Survey Of Jazz Final

Front 1

European Music traditionally does not have tonality and harmony

Back 1

False

Front 2

European Music often uses symmetrical forms (especially more popular styles), generally based on 4- and 8-bar groupings.

Back 2

True

Front 3

African Music is rhythmically complex, often avoiding symmetrical groupings and patterns

Back 3

True

Front 4

African Music does not have a strong metronomic sense.

Back 4

False

Front 5

_______ Music embellishes vocal lines with falsetto, vocables, and other techniques, does not use tonality and harmony (but can be melodically modal or pentationic), often consists of melodic parts (sung or played) accompanied by numerous percussion instruments.

Back 5

African

Front 6

In what ways was ragtime fresh and innovative?

Back 6

syncopation became the norm rather than the exception

Front 7

Ragtime was upbeat and sassy, while much other popular music of the time was sentimental

Back 7

True

Front 8

The vocal embellishments in the Blues are derived from:

Back 8

The African Tradition

Front 9

The Blues scale is possibly a European adaptation of the African major scale.

Back 9

False

Front 10

What are the important differences between blues and ragtime?

Back 10

Ragtime is more instrumental and blues more vocal.

Front 11

Ragtime owes its harmony, tonality and instrumentation to this culture.

Back 11

European

Front 12

Ragtime owes its constant syncopation to this culture.

Back 12

African

Front 13

How did ragtime contribute to the formation of early jazz?

Back 13

Sectionalized march form and a lively "improvised character"

Front 14

How did blues contribute to the formation of early jazz?

Back 14

expressivity and dep emotional projection

Front 15

Ragtime is a distinct genre and different from jazz because:

Back 15

In general it was non-improvisatory and it was syncopated, but the fundamental pulse continues to occur on beats 1 and 3.

Front 16

The first great jazz musicians were from New Orleans and disseminated the style throughout the country.

Back 16

True.

Front 17

Only New Orleans msicians were taking liberties with ragtime music

Back 17

False

Front 18

Regional jazz styles, such as Harlem stridd, developed without benefit of significant input from New Orleans musicians.

Back 18

True

Front 19

Which of these influential musicians was not from New Orleans? Joe Oliver, Bix Beiderbecke, Sidney Bechet, Baby Dodds.

Back 19

Bix Beiderbecke

Front 20

How did recording influence the early history of jazz?

Back 20

Recordings allowed the music to be copied by upcoming musicians; hence they allowed jazz to spread rapidly throughout the country and the world.

Front 21

King Oliver's Creole Jazz Band, the first important black jazz group, achieved its success in this city in the early 1920's:

Back 21

Chicago.

Front 22

Name a key stylistic component of the early New Orleans jazz ensemble as typified by King Oliver's Creole Jazz Band?

Back 22

basis in ragtime form (16-bar strains) and the blues

Front 23

This erson was the first great Jazz Ex-Patriot:

Back 23

Sidney Bechet

Front 24

Throughout his career, Louis Armstrong continued to develop stylistically. He would ultimately abandon New Orleans and Swing style for Be Bop and Cool:

Back 24

False

Front 25

With which important band did Beiderbecke perform?

Back 25

The Wolverines (Wolverine Orchestra)

Front 26

In general terms, Jazz is a combination of these two musical cultures:

Back 26

Europe and Africa

Front 27

The most important element of Jazz:

Back 27

improvisation

Front 28

Jazz is easily understood and is extremely popular

Back 28

False

Front 29

Jazz by definition is concrete and is not subject to various interpretations

Back 29

False

Front 30

The piano/guitar/banjo supply the harmony in a rhythmic manner called:

Back 30

comping

Front 31

The bass player performs liner lines and is the foundation of the harmony called:

Back 31

walking

Front 32

The drummer suplies this esential element along with coloristics qualities.

Back 32

time

Front 33

The definition of improvisation is best described as

Back 33

spontaneous composition

Front 34

What is the total number of bars in a standard AABA form?

Back 34

32

Front 35

In an AABA form the B section is also called the

Back 35

bridge

Front 36

When trading 4's or 8's, etc. the form of the music

Back 36

continues throughout

Front 37

Stop-time refers to

Back 37

everyone stops playing, but a soloist continues

Front 38

A ____ record was a recording, usually of jazz or blues that was typically performed by and marketed to Afican Americans.

Back 38

Race

Front 39

These two beats are emphasized in jazz

Back 39

2 and 4

Front 40

_____ are a segment of New Orleans society that were of mixed black and white ancestry. Until the late 19th century, they enjoyed more freedom and were better educated than the general black population. Musicians from this group generally had classical training and could read musical scores.

Back 40

Creoles

Front 41

Construct a basic 12 bar blues using Roman numerals.

Back 41

I I I I
IV IV I I
V V I I

Front 42

This pianist soloed in a horn-like manner. His imporvisations were influenced by the great Louis Armstrong. He even mirrored Armstrong's vibrato by employing octave tremelos on the piano.

Back 42

Earl Hines

Front 43

This person is considered one of the greatest Blues singers. This person's influence transcends the Blues and is apparent in the vocal stylings of all popular musical styles.

Back 43

Bessie Smith

Front 44

In the clasic Blues form, the first lyric stanza is typically repeated.

Back 44

True

Front 45

______ was a popular form of entertainment from approximately 1845-1900. It consisted of a hodgepodge of songs, comic sketches, dances and melodrama. It frequently drew upon the negative stereotypes of the African-American culture.

Back 45

Minstrelsy

Front 46

_____ Laws were punitive laws that limited the fredoms of African-Americans. Its name was derived from a popular tune that was frequently performed in minstrelsy shows

Back 46

Jim Crow

Front 47

____ wasthe Red-Light district in New Orleans. This was the place were many Jazz musicians worked and began to develop their art. This section of New Orleans was "cleaned-up" following WW1.

Back 47

Storyville

Front 48

New Orleans is considered the birth place of Jazz

Back 48

True

Front 49

New Orleans was an extremely conservative city

Back 49

False.

Front 50

What European culture is most noticeable in New Orleans.

Back 50

France

Front 51

Slaves who were brought to the New World retained their native cultures, religions, and musical instruments

Back 51

False

Front 52

Syncopation means

Back 52

emphasis on the weak beats

Front 53

Ragtime is not considered Jazz in the strict sense because

Back 53

it is non-improvisatory

Front 54

The most prolific composer of Ragtime

Back 54

Scott Joplin

Front 55

The form of Ragtime is derived from

Back 55

the march

Front 56

Early Jazz differed from Ragtime in that

Back 56

improvisation was used and the feel was looser

Front 57

Although Jazz has its birth place in another city, the music culminated in this city:

Back 57

Chicago

Front 58

This band made the first Jazz recording:

Back 58

The Original Dixieland Jazz Band

Front 59

This person helped to bridge the gap between Ragtime and Jazz

Back 59

Jelly Roll Morton

Front 60

King Joe Oliver is most famous for giving this young musician his first important gig:

Back 60

Louis Armstrong

Front 61

This person is considered the first great Jazz Composer

Back 61

Jelly Roll Morton

Front 62

This trumpet player was one of two influential performers on the instrument during the Early Jazz era. His sound was warm and his improvisations were reflective.

Back 62

Bix Beiderbecke

Front 63

This trumpet player was one of two influential performers on the instrument during the Early Jazz era. His sound was brilliant, his technique was unsurpassed and he was the model tha most future Jazz musicians followed

Back 63

Louis Armstrong

Front 64

Performing the entire form of a composition is called

Back 64

a chorus

Front 65

Louis Armstrong was also an influential Jazz:

Back 65

singer

Front 66

The most influential clarinetist/soprano saxophonist of the Early Jazz era

Back 66

Sidney Bechet

Front 67

This person is considered by many to be the first jazz improviser. He is also credited with creating the rollicking march feel sometimes known as the "Big 4"

Back 67

Buddy Bolden

Front 68

The effects in Jazz (smears, glissandos, blue notes, growls) were derived from this musical tradition

Back 68

West African

Front 69

This person is considered the Father of Stride Piano

Back 69

James P Johnson

Front 70

The concept of swing was systemized and codified by the mid-1920's. This enabled all jazz players to swing the same way.

Back 70

False

Front 71

The area surrounding West Twenty-Eighth Street in Manhattan was the center of the sheet music industry. Many great musicians such as George Gershwin and Fletcher Henderson got their start as song pluggers in this incredibly vibrant area.

Back 71

Tin Pan Alley

Front 72

Louis Armstrong left Chicago to perform in this Big Band

Back 72

Fletcher Henderson

Front 73

During the Harlem Renaissance, high culture and artistic accomplishment were no longer thought to be off-limits to African Americans.

Back 73

True

Front 74

What New York leaders and/or arrangers contributed to the foundations of big-band style in the 1920's?

Back 74

Fletcher Henderson and Duke Ellington

Front 75

What were some of the stylistic features of 1920's big bang writing?

Back 75

gradual shift to smoother 4/4 feel of rhythm, increasing size of the bands through the 1920's, and growing importance of the saxophone.

Front 76

Describe Duke Ellington's early career:

Back 76

Born in Washington and led an ensemble called the Washingtonians. His breakthough occcured in 1927 when he was hired at the famed Harlem night spot, The Cotton Club.

Front 77

What were some of the characteristics of Ellington's music that distinguished his works from those of the other big bands?

Back 77

unusual instrument combinations, with pieces that drew upon the individual skills of him musicians.

Front 78

Antiphonal (call-and-response) writing between the sections of the Big Band becomes the norm during the Swing Era

Back 78

True

Front 79

In a Big Band, the lead player

Back 79

occupies the first chair in a section

Front 80

In a Big Band, the jazz chair:

Back 80

is hired specifically for imporvisational fluency

Front 81

In a Big Band, the sideman:

Back 81

is a section player and is not a featured soloist

Front 82

Jay McShann, Benny Moten and Alfonso Trent led important _________ in the Mid and South West United States

Back 82

Territory bands

Front 83

The Blues was not an integral component of the Kansas City jazz style.

Back 83

False

Front 84

As opposed to the arranged New york City big-band style of the 1920s, the Kansas City sound was

Back 84

looser, based on riffs, and often consisted of head arrangements

Front 85

________ band was looser and had a more relaxed swing feeling.

Back 85

Basie

Front 86

________ was a composer who played piano but he really used the band as his expressive instrument.

Back 86

Ellington

Front 87

Many compositions have been written on the chord pregression to this tune by George Gershwin:

Back 87

I Got Rhythm

Front 88

How did Lester Young's style on tenore saxophone differ from that of Coleman Hawkins?

Back 88

Hawkins was more vertical and place emphasis on articulating chord changes while Young was more horizontal and seemingly flowated above the harmonies.

Front 89

Billie Holiday was a vocalist who

Back 89

was intensely expressive and did not scat sing

Front 90

Ella Fitzgerald was a vocalist who:

Back 90

started singing with the Chick Webb band and was a superb scat singer

Front 91

The replacement of an expected or normal chord or chord progression with a different and sometimes more unusual chord or chord progression is called:

Back 91

harmonic substitution

Front 92

Gene Krupa was an influential

Back 92

drummer

Front 93

This person revolutionized bass playing during his brief tenure with Duke Ellington

Back 93

Jimmy Blanton

Front 94

This person served as Benny Goodman's pianist from 1936-1939. His crystalline touch and refined elegance showed an almost classical restraint.

Back 94

Teddy Wilson

Front 95

This person is often considered the link between trumpet greats Louis Armstrong and Dizzy Gillespie

Back 95

Roy Eldridge.

Front 96

Saxophones were more common in the Swing Era than in Early Jazz

Back 96

True

Front 97

Collective Improvisation became the norm with the onset of Big Bands

Back 97

False

Front 98

The great flowering of African-American culture that occured in 1920's New York was known as

Back 98

Harlem Renaissance

Front 99

He was one of the first influential Big Band composer/arranger/bandleaders. He had a long lasting relationship with Benny Goodman.

Back 99

Fletcher Henderson

Front 100

This person was the most influential singer during the swing era. She regularly collaborated with Lester Young.

Back 100

Billie Holiday

Front 101

Count Basie spent his formative years and developed his style in this great city.

Back 101

Kansas City

Front 102

This person was one of the most influential Tenor players in the history of Jazz. He was the featured soloist with the Fletcher Henderson Band. He is often described as a Harmonic or Vertical soloist.

Back 102

Coleman Hawkins

Front 103

This person was one of the most influential Tenor players in the history of Jazz. He was the featured soloist with the Count Basie Band. He is often described as a Melodic or Linear soloist.

Back 103

Lester Young

Front 104

This person was one of the most influential trumpet players of the 1930's, he is considered the link between Louis Armstrong and Dizzy Gillespie

Back 104

Roy Eldridge

Front 105

Relaxed Hard-Driving Swing would best describe

Back 105

Count Basie's Band

Front 106

This person is considered the most important compsoser/arranger in Jazz History, composing over 2000 compositions.

Back 106

Duke Ellington

Front 107

A simple melodic idea, used repetitively to create a tune, normally used over a Blues or Rhythm Changes

Back 107

riff

Front 108

The rhythm section of this band influenced the rhythm sections of the 1940s and 1950s.

Back 108

Count Basie

Front 109

This person is often called the most spontaneous, creative and virtuosic Jazz pianist of all time. Both Jazz and Classical Musicians alike marveled at his technique.

Back 109

Art Tatum

Front 110

This saxophnoist was the featured alto player with Duke Ellington. His solo's and sound were incredibly stylized and individual.

Back 110

Johnny Hodges

Front 111

This guitar player was brought up playing in a European Gypsy style and went on to become one of the two great early Jazz guitarists

Back 111

Django Reinhardt

Front 112

This person had a long career collaborating as a composer and arranger with Duke Ellington. Their styles were so similar that it was often difficult to discern the orginator of a particular composition.

Back 112

Billy Strayhorn

Front 113

Cotton Tail was in this style:

Back 113

Swinging

Front 114

Caravan was in this style:

Back 114

Exotic

Front 115

Sophisticated Lady was in this style:

Back 115

Ballad

Front 116

Transblucency was in this style

Back 116

Impressionistic

Front 117

The Suites were in this style:

Back 117

Concert

Front 118

Concerto for Cootie was in this style:

Back 118

Concerto

Front 119

23rd Psalm was in this style:

Back 119

Sacred

Front 120

This drummer was a member of the "All American Rhythm Section." He was tremendously important in pointing the way toward medern Be Bop drumming.

Back 120

Jo Jones.

Front 121

This member of the "All American Rhythm Section" developed a guitar style that consists of a swinging four to the bar comping style.

Back 121

Freddie Green

Front 122

Duke Ellington's bassist Jimmy Blanton revolutionized the traditional concept of the bass players role by

Back 122

playing meody lines by himself and with the ensemble

Front 123

Count Basie was influenced y this piano player/entertainer

Back 123

Fats Waller

Front 124

Duke ellington typically comped

Back 124

in the mid to low register

Front 125

Count Basie typically comped

Back 125

in the mid to high register

Front 126

Sectional voicing refers to:

Back 126

each section of an ensemble performing an independent part

Front 127

Benny Goodman's influential pianist:

Back 127

Teddy Wilson

Front 128

Benny Goodman's influential guitarist:

Back 128

Charlie Christian

Front 129

Benny Goodman's influential vibraphonist

Back 129

Lionel Hampton

Front 130

This person was one of the influential Tenore sacophonists of the Swing Era. He was the featured Tenor player with Duke Ellington's band

Back 130

Ben Webster

Front 131

This person was a master plunger mute trumpet solosit. He was a member of the early Duke Ellington band.

Back 131

Bubber Miley

Front 132

This person began their career singing with the Tommy Dorsey Band. Incredibly gifted at phrasing melody and interpreting text, this person is considered one of the great vocal icons of the 20th century.

Back 132

Frank Sinatra

Front 133

This person was considered by many to be the most outstanding non-operatic singer in the 20th century. She was also the leading practitioner of scat singing.

Back 133

Ella Fitzgerald

Front 134

Stan Kenton's orchestra was noted for:

Back 134

Concert jazz performances

Front 135

Cross-Section voicing refers to

Back 135

Instruments from different sections performing together.

Front 136

This person was an influential alto saxophonist, composer, and arranger. He is considere a great swing stylist whose artistry continues to eveolve over an eight decade career.

Back 136

Benny Carter

Front 137

This person's 1939 interpretation of Body and Soul is considered one of the most important recordings in jazz history.

Back 137

Coleman Hawkins

Front 138

This person was an influential clarient player who was dubbed the King of Swing.

Back 138

Benny Goodman

Front 139

This Tin Pan Alley composer penned many of the compostiions in the jazz repertoire. He is the author of the most recomposed piece in jazz history, I Got Rhythm

Back 139

George Gershwin

Front 140

This person succeeded Bubber Miley on the Duke Ellington band. He is considered a master plunger mute soloist.

Back 140

Cootie Williams

Front 141

This person was Count Basie's original vocalist. He was known for "shouting" the blues.

Back 141

Jimmy Rushing

Front 142

This person anchored Count Basies's "All American Rhythm Section on the bass:

Back 142

Walter Page

Front 143

Nat "King" Cole was an influential

Back 143

pianist

Front 144

Gene Krupa was an influential

Back 144

drummer

Front 145

Unfortunately, bands during the swing era were typically divided along racial lines

Back 145

True

Front 146

What are some of the differences between bebop and swing?

Back 146

Bebop utilized more rhythmic angularity and irregular phrasing of the melodic lines and in bebop there was less emphasis on elaborate arrangements and more on virtuosic imporvisational skill.

Front 147

Bebop players and listeners often rejected conformist mainstream American values:

Back 147

True

Front 148

During the Bebop period, the bass:

Back 148

typically contributed linear walking patterns

Front 149

During the Bebop period, the drums,

Back 149

dropped bombs and typically kept time on the ride cymbal

Front 150

During the bebop period the use of upper-extension harmonies (ninths, elevenths, thirteenths, and their alterations) decreased.

Back 150

False

Front 151

Jazz reached its zenith of popularity during the bebop period.

Back 151

False

Front 152

__________ referes to the bop practice of inserting different chords into the fundamental chord structure of a well-known song to freshen the interpretation and expand the harmoic options for the soloist

Back 152

reharmonization

Front 153

A ________ is a new melody composed to fit the harmoinc and formal structure of a previously composed popular song.

Back 153

contrafact

Front 154

This area of New York became the center of jazz during the bebop period:

Back 154

West 52nd Street

Front 155

Charlie Parker began his career with this Kansas City territory band.

Back 155

Jay McShann

Front 156

Charlie Parker established and codified the bebop musical language through:

Back 156

a high degree of effortless virtuostiy, a use of formulas (licks) and musical quotations, and composing a number of bebop standards.

Front 157

Dizzy Gilespie:

Back 157

was an enthusiastic mentor and teacher of the new music and its harmonic language and was interested in Afro-Cuban music

Front 158

Thelonious Monk:

Back 158

Used metric displaement in his compositions and improvisations and often utilized the whole tone scale in his improvisations.

Front 159

It is appropriate to regard bebop as the beginning of modern jazz. Why?

Back 159

reliance on solo improvisational skill rather than melody and arrangement

Front 160

Miles Davis, the Modern Jazz Quartet and Lennie Tristano are often associated with this style of music:

Back 160

Cool

Front 161

Gunther Schuller and George Russell were great prponents of this style of music:

Back 161

Third Stream

Front 162

Art Blakey, Horace Silver and Max Roach were great proponents of this musical style:

Back 162

hard bop

Front 163

Shelly Manne, Andre Previn, and Chico Hamilton are often associated with this style of music.

Back 163

West Coast

Front 164

This style employed a greater relance on imporvisation over 32-bar forms, straight-ahead swing and the use of blue note effects and blues riffs. The rhythm sections were often louder and more driving while the solists tilized hard edged bebop-like lines.

Back 164

Hard bop

Front 165

This style derived many features from the European classical tradition. The composers and performers consciously attempted to create a new musical aesthetic.

Back 165

third stream

Front 166

This style typically emphasized restraint, lyricism, the use of musical space, counterpoint, and dynamic range.

Back 166

cool

Front 167

The technique of setting lyrics to an existing instrumental jazz solo is known as:

Back 167

vocalese

Front 168

This tenor giant recorded is ground breaking album Saxophone Colossus in 1956

Back 168

Sonny Rollins

Front 169

The Bossa Nova is a musical style developed in this country

Back 169

Brazil

Front 170

Many of the influential West Coast jazz musicians were members of this big band.

Back 170

Stan Kenton

Front 171

Tenor player in 1950's Miles Davis Quintet

Back 171

John Coltrane

Front 172

Piano player in 1950's Miles Davis Quintet

Back 172

Red Garland

Front 173

Bass player in 1950's Miles Davis Quintet

Back 173

Paul Chambers

Front 174

Drummer in 1950's Miles Davis Quintet

Back 174

"Philly" Joe Jones

Front 175

Tenor player in 1960's Miles Davis Quintet

Back 175

Wayne Shorter

Front 176

Piano player in 1960's Miles Davis Quintet

Back 176

Herbie Hancock

Front 177

Bass player in 1960's Miles Davis Quintet

Back 177

Ron Carter

Front 178

Drummer in 1960's Miles Davis Quintet

Back 178

Tony Williams

Front 179

Piano player in John Coltrane Quartet

Back 179

McCoy Tyner

Front 180

Bass player in John Coltrane Quartet

Back 180

Jimmy Garrison

Front 181

Drummer in John Coltrane Quartet

Back 181

Elvin Jones

Front 182

1949 Miles Davis Album, gave rise to?

Back 182

Birth of the Cool, bebop

Front 183

1959 Miles Davis Album, gave rise to?

Back 183

Kind of Blue, Modal

Front 184

1969 Miles Davis Album, gave rise to?

Back 184

******* Brew, Fusion

Front 185

Bop differed from the Swing Era in that

Back 185

More jagged/angular lines were used.

Front 186

Tempos were generally Faster in Swing than in Bop

Back 186

False

Front 187

Harmonic progressions tended to be more sophisticated in Bopthan in Swing

Back 187

True

Front 188

The Saxophonist most commonly associated with Bop

Back 188

Charlie Parker

Front 189

The Trumpeter most commonly associated with Bop

Back 189

Dizzy Gillespie

Front 190

This eccentric pianist/composer is known for his jagged/angular melodies and difficult unorthodox chord changes

Back 190

Thelonious Monk

Front 191

This pianist is considered the first great modern Jazz pianist and is responsible for reducing teh comping activity of the left hand.

Back 191

Bud Powell

Front 192

Time Out was an important album by this jazz pianist. It incorporated meters typically not associated with jazz.

Back 192

Dave Brubeck

Front 193

Dexter Gordon played this instrument

Back 193

Tenor Sax

Front 194

Drums were generally more active in Swing than in Bop

Back 194

False

Front 195

This was the Birthplace and home of Bebop

Back 195

New York

Front 196

This pianist created a unique style that served as an alternative to Bebop. Primarily linear in design, this style was extremely complex and rooted in the style of Bach and Lester Young.

Back 196

Lennie Tristano

Front 197

Bebop is primarly a _______ music.

Back 197

Vertical

Front 198

The west coast became synonymous with this style of playing

Back 198

Cool

Front 199

Dizzy Gillespie led a Bebop Big Band

Back 199

True

Front 200

A common technique of composition during the Bebop period was

Back 200

to write a new melody over a "standard tunes" chord progression

Front 201

"Extensions" refer to:

Back 201

Extended harmony tones

Front 202

This person was the most important Hard Bop drummer. He also mentored man of the great young jazz players in his ensemble, the Jazz Messengers.

Back 202

Art Blakey

Front 203

This person was an extremely influential piano player/composer/band leader of the Hard Bop period.

Back 203

Horace Silver.

Front 204

Along with John Coltrane, this saxophonist was one of the great tenor forces of teh 1950's and 1960's. His album Saxophone Colossus is considered one of the great jazz recordings.

Back 204

Sonny Rollins

Front 205

Hard Bop differed from Bebop in that there was more emphasis on:

Back 205

blues, blue note effects, and groove.

Front 206

Wayne Shorter is also an extremely important composer.

Back 206

True

Front 207

McCoy Tyner popularized voicing chords in:

Back 207

4ths

Front 208

This composer and arranger had a long and successful association with Miles Davis.

Back 208

Gil Evans

Front 209

This tenor player was influenced by Lester Young. He was a member of the Woddy Herman Band and introduced the US to the Brazilian Bossa Nova.

Back 209

Stan Getz

Front 210

This introspective and melodic trumpet player had a very important quartet with Gerry Mulligan.

Back 210

Chet Baker

Front 211

Gerry Mulligan played

Back 211

Barry Sax

Front 212

Clifford Brown was a technically gifted:

Back 212

trumpet player

Front 213

This drummer was noted for his melodic touch and musical phrasing. He co-led an important quintet with Clifford Brown.

Back 213

Max Roach

Front 214

This person single handedly invented Bebop trombone playing

Back 214

J.J. Johnson

Front 215

Giant Steps is:

Back 215

an intensely harmonic tune

Front 216

A Love Supreme is:

Back 216

an intensely personal, spiritual, transcendent, and musically influential album.

Front 217

Fusion is the combination of

Back 217

Jazz and Rock