Jazz - Chapter 10

Joy Spring is a hard bop composition written by Max Roach.

False

Max Roach was one of the first drum set players to incorporate the use of polyrhythms extensively in his solos. He also became famous for his thunderous press-roll and his driving shuffle pattern.

False

Hard bop is a 1950s term used to designate styles that

Had roots in bop, but implemented elements of blues, gospel, funk, and R&B

In addition to his ability to fuse bebop, soul, gospel, and R&B into his funky style of piano playing, ______________ brought an uncanny ability to create catchy and pleasing melodies into his hard bop compositions.

Horace Silver

Primarily playing in the bebop and hard bop idioms in the early part of his career, saxophonist _____________ would go on to pioneer progressive concepts of modal jazz and would be at the forefront of the avant-garde and free jazz movement in the 1960s.

John Coltrane

Soon after the 1959 release of Miles Davis's album Kind of Blue, jazz historian and author Ira Gitler coined the term "sheets of sound" to describe _____________ unique improvisational playing style.

John Coltrane's

___________ immense impact on the music world has led many critics and enthusiasts to describe him as one of jazz's most influential performers and composers. He also recorded the cutting-edge hard bop album titled Giant Steps.

John Coltrane's

Moving away from bebop's tradition of harmonic improvisation over the designated chord progressions, ____________ would typically paraphrase motives or key phrases from the melody of the tune and would incorporate them as the basis for his improvisation, while developing them into longer and more elaborate phrases. This type of soloing is known as motivic improvisation.

Sonny Rollins

"This Here," composed by pianist Bobby Timmons, was recorded on the 1959 album titled The Cannonball Adderley Quintet in San Francisco. This groundbreaking album, which some critics credit for launching the start of soul jazz, was recorded at The Jazz Workshop in front of an appreciative standing-room-only crowd.

True

During the 1970s and 1980s, Sonny Rollins took an interest in pop, R&B, funk, and rock styles. He even crossed into the pop-rock genre when he added some sax improvisations to the Rolling Stones 1981 album Tattoo You.

True

Hard bop, especially the subgenres funky jazz and soul jazz, emphasize Gospel and blues elements.

True

In the lineage of jazz trumpeters, Freddie Hubbard stands out as one of the fiercest and most sensational artists of the hard-bop and post-bop eras.

True

Many hard bop musicians showed more concern for connecting with their audience by making the music more appealing both melodically and rhythmically.

True

Two powerful voices that emerged on the hard bop scene that benefited with successful careers and widespread popularity following their affiliation with Art Blakey and the Jazz Messengers were trumpeters Lee Morgan and Freddie Hubbard.

True

Unlike John Coltrane, who ventured off into avant-garde and free jazz styles, ______________ stayed true to his hard bop and soul jazz roots throughout his career. His playing style often drew comparisons to that of Charlie Parker.

Cannonball Adderley

His hard bop compositions encompass a broad spectrum of musical influences, especially the music of Duke Ellington and the soulful eloquence of his gospel church roots. He also incorporates elements of the blues, bebop, work songs, Latin, Third Stream, free jazz, and European classical music.

Charles Mingus

Which of the following is NOT a characteristic of the hard bop style?

Chord progressions are more frequently borrowed from pop tunes

Born mostly of musicians who came to New York from the nation's inner cities, especially _________ and __________, hard bop was said to reflect the intensity and hustling tempo of city life.

Detroit ..... Philadelphia

"St. Thomas," "Oleo," and "Valse Hot" were written by hard bop saxophonist Cannonball Adderley.

FALSE

Although trumpeter Clifford Brown never fully embraced the avant-garde and free jazz movement of the 1960s, he appeared on several of its historic albums including Ornette Coleman's Free Jazz, Eric Dolphy's Out to Lunch, and John Coltrane's Ascension.

FALSE