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1 | |
The standard rhythm section of the Swing Era was |
| | A) | piano, tuba, drums and banjo |
| | B) | guitar, bass and drums |
| | C) | piano, bass, drums and guitar |
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2 | |
Which trombonist led the most commercially successful big band before joing the Army Air Corps in WW II? |
| | A) | Tommy Dorsey |
| | B) | Glenn Miller |
| | C) | Benny Moten |
| | D) | Count Basie |
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3 | |
Who was the clarinetist/band leader who also recorded with many of the major “classical” ensembles (i.e., Boston Symphony Orchestra, the Budapest String Quartet)? |
| | A) | Artie Shaw |
| | B) | Bennie Goodman |
| | C) | Woody Herman |
| | D) | Bob Crosby |
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4 | |
The pattern/formula for using the written swing arrangements was created by |
| | A) | Don Redman, Fletcher Henderson and Horace Henderson |
| | B) | Duke Ellington and Billy Strayhorn |
| | C) | Tonmmy and Jimmy Dorsey |
| | D) | Glenn Miller |
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5 | |
Chick Webb, in addition to leading one of the great swing bands, also gave which legendary jazz vocalist her start? |
| | A) | Billie Holiday |
| | B) | Sara Vaughn |
| | C) | Ella Fitzgerald |
| | D) | Ethel Waters |
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6 | |
Most musicians believe that which band was the “swingingest” band in jazz? |
| | A) | the Ellington Band |
| | B) | the Basie Band |
| | C) | the Miller Band |
| | D) | the Goodman Band |
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7 | |
The composer/arranger/band leader who wrote parts specifically for individual musicians rather than for the instruments of the orchestra was |
| | A) | Count Basie |
| | B) | Glenn Miller |
| | C) | Jimmie Lunceford |
| | D) | Duke Ellington |
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8 | |
The Basie Band of the 1930’s was know for |
| | A) | tightly crafted, complex written arrangements |
| | B) | riff based “head arrangements” and great soloists |
| | C) | a dixieland-like 2 beat rhythm section |
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9 | |
The two dominant tenor saxophonists whose influence can still be heard today were |
| | A) | Eddie Miller and Tex Beneke |
| | B) | Charlie Barnett and Herschal Evans |
| | C) | Coleman Hawkins and Lester Young |
| | D) | Frankie Trumbaner and Jimmy Dorsey |
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10 | |
One man, thought not a great jazz musician, was influential in supporting jazz and jazz musicians and his orchestra could conceivably be considered the first third-stream ensemble: |
| | A) | Bob Crosby |
| | B) | Paul Whiteman |
| | C) | Ben Pollack |
| | D) | Glen Gray |
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11 | |
The first bandleader to lead an integrated big band was |
| | A) | Duke Ellington |
| | B) | Jimmy Dorsey |
| | C) | Benny Goodman |
| | D) | Jimmie Lunceford |
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12 | |
Most jazz writers/historians credit whose 1935 opening at the Palomar Ballroom as the beginning of the Swing Era? |
| | A) | Tommy Dorsey |
| | B) | Benny Goodman |
| | C) | Artie Shaw |
| | D) | Duke Ellington |
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13 | |
The organization of the ensemble into sections (brass, saxes, rhythm), a flat four rhythm, and a homophonic construction were a few of the traits of the big band style. |
| | A) | true |
| | B) | false |
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14 | |
Ella Fitzgerald, Mel Torme and Anita O’Day are successful and convincing “scat singers,” but who was the first to record a wordless jazz vocal? |
| | A) | Bing Crosby |
| | B) | Louis Armstrong |
| | C) | Jelly Roll Morton |
| | D) | Bessie Smith |
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15 | |
Later big bands led by Toshiko Akiyoshi, Thad Jones/Mel Lewis, and Maria Schneider, though made up of improvisors of the highest calibre, are showcases for the composers rather than for the individual soloists. |
| | A) | true |
| | B) | false |
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