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 did Clare Fischer do?"
output: Fischer recorded several albums with the group, serving as pianist and, on occasion, arranger.

input: Secretariat raced in Meadow Stables' blue-and-white-checkered colors. He never raced in track bandages, but typically wore a blinker hood, mostly to help him focus, but also because he had a tendency to run in towards the rail during races. In January 1972, he joined trainer Lucien Laurin's winter stable at Hialeah. Secretariat gained a reputation as a kind horse, likeable and unruffled in crowds or by the bumping that occurs between young horses. He had the physique of a runner, but at first was awkward and clumsy. He was frequently outpaced by more precocious stable mates, running a quarter-mile in 26 seconds compared to 23 seconds by his peers. His regular exercise riders were Jim Gaffney and Charlie Davis. Davis was not initially impressed. "He was a big fat sucker", Davis said. "I mean, he was big. He wasn't in a hurry to do nothin'. He took his time. The quality was there, but he didn't show it until he wanted to." Gaffney though recalled his first ride on Secretariat in early 1972 as "having this big red machine under me, and from that very first day I knew he had a power of strength that I have never felt before ..."  Groom Eddie Sweat was another important member of the Secretariat team, providing most of the daily hands-on care. Sweat once told a reporter, "I guess a groom gets closer to a horse than anyone. The owner, the trainer, they maybe see him once a day. But I lived with him, worked with him."  Laurin sent Chenery regular updates on Secretariat's progress, saying that the colt was still learning to run, or that he still needed to lose his baby fat. Chenery recalled that when Secretariat was in training, Lucien once said: "Your big Bold Ruler colt don't show me nothin'. He can't outrun a fat man." But Secretariat made steady progress over the spring. On June 6, he wore blinkers for the first time to keep his attention focused and responded with a half-mile workout in a solid 47 3/5 seconds. On June 24, he ran a "bullet", the fastest workout of the day, at 6 furlongs in 1:12 4/5 on a sloppy track. Laurin called Chenery at her Colorado home and advised her that Secretariat was ready to race.

Answer this question "What was an most important part of the racing career?"
output: