input: Fischer next lived in Detroit, Michigan, whereupon, after first hearing the vocal quartet The Hi-Lo's in a live performance, he promptly offered his services. Over the next five years, Fischer recorded several albums with the group, serving as pianist and, on occasion, arranger. In addition, he contributed several vocal arrangements, making his debut in that capacity; it was these arrangements that Herbie Hancock would later point to as a major influence:  [T]hat's when I really learned some much farther-out voicings - like the harmonies I used on Speak Like a Child - just being able to do that. I really got that from Clare Fischer's arrangements for the Hi-Lo's. Clare Fischer was a major influence on my harmonic concept... I heard some of his last records, and he was still doing amazing harmonic stuff. And, of course, he was a wonderful pianist, too. But it was those vocal harmonies that were the first thing I heard. I was in awe of him.  When Fischer moved to Hollywood in 1958, he went to East L.A. to play and learn more about Latin-Jazz. He started in a charanga group with Modesto Duran as leader and played with many different groups. On November 2, 1959, he made a particularly fruitful connection within this genre when he appeared with the Hi-lo's at the First Annual Los Angeles Jazz Festival on the same bill with the already popular Latin jazz group led by vibraphonist Cal Tjader. Both his playing and arranging made an immediate impression on Tjader, who went on to employ Fischer in both capacities on several recordings over the next three years; the two would reunite in the mid-seventies, leading eventually to the formation of Fischer's own Latin jazz unit, Salsa Picante.  In 1961, Fischer became interested in Brazilian music through the recordings of Elizete Cardoso and Joao Gilberto. This discovery, coupled with his introduction to the music of Mexican composer Mario Ruiz Armengol, led to Fischer's subsequent collaboration with Cal Tjader, a 1962 LP devoted jointly to Armengol's music and that of assorted contemporary Brazilian composers. Over the following year, Fischer collaborated on two Bossa Nova-themed LPs with saxophonist Bud Shank, and arranged another for pianist George Shearing.  While with The Hi-Lo's, Fischer arranged a record by trumpeter Donald Byrd, which, by virtue of Fischer's use of strings and harps, imbued well-known standards with an unaccustomed, melancholic quality. Although it would be twenty-five years before the album was finally released, September Afternoon paid immediate dividends when Byrd played a copy for Dizzy Gillespie. In turn, Gillespie hired Fischer to write arrangements for a small ensemble featuring brass and woodwinds for his own album, A Portrait of Duke Ellington, which was well received. In 1960 albums for vibraphonist Cal Tjader and pianist George Shearing followed, as did an eight-year career of writing music for commercials, as well as the signing of Fischer's first record contract.

Answer this question "What was her first job?"
output: The Hi-Lo's

Problem: Background: White was born Barry Eugene Carter in Galveston, Texas on September 12, 1944, and grew up in South Central Los Angeles. White was the older of two children. His brother Darryl was 13 months younger than Barry. He grew up listening to his mother's classical music collection and first took to the piano, emulating what he heard on the records.
Context: White wanted to work with another act but decided to work with a solo male artist. While working on a few demos for a male singer, he made three song demos of himself singing and playing, but Nunes heard them and insisted that he re-record and release them himself as a solo recording artist. After arguing for days about it, White was finally persuaded to release the songs himself, although he was initially reluctant to step out in front of the microphone.  He then wrote several other songs and recorded them for what eventually became an entire album of music. He was going to use the name "White Heat," but decided on using his given name instead. White was still hesitating up to the time the label copy was made. It eventually became White's first solo album, 1973's I've Got So Much to Give. It included the title track and his first solo chart hit, "I'm Gonna Love You Just a Little More Baby", which also rose to #1 on the Billboard R&B charts as well as #3 on the Billboard Pop charts in 1973 and stayed in the top 40 for many weeks.  Other chart hits by White included "Never, Never Gonna Give You Up" (#2 R&B, #7 Pop in 1973), "Can't Get Enough of Your Love, Babe" (# 1 Pop and R&B in 1974), "You're the First, the Last, My Everything" (#1 R&B, #2 Pop in 1974), "What Am I Gonna Do with You" (#1 R&B, #8 Pop in 1975), "Let the Music Play" (#4 R&B in 1976), "It's Ecstasy When You Lay Down Next to Me" (#1 R&B, #4 Pop in 1977) and "Your Sweetness Is My Weakness" (#2 R&B in 1978) and others. White also had a strong following in the UK, where he scored five Top 10 hits and a #1 for "You're the First, the Last, My Everything".
Question: Did he do any solo's?
Answer: White's first solo album, 1973's I've Got So Much to Give. It included the title track and his first solo chart hit,

Question: Patrick Michael Rafter (born 28 December 1972) is an Australian former professional tennis player. He reached the Association of Tennis Professionals (ATP) world No. 1 singles ranking on July 26, 1999. His career highlights include consecutive US Open titles in 1997 and 1998 and consecutive runner-up at Wimbledon in 2000 and 2001.

His ranking had fallen to No. 21 by the time he reached the Wimbledon final in July 2000. In the semifinals, Rafter defeated Agassi 7-5, 4-6, 7-5, 4-6, 6-3. The match was hailed as a classic, particularly because of their contrasting playing styles, with Agassi playing primarily from the baseline and Rafter attacking the net. Rafter faced Sampras in the final, who was gunning for a record-breaking seventh Wimbledon title overall (and seven in the past eight years). While Rafter made a strong start to the match and took the first set, after the match he would claim that he had "choked" part way through the second set, and was then not able to get back into his game. Sampras won in four sets.  In 2001, Rafter reached the semifinals of the Australian Open, but despite holding a two sets to one lead and having the support of the home crowd, Rafter lost the match to Agassi in five sets. Later in the year, Rafter again reached the Wimbledon final. For the third straight year, he faced Agassi in the semifinals and won in yet another five-setter, 2-6, 6-3, 3-6, 6-2, 8-6. Much like the previous year's semifinal, this match also received praise for the quality of play that the two men displayed. In the final, he squared off against Goran Ivanisevic, who had reached the Wimbledon final three times before but had slid down the rankings to World No. 125 following injury problems. In a five-set struggle that lasted just over three hours, Ivanisevic prevailed. He played his last match before his unexpected retirement at the Davis Cup final, winning the singles rubber but losing the doubles rubber.  Rafter announced his retirement at the end of the year, stating that he had lost all motivation to compete at the top level, after not playing any matches during the season to recover from injuries.

Using a quote from the above article, answer the following question: Who was he competing against
HHHHHH
Answer:
Rafter faced Sampras in the final,