Immediately following this, West Indies toured Sri Lanka to play three ODIs and a Test, a rain-ruined match in which Ambrose took three wickets.
What were opposing players names?
A: Australian batsman Dean Jones

Some context: Muddy Waters' birthplace and date are not conclusively known. He stated that he was born in Rolling Fork, Mississippi, in 1915, but it is believed to be more likely that he was born in Jug's Corner, in neighboring Issaquena County, in 1913. Recent research has uncovered documentation showing that in the 1930s and 1940s, before his rise to fame, the year of his birth was reported as 1913 on his marriage license, recording notes, and musicians' union card. A 1955 interview in the Chicago Defender is the earliest in which he stated 1915 as the year of his birth, and he continued to say this in interviews from that point onward.
In August 1941, Alan Lomax went to Stovall, Mississippi, on behalf of the Library of Congress to record various country blues musicians. "He brought his stuff down and recorded me right in my house," Muddy recalled for Rolling Stone magazine, "and when he played back the first song I sounded just like anybody's records. Man, you don't know how I felt that Saturday afternoon when I heard that voice and it was my own voice. Later on he sent me two copies of the pressing and a check for twenty bucks, and I carried that record up to the corner and put it on the jukebox. Just played it and played it and said, 'I can do it, I can do it.'" Lomax came back in July 1942 to record him again. Both sessions were eventually released by Testament Records as Down on Stovall's Plantation. The complete recordings were reissued by Chess Records on CD as Muddy Waters: The Complete Plantation Recordings. The Historic 1941-42 Library of Congress Field Recordings in 1993 and remastered in 1997.  In 1943, Muddy Waters headed to Chicago with the hope of becoming a full-time professional musician. He lived with a relative for a short period while driving a truck and working in a factory by day and performing at night. Big Bill Broonzy, then one of the leading bluesmen in Chicago, had Muddy Waters open his shows in the rowdy clubs where Broonzy played. This gave Muddy Waters the opportunity to play in front of a large audience. In 1944, he bought his first electric guitar and then formed his first electric combo. He felt obliged to electrify his sound in Chicago because, he said, "When I went into the clubs, the first thing I wanted was an amplifier. Couldn't nobody hear you with an acoustic." His sound reflected the optimism of postwar African Americans. Willie Dixon said that "There was quite a few people around singing the blues but most of them was singing all sad blues. Muddy was giving his blues a little pep."  Three years later, in 1946, he recorded some songs for Mayo Williams at Columbia Records, with an old-fashioned combo consisting of clarinet, saxophone and piano; they were released a year later with Ivan Ballen's Philadelphia-based 20th Century label, billed as James "Sweet Lucy" Carter and his Orchestra - Muddy Waters' name was not mentioned on the label. Later that year, he began recording for Aristocrat Records, a newly formed label run by the brothers Leonard and Phil Chess. In 1947, he played guitar with Sunnyland Slim on piano on the cuts "Gypsy Woman" and "Little Anna Mae". These were also shelved, but in 1948, "I Can't Be Satisfied" and "I Feel Like Going Home" became hits, and his popularity in clubs began to take off. Soon after, Aristocrat changed its name to Chess Records. Muddy Waters's signature tune "Rollin' Stone" also became a hit that year.
What did these performances in rowdy clubs lead to?
A:
This gave Muddy Waters the opportunity to play in front of a large audience.