MUSC 11B - Final - FALL 2018.2 PDF

Name:__________________________________________ MUSC 11B - Intro to Jazz - FINAL EXAM a. Duke Ellington c. Thelonius Monk b. Art Tatum d. Count Basie 1960s 60. By the 1960s, a number of Africa...

Name:__________________________________________ MUSC 11B - Intro to Jazz - FINAL EXAM a. Duke Ellington c. Thelonius Monk b. Art Tatum d. Count Basie 1960s 60. By the 1960s, a number of African American musicians had decided to challenge tradition in search of new modes of expression. Few European American "jazz" musicians became a part of this movement. The experiments of Ornette Coleman, Charles Mingus, and Cecil Taylor, were among some of the earlier ventures that pursued greater degrees of musical freedom during the fifties. Improvising Artists Collectives such as the _______established new schools for the revolutionary music. a. The World Saxophone Quartet c. AACM and BAG b. Bebop and Beyond d. Coltrane Movement 61. The heightened complexities of bebop forced _______ out of traditional time-keeping roles into more dramatic techniques. The typical rhythm section generally had little opportunity to solo as sidemen in big bands during the swing period. During bebop, tunes were often arranged to allow each combo member to solo. a. drummers c. bassists b. pianists d. guitarists 62. There was a reliance upon _______ in free "jazz" that can be traced back to early styles of New Orleans Dixieland "jazz." a. riffs c. large ensembles b. Rhythmic cycles d. collective improvisation 1970s 63. Miles Davis explored "cool", "quasi-modal" music and various fusions. Cannonball Adderley and Horace Silver explored a _______style and approaches to quartal harmony. a. jazz" fusion c. “funky” jazz b. “jazz” spirituals d. “acid” jazz 64. The 1970s produced the first set of adults who had grown up in an integrated American society. Music reflected this diversity and hope. The emergence of this new American society did not diminish the magnitude of effort maintained on the part of African American innovators to keep connected to the African American community. Nonetheless, the _______created by Herbie Handcock, Donald Byrd, and Miles, began to organize musical recipes (often inspired by record company producers) that eventually set the stage for the retrospective or neoclassic "jazz" of the Young Lions who emerged in the 1980s. a. acid jazz c. “jazz” spirituals b. third stream d. "jazz" fusion 65. _______performed with Mongo Santamaria, Willie Bobo, Herbie Mann, Blue Mitchell, and Stan Getz before recording his first solo album, Tones for Joan's Bones (later re- titled Inner Space ). His Latin rhythms and melodies during the seventies on albums like Light as a Feather and the jazz-rock oriented Musicmagic won him a popular following. a. Chick Corea c. Herbie Hancock b. McCoy Tyner d. Horace Silver 7 Name:__________________________________________ MUSC 11B - Intro to Jazz - FINAL EXAM QUESTIONS STRICTLY FROM TEXT 1940 - 1950 66. _______vocalized in combination with the bass lines he played, creating a stronger presence. It also made the bass player think in a melodic fashion rather than limiting its function to the outlining of basic chords. a. Charles Mingus c. Slam Stewart b. Bill Johnson d. Stanley Clarke 67. Drums came to the U.S. as components from all over the world. _______ made these individual percussion instruments into the drum set in America. Baby Dodds evolved the set to a higher level in early "jazz." a. Cecil Taylor c. Chic Webb b. Dee Dee Chandelier d. Stan Kenton 68. In bebop, _______was much faster and more complex than any other music in the Western tonal tradition. The use of clever dissonances is heightened by chord extensions and substitutions. New scales are applied to a harmonic framework that most ears had grown to consider traditional. a. metrical shifts c. bass drum patterns b. polyrhythms d. harmonic pacing 69. The impact of this pianist's music on modern jazz history was enormous. The incredibly fast improvised lines and added chord tones of _______inventive improvisations were absorbed by Charlie Parker and other early progenitors of be-bop. a. Art Tatum's c. Toshiko Akiyoshi b. Cecil Taylor d. Anthony Braxton 70. _______had tutored Powell when the latter pianist was a teen. Powell's mentor's composition "In Walked Bud" is a tribute to his younger comrade. Powell premiered his tutor's composition "'Round Midnight" on a recording with Cootie Williams. a. Art Tatum c. Thelonius Monk b. Cecil Taylor d. Sun Ra 71. During the bebop era vocalist _______performed four-hand piano pieces with Earl "Fatha" Hines in 1943, and in 1945 pianist Vivian Glasby played at the Rhumboogie in Chicago with The Fletcher Henderson Band for an engagement. a. Art Tatum c. Dorothy Ashby b. Sonny Rollins d. Sarah Vaughan 1950 - 1960 72. This pioneering stylist would lead a series of innovative groups which included many illustrious innovators of the "jazz" world. Later collaborations with Gil Evans produced such albums as "Porgy and Bess" and "Sketches of Spain," expanding the "Birth of the Cool" idea into a full orchestral setting. _______1959 Kind of Blue popularized modal improvisation in the 1960's, but in his later life he turned more to electronic music, mixing in elements of rock, 8 Name:__________________________________________ MUSC 11B - Intro to Jazz - FINAL EXAM funk, salsa, and modal jazz into his works which set the style for fusion and jazz rock. a. Miles Davis' c. Thelonius Monk b. Anthony Braxton d. Sonny Rollins 73. _______led a string of Big Bands throughout the 1940's and '50's, and was heavily influenced by Claude Thornhill, sometimes referred to as the father of the cool style big band. This band leader became one of the best known jazz arrangers ever because of his work on college campuses across America. a. Sonny Rollins c. Charles Mingus b. Stan Kenton d. Donald Byrd 74. _______music from his last stylistic period often bore religious titles: "A Love Supreme," "Ascension," "Om," "Crescent," "The Father and the Son, and the Holy Ghost," "Ogunde," "Meditations," "Amen," "Ascension" and others. His thinking, like Sun Ra's, also focused on outer space: "Infinity," "Interstellar Space," Sun Ship," "Cosmos," "Out of This World," etc. a. Sonny Rollins c. Herbie Hancock’s b. Donald Byrd’s d. John Coltrane's 75. _______featured Louis Jordan as both a vocalist and saxophone soloist between 1936 and 1938. The "jump band" was a small swing band that developed in the late1930s and early 1950s and was later advanced by Jordan's group, the Timpani Five. It generally featured two or three soloists in front of a swinging rhythm section. In was appealing to the African American cabaret audiences because it retained the sexual and nuptial humor of the music from old "black" vaudeville shows. a. Dee Dee Chandelier c. Art Tatum b. Sun Ra d. Chic Webb 76. _______made important recordings with Miles Davis in 1954. His composition "Oleo," recorded during this period, became a "jazz" standard. After this productive musical phase, and during the height of a battle between critics over whether he or Coltrane was the "best" tenor player of the day, this innovator took the first of many long sabbaticals from public performance. a. Eric Dolphy c. Sun Ra b. Sonny Rollins d. Anthony Braxton 77. Ornette Coleman's _______ experimentation with collective improvisation involved a significant advancement in liberating the melody from preset chord changes. Many hard bop performers aligned their melodic improvisations closely to preset chord structures, while this innovator devised a conceptual methodology that allowed musicians more autonomy. This freedom applied whether in constructing solo improvisations or in playing accompaniment. a. Harmonic c. Melodic b. Rhythmolic d. Harmolodic 78. Although this iconoclastic pianist always drew an audience, it was often not the type or size a clientele club owners desired. His unconventional style was conducive to neither selling drinks or for sexual advancements because people listened and didn't want to be disturbed. This was not background music. He did not come from the type of blues-based background that Bird, Coltrane or 9 Name:__________________________________________ MUSC 11B - Intro to Jazz - FINAL EXAM Ornette Coleman came from. _______percussive music fit a musical void that had not yet been filled. a. Anthony Braxton’s c. Cecil Taylor's b. Hubert Laws’s d. Thelonius Monk’s 79. _______added to the musical controversy started by Taylor and Coleman, and soon influential musicians like Coltrane and Dolphy evolved in the direction of free experimentation. The atmosphere was often hostile and the musicians were ostracized from many mainstream musical venues. John Gilmore was among this leader’s most loyal band member. Gilmore had been offered a position in Miles Davis's and other prestigious bands, but remained with this innovator's Arkestra through the years despite his towering status on tenor saxophone. a. Sun Ra c. Cecil Taylor b. Sonny Rollins d. Anthony Braxton 1960 -1970 80. Trombonist/ arranger _______conducted her own arrangements on Randy Weston's Uhuru Africa session and the Swahili language was used to demonstrate the beauty of African languages. The album was recorded in early1960 and was also intended to show "how the African language is also part of the African rhythms." a. Cecil Taylor c. Anthony Braxton b. Melba Liston d. Sonny Rollins 81. This alto saxophonist, bass clarinetist, and flutist, like Coltrane, continued to maintain ties between his hard bop roots and his more radical experimentation. While Coltrane's stylistic development evolved gradually from traditional hard bop to a freer musical approach in a highly methodical fashion, _______continued to oscillate between the two opposing stylistic poles. He participated as co-leader in the 1960 Free Jazz recording with Ornette Coleman, then recorded with Oliver Nelson and Booker Little a year later in sessions that were decisively hard bop oriented. a. Donald Byrd c. Charles Mingus b. Eric Dolphy d. Cecil Taylor 82. _______recorded his first album on his own Debut label as he celebrated his 39th birthday (1951). This bassist/composer was at the height of his musical development during the early part of the 1960s, then fell into obscurity. His 1959 recording of his bitterly comical composition Original Faubus Fables and his disagreement with Columbia over the sales figures for his recordings left them unable to renew their contract. The lyrics for his composition did not sit well with some listeners. a. Cecil Taylor c. Chic Webb b. Charles Mingus d. Donald Byrd 83. The _______was one or the first groups to place a heavy degree of emphasis on silence in "jazz." This ensembles approach helped us to realize that silence can become animated; it eventually becomes apparent that music contains more than length, width, and depth. Through their music it became increasingly clear that music contains immeasurable elements that register strongly upon our senses but are difficult to define empirically. 10 Name:__________________________________________ MUSC 11B - Intro to Jazz - FINAL EXAM a. AACM c. Wildflowers b. World Saxophone Quartet d. Art Ensemble of Chicago 84. _______secured a job with Art Blakey and the Jazz Messengers by 1969 and remained with the band until 1972. She was the only woman to play with the Messengers for a significant period of time. The innovative pianist played with saxophonist Joe Henderson's group from 1972 to 1975 and then joined saxophonist Stan Getz until 1977. a. Joanne Brackeen c. Melba Liston b. Cleo Lane d. Dorothy Ashby 85. _______toured throughout the sixties. By the end of the decade, the harpist/composer became increasingly involved with writing and presenting musicals that dealt with African American concerns. She wrote scores, lyrics and performed with the shows, as her husband (the drummer) established an African American theater company in Detroit. a. Cleo Lane c. Joanne Brackeen b. Dorothy Ashby d. Melba Liston 86. _______debuted as composer and leader at Town Hall in New York in a concert that included original solo, trio and big-band compositions in 1967. She then began to set the foundation for her own unique orchestra, which would enter maturity during the following decade. In 1969 she married saxophonist-flutist Lew Tabackin and formed a quartet with him. a. Bette Carter c. Toshiko Akiyoshi b. Sasah Vaughn d. Carmen McRay 87. By the 1960s _______ had made its way to New York City bringing with its rituals the music of the bata drums. Many of the "free" players were eager to incorporate these new rhythmic sounds into their universe bringing the evolution of African American music full circle, back (so to speak) to its point of origin - African music. a. Santeria c. Yoruba religion b. Voodoo d. Griots 1970 - 1980 88. A small sampling of the diverse spectrum of musical styles presented during the 1970's was preserved on the limited issue of the five record set _______. The record set was recorded live in 1977 and was produced by Alan Douglas and Michael Cuscuna in association with Sam Rivers. Over 60 musicians performed on the 22 performances that were released. a. Wildflowers (1-5): The New York Loft Jazz Sessions b. The Live at the Plug Nichol Sessions c. The Village Vanguard Sessions d. The Blue Note Sessions 89. Virtuoso pianist and composer _______ (b.1940), had absorbed the new experimental formulas he encountered with Miles and exposed this musical influence on his album Crossings in 1972. This direction continued, and began to display a heavy funk influence on subsequent albums such as Headhunters (1973), Sextant (1973), and Thrust (1974). 11 Name:__________________________________________ MUSC 11B - Intro to Jazz - FINAL EXAM a. Art Winston c. Chic Corea b. Herbie Hancock d. Roland Hanna 90. Pianist Ramsey Lewis, traditionally a hard bop style pianist, collaborated with the popular ensemble Earth, Wind & Fire in 1974 to produce a "cross-over" album entitled _______. a. Moon Rays c. Saturn b. Sun Goddess d. Winter Scenes 91. _______was not the first to focus on the flute as a front-line jazz instrument (Wayman Carver, Herbie Mann, and others played flute exclusively earlier), but his contribution involved taking flute technique to a new level of virtuosity that emphasized an expanded array of the inherent qualities of the instrument. a. Slam Stewart c. Hubert Laws b. Anthony Braxton d. Donald Byrd 92. _______is a remarkable vocal recitalist who was living in London when the American "jazz" influence strongly affected singers abroad creating a fresh new vocal approach. Her unusually wide range found a new stylistic function within a musical approach that found popularity on her 1973 album I Am a Song. a. Melba Liston c. Joanne Brackeen b. Cleo Lane d. Dorothy Ashby 93. Trumpeter _______came through the hard bop school to establish another type of fusion in the seventies with his highly successful group, the Blackbyrds. a. Eric Dolphy c. Cecil Taylor b. Charles Mingus d. Donald Byrd 94. Woodwind multi-instrumentalist and composer _______ (b.1945) has been a major figure in contemporary instrumental music since the mid-seventies. He took part in the experimental music of the Association for the Advancement of Creative Musicians, went on to resist categorization and to explore non- conventional conceptions of tone color, solo construction, and other unique ideas. His technical proficiency extends to such rarely seen horns as the sopranino and contrabass saxes. He is a composer whose works form a bridge between jazz and classical avant-garde idioms. a. Donald Byrd c. Hubert Laws b. Anthony Braxton d. Stan Kenton 95. _______ was formed by three saxophonists from the Black Artists Group (formed in St. Louis in 1968) who became prominent during the 1970s and a younger Bay Area born saxophonist. Oliver Lake (b. 1942), Julius Hemphill (1940-1995), and Hamiet Bluiett (b. 1940) were the members of BAG who founded the ensemble in 1976 with saxophonist David Murray (b. 1955). a. Art Ensemble of Chicago d. The World Saxophone b. Wildflowers Quartet c. The Dorothy Ashby Trio Web Quiz Questions Bebop 12 Name:__________________________________________ seat number______ History of Jazz- FINAL EXAM Each question is worth.9434 point (106 Questions) 96. Which statement is most true? a. Bop was the first style in which improvisations departed from variations on a theme format and derived solely from the underlying chord progression. b. Non-thematic improvisation had been done long before bop arrived. c. Pre-bop jazz styles had not added to or substituted chords in pop tune progressions. d. Bop was the first jazz style to use rich chords. 97. The most advanced of all bop drummers was a. Max Roach c. Shelly Manne b. Kenny Clarke d. Buddy Rich 98. Phil Woods, Richie Coles and Charlie McPherson all derived their styles from a. Stan Getz c. Charlie Parker b. Dexter Gordon d. Lucky Thompson 99. Groovin’ High is based on the chord progression of Whispering, Ko-Ko is based on the progression of Cherokee, and Donna Lee is based on the progression of a. I Got Rhythm c. Bugle Call Rag b. Idaho d. Indiana 100. Now’s the Time and Billie’s Bounce are a. elaborate orchestrations by Dizzy Gillespie b. twelve-bar blues tunes by Charlie Parker c. thirty-two bar A-A-B-A pieces by Thelonious Monk d. pop tunes used as the basis for bop improvisation 101. Bud Powell played a. saxophone c. piano b. bass d. drums 102. Thelonious Monk did NOT write a. Well, You Needn’t c. Night in Tunisia b. ‘Round Midnight d. Epistrophy 103. One of bop’s most prominent arrangers was a. Charlie Parker c. Bud Powell b. Tadd Dameron d. Oscar Peterson 104. Al Haig, George Shearing and Oscar Peterson are all a. trumpeters c. bassists b. pianists d. saxophonists 105. Stan Getz derived his style primarily from that of a. Coleman Hawkins c. Johnny Hodges b. Charlie Parker d. Lester Young 106. Oscar Peterson is most like whom in his awesome speed and power, as well as similar improvisatory ideas? a. Bud Powell c. Thelonious Monk b. Art Tatum d. George Shearing 13 Name:__________________________________________ seat number______ History of Jazz- FINAL EXAM Each question is worth.9434 point (106 Questions) 107. The primary influence on Dizzie Gillespie’s style was a. Roy Eldridge c. Miles Davis b. Charlie Parker d. Louis Armstrong 108. Among the strongest influences on bop were a. Sidney Bechet and Louis Armstrong b. Duke Ellington and James P. Johnson c. Bix Beiderbecke and Ben Webster d. Art Tatum and Lester Young 109. Which instruments became rare in bop? a. guitar and clarinet c. trombone and trumpet b. alto sax and piano d. drums and bass 110. Bop had few big bands, but there was an exceptional one led by a. Bud Powell c. Dizzy Gillespie b. Max Roach d. Stan Getz 111. Stan Getz, Dexter Gordon and Lucky Thompson all play a. tenor sax c. trumpet b. alto sax d. piano 112. The famous, chamber music-style quartet comprised of former Dizzy Gillespie band members includes a. vibraphonist Lional Hampton b. tenor saxophonist Dexter Gordon c. pianist John Lewis d. drummer Max Roach JOHN COLTRANE 113. What instrument was John Coltrane particularly noted for popularizing? a. alto sax c. soprano sax b. tenor sax d. clarinet 114. With what approaches to improvisation was Coltrane particularly associated during the 1960’s a. modal and free c. twelve tone b. chord based d. blues 115. Which of the following is not a Coltrane composition? a. Giant Steps c. Naima b. Well, You Needn’t d. Impressions 116. Which pianist did Coltrane employ for most of the 1960’s? a. Bill Evans c. Herbie Hancock b. McCoy Tyner d. Chick Corea 117. Which drummer did Coltrane employ for most of the 1960’s? a. Tony Williams c. Art Blakey b. Elvin Jones d. Chick Corea 14 Name:__________________________________________ seat number______ History of Jazz- FINAL EXAM Each question is worth.9434 point (106 Questions) 118. Who was not one of the players strongly influenced by Coltrane? a. David Liebman c. Pharaoh Sanders b. Wayne Shorter d. Stan Getz 119. Which statement is correct? a. Rollins was Coltrane’s strongest influence b. Coltrane was Rollin’s strongest influence c. Rollins and Coltrane are parallel figures d. Neither Rollins nor Coltrane was influenced by Parker 120. Which of the following is a mode-based Coltrane performance? a. Count Down c. Soultrane b. Giant Steps d. Impressions 121. The Coltrane album showing conceptual similarity to Ornette Coleman’s FREE JAZZ album is: a. GIANT STEPS c. SOULTRANE b. MY FAVORITE THINGS d. ASCENSION 122. Sun Ra’s saxophonist whose melodic devices Coltrane used on IMPRESSIONS and LIVE AT THE VILLAGE VANGAURD is: a. John Gilmore c. Marshall Allen b. Earl Bostic d. Ornette Coleman 123. Which is the most true statement about Dexter Gordon and John Coltrane? a. They represent two independent and influential styles of alto sax playing b. Both men were influenced by Lester Young c. Both men had an influence on the sax style of Johnny Hodges d. Neither player had roots in swing era styles 124. A good example for the use of pedal points is the Coltrane composition a. Giant Steps c. Pursuance b. Count Down d. Naima 125. A drummer named……………………led a novel West Coast band that sometimes featured jazz flute solos. a. Art Blakey c. Philly Joe Jones b. Buddy Rich d. Chico Hamilton 126. West Coast style saxophonists seemed more interested in learning the style of………..than that of………… a. Lester Young; Coleman Hawkins b. Charlie Parker; Lee Konitz c. Coleman Hawkins; Lester Young d. Johnny Hodges; Charlie Parker 127. What prominent West Coast pianist drew very little from bop? a. Hampton Hawes c. Paul Desmond b. Dave Brubeck d. Shorty Rogers 15 Name:__________________________________________ seat number______ History of Jazz- FINAL EXAM Each question is worth.9434 point (106 Questions) 128. Lennie Tristano’s most well-known pupil is a. Charlie Parker c. Lee Konitz b. Miles Davis d. Gerry Mulligan 129. The one pianist reflecting Tristano’s impact who has, in turn, affected many other pianists is a. Bud Powell c. Oscar Peterson b. Red Garland d. Bill Evans 130. The baritone saxophonist-composer who epitomizes cool jazz is a. Harry Carney c. Pepper Adams b. Nick Brignola d. Gerry Mulligan 131. The alto saxophonist who combined the style of Zoot Sims with elements of the Charlie Parker and Lee Konitz approaches is a. Phil Woods c. Art Pepper b. Johnny Hodges d. Ornette Coleman 132. It is troublesome to use the West Coast label to designate cool style players because in the 1950’s a. cool style players were more abundant on the East Coast b. hard bop players were more plentiful on the West Coast c. there were some excellent bop players on the West Coast d. New York and Boston were filled with hard bop players 133. A very large portion of West Coast-style cool players were veterans of the a. Stan Kenton and Woody Herman bands b. Count Basie and Duke Ellignton bands c. Lionel Hampton and Dizzy Gillespie bands d. Claude Thornhill and Jimme Lunceford bands 134. Which of the following fails to qualify as a COOL pianist? a. George Shearing c. John Lewis b. Bud Powell d. Dave Brubeck 135. The MJQ was originally comprised of veterans from the 1940’s band of a. Duke Ellington c. Dizzy Gillespie b. Charlie Parker d. Claude Thornhill HARD BOP 136. The leading alto saxophonists in hard bop were: a. Johnny Hodges and Lee Konitz b. Dave Sanborn and Phil Woods c. Charlie Parker and Ornette Coleman d. Cannonball Adderly and Jackie McLean 137. The leading bassists in bard bop were a. Sam Jones and Paul Chambers c. Jaco Pastorius and Jimmy Blanton b. Jimmy Garrison and Ron Carter d. Scott LaFaro and Ray Brown 16 Name:__________________________________________ seat number______ History of Jazz- FINAL EXAM Each question is worth.9434 point (106 Questions) 138. Which of these lists contains at least one player outside of the hard bop style? a. Horace Silver, Teddy Wilson, Al Haig b. Red Garland, Tommy Flanagan, Barry Harris c. Cedar Walton, Joe Zawinul, Bobby Timmons d. Ramsey Lewis, Les McCann, Wynton Kelly 139. Clifford Brown co-led a famous quintet with a. Miles Davis c. Horace Silver b. John Coltrane d. Max Roach 140. Next to Clifford Brown and Sonny Rollins, the most influential trumpeter and tenor saxophonist in hard bop of the 1960’s were a. Don Cherry and Stan Getz b. Hugh Masekela and Lucky Thompson c. Freddie Hubbard and Joe Henderson d. Chet Baker and Bill Perkins 141. Horace Silver’s most common instrumentation was a. tenor sax, trumpet, piano, bass and drums b. alto sax, trumpet, piano, bass and drums c. big band d. trumpet, trombone, tenor sax, piano, bass and drums 142. Those few hard bop pieces to win popular recognition tended to be characterized by a. much repetition and long improvisations b. funky, catchy melodies c. great simplicity within harmony but complexity in rhythms d. highly complex melodies and harmonies 143. The two cities contributing the greatest number of significant hard bop players to jazz were a. Indianapolis and Philadelphia c. New York and Los Angeles b. Los Angeles and Chicago d. Philadelphia and Detroit 144. The trumpeter having the most influence in hard bop was a. Roy Eldridge c. Wynton Marsalis b. Dizzy Gillespie d. Clifford Brown 145. Aside from John Coltrane, the most respected tenor saxophonist to emerge during the hard bop era of the 1950’s was, a. Stan Getz c. Harold Land b. Sonny Rollins d. Albert Ayler 146. Which statement is the least true about hard bop? a. Bassists were stronger and more versatile than bop bassists had been. b. Drummers were more economical and subdued than their bop predecessors. c. Greater use was made of original chord progressions. d. Hard driving playing styles were prominent 147. Who wrote Song for My Father, The Preacher, Sister Sadie, Tokyo Blues, Senor Blues, and Nica’s Dreams? a. Clifford Brown c. Art Blakey b. Horace Silver d. Sonny Rollins 17 Name:__________________________________________ seat number______ History of Jazz- FINAL EXAM Each question is worth.9434 point (106 Questions) 148. Two of the most influential hard bop bands were led by drummers…….and ………….. a. Philly Joe Jones; Pete LaRocca c. Max Roach; Art Blakey b. Elvin Jones; Kenny Clark d. Jo Jones; Tony Williams 149. Among the best-selling hard bop pieces were a. Song for My Father, Mercy Mercy Mercy, and Sidewinder b. Milestone, Flour, and Nica’s Dream c. Stablemates, I Remember Clifford, and Ecaroh d. Minority, Airegin and Doxy 150. Cannonball Adderly, Sonny Rollins, Jackie McLean derived their styles largely from a. Lee Konitz c. Ornette Coleman b. Johnny Hodges d. Charlie Parker MILES DAVIS 151. Though best known as a jazz trumpeter, Miles Davis is probably most significant historically as a a. composer c. bandleader b. big band sideman d. show business personality 152. The Miles Davis band roster read like a WHO’S WHO of saxophonists because a. Lester Young, Coleman Hawkins, Johnny Hodges and many other guests regularly recorded with him b. Sonny Rollins, John Coltrane, Wayne Shorter, and many other greats worked with him. c. Ornette Coleman, Albert Ayler, Archie Shepp and many other greats toured with him. d. John Klemmer, Grover Washington, Dave Sanborn and others recorded with him. 153. One sound peculiarly associated with Miles Davis is a a. Harmon-muted trumpet sound b. Cup-muted trumpet c. Wah-wah muted trumpet sound d. A brassy fluegelhorn sound 154. The Miles Davis album from which SCCJ’s So What is drawn is a. MILESTONES c. KIND OF BLUE b. MILES SMILES d. PORGY AND BESS 155. Davis was unlike his bop contemporaries on trumpet in that he a. preferred high-register playing b. liked explosive streams of notes c. often remained in the middle register d. was not very melodic 156. The album in which Miles Davis first introduced his own concept of mode-based improvisation was a. MILESTONES c. KIND OF BLUE b. BIRTH OF THE COOL d. BITCHES BREW 18 Name:__________________________________________ seat number______ History of Jazz- FINAL EXAM Each question is worth.9434 point (106 Questions) 157. Miles Davis influenced Wynton Marsalis, Nat Adderley,………. a. Johnny Coles and Shorty Rogers b. Dizzy Gillespie and Jon Faddis c. Al Hirt and Maynard Fergeson d. Clark Terry and Harry James 158. Like Count Basie and Thelonious Monk, Miles Davis a. abhors silence b. loves to play piano with a big band c. is often extremely economical with his notes d. loves to play loud and fast 159. Which piece on the Miles Davis KIND OF BLUE album is based only on two modes? a. Blue in Green c. So What b. Flamenco Sketches d. Freddie and Freeloader 160. Ornette Coleman and Miles Davis both explored a. the use of intricate chord progressions b. mode-based improvisation in the style of Indian music c. improvisation which was based loosely but not strictly on preset harmonies d. lengthy improvisation that had no preset tempo 161. Prior to leading his innovative 1960’s group with Wayne Shorter, Herbie Hancock, Ron Carter and Tony Williams, Miles Davis’ most respected and exciting touring band was the one with a. Sonny Rollins and Horace Silver b. John Contrane and Philly Joe Jones c. Lee Konitz and Al Haig d. Charlie Parker and Jo Jones 162. The SKETCHES OF SPAIN album is a. a special work prepared for Miles Davis and string orchestra by Claus Ogerman to commemorate Spain b. a brass choir piece composed by J.J. Johnson for Miles Davis to highlight the excitement of bullfight music c. a reworking of Spanish music by Gil Evans d. improvised music inspired by looking at sketches by Joan Miro 163. BIRTH OF THE COOL and MILES AHEAD both a. have Miles Davis playing flugelhorn b. use concepts inspired by Claude Thornhill and Duke Ellington c. were big sellers for Miles Davis d. were roaring, big band albums 164. What statement is most accurate? a. Miles Davis did away with chord progressions after 1959. b. Miles Davis used exclusively chord progression-based pieces throughout the 1960’s c. Miles Davis combined mode-based, chord progression-based and free jazz approaches as early as 1966 d. Miles Davis played mostly modal music after he recorded KIND OF BLUE 19 Name:__________________________________________ seat number______ History of Jazz- FINAL EXAM Each question is worth.9434 point (106 Questions) 165. The correct historical order for the Miles Davis landmark sessions is: a. BIRTH OF THE COOL, KIND OF BLUE, BITCHES BREW b. KIND OF BLUE, BIRTH OF THE COOL, BITCHES BREW c. BITCHES BREW, KIND OF BLUE, BIRTH OF THE COOL d. BIRTH OF THE COOL, BITCHES BREW, KIND OF BLUE 166. The key arrangers at BIRTH OF THE COOL were a. Lee Konitz and Lennie Tristano c. Bill Evans and Joe Zawinul b. Gerry Mulligan and Gil Evans d. Miles Davis and Dizzy Gillespie FREE JAZZ 167. Among the influences that can easily be detected in Ornette Coleman’s 1950’s recordings are: a. John Coltrane and Sun Ra b. Charlie Parker and Afro-American blues tradition c. Stan Kenton and Dizzy Gillespie d. Lennie Tristano and jazz-rock 168. Even though most of Ornette Coleman’s improvisations follow no preset chord progressions, a. they follow the blues matrix b. they strictly adhere to the rules of atonal composition c. they maintain bass and drums accompaniment traditions d. they remain free of key feeling 169. Ornette Coleman is best known as a. alto saxophonist, trumpeter, composer b. bandleader, trombonist, arranger, singer c. pianist-composer d. composer of works for 16-piece big band 170. Ornette Coleman influenced a. guitarist Wes Montgomery and pianist McCoy Tyner b. guitarist Pat Methany and pianist Keith Jarrett c. trumpeter Clifford Brown and saxophonist Sonny Rollins d. trombonist J.J. Johnson and composer Charles Mingus 171. Most of Cecil Taylor’s unaccompanied piano improvisations can be described as a. free jazz c. classical piano music b. bop d. jazz-rock 172. Albert Ayler is known primarily as a a. trumpeter c. drummer b. saxophonist d. composer 173. Bassists best know in free jazz are: a. Ron Carter and Paul Chambers c. Same Jones and Charles Mingus b. Charlie Haden and Dave Holland d. Jaco Pastorius and Jimmy Blanton 174. The innovative drummer who worked compatibly with Albert Ayler and Cecil Taylor is: a. Kenny Clarke c. Sunny Murray b. Art Blakey d. Louis Bellson 20 Name:__________________________________________ seat number______ History of Jazz- FINAL EXAM Each question is worth.9434 point (106 Questions) CHARLES MINGUS 175. Mingus was most important as a. an influential pianist b. disciple of Claude Thornhill c. composer-bandleader d. bassist in the Dizzy Gillespie big band 176. Eric Dolphy was known as a a. bass clarinetist b. bassist c. clarinetist d. musician who played several woodwinds 177. Jimmy Blanton AND Duke Ellington were major influences in the music of a. Eric Dolphy c. John Coltrane b. Roland Kirk d. Charles Mingus 178. The earliest important recordings made of Mingus compositions occurred during the a. 1930’s c. 1950’s b. 1940’s d. 1970’s 179. In the duet portion of What Love, Mingus and Dolphy engage in a. walking bass and jazz flute duet c. free jazz b. bop-oriented improvisation d. Latin American rhythms HERBIE HANCOCK, BILL EVANS, KEITH JARRETT and CHICK COREA 180. Chick Corea’s style can be distinguished from Keith Jarrett’s because Corea is somewhat a. more legato and less staccato b. more percussive and less legato c. less drum-like and more sax-like d. more economical and less Latin-flavored 181. Keith Jarrett drew his style largely from the approaches of a. Art Tatum and Dizzy Gillespie c. Bill Evans and Ornette Coleman b. Miles Davis and McCoy Tyner d. John Coltrane and Bud Powell 182. Chick Corea’s well-known group of the 1970’s adopted the name a. Head Hunters c. Crusaders b. Blackbyrds d. Return to the Forever 183. Among Chick Corea’s very best known tunes are a. Song for Lee Lee and Senor Mouse c. Windows and Waltz for Bill Evans b. La Fiesta and Spain d. Matrix and Litha 184. The most in-demand modern jazz piano accompanist during the 1960’s and early 1970’s was a. Keith Jarrett c. Herbie Hancock b. Bill Evans d. Chick Corea 185. Herbie Hancock gained his widest exposure of the 1960’s by his association with a. Art Blakey c. Horace Silver b. Cannonball Adderly d. Miles Davis 21 Name:__________________________________________ seat number______ History of Jazz- FINAL EXAM Each question is worth.9434 point (106 Questions) 186. Herbie Hancock is known for all but which one of these musical roles? a. pianist c. bandleader b. composer d. trumpeter 187. Herbie Hancock’s best known compositions are a. Watermelon Man and Maiden Voyage b. Eye of the Hurricane and Dolphin Dance c. Sorcerer and Speak like a Child d. Chameleon and The Prisoner 188. Keith Jarrett’s unaccompanied piano solo concerts usually fit the category of a. free jazz c. modal jazz b. bop d. preset concert compositions 189. Though Keith Jarrett recorded an album with Art Blakey, his greatest exposure during the 1960s came with the band of a. John Coltrane c. Charles Lloyd b. Charles Mingus d. Cannonball Adderley 190. Bill Evans is known for a. a raw, hard-driving style b. playing free jazz c. a gentle and pretty cocktail approach d. his big band writing SECOND CHICAGO SCHOOL 191. Detroit and Philadelphia contributed substantially to the style of ……….during the 1950’s, while Chicago began contributing to…………… a. hard bop; the avant-garde c. free jazz; hard bop b. cool; bop d. bop; the avant-garde; cool 192. Whereas the Art Ensemble originated in………..the World Saxophone Quartet drew 3 of its members from the Black Artists Group of……….. a. St. Louis; The AACM c. Los Angeles; Chicago b. Chicago; New York d. Chicago; St. Louis 193. Sun Ra is known for being all but which of these? a. bassist c. bandleader b. pianist d. composer 194. Sun Ra was one of the first jazz musicians to regularly use a. vibraphone c. Electric piano b. Fender bass d. Latin American percussion instruments 195. Sun Ra makes much out of exploration of a. bop formulas c. symphony orchestra writing b. simultaneous collective improvisation d. brass writing 196. Sun Ra’s live performances are usually a. multi-media events c. like classical chamber music recitals b. dignified and formal d. much like standard bop performances 22 Name:__________________________________________ seat number______ History of Jazz- FINAL EXAM Each question is worth.9434 point (106 Questions) 197. The Art Ensemble uses musical elements that have been relatively neglected by mainstream jazz styles, including: a. altering a brief, melodic fragment over lengthy stretches in a performance b. keeping steady accompaniment rhythm and swinging from start to finish c. playing loud, fast and high, with great technical virtuosity. d. Developing complex chord progressions and elaborate accompaniment harmony. 198. Anthony Braxton is a a. swinging bop disciple and competitor of Phil Woods b. composer of narrow scope c. jazz musician with no interests outside jazz d. composer-improvisor whose work resists categorization 199. The World Saxophone Quartet a. is exclusively saxophones b. has two alto saxes and two tenors c. includes flutes and clarinets in addition to saxophones d. plays harmonized transcriptions of Charlie Parker solos with rhythm section accompaniment 200. Sun Ra and The Art Ensemble both use a. Afrocentric and theatrical orientations in performance b. considerable amounts of brass c. very solemn approaches to staging their concerts d. the compositions of John Coltrane WAYNE SHORTER, RON CARTER, TONY WILLIAMS 201. The bassist used most by Miles Davis during the 1960’s was: a. Paul Chambers c. Michael Henderson b. Dave Holland d. Ron Carter 202. For about ten years prior to hiring Wayne Shorter, the Miles Davis repertory had contained mostly: a. popular tunes and jazz standards b. John Coltrane compositions c. Originals penned by Miles Davis himself d. Charlie Parker compositions 203. A distinctive feature of many mid-1960s Miles Davis Quintet compositions is that they have a. a 12-bar blues construction c. an all-A construction b. a 32-bar A-A-B-A construction d. no melody line 204. Which is true about the mid-1960’s Miles Davis Quintet a. It was very rigid in maintaining bop traditions of instrument roles b. It was a throwback to the swing era riff band style c. Its performances were more than 90% spontaneous d. It emulated the Horace Silver Quintet style with its rehearsed ensemble passages recurring within pieces 23 Name:__________________________________________ seat number______ History of Jazz- FINAL EXAM Each question is worth.9434 point (106 Questions) 205. The Hancock-Carter-Williams rhythm section a. refined much of the blues matrix approach introduced by Ornette Coleman b. reflected the best in hard bop style accompanying technique c. was known primarily for free jazz d. was very popular because of its simple, funky and danceable sound. 206. Wayne Shorter’s compositions occupied a prominent place in the repertory of Miles Davis, Weather Report, and the 1959-64 band of a. Cannonball Adderley c. John Coltrane b. Art Blakey d. Horace Silver 207. The most widely received innovation associated with Tony Williams that significantly affected jazz-rock drumming was a. his use of the ride cymbal c. his use of the high-hat b. his use of the bass drum d. his use of the snare drum 208. The Weather Report practice of extensively repeating melodic lines within a single rendition while continuous variation of accompaniment figures occurs is linked to the first Miles Davis recording of a. Wayne Shorter’s Nefertiti c. Tony Williams’s Hand Jive b. Eddie Harris’s Freedom Jazz Dance d. Wayne Shorter’s Footprints 209. An aspect of many Wayne Shorter compositions that became central to the sound of Weather Report is a. a boppish character c. frequent chord changes b. a high level of intricacy d. a floating quality 210. Wayne Shorter is especially notable for supplying Weather Report with a. jumpy, bop-like melodies b. interesting melodies and arrangements c. swinging, 12-bar blues tunes that were catchy and very danceable d. dreamy melodies containing many sustained tones and silences. 211. Weather Report used some of Wayne Shorter’s tunes as vehicles for a reversal of character previously typifying jazz melody and accompaniment in that a. melody was now the site of tremendous intricacy, and accompaniment was simple b. accompaniment was now the site of tremendous intricacy, and melody was simple c. melody could not be distinguished from accompaniment d. There was no melody used at all 212. Jazz can be differentiated from rock in that a. jazz musicians prefer less complex harmonies than rock musicians prefer b. rock musicians tend to use fewer chord changes per song than jazz musicians use c. rock musicians tend to have more conservatory training than jazz musicians have d. rock rhythmic feeling is more relaxed than jazz rhythmic feeling 213. Which is most true? a. rock is less repetitive than jazz b. jazz is less repetitive than rock c. jazz and rock are equally lacking in variety d. jazz and rock have equal amounts of improvisation 24 Name:__________________________________________ seat number______ History of Jazz- FINAL EXAM Each question is worth.9434 point (106 Questions) 214. The earliest jazz was characterized by which element that tends to be missing form most rock? a. tonal inflection c. counterpoint b. steady tempo d. frequent singing 215. During his jazz-rock period, Miles Davis sometimes played electric keyboards as well as trumpet a. to solo with fast, complex lines b. to set up harmonies and mood for the improvisation c. to comp in the manner of Herbie Hancock d. to fill in for the missing bass and drums 216. When analysis was made by the best selling jazz records for the 1960s, it was found that almost all were characterized by a. simplicity and repetition c. a notable absence of ostinato b. complexity and variation d. prominence of rich harmonies Modern BIG BANDS 217. The band best characterized by elaborate arrangements and numerous brass instruments is that of: a. Maynard Ferguson c. Stan Kenton b. Woody Herman d. Thad Jones 218. The bands that act most like small combos are those of: a. Woody Herman and Stan Kenton b. Count Basie and Thad Jones c. Maynard Ferguson and Stan Kenton d. Woody Herman and Maynard Ferguson 219. Most big band jazz during the 1980s was performed in a. colleges c. ballrooms b. night clubs d. jazz festivals 220. The band that had hits with 1970s movie themes was that of: a. Woody Herman c. Thad Jones b. Stan Kenton d. Maynard Ferguson 221. The leader of the Thad Jones-Mel Lewis band plays: a. piano c. trombone b. sax d. trumpet 222. The leader of the Herman Herd plays: a. piano c. clarinet b. trombone d. trumpet 25