Problem: Background: Musial was born in Donora, Pennsylvania, the fifth of the six children (four girls and two boys) of Lukasz and Mary (Lancos) Musial (, MOO-show). His mother was of Carpatho-Rusyn descent and his father was a Polish immigrant who chose the name Stanislaw Franciszek for his first son, though his father always referred to Musial using the Polish nickname Stasiu, pronounced "Stashu". Musial frequently played baseball with his brother Ed and other friends during his childhood, and considered Lefty Grove his favorite ballplayer. Musial also had the benefit of learning about baseball from his neighbor Joe Barbao, a former minor league pitcher.
Context: Musial's rookie year with Williamson in 1938 was a period of adjustment both on and off the field. He began gaining more in-depth knowledge about baseball strategy while posting a 6-6 win-loss record and a 4.66 earned run average (ERA), to go along with a .258 batting average. Off the field, he experienced feelings of homesickness while learning to live comfortably and independently on his $65-per-month salary. Musial finished his high school education before returning to Williamson in spring 1939. That season his numbers improved to a 9-2 record, a 4.30 ERA, and a .352 batting average.  Musial spent the 1940 season with the Cardinals' other Class D team, the Daytona Beach Islanders, where he developed a lifelong friendship with manager Dickie Kerr. His pitching skills improved under the guidance of Kerr, who also recognized his hitting talent, playing him in the outfield between pitching starts. On May 25, 1940, Musial married fellow Donora resident, Lillian "Lil" Labash, in Daytona Beach, and the couple's first child followed in August. During late August, Musial suffered a shoulder injury while playing in the outfield, and later made an early exit as the starting pitcher in a 12-5 playoff game loss. For a while Musial considered leaving baseball entirely, complaining that he could not afford to support himself and his wife on the $16 a week pay. Kerr talked him out of it, and even took the Musials into his own home to relieve the financial burden. To repay the debt Musial bought Kerr a $20,000 home in Houston in 1958. In 113 games in 1940 he hit .311, while compiling an 18-5 pitching record that included 176 strikeouts and 145 walks.  Musial was assigned to the Class AA Columbus Red Birds to begin 1941, though manager, Burt Shotton, and Musial himself quickly realized that the previous year's injury had considerably weakened his arm. He was reassigned to the Class C Springfield Cardinals as a full-time outfielder, and he later credited manager Ollie Vanek for displaying confidence in his hitting ability. During 87 games with Springfield, Musial hit a league-leading .379 before being promoted to the Rochester Red Wings of the International League. He was noted for his unique batting stance, a crouch in which his back was seemingly square to the pitcher. This stance was later described by pitcher Ted Lyons as "a kid peeking around the corner to see if the cops were coming". According to a 1950 description by author Tom Meany, "The bent knees and the crouch give him the appearance of a coiled spring, although most pitchers think of him as a coiled rattlesnake." Musial continued to play well in Rochester--in one three-game stretch, he had 11 hits. He was called up to the Cardinals for the last two weeks of the 1941 season.
Question: what about 1941
Answer: was assigned to the Class AA Columbus Red Birds to begin 1941, though manager, Burt Shotton, and Musial himself quickly realized that the previous year's injury

Background: 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.
Context: From 1936, Ellington began to make recordings with smaller groups (sextets, octets, and nonets) drawn from his then-15-man orchestra and he composed pieces intended to feature a specific instrumentalist, as with "Jeep's Blues" for Johnny Hodges, "Yearning for Love" for Lawrence Brown, "Trumpet in Spades" for Rex Stewart, "Echoes of Harlem" for Cootie Williams and "Clarinet Lament" for Barney Bigard. In 1937, Ellington returned to the Cotton Club which had relocated to the mid-town Theater District. In the summer of that year, his father died, and due to many expenses, Ellington's finances were tight, although his situation improved the following year.  After leaving agent Irving Mills, he signed on with the William Morris Agency. Mills though continued to record Ellington. After only a year, his Master and Variety labels, the small groups had recorded for the latter, collapsed in late 1937, Mills placed Ellington back on Brunswick and those small group units on Vocalion through to 1940. Well known sides continued to be recorded, "Caravan" in 1937, and "I Let a Song Go Out of My Heart" the following year.  Billy Strayhorn, originally hired as a lyricist, began his association with Ellington in 1939. Nicknamed "Swee' Pea" for his mild manner, Strayhorn soon became a vital member of the Ellington organization. Ellington showed great fondness for Strayhorn and never failed to speak glowingly of the man and their collaborative working relationship, "my right arm, my left arm, all the eyes in the back of my head, my brain waves in his head, and his in mine". Strayhorn, with his training in classical music, not only contributed his original lyrics and music, but also arranged and polished many of Ellington's works, becoming a second Ellington or "Duke's doppelganger". It was not uncommon for Strayhorn to fill in for Duke, whether in conducting or rehearsing the band, playing the piano, on stage, and in the recording studio. The 1930s ended with a very successful European tour just as World War II loomed in Europe.
Question: did he produce any other music?
Answer:
"Echoes of Harlem" for Cootie Williams and "Clarinet Lament" for Barney Bigard.