| Name of ballad recorded by Hawkins in 1939 |
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| Forum where new ideas were articulated |
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| In 1943, first bebop combo formed by Oscar Pettiford and WHO? |
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| First bebop recordings made in 1945 by what two musicians? |
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| Dizzy Gillespie and Charlie Parker |
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Gillespie, Davis or Brown?
Apprehensive about settling into a single mode of expression-new ways to manipulate rhythm, timbre, and silence-used harmony, mute and amplified trumpet. |
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Gillespie, Davis or Brown?
Delicate vibrato, low notes followed by explosive passage in high register, screeching. |
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| Who anticipated cool jazz on tenor sax, laidback? |
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| Where did Gil Evans and Miles David rehearse with a 9-piece group? |
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| the basement on 55th street |
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Parker, Konitz or Mulligan?
First modern jazz sax |
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Parker, Konitz or Mulligan?
Model for cool jazz influenced West Coast |
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Parker, Konitz or Mulligan?
Pianoless quartet, subdued, relaxed, etc |
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Coltrane or Rollins?
Running notes, sense of anguish, sheets of sound |
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Holiday, Vaughan or Fitzgerald?
Influenced by Armstrong and Bessie Smieth, semi-talking/singing style, slightly behind the beat |
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bebop, cool, or hard bop:
Afro-Cuban rhythms, hectic tempos, advanced harmony, unison playing, fluid melodic |
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bebop, cool, or hard bop:
Slower tempos, serious music, modal jazz, mellow sonorities, new instuments |
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bebop, cool, or hard bop:
less complex harmony, darker tonal sonorites, stronger accents |
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| Drummer who led the jazz messengers with Horace Silver |
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| Guitarist who played long flowing lines; electric guitarist |
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| Name of album with “take five” and “blue rondo” |
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| Group which was elegant combining improvisation with classical composition |
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| Band leader who developed concert jazz, emphasized composition & music education |
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| Leader who used swing, bebop, cool, hard bop, classical, third stream, gospel, blues, spanish, african, eastern, avant-garde |
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| John Birks Gillespie’s nickname |
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Name the pianist: Powell, Brubeck, Tatum or Evans?
Dazzled listeners flawless techician, passing chords. |
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Name the pianist: Powell, Brubeck, Tatum or Evans?
Block chords, multimeter, alto saxophonist was Paul Desmond |
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Name the pianist: Powell, Brubeck, Tatum or Evans?
Suggested rather than defined harmony, quartal harmony, cool introspective, sensitive, soft touch |
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Name the pianist: Powell, Brubeck, Tatum or Evans?
First bebop player, right hand played quick, fluid, smooth flowing lines |
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Name the pianist: Monk, Silver or Peterson?
Earthy, bluesy, gospel, hard bop leader, soul, funk and latin influences |
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Name the pianist: Monk, Silver or Peterson?
Short musical ideas unified his music, jabs, syncopation & dissonance |
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Name the pianist: Monk, Silver or Peterson?
Borrowed approaches from others, virtuosis, graceful, mysterious reharmonizations, funky, hard bop |
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Things to Come or Boplicity?
Vibes solo, sarcastic 4 note backup |
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Things to Come or Boplicity?
Cool jazz, dreamy dissonance |
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Hora Decubitis, Shaw ‘Nuff, or Commencement?
Eclectic, swing, Bebop, hard Bop, Funky riff-based 12-bar blues |
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Hora Decubitis, Shaw ‘Nuff, or Commencement?
Large ensemble, written music, bombastic sounds, concert jazz |
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Hora Decubitis, Shaw ‘Nuff, or Commencement?
Introduction uses an Afro-Cuban rhythm (vamp) and returns towards end |
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Tea for Two or Something’s Comin’?
Stride piano gone wild, dazzlings runs, walking chords, rhythmic energy |
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Tea for Two or Something’s Comin’?
Agitated string bass, dissonant chords, drums play military-type rhythm, brilliantly executed, blues-based scale in both hands |
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