 |
1 | |
In the early 1990’s the jazz community began to define its own legacy. The preferred format of this new center of jazz is |
| | A) | small-group styles stressing improvisation rather than composition |
| | B) | small-group styles stressing composition rather than improvisation |
| | C) | large ensemble-styles stressing improvisation rather than composition |
| | D) | large ensemble-styles stressing composition rather than improvisation |
|
|
2 | |
Like Benny Goodman before him, who has won praise as both a jazz and classical artist? |
| | A) | Terence Blanchard |
| | B) | Joe Lovano |
| | C) | Wynton Marsalis |
| | D) | Herbie Hancock |
|
|
3 | |
Which of these artists is considered the consummate American singer? |
| | A) | Mel Torme |
| | B) | Harry Connick, Jr. |
| | C) | Betty Carter |
| | D) | Frank Sinatra |
|
|
4 | |
Although the neoclassical school is rooted in the small-group styles, which neoclassical saxophonist began his career in the big bands of Woody Herman and Mel Lewis? |
| | A) | James Carter |
| | B) | Joe Lovano |
| | C) | Joshua Redman |
| | D) | David Sanborn |
|
|
5 | |
Which trumpeter looks back to Louis Armstrong for his inspiration? |
| | A) | Wallace Roney |
| | B) | Terence Blanchard |
| | C) | Nicholas Payton |
| | D) | Clifford Brown |
|
|
6 | |
Which versatile singer continues the scat singing tradition of Louis Armstrong, Ella Fitzgerald, Mel Torme and Clark Terry? |
| | A) | Harry Connick, Jr. |
| | B) | Kenny G |
| | C) | Diana Kroll |
| | D) | Bobby McFerrin |
|
|
7 | |
The city of New Orleans continues its long jazz association through the work of |
| | A) | Diano Kroll |
| | B) | the Marsalis family |
| | C) | Bobby McFerrin |
| | D) | Joe Lovano |
|
|
8 | |
The trumpet player who is directly associated with the legacy of Miles Davis is |
| | A) | Nicholas Payton |
| | B) | Wynton Marsalis |
| | C) | Wallace Roney |
| | D) | Terrance Blanchard |
|
|
9 | |
The jazz saxophonists who carried the stylistic mainstream established by the bebop players into the present-day movement of the “young lions” were |
| | A) | Wayne Shorter and Michael Brecker |
| | B) | Joe Henderson and Phil Woods |
| | C) | Tom Scott and David Sanborn |
| | D) | Coleman Hawkins and Lester Young |
|
|
10 | |
Which is the vocal jazz ensemble that established the art of setting texts to previously records, improvised recordings (solos and all)? |
| | A) | the Pied Pipers |
| | B) | the Four Freshmen |
| | C) | the Mills Brothers |
| | D) | Lambert, Hendricks and Ross |
|
|
11 | |
The piano has always been solidly anchored in every style of jazz. Today, who carries on the tradition of Jelly Roll Morton, James P. Johnson and Art Tatum? |
| | A) | Keith Jarrett and Ahmad Jamal |
| | B) | Diana Kroll and Joshua Redman |
| | C) | Bub Powell and Thelonius Monk |
| | D) | Bill Evans and Lennie Tristano |
|
|
12 | |
The trumpeter who brought jazz—America’s classic music—into Lincoln Center was |
| | A) | Terrance Blanchard |
| | B) | Wynton Marsalis |
| | C) | Nicholas Payton |
| | D) | Dizzy Gillespie |
|
|
13 | |
Whose a capella arrangements blend the traditions of gospel, soul, pop and jazz? |
| | A) | Hi Los |
| | B) | Lambert, Hendricks and Ross |
| | C) | Take 6 |
| | D) | The Manhattan Transfer |
|
|
14 | |
The use of the vocalese—setting lyrics to instrumental jazz recording—continues the aural/oral tradition. As the original jazz instrumentalists were influenced by blues vocalists, today’s vocalists are using the sounds of jazz instrumentalists. |
| | A) | true |
| | B) | false |
|
|
15 | |
The saxophonist who is continuing Sidney Bechet’s legacy of the soprano saxophone is |
| | A) | Jane Ira Bloom |
| | B) | Don Byas |
| | C) | Joshua Redman |
| | D) | Joe Lovano |
|