Question:
Ellington was born on April 29, 1899, to James Edward Ellington and Daisy (Kennedy) Ellington in Washington, D.C. Both his parents were pianists. Daisy primarily played parlor songs and James preferred operatic arias.
World War II brought about a swift end to the big band era as musicians went off to serve in the military and travel restrictions made touring difficult. When the war ended, the focus of popular music shifted towards crooners such as Frank Sinatra and Jo Stafford, so Ellington's wordless vocal feature "Transblucency" (1946) with Kay Davis was not going to have a similar reach. With inflation setting in after 1945, the cost of hiring big bands went up and club owners preferred smaller jazz groups who played in new styles such as bebop. Dancing in clubs also subjected club owners to a new wartime tax which continued for many years after, which made small bands more cost-effective for club owners.  Ellington continued on his own course through these tectonic shifts. While Count Basie was forced to disband his whole ensemble and work as an octet for a time, Ellington was able to tour most of Western Europe between April 6 and June 30, 1950, with the orchestra playing 74 dates over 77 days. During the tour, according to Sonny Greer, the newer works were not performed, though Ellington's extended composition, Harlem (1950) was in the process of being completed at this time. Ellington later presented its score to music-loving President Harry Truman. Also during his time in Europe, Ellington would compose the music for a stage production by Orson Welles. Titled Time Runs in Paris and An Evening With Orson Welles in Frankfurt, the variety show also featured a newly discovered Eartha Kitt, who performed Ellington's original song "Hungry Little Trouble" as Helen of Troy.  In 1951, Ellington suffered a significant loss of personnel: Sonny Greer, Lawrence Brown, and most importantly Johnny Hodges left to pursue other ventures, although only Greer was a permanent departee. Drummer Louie Bellson replaced Greer, and his "Skin Deep" was a hit for Ellington. Tenor player Paul Gonsalves had joined in December 1950 after periods with Count Basie and Dizzy Gillespie and stayed for the rest of his life, while Clark Terry joined in November 1951.  During the early 1950s, Ellington's career was at a low point with his style being generally seen as outmoded, but his reputation did not suffer as badly as some artists. Andre Previn said in 1952: "You know, Stan Kenton can stand in front of a thousand fiddles and a thousand brass and make a dramatic gesture and every studio arranger can nod his head and say, Oh, yes, that's done like this. But Duke merely lifts his finger, three horns make a sound, and I don't know what it is!" However, by 1955, after three years of recording for Capitol, Ellington lacked a regular recording affiliation.
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Any other people?

Answer:
compose the music for a stage production by Orson Welles.

input: In 2005, Tamia split from Elektra Records, and created her own record label, Plus One Music Group. The first record to be released on the company was her fourth studio album Between Friends. First released on South African independent label Gallo Records in May 2006, it was later distributed by Image Entertainment in the United States. Entirely produced by Shep Crawford, with additional production from Rodney Jerkins, it reached number nine on the Billboard Top R&B/Hip-Hop Albums chart. Its first two singles, "Can't Get Enough" and "Me", both reached the top 30 on the Hot R&B/Hip-Hop Songs chart.  In November 2009, a great hits compilation was released in South Africa. The same year, Tamia announced that she was working with longtime contributor Shep Crawford to form a supergroup called TDK along with singers Kelly Price and Deborah Cox. Their joint album The Queen Project failed to materialize however due timing issues and label politics.  In August 2012, Tamia's fifth studio Beautiful Surprise was released on Plus One Music and EMI. The singer worked with a vast of different producers on the album, including Chuck Harmony, The Runners, and Carvin & Ivan. Upon its released, it debuted 23 on the Billboard 200 and number six on the Top R&B/Hip-Hop Albums chart with first week sales of 41,521 copies. Lead single "Beautiful Surprise", written by Claude Kelly, Salaam Remi and the herself peaked at number 24 on the Hot R&B/Hip-Hop Songs chart, and was later nominated for Best R&B Song at the 55th Annual Grammy Awards. In support of the album, Tamia went on tour with R. Kelly during his The Single Ladies tour from October until December 2012.

Answer this question "Did Tamia travel or go on tour during these years?"
output: Tamia went on tour with R. Kelly during his The Single Ladies tour from October until December 2012.

Answer the question at the end by quoting:

Jean-Philippe Rameau (French: [Zafilip Ramo]; (1683-09-25)25 September 1683 - (1764-09-12)12 September 1764) was one of the most important French composers and music theorists of the 18th century. He replaced Jean-Baptiste Lully as the dominant composer of French opera and is also considered the leading French composer for the harpsichord of his time, alongside Francois Couperin. Little is known about Rameau's early years, and it was not until the 1720s that he won fame as a major theorist of music with his Treatise on Harmony (1722) and also in the following years as a composer of masterpieces for the harpsichord, which circulated throughout Europe.
Unlike Lully, who collaborated with Philippe Quinault on almost all his operas, Rameau rarely worked with the same librettist twice. He was highly demanding and bad-tempered, unable to maintain longstanding partnerships with his librettists, with the exception of Louis de Cahusac, who collaborated with him on several operas, including Les fetes de l'Hymen et de l'Amour (1747), Zais (1748), Nais (1749), Zoroastre (1749; revised 1756), La naissance d'Osiris (1754), and Anacreon (the first of Rameau's operas by that name, 1754). He is also credited with writing the libretto of Rameau's final work, Les Boreades (c. 1763).  Many Rameau specialists have regretted that the collaboration with Houdar de la Motte never took place, and that the Samson project with Voltaire came to nothing because the librettists Rameau did work with were second-rate. He made his acquaintance of most of them at La Poupliniere's salon, at the Societe du Caveau, or at the house of the Comte de Livry, all meeting places for leading cultural figures of the day.  Not one of his librettists managed to produce a libretto on the same artistic level as Rameau's music: the plots were often overly complex or unconvincing. But this was standard for the genre, and is probably part of its charm. The versification, too, was mediocre, and Rameau often had to have the libretto modified and rewrite the music after the premiere because of the ensuing criticism. This is why we have two versions of Castor et Pollux (1737 and 1754) and three of Dardanus (1739, 1744, and 1760).

Why didn't he work with the same librettists twice?
He was highly demanding and bad-tempered, unable to maintain longstanding partnerships with his librettists,