Answer the question at the end by quoting:

Joan Agnes Theresa Sadie Brodel was born on January 26, 1925, in Highland Park, Michigan, the youngest child of John and Agnes Brodel. John was a bank clerk and Agnes was a pianist. Joan's two older sisters, Betty and Mary Brodel, shared their mother's musical interest and started to learn how to play instruments, such as the saxophone and the banjo, at an early age. They began performing in front of audiences in acts that included singing and dancing.
By 1946, Leslie was growing increasingly dissatisfied with the roles offered to her by the studio. She sought more serious and mature roles and wanted to break out of her ingenue image which was partly due to her young age. Her decision was also based on moral and religious grounds. With the help of her lawyer Oscar Cummings, she took Warner Brothers to court in order to get released from her contract.  In 1947, the Catholic Theatre Guild gave Leslie an award because of her "consistent refusal to use her talents and art in film productions of objectionable character."  As a result of this, Jack Warner used his influence to blacklist her from other major Hollywood studios. In 1947, she signed a two-picture contract with the poverty row studio Eagle-Lion Films. The first one was Repeat Performance (1947), a film noir in which she played a Broadway actress. The other was Northwest Stampede (1948) in which she performed with James Craig.  After her contract with Eagle-Lion Films expired, she was cast in The Skipper Surprised His Wife (1950), appearing with Robert Walker. The film was distributed by MGM, the studio in which she began her film career in 1936.  In the early 1950s, Leslie chose to focus on raising her daughters, which resulted in a more irregular film career. In 1952, she signed a short-term deal with Republic Pictures, the low-budget studio which primarily produced western pictures. One of the films she made for Republic was Flight Nurse (1953). Leslie's character, Polly Davis, was based on the successful flight nurse Lillian Kinkella Keil's career in the Air Force. It was described by the newspaper Kingsport Times-News as a thrilling film that "honors the courageous women who performed miracles of mercy above the clouds in evacuation of wounded GIs from Korean battlefields." Her last film was The Revolt of Mamie Stover (1956). However, she continued making sporadic appearances in television shows while her children were at school. She retired from acting in 1991, after appearing in the TV film Fire in the Dark.

Did she work with a certain studio or many?

In 1947, she signed a two-picture contract with the poverty row studio Eagle-Lion Films.



Answer the question at the end by quoting:

Douglas Clare Fischer (October 22, 1928 - January 26, 2012) was an American keyboardist, composer, arranger, and bandleader. After graduating from Michigan State University (from which, five decades later, he would receive an honorary doctorate), he became the pianist and arranger for the vocal group the Hi-Lo's in the late 1950s. Fischer went on to work with Donald Byrd and Dizzy Gillespie, and became known for his Latin and bossa nova recordings in the 1960s. He composed the Latin jazz standard "Morning", and the jazz standard "Pensativa".
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.

What else did he do while in LA?
He started in a charanga group with Modesto Duran as leader and played with many different groups.