Jazz Ch. 15

Born in St.Louise, MO, on July 16, 1925, _______ was undeniably the most well-known non-Latino leader of Latin Jazz bands.

Caí Tjader

Cuban born singer, ______________ helped to ignite the popularity of Salsa music when she was featured with the Fania All-Stars in the 1970s.

Celia Cruz

In addition to the _____, the ______ was another principal Cuban percussion instrument.

Claves..... conga drum

Jazz trumpeter_____ collaborated with Mario Baeza and Chano Pozo and created a new movement called Cubop

Dizzy Gillespie

Several popular_______ compositions such as "Tin Tin Deo," "A Night in Tunisia,""Cubano Be, Cubano Bop,""Con Alma," and "Menteca," are examples of his fascination with Afro-Cuban and Afro-Latin styles

Dizzy Gillespie

Keyboardist, composer, and bandleader Eddie Palmieri emerged as one of the pioneers of the jazz fusion style, successfully adapting electric keyboards and synthesizers into the jazz-rock and jazz-funk sounds in the 1970s. However, before his innovations as a jazz fusion trailblazer, his career began in the early 1960s performing with Afro-Cuban and Latin jazz percussionists Mongo Santamaría and Willie Bobo and touring with saxophonist Stan Getz.

False

Many jazz musicians, most notably tenor saxophonist Sonny Rollins did much to popularize the bossa nova through his many recordings of songs by Brazilian composer Antonio Carlos jobim such as "The Girl form Ipanema."

False

Pianist Danilo Perez and saxophonist David Sanchez both got their first real break as members of trumpeter Jerry Gonzalez's Fort Apache Band

False

Saxophonist Paquito D'Rivera and trumpeter Arturo Sandoval incorporate a wide range of Afro-Cuban and Caribbean influences into their work, but they rarely perform classical music.

False

Three of the most popular groups to perform at the Palladium Ballroom during the mambo dance craze were led by _____, _____, and ____.

Machito, Tito Rodriguez, and Tito Puente

This San Francisco based band, which fused rock, blues, and Afro-Cuban percussion performed at Woodstock in 1969 and became one of the most successful international debuts in popular music history.

Santana

Which Puerto Rican musician revolutionized the role of the timbales and vibraphone in Latin jazz music and incorporated elements of swing music into Afro-Cuban performance.

Tito Puente

_____ helped introduce Afro-Cuban and Caribbean sounds like the cha-cha-cha to mainstream audiences. Among his most famous compositions are "Oye Como Va."

Tito Puente

Among ____ most famous compositions are "Oye Como Va." The song achieved worldwide popularity in 1970 when it was recorded by the Mexican-American rock group Santana for their album Abraxas.

Tito Puente's

Cuban percussionist Mono Santamaría became a primary figure in the boogaloo dance craze of the 1960s after he landed a big hit with his 1963 version of Herbie Hancock's "Watermelon Man," which was later inducted into the Grammy hall of Fame in 1998

True

Saxophonist Paquito D'Rivera and trumpeter Arturo Sandoval share many similarities in that they were both members of the Orquesta Cubana de Música Moderna and Irakere before defecting from Cuba to the United States.

True

Several contemporary jazz musicians such as Paquito D'Rivera, Arturo Sandoval, Michel Camilo, Danilo Perez, and David Sanchez received formal training in classical music before branching off into Afro-Cuban and Latin Jazz styles

True

The Fania All-Stars combined many strands of Afro-Cuban, Rock, Jazz, and Puerto Rican music together, which created the Latin sound of the 1970s.

True

The mambo dance craze of the 1950s brought together a wide array of cultures, including Jews, Italians, and African-American, and enabled mixed cultures to co-exist.

True

The popularity of the bossa nova and samba, that was developing out of Brazil during the late 1950s and early 1960s, drew a large fan base due to the alluring combination of Brazilian rhythms along with the harmonies Ana d improvisation of jazz.

True