Jazz Exam 4

Hancock in the 1970s and 1980s

Head Hunters (1973)—effort to be more accessible. Influenced by Sly and the Family Stone. Simple melodies and danceable, repetitive rhythms. Use of electronic instruments, percussion. One of the best-selling jazz albums of all time: "Chameleon" was a hit song. "Rockit" (1983)—first jazz hip-hop song.

As a composer Eric Dolphy's pieces a. contained odd intervals and syncopations that were jarring b. qualified as true examples of "free" jazz c. were erratic and unpredictable

A and C only contained odd intervals and syncopations that were jarring were erratic and unpredictable

Hip-hop Jazz

Hip-hop is the latest music to inform jazz fusion. Hip-hop musicians started sampling their parents' Blue Note recordings. Older jazz soloists were put together with hip-hop tracks. The nature of the mix of hip-hop and jazz depended on who was in charge. CT

Chick Corea utilized a free-form approach for his group Circle that included saxophonist

Anthony Braxton

This multi-instrumentalist is a composer and improviser whose music draws from non-Western music, the styles of Eric Dolphy and Lee Konitz, and twentieth-century symphonic music.

Anthony Braxton

Eric Dolphy was a virtuoso on the alto saxophone, flute and _______.

Bass Clarinet

Jazz education started in the 1940's with a few pioneering schools including

Berklee College of Music and University of North Texas

Pianist Herbie Hancock was influenced by

Bill Evans' chord voicings and mode-based thinking twentieth-century classical composers Ravel, Debussy, and Hindemith Horace Silver and Wynton Kelly's rhythmic bounce and bluesy figures (all of the above)

Mahavishnu Orchestra

Created by guitarist John McLaughlin. Its focus on electric guitar shaped fusion. Music was loud, fast, virtuosic—concert rock. Biting electronic sound. Complex meters inspired by Indian classical music. Dissonant harmonies—slash chords. Successful albums—The Inner Mounting Flame (1972) and Birds of Fire (1973). JRF

Chick Corea (b. 1941)

Influenced by Bud Powell, Horace Silver, and Bela Bartók. 1968-1970 played electric piano with Davis. Voiced chords in fourths—open quality. Use of pentatonic scales. Every note played evenly with emphasis—percussive touch. Now He Sings, Now He Sobs (1968)—staple jazz recording.

A model for much avant-garde jazz music of the 1960s was the album _______.

Free Jazz by Ornette Coleman

Keith Jarrett (b. 1945)

Influenced primarily by pianist Paul Bley. 1966-1969 member of Charles Lloyd's quartet. Played with Miles Davis from 1970-1971. Playing style—intense lyricism, flawless technique, total physical involvement. Original approach to solo piano—totally improvised, mix of styles. The Köln Concert (1975)—Best-selling solo piano recording in history.

Charles Mingus' style is beyond category because why?

It encompasses the entire history of jazz

Bill Evans played with this musician for about nine months between 1958 and 1959, which brought him wide attention among jazz musicians and fans.

Miles Davis

Herbie Hancock played with _____ from 1963 to 1969 and became the most sought-after band pianist of the 1960s.

Miles Davis

Jam Bands

Roots come from music of 1960s, especially the long improvisations of the rock group the Grateful Dead. Medeski Martin & Wood (MMW)—started out as a piano trio in New York. They started to tour in the early 1990s, playing on the same gigs as rock bands Dave Mathews. Medeski soon started playing an array of electronic keyboards. CT

Roland Kirk was famous for being able to perform on three ________.

Saxophones at the same time

This bassist set the pace for an entire generation of bassists who showed spectacular instrumental facility and mastered a melodic-interactive approach to accompaniment.

Scott LaFaro

Herbie Hancock's playing style included a. consistently polished piano improvisations b. the use of quartal harmonies and pentatonic scales c. a variety of highly imaginative accompaniment techniques d. a and c only e. all of the above

a and c only consistently polished piano improvisations a variety of highly imaginative accompaniment techniques

The Art Ensemble of Chicago a. sometimes applied conventional jazz approaches b. relied on the truly atonal music of Arnold Schoenberg c. played in a broad range of styles d. a and c only e. all of the above

a and c only sometimes applied conventional jazz approaches played in a broad range of styles

Pianist Cecil Taylor plays with a modern jazz swing feeling.

False

____________ became the most sought-after jazz pianist of the 1960s.

Herbie Hancock

The pianist and composer with the most influence on Miles Davis' jazz/rock music was ______.

Joe Zawinul

____________ combined elements of Bill Evans, free jazz, country music, American gospel music, and twentieth-century classical music into a style that made him the most successful solo concert pianist in jazz history.

Keith Jarrett

Albert Ayler (1936-1970)

Leading tenor saxophonist in free jazz. Replaced melody with rapid flourishes of notes—"sound spans." Covered the entire range of the tenor sax. Possessed a deep, blistering tone. Rhythm more related to classical and folk than jazz. Preferred bands without chording instruments. AG

Sun Ra's strongest improvisers were saxophonists

Marshall Allen and John Gilmore

Ornette Coleman (1930-2015

Most significant alto player after Bird. Classic Quartet (1959)—included Don Cherry (cor), Charlie Haden (b), and Billy Higgins (d). Use of written tunes—melodic and emotional. Music free of chord changes—omitted piano. Tonal centers present, but unplanned—not atonal. Usually employed a constant tempo. Conventional solo and accompaniment roles. AG

This Chick Corea album became a staple in collections of modern jazz musicians.

Now He Sings, Now He Sobs

One of the few bandleaders in jazz history to explore the gradual speeding and slowing of tempo was

Charles Mingus

The bassist most prominently associated with Ornette Coleman during the 1950s and 1960s was

Charlie Haden

This bassist was present in many ground-breaking recordings with Miles Davis and Chick Corea and was a leader on the avant-garde album, Conference of the Birds

Dave Holland

This trumpeter was a leading figure in free jazz and a regular member of Ornette Coleman's groups in the late 1950s and early 1960s.

Don Cherry

This alto saxophonist is considered as historically significant as Charlie Parker

Ornette Coleman

Herbie Hancock's Head Hunters album imitated the style of

Sly & The Family Stone

Bitches Brew, 1969

Sold over 500,000 copies—heralded arrival of fusion. Davis wrote most of the music—brief sketches. Slow moving harmonies—modally related, not necessarily tonal. Lengthy pieces, dissonant, dense texture. Large ensemble—doubled, tripled rhythm section. Medley—continuous music, block composition. Pioneered the studio as an instrument. Influenced electronic music—Aphex Twin. JRF

"Freak In," 2003

Song Title: "Freak In" Performer: Dave Douglas Historical Significance: From album Freak In—fuses electronic music with Indian instruments such as tabla. New York downtown scene solidified around the improvised music scene at clubs like the Knitting Factory. More experimental and loose—focus on the innovations of avant-garde jazz artists. Led by musicians like John Zorn, Bill Frisell, and Dave Douglas. CT

"Free Jazz," Ornette Coleman

Song Title: "Free Jazz" (1960) Performer: Ornette Coleman Octet Historical Significance: Considered the single most influential album on the avant-garde movement for the next decade. 37-minute sustained collective improvisation. Featured two piano-less quartets. No preset arrangement of themes, chord changes, or chorus lengths. Prearranged ensemble passages. Tonal centers present, but unplanned. AG=Avant-Garde

Keith Jarrett was one of the few pianists in the 1970s that rarely played an electric piano.

True

As a composer Eric Dolphy's pieces

contained odd intervals and syncopations that were jarring were erratic and unpredictable a and c only

Mingus' unorthodox approaches to combo performance included

providing the soloists with a varied background a successful integration of composed and improvised music a and c only

The improvisation of ______ sometimes assumed greater importance than the development of melodies in Avant-Garde jazz

textures

Chick Corea's playing style is characterized by

the use of quartal harmony and pentatonic scales a crisp, percussive touch and spirited style of comping (a and c only)

Albert Ayler's approach to free jazz entailed

use of extended upper register and rapid playing

The AACM's Art Ensemble of Chicago, which gained prominence during the 1970s, consisted of

trumpeter Lester Bowie, saxophonists Roscoe Mitchell and Joseph Jarman, bassist Malachi Favors, and drummer Don Moye

The leading tenor saxophonist in free jazz was

Albert Ayler

Weather Report

Most long-lived, successful of the fusion bands. Wayne Shorter—played soprano and tenor sax, composed. Joe Zawinul—mastered the synthesizer, composed. Jaco Pastorius—played fretless bass. First albums—unconventional collective playing. Moved from free-jazz to rock in mid-1970s—dance rhythms, arrangements, effects. JRF

M-BASE is the name of a musical collective that started in the 1980's led by whom

Steve Coleman

Herbie Hancock's funky, bluesy piece _____________ was popularized by Mongo Santamaria's version in the mid-1960s.

"Watermelon Man"

Mwandishi, Sextant, and Crossings

1969-1971 led a sextet combining jazz, rock, and African music with electronic instruments. Free forms, collective improvisation, and odd-numbered meters. Extensive use of synthesizers and percussion. Emphasis on developing moods—like Sun Ra. Group members were multi-instrumentalists. Albums sold poorly.

Corea in the 1970s

1970 formed Circle with saxophonist Anthony Braxton—non-electronic approach to free jazz. 1971-1973 Return to Forever had two incarnations: 1) Jazz fusion with a Latin influence—Made use of expansive melodies, romantic vocal lines, and Latin rhythms; "Spain" and "La Fiesta" became standards. 2) More rock-based ensemble—influenced by guitarist John McLaughlin. Later returned to perform in a wide variety of acoustic settings.

Jarrett in the 1970s

1970s: Jarrett played with two groups: 1) An American group that played avant-garde jazz and gospel—Redman, Haden, Motion. 2) European group that played less abrasively—Garbarek, Daneilsson, Christensen. 1984 formed his Standards Trio—influenced by Bill Evans.

New Jazz Conceptions (1956) Bill Evans

As a child, he studied piano and violin. Graduated from Southeastern Louisiana College. Mid-1950s worked with George Russell—third stream music combined classical and jazz styles. New Jazz Conceptions (1956)—debut album as a leader. "Waltz for Debby"—became a standard. Listen: "Waltz for Debby" (1961)

The Art Ensemble of Chicago (AEC)

Avant-garde jazz ensemble that grew out of Chicago's AACM in the late 1960s. Performed in a broad range of styles. Multi-instrumentalists—popularized "little instruments" (bells, chimes, percussion). Often focused on sound rather than melody or harmony. Improvised without chord changes—no piano. Varied levels of loudness—embraced silence. Wore costumes and stage makeup. AG

AG Stylistic Traits

Avant-garde—An advanced group who develop innovative works. Extensive manipulation of tone and pitch. Textures more important than melody. Phrasing more fragmented. Adoption of World Music. Free jazz abandoned tonality, melody, meter, and form. Coleman's Free Jazz (1960)—most influential album on avant-garde, features double quartet AG

Bass player Charles Mingus first played what instruments before switching to bass?

Cello and Trombone

This virtuoso was known for his consummate mastery of flute, alto saxophone, and bass clarinet.

Eric Dolphy

Coleman's Playing Style

Harsh tone—wailing sound like human voice. Lacks ultra-high command of instrument. Microtones—pitches in between those found in a traditional scale. Modal in concept—rooted in blues and folk idioms. Fast tempos—flurries of notes, gliding, swooping. Sequential patterning. AG

Everybody Digs Bill Evans (1958)

For two years Evans refused to make another album as a leader. During this time, he worked with Miles Davis, Cannonball Adderley, Chet Baker, Gunther Schuller, and others. In 1958 he made Everybody Digs Bill Evans. Includes Sam Jones (b), "Philly Jo" Jones (d). Polytonality—the musical use of more than one key simultaneously. Listen: "Peace Piece"

Which statements are true about trumpeter Don Cherry?

He played and recorded with tenor saxophonists John Coltrane and Sonny Rollins. He devoted a considerable portion of his life to playing Oriental, Turkish, and Indian music (A and c only)

Which statements are true about Charles Mingus?

He was one of the first virtuoso bass soloists to appear after Jimmy Blanton He was a prolific composer-arranger who represents an entire idiom that was uniquely his own (a and c only)

Jazz Education

Jazz education started at a few pioneering schools in the 1940s and continued to grow: —Berklee College of Music: first school to teach popular music. —University of North Texas: offered first jazz degree in 1946. —University of Indiana: founded by David Baker. National Association of Jazz Educators (NAJE) was founded in 1968 (now JEN). Large market for professional musicians as clinicians, composers, and guest artists. CT=contemporary trends

Cecil Taylor (1929-2018)

Major alternative to jazz mainstream. 1960s began playing without chord changes or a constant tempo. Unconventional rhythm—too tense to swing. Emphasis on musical textures—note clusters. Sustained high-energy performances. Brief portions of some Taylor improvisations are atonal AG

This group achieved a greater balance of contrasts by carefully alternating prewritten parts, improvised solos, and simultaneous collective improvisations

The World Saxophone Quartet

Traits of Fusion Music

Mix of jazz and R&B. Used electric instruments—guitar, bass, and keyboards. Repeating accompanying riffs. Drums—increased use of bass drum, decreased use of cymbals as time keeping device. Medium tempos with a 16th note subdivision. Soloists—harmonically complex, sequential patterns over static harmony. JRF=jazz rock fusion

Evan's Playing Style

Most influential pianist since Bud Powell. Long, smooth lines—traced to Konitz, Powell. Melodic development—traced to Nat Cole. Bluesy figures—traced to Horace Silver. Command of tone color—traced to George Searing. Legato lines unsurpassed. Popularized modal harmony—Ravel, Debussy. "Floating pulse"—irregular phrasing, metric shifts. Listen: "Israel" (1965)

New York—Uptown Scene

Musicians who solidified around jam sessions at Smoke Jazz & Supper Club in uptown Manhattan. Dedicated to advancing the ideals and music of straight ahead jazz. Led by musicians like Eric Alexander, Joe Farnsworth, and Steve Davis. The group One For All focuses on playing music in the tradition of Art Blakey and hard bop. CT

Neoclassicism

Older styles viewed as "real" jazz. Jazz repertory movement—large ensembles performing arrangements of classic works. Wynton Marsalis—director of the Lincoln Center Jazz Orchestra. He changed the direction from progressive modernism to strict interpretation of mainstream jazz. CT

Sun Ra (1915-1993)

Pianist, composer, and bandleader. Arkestra known for theatrical performances. Music can consist of sound by itself. Used unorthodox keyboards. Free-form collective improvisation in big band. Included saxophonists Marshall Allen and John Gilmore. AG

Kind of Blue (1959

Recorded on Davis' pivotal album Kind of Blue in 1959. Utilized root-less chord structures, harmonic extensions. Evan's "Peace Piece" served as the basis for "Flamenco Sketches." Introduced a new generation of jazz musicians to mode-based formats. Left Davis in November, 1959 —exhaustion, drug addiction. "Blue in Green"—modal, 10-measure cycle. Listen: "Blue in Green" (1959)

In a Silent Way, 1969

Regarded as Davis' first fusion record—guitarist John McLaughlin missing link. Straight-eighth groove. Blended acoustic and electric instruments. Open vamps—usually a few repeated chords. Medley—no breaks, bass was pivot. Edited raw material from studio session—sonata allegro form. Keyboardist Joe Zawinul helped lead Davis in the new style. JRF

In the keyboard style of jazz-rock, development of ______ in a funk music style was replacing spontaneous comping customary to jazz.

Repeating patterns

The Association for the Advancement of Creative Musicians was a Chicago based collective founded during the 1960s by

Richard Abrams

Portrait in Jazz (1959)

Scott LaFaro (b)—melodic-interactive approach, used multiple fingers to pluck strings. Paul Motion (d)—prominent use of wire brushes, use of rhythmic displacement. Trio concept highly interactive. Evan's musical phrases were long and short. Emancipated common practices of bop style. Listen: "Peri's Scope" (1959)

Rock and funk music differ from jazz of almost any period because rock and funk typically have ________ .

Simpler, more repetitive drum patterns

New York—Downtown Scene

Solidified around the improvised music scene at clubs like the Knitting Factory. More experimental and loose—focus on the innovations of avant-garde jazz artists. Led by musicians like John Zorn, Bill Frisell, and Dave Douglas. CT

"Birdland," 1976

Song Title: "Birdland" Performer: Weather Report Historical Significance: This group was the longest lasting (fifteen years), as well as one of the most successful, commercially and artistically, of the fusion bands—primary members included Wayne Shorter (ts), Joe Zawinul (kbds), Jaco Pastorious (b). The band's 1976 recording Heavy Weather was a best-seller and featured "Birdland," a Zawinul composition. JRF

"Clap Your Hands," 1993

Song Title: "Clap Your Hands" Performer: A Tribe Called Quest Historical Significance: From Midnight Marauders. Landmark album by A Tribe Called Quest—sold over one million copies upon first year of release. Uses digital samples of older jazz recordings on the Blue Note label. Hip-hop is the latest music to inform jazz fusion. CT

"Delfeayo's Dilemma," 1985

Song Title: "Delfeayo's Dilemma" Performer: Wynton Marsalis Quintet Historical Significance: Black Codes is considered one of the defining albums of the 1980s—won two Grammy awards in 1986. A leader of the neo-classical approach, Marsalis rejected the avant-garde, fusion, and informal personal styles of modern musicians—He changed the direction of jazz discourse to one of strict interpretation of mainstream jazz from one of progressive modernism and eclecticism—current director of the Lincoln Center Jazz Orchestra. CT

"Ghosts," Albert Ayler

Song Title: "Ghosts" (1964) Performer: Albert Ayler Trio Historical Significance: From Ayler's breakthrough album Spiritual Unity. Ten-minute unharnessed frenzy of sound. Apart from the melodic statement at the beginning and the end, represents free jazz. Not played at a constant tempo. No preset chord progression or cyclic form. Ayler is considered the leading tenor saxophonist in free jazz. Often replaced melody with rapid flourishes of notes called "sound spans." Lines covered the entire range of the tenor sax—technically demanding. AG

"It's About That Time," 1969

Song Title: "It's About That Time" Performer: Miles Davis Historical Significance: In a Silent Way regarded by jazz scholars as Davis' first fusion record—guitarist John McLaughlin missing link. Davis adopted a straight-eighth groove. Blended acoustic and electric instruments. Music features extended sections with open vamps. Joe Zawinul helped lead Davis in the jazz-rock fusion direction. JRF

Jelly Belly," 1996

Song Title: "Jelly Belly" Performer: Medeski Martin & Wood Historical Significance: From Shack-man (1996). MMW considered one of the leading jam bands and experimental jazz fusion groups of the last 25 years—started out as a piano trio in New York. Medeski soon started playing an array of electronic keyboards. CT

"Lonely Woman," Ornette Coleman

Song Title: "Lonely Woman" (1959) Performer: Ornette Coleman Quartet Historical Significance: Features Coleman's Classic Quartet that included Don Cherry (cor), Charlie Haden (b), and Billy Higgins (d). Use of written tunes—Coleman's compositions are strongly melodic and emotional. Improvised music free of preset chord progressions—omitted piano. Usually employed a constant tempo—often a walking bass is present. The album Shape of Jazz to Come was inducted into the Grammy Hall of Fame in 2015 AG

"Miles Runs the Voodoo Down," 1969

Song Title: "Miles Runs the Voodoo Down" Performer: Miles Davis Historical Significance: Bitches Brew sold over 500,000 copies within the first year of its release—heralded the arrival of fusion. Slow moving harmonies—modally related, not necessarily tonal. Large ensemble—doubled or even tripled rhythm-section instruments to create a dense texture. Pioneered the studio as an instrument—producer Teo Macero spliced tape and added effects. JRF

"One Word," 1973

Song Title: "One Word" Performer: Mahavishnu Orchestra Historical Significance: From album Birds of Fire. Mahavishnu was created in 1971 by John McLaughlin—it's focus on electric guitar shaped fusion. The music was loud, fast, virtuosic (raising the bar for rock guitarists), intense, and distorted, much like concert rock and not like club jazz. Use of complex meters inspired by Indian classical music.

Right Off," 1970

Song Title: "Right Off" Performer: Miles Davis Historical Significance: A Tribute to Jack Johnson represents Davis' second film score—documentary of boxer Jack Johnson. Contains a riff from Sly and the Family Stone's "Sing a Simple Song." Open vamp for 20 minutes on a Bb chord. Includes electric instruments and rock drumming—John McLaughlin (g), Michael Henderson (b), Billy Cobham (d). JRF

"Steps," Cecil Taylor

Song Title: "Steps" (1966) Performer: Cecil Taylor Septet Historical Significance: From Taylor's landmark album Unit Structures. He constructed his pieces from modules, or units, and the band worked and improvised through each unit in turn. 1960s Taylor began playing without preset chord changes or a constant tempo—one of the first pioneers of free jazz. Brief portions of some Taylor improvisations are atonal. Often emphasizes musical textures rather than lines—note clusters. Dissonant, high-energy. Extensive manipulation of tone and pitch. AG

Sure Thing," 2000

Song Title: "Sure Thing" Performer: St. Germain Historical Significance: From album Tourist—St. Germain is considered one of the leading acid jazz artists today. Term acid jazz coined by disc jockeys Gilles Peterson and Chris Bangs at an English rave party. Dominant aspects are rhythmic groove and few chord changes. CT

"The Cosmos," Sun Ra

Song Title: "The Cosmos" (1965) Performer: Sun Ra and His Arkestra Historical Significance: From Sun Ra's 1965 album Heliocentric Worlds. Features his Arkestra—founded in mid-1950s. Band explores timbre—Sun Ra believed music could consist of sound itself. Little regard for beat or meter. Music resembles modern classical, but with electric instruments—Sun Ra was known for using unorthodox keyboards. Example of free form collective improvisation in a big band setting. AG

"The Nomad," 2003

Song Title: "The Nomad" Performer: One For All Historical Significance: From Wide Horizons. One For All solidified around jam sessions at the Smoke Jazz & Supper Club in uptown Manhattan—led by musicians like Eric Alexander, Joe Farnsworth, and Steve Davis. One of the leading modern jazz ensembles today—focuses on playing music in the tradition of Art Blakey and hard bop. CT

"Theme de Yoyo," The Art Ensemble of Chicago

Song Title: "Theme de Yoyo" (1970) Performer: The Art Ensemble of Chicago (AEC) Historical Significance: From Les Stances a Sophie"—considered a landmark album of the avant-garde jazz period. AEC performed in a broad range of styles—played everything from avant-garde jazz, proto-punk rock, blues, marches, to bebop. Known for their multi-instrumentalism—each member of the group could play several instruments. Popularized "little instruments"—included bicycle horns, bells, birthday party noisemakers, wind chimes, and a vast array of percussion instruments, including found objects. Improvised without following a preset progression of chords—no piano. Varied levels of loudness—embraced silence. AG

This composer-arranger explored collective improvisation in a big band setting and used electric keyboard instruments extensively.

Sun Ra

Herbie Hancock (b. 1940)

Takin' Off (1962)—"Watermelon Man" was a hit. Worked with Davis from 1963-1969. Influenced primarily by Bill Evans. Modal approach to harmony—Debussy, Ravel. Accompaniment patterns brought music form and direction. Consistent, well-structured solos, exquisite tone. Multi-stylist—post-bop, funk, hip-hop, and pop. Composed several tunes that became standards.

Acid Jazz

Term coined by disc jockeys Gilles Peterson and Chris Bangs at an English rave party. Depends upon electronically sampling portions of older recordings. Some acid jazz ensembles sound like 1970s soul bands. Dominant aspects are rhythmic groove and few chord changes. CT

Quartal harmony is another name for ________.

Voicing chords in fourths

This jazz musician was the first to win a Pulitzer Prize for his composition "Blood on the Fields

Wynton Marsalis

Ornette's free jazz approach includes

a constant tempo is usually employed conventional solo and accompaniment roles a and c only

Charlie Haden's bass playing entails a. constructing lines that move with unerring logic b. playing that is firmly tied to movement of harmonies c. that he is concerned more with sound than speed d. a and c only e. all of the above

all of the above constructing lines that move with unerring logic playing that is firmly tied to movement of harmonies that he is concerned more with sound than speed

Pianist Bill Evans' style included a. melodic lines composed of smoothly connected eighth notes b. a "floating pulse" that avoided accenting the most obvious beats c. the use of harmony based on modes d. a and c only e. all of the above

all of the above melodic lines composed of smoothly connected eighth notes a "floating pulse" that avoided accenting the most obvious beats the use of harmony based on modes

Although primarily an alto saxophonist, Ornette Coleman is also significant as a ____.

composer

Sun Ra capitalized on the diversity that is possible with big band instrumentation by

extending the range of tone colors by adding electronic keyboards giving performances in which pieces were not separated requiring his sidemen to double on percussion instruments (all of the above)

Corea formed a new group in the early 1970s that

featured himself on Fender Rhodes electric piano later employed rock-influenced electric guitarists Bill Connors and Al Di Meola included Latin American rhythms and Spanish themes all of the above

For the albums Mwandishi, Sextant, and Crossings, Herbie Hancock developed concepts that

had been apparent on Davis albums from the late 1960s emphasized developing moods rather than intricate solo lines or swing feeling used an extensive array of synthesizers and exotic percussion effects (All of the above)

The characteristics of free jazz include

improvising music free of preset chord progressions melodic phrasing is more fragmented extensive manipulations of pitch and tone quality (all of the above)

Keith Jarrett's playing style entails

long, horn-like melodic lines that project a singing quality spontaneous solo improvisations that rarely use preset melodies or chord progressions incorporating elements from seemingly any musical idiom (all of the above)

The most historically significant contributions of the Evans-LaFaro-Motian trio recordings of 1961 were to

loosen the common practices of the bop-style

"Free" jazz drummers developed a style that a. offered varieties of color and shading that were extensive b. relegated their right hands to stating a consistent timekeeping pattern c. used their left feet to consistently snap shut the high-hat on every other beat

offered varieties of color and shading that were extensive

Keith Jarrett's recordings with bassist Gary Peacock and drummer Jack DeJohnette

often feature a repertory of pop tunes and jazz standards are inspired by the trio music of Bill Evans (a and c only)

Sun Ra was a _____, composer, arranger and bandleader

pianist