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76 Cards in this Set
- Front
- Back
Among Miles Davis's Nicknames was |
The Sorcerer |
|
Among the orchestral albums Miles Davis created in collaboration with Gil Evans in the late 1950's |
Porgy and Bess Sketches of Spain |
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At age 19, Miles Davis was hired to play with |
Charlie Parker |
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During the years Miles Davis recorded Kind of Blue, Porgy and Bess, and E.S.P., he was addicted to heroin. |
False |
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John Colatrane played the _______ saxophone. |
tenor |
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John Coltrane signaled his interest in modal jazz by recording a 15-minute version of the broadway tune______, reducing its harmony to a few chords over a pedal point. |
"My Favorite Things" |
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Miles Davis grew up in a wealthy family |
True |
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Miles Davis played a major role in establishing which jazz styles? |
cool, hard bop, and fusion |
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Miles Davis was fond of altering his timbre with |
A harmon mute |
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Miles Davis's 1954 recordings with Horace Silver and Kenny Clarke helped to establish |
Hard bop |
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Miles Davis's interest in modal jazz was sparked by |
Improvising for the score of a French film |
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Miles Davis's most famous album, the culmination of his experiments with modal jazz, was |
Kind of Blue |
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Modal jazz is characterized by |
Improvising with scales over very few chords |
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Some critics feel that Miles Davis was less skilled as a trumpet player in his ________ than Dizzy Gillespie. |
speed and virtuosity |
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The_______ note is made out of metal and creates a thin, vulnerable humming sound. |
Harmon |
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The them of John Coltrane's A Love Supreme was |
Coltranes profound religious experience |
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This jazz standard has been called John Coltranes farewell to bebop because the chord speed structure is so busy and difficult to play at full speed |
Giant steps |
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What was unusual about Bill Evans's piano trio? |
The bassist was freed from keeping time to play strong melodic ideas |
|
What isn't a musical characteristic of jazz? |
the use of orchestral instruments |
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Who wasn't an important latin performer in the years before 1945? |
Antonio Carlos Jobim |
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Among the early television shows that featured a jazz score were |
Peter Gunn and the The Untouchables |
|
Antonio Carlos Brasilero de Almeidea (Tom Jobim was a key figure in |
bossa nova in the 1960's |
|
Chano Pozo was |
A cuban conga player who performed with Dizzy Gillespie |
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Frank Sinatra frequently incorporated extensive scat-singing and improvisation into his live performances |
False |
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Form which country did bossa nova emerge |
Brazil |
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In the 1950's, the vocalist______ successfully fused the blues, bebop, and gospel into a new and highly influential form of black entertainment |
Ray Charles |
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In the mid-1960s, Latin America musicians created a new hybrid style known as |
Salsa |
|
Most mainstream singers of the 1950's |
Each answer |
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One crucial factor for the switch in Latin jazz to Brazilian music in the early 1960s was |
theCuban revolution in 1959 |
|
The earliest form of rhythm and blues was known in the 1940s as |
jump |
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The highly popular organ trio usually included______ as accompaniment to the organ |
drums and electric guitar |
|
The mixture of Cuban music and jazz in the 1940s was known as |
cubop |
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The term "fusion" refers to the boundary between jazz and |
popular music |
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The vocalist Nat King Cole |
Was an accomplished jazz pianist |
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This New Orleans musician foretold the centrality of Latin jazz by saying, "If you can't manage to put tinges of Spanish into your tunes, you will never be able to get the right seasoning, I call it< for jazz." |
Jelly Roll Morton |
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This artists recording of a nonsense song about food was so popular that she was featured in Time Magazine |
Rosemary Clooney |
|
This bebop pioneer became a pioneer of Afro-Cuban jazz. |
Dizzy Gillespie |
|
_____ was a skilled improviser nicknamed "Sassy". She was trained in bebop, had a matchless four-octave range, and was also a pop performer for mercury records |
Sara Vaughan |
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Acid Jazz is |
A DJ driven pastiche of old soul-jazz recordings |
|
Although fusion from the late 1960s is often called "jazz-rock", it really resulted from jazz's borrowings from |
should or funk |
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Among the earliest jazz-rock fusion bands in the 1960s was |
Emergency! (with Tony Williams) |
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Chick Corea played ____ in his band ______ |
Electric keyboard Return to Forever |
|
In the 1990s, groups like Digable Planets, A Tribe Called Quest, Buckshot Lefonque, and Jason Moran fused jazz with |
Hip hop |
|
Jaco Pastorius was a virtuoso on the |
electric bass |
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Keith Jarretts highly successful Koln concert (1975) was the inspiration for |
Acoustic new age music |
|
Smooth jazz is all about spontaneous expression, risk-taking, improvisational resourcefulness, rhythmic excitement, and the promise of the unforeseen. |
False |
|
The fusion breakthrough was sparked in 1970 by fusion recordings by this major jazz figure |
Miles Davis |
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This commercially successful fusion band of the 1970s featured Joe Zawinul and Wayne Shorter. |
Weather Report |
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This smooth Jazz artist, who has sold an astonishing 48 million recordings, evoked howls of derision for his dubbed "duets" with Louis Armstrong |
Kenny G |
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Through hit tunes such as "Chameleon", which keyboardist has balanced his mastery of acoustic jazz against his funk-driven fusion? |
Herbie Hancock |
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What are slash chords |
triads resting on top of unrelated bass roots |
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What change did Miles Davis make in his band in 1968? |
He replaced bass and piano with their electric equivalents |
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What musical revolution occurred outside the gates of jazz and popular music in the middle 1950s? |
rock and roll |
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Which of the following is among the best known of the contemporary jazz "jam bars"? |
Medeski, Martin and Wood |
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Which of the following was NOT a Miles Davis album from the late 1960s? |
tutu |
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_______arose from the streets of the Bronx in the 1970s and by the 1980s had spread throughout the country |
hip hop |
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Neoclassical jazz meant |
treating older styles as a canon of masterpieces for contemporary jazz |
|
Each year the SFJAZZ Collective |
dedicated its concerts to the works of a single jazz composer |
|
Historicism suggests that |
creativity in the present is inextricably bound to the past |
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In addition to winning Grammy awards for his performances of both jazz and classical music, Wynton Marsalis is known for |
serving as artistic director of the jazz at lincoln center orchestra in new york city |
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In recent years, nostalgia for older styles of jazz has prompted |
Each |
|
Jason Moran plays the |
Piano |
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Jazz historicism was promoted as early as the 1970s by |
musicians from the jazz loft scene |
|
Neoclassical jazz was considered by some to reflect the conservative era of ______ presidency |
Ronald Reagans |
|
The New Orleans revival was sparked by the 1939 publication of |
Jazzmen |
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The goal of ______ was to combine chronological history with musical technique, and to rid jazz of semi-mystical notions of racial or "natural: talent |
The Lenox School |
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The jazz historian Martin Williams is best known for |
Compiling the smithsonian collection of classical jazz |
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Which of the following counts as jazz historicism in action |
Each answer shown |
|
Which pianist and bandleader who almost always played original music launched the standards trio in the 1980s to reinvestigate classical pop and jazz tunes |
Keith Jarrett |
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Which recording won album of the year in 2007, becoming the first jazz album to do so since 1964? |
Herbie Hancocks River: The Joni Letters |
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Which saxophonist can be heard on recordings by Pat Methemy, John Lennon, Paul Sion, and Charles Mingus |
Micheal Brecker |
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Who was the director of the Lenox School of Jazz |
John Lewis |
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Willie "Bunk" Johnson was |
an early 20th century New Orleans trumpet player who enjoyed a revived career in the 1940s |
|
Wynton Marsalis is the artistic director of jazz at Lincoln Center |
True |
|
Wynton Marsalis plays the |
trumpet |
|
Wynton Marsalis's quite from the 1980s, featuring his brother Branford Marsalis on tenor saxophone, is understood to be modeled on the |
Miles Davis Quintet of the 1960s. |