IN: , Malcolm Denzil Marshall (18 April 1958 - 4 November 1999) was a West Indian cricketer. Primarily a fast bowler, Marshall is regarded as one of the finest and fastest pacemen ever to have played Test cricket. His Test bowling average of 20.94 is the best of anyone who has taken 200 or more wickets. He achieved his bowling success despite being, by the standards of other fast bowlers, a short man - he stood at 5 feet 11 inches (1.80 m), while most of the great quicks have been well above 6 feet (1.8 m) and many great West Indian fast bowlers, such as Joel Garner, Curtly Ambrose and Courtney Walsh, were 6 feet 6 inches (1.98 m) or above.

Marshall was born in Bridgetown, Barbados. His father, Denzil DeCoster Edghill was also an outstanding cricketer who played for Kingspark cricket club in St. Philip the son of Claudine (nee Edghill) and Guirdwood Ifill, was a policeman; he died in a traffic accident when Marshall was one year old. His mother was Eleanor (nee Welch). Malcolm had three half-brothers and three half-sisters. He grew up in the parish of Saint Michael, Barbados and was educated at St Giles Boys' School from 1963 to 1969 and then at Parkinson Comprehensive from 1969 to 1973.  He was partly taught cricket by his grandfather, who helped to bring him up after his father's death. He played cricket for the Banks Brewery team from 1976. His first representative match was a 40-over affair for West Indies Young Cricketers against their English equivalents at Pointe-a-Pierre, Trinidad and Tobago in August 1976. He made nought and his eight overs disappeared for 53 runs.  Marshall's initial senior appearance was a Geddes Grant/Harrison Line Trophy (List A) match for Barbados on 13 February 1978; again he made a duck and did not take a wicket. Four days later, he made his first-class debut against Jamaica, and whilst he failed to score runs, he claimed 6-77 in the Jamaican first innings. On the back of this single first-class appearance he was selected to tour India in 1978/79, many first-choice West Indian stars being unavailable having committed themselves to playing World Series Cricket. Marshall heard of his selection on the radio while working in the storeroom at Banks Brewery and later claimed he did not know where India was.

Where did he go to school?

OUT: educated at St Giles Boys' School from 1963 to 1969 and then at Parkinson Comprehensive from 1969 to 1973.

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 recording group was that contract with?"
output:
with Modesto Duran