CHAPTER 16: Fusion I: R&B, Singers, and Latin Jazz
MULTIPLE CHOICE
1. In Chapter 16, the authors define “fusion” as all music situated on the boundary between jazz and:
a.
classical music
b.
world music
c.
popular music
d.
blues
e.
gospel
2. Which is NOT one of the “schools” of American music that emerged at the end of the Swing Era?
a.
Latin jazz
b.
mainstream pop vocals
c.
rhythm and blues
d.
bluegrass
e.
bebop
3. Which bandleader is most closely associated with “jump” music, which grew into rhythm and
blues?
a.
Louis Armstrong
b.
Louis Jordan
c.
Lucky Millinder
d.
Cab Calloway
e.
Lionel Hampton
4. Which of the following is NOT true of Louis Jordan’s career?
a.
He led a small group in which he played saxophone and sang.
b.
His songs showed a humorous and humanizing side of African American life.
c.
His repertoire included pieces in Latin rhythms.
d.
His popularity crossed the racial divide.
e.
His work was ignored by the jazz stars of his time.
5. Through his use of bluesy piano chords and a group of background singers, Ray Charles
maintained a close connection with which American musical tradition?
a.
gospel
b.
bebop
c.
blues
d.
ragtime
e.
minstrelsy
6. Which jazz label released the soul jazz hits “Watermelon Man,” “The Sidewinder,” and “Song for
My Father” in the 1960s?
a.
Columbia
b.
Verve
c.
Blue Note
d.
Prestige
e.
Riverside
7. Which piece of technology formed the foundation of Jimmy Smith’s organ trio?
a.
Tascam multitrack tape recorder
b.
Roland 808
c.
multigroove vinyl LP
d.
Hammond B3
e.
Moog synthesizer
8. Which is NOT a reason why the 1950s are described as a golden age for singers of the great
American songbook?
a.
Singers abandoned jazz and swing styles, updating the songbook with fresh new pop
arrangements.
b.
There were many gifted vocalists.
c.
A large repertory of high-quality songs had been created between the 1920s and the 1950s.
d.
The 45-rpm single and 33 1/3-rpm album helped singers reach large audiences.
e.
The rise of television helped sustain the careers of established performers.
9. What was Frank Sinatra’s primary goal as a singer?
a.
to develop as large an audience as possible
b.
to perform with perfect rhythmic accuracy
c.
to blend into the ensemble like an instrumentalist
d.
to sing long phrases without breathing
e.
to communicate the meaning of the lyrics through his phrasing
10. Why did Frank Sinatra’s career fall apart after World War II?
a.
Sinatra’s German ancestry made him a target for protestors.
b.
Servicemen resented Sinatra’s failure to serve in the war.
c.
He refused to sing ballads.
d.
He receded from public life to focus on his family.
e.
All of the above
11. Sarah Vaughan’s approach to fusion is best described as:
a.
singing standards with no improvisation
b.
bringing pop ideas into the church
c.
applying bebop harmonies and rhythms to pop songs
d.
combining good looks and mediocre vocal skill
e.
introducing Afro-Cuban rhythms to the American mainstream
12. Who most likely chose the title of Sarah Vaughan’s LP, Swingin’ Easy?
a.
Sarah Vaughan herself
b.
her pianist, Jimmy Jones
c.
the record’s producer
d.
an audience focus group
e.
Vaughan’s husband and business manager
13. Which of the following is NOT a way that Sarah Vaughan transforms the musical materials of “All
of Me”?
a.
She morphs between bluesy and operatic vocal production.
b.
She revises the chords and melody.
c.
She switches register by leaping an octave or more.
d.
She changes to a new key at the start of each chorus.
e.
She continually switches the rhythms of the main melody.
14. Which of the following was an American dance craze based on Cuban music?
a.
rumba
b.
mambo
c.
cha-cha-cha
d.
none of the above
e.
all of the above
15. Which is NOT true of clave as used in Cuban music and Afro-Cuban jazz?
a.
It is an asymmetrical, two-measure rhythmic pattern.
b.
It is the foundation for the contrasting rhythms played by the rest of the ensemble.
c.
Clave originated in Cuba.
d.
Two common forms are son clave and rumba clave.
e.
Clave is the Spanish word for “keystone.”
16. Which U.S. bebop musician collaborated with Cuban conguero Chano Pozo to create “Manteca,”
helping Afro-Cuban jazz break through to a larger audience?
a.
Charlie Parker
b.
Dizzy Gillespie
c.
Bud Powell
d.
Max Roach
e.
Thelonious Monk
17. Bossa nova emerged in the 1950s as a new twist on which traditional Latin American tradition?
a.
samba
b.
salsa
c.
clave
d.
son
e.
merengue
18. All of the following contributed to the American embrace of bossa nova EXCEPT:
a.
The Cuban Revolution led to an embargo on Cuban cultural imports.
b.
Touring musicians discovered the songs of Antonio Carlos Jobim.
c.
Bossa nova’s aggressive rhythms fit the revolutionary spirit of 1960s America.
d.
Dizzy Gillespie added several bossa nova songs to his repertoire.
e.
Saxophonist Stan Getz recorded several bossa nova records after his association with
guitarist Charlie Byrd.
19. Which of the following is NOT a part of the Cuban song structure that formed the basis of salsa?
a.
son
b.
montuno
c.
canta
d.
coro
e.
rumba
20. The Sun of Latin Music, a 1974 collaboration between Eddie Palmieri and Barry Rogers, won a
Grammy award in what new category?
a.
Best Jazz Performance—Large Ensemble
b.
Best Pop Performance by a Duo or Group
c.
Best Liner Notes
d.
Best Latin Performance
e.
Best Jazz Vocal Performance
TRUE/FALSE
1. While Louis Jordan had great success with black audiences, his popularity never crossed over to
the predominantly white pop charts.
2. Soul jazz is a variant of hard bop that emphasizes a strong backbeat and gospel-type chords.
3. Jimmy Smith played all of the bass lines for his trio using the organ’s foot pedals.
4. Early in his career, Frank Sinatra was known for his performances of up-tempo songs.
5. Frank Sinatra believed that the song and its story are secondary to the beauty of the singer’s voice
itself.
6. During her time as a major label artist, Sarah Vaughan was given freedom to explore new sounds
and challenge her listeners.
7. Cuban bandleader Xavier Cugat appeared in more Hollywood films than any other bandleader.
8. Dizzy Gillespie became interested in Afro-Cuban music through his association with Mario Bauzá.
9. Antonio Carlos Jobim understood bossa nova as a subtle reinterpretation of traditional samba.
10. Fania Records was the most important promoter of the tough, street-smart style of New York salsa.
SHORT ANSWER
1. A rhythm & blues-influenced variant of swing known as __________ featured fast tempos, brash
vocals, and ensemble riffs.
2. ___________________ was the first African American entertainer to be offered his own television
show.
3. As part of his 1960s comeback, Frank Sinatra won an Academy Award for his performance in the
film _____________________.
4. Mario Bauzá served as the music director for Machito’s band, the _________________.
5. The most commercially successful fusion of jazz and bossa nova style was the 1963 album
_________________.
6. The Latin American musicians responsible for the mid-1960s New York development of salsa
referred to themselves as ______________.
MATCHING
Match each musician to the type of fusion with which they are most closely associated.
a.
Mario Bauzá
d.
Eddie Palmieri
b.
Rosemary Clooney
e.
Louis Jordan
c.
Stan Getz
1. Pop/jazz
2. Bossa nova
3. Cubop
4. Jump music
5. Salsa
ESSAY
1. How does the fusion approach to the narrative of jazz history differ from the chronological
approach most commonly used to tell the story of jazz? Support your points with musical examples
chosen from throughout the text.
2. Describe the Latin jazz fusion of “Manteca.” What musical elements are taken from Afro-Cuban
traditions? Which elements come from jazz? Do you think that the two traditions blend together in
a coherent and satisfying way, or not? Defend your answer by drawing specific details from the
recording.
3. As jazz styles grew in complexity and diversity in the 1950s and 1960s, several cultural clichés
emerged in mass-mediated depictions of the culture. Describe one of these clichés and discuss its
impact on the ways that real jazz musicians were understood by the public. How were “mass taste
and racial imperatives” reinforced through these clichés, enabling certain opportunities for
musicians while restricting others?
