You will be given a definition of a task first, then some input of the task.
In this task, you're given a question, along with three passages, 1, 2, and 3. Your job is to determine which passage can be used to answer the question by searching for further information using terms from the passage. Indicate your choice as 1, 2, or 3.

Question: Who were the sixteen musicians that appeared on The Colour of Spring? Passage 1:Rendell had begun to play the piano aged five, but switched to saxophone in his teens. While he began his working life in the Southgate branch of Barclay's Bank, he soon left to become a professional musician. He began his career on alto saxophone but changed to tenor saxophone in 1943. During the rest of the 1940s, he was in the bands of George Evans and Oscar Rabin. Beginning in 1950, he spent three years in a septet led by Johnny Dankworth. He performed with Billie Holiday in Manchester, England, before playing in the bands of Tony Crombie and Ted Heath. After touring in Europe with Stan Kenton, he played in Cyprus with Tony Kinsey. He was a member of Woody Herman's Anglo American Herd in 1959. During the late 1950s and early 1960s he led bands, including one with Ian Carr that lasted until 1969, one with Barbara Thompson in the 1970s, and as the sole leader in the 1980s and 1990s. In particular, the Rendell-Carr Quintet gained an international reputation. It performed at the Antibes Festival, France and was the Band of the Year for three years in succession in the Melody Maker poll. He performed in festivals in England and France and worked with Johnny Dankworth, Michael Garrick, and Brian Priestley.
 Passage 2:Most of the early colonies were generally not tolerant of dissident forms of worship, with Maryland being one of the exceptions. For example, Roger Williams found it necessary to found a new colony in Rhode Island to escape persecution in the theocratically dominated colony of Massachusetts. The Puritans of the Massachusetts Bay Colony were the most active of the New England persecutors of Quakers, and the persecuting spirit was shared by Plymouth Colony and the colonies along the Connecticut river. In 1660, one of the most notable victims of the religious intolerance was English Quaker Mary Dyer, who was hanged in Boston, Massachusetts for repeatedly defying a Puritan law banning Quakers from the colony. As one of the four executed Quakers known as the Boston martyrs, the hanging of Dyer on the Boston gallows marked the beginning of the end of the Puritan theocracy and New England independence from English rule, and in 1661 King Charles II explicitly forbade Massachusetts from executing anyone for professing Quakerism. Anti-Catholic sentiment appeared in New England with the first Pilgrim and Puritan settlers. In 1647, Massachusetts passed a law prohibiting any Jesuit Roman Catholic priests from entering territory under Puritan jurisdiction. Any suspected person who could not clear himself was to be banished from the colony; a second offense carried a death penalty. The Pilgrims of New England held radical Protestant disapproval of Christmas. Christmas observance was outlawed in Boston in 1659. The ban by the Puritans was revoked in 1681 by an English appointed governor, however it was not until the mid-19th century that celebrating Christmas became common in the Boston region.
 Passage 3:In 1986, Talk Talk, then a three-piece band consisting of leader and singer Mark Hollis alongside drummer Lee Harris and bassist Paul Webb, released their third album The Colour of Spring, which saw the band shift from their earlier, synthpop-oriented sound and featured a more organic art rock sound, where musicians improvised with their instruments for many hours, then Hollis and producer Tim Friese-Greene edited and arranged the performances to get the sound they wanted. A total of sixteen musicians appeared on the album. It became their most successful album, selling over two million copies and prompting a major world tour. Nonetheless, for their next album Spirit of Eden (1988), the band chose to work towards an even more unconventional and uncommercial direction. The album was compiled from a lengthy recording process at London's Wessex Studios between 1987 and 1988 where the band worked again with Friese-Greene and engineer Phill Brown. Often working in darkness, the band recorded many hours of improvised performances which were heavily edited and re-arranged into the final album.

Output:
3