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Maple Leaf Rag Composed by Scott Joplin Style: Ragtime
Honeysuckle Rose Composed by Fats Waller
Performed by Benny Goodman Band Style: Swing
Livery Stable Blues Style: Early Jazz
Performed by: Original Dixieland Jazz Band
Dipper mouth Blues Style: Early Jazz
Performed by: King Oliver’s Creole Jazz Band
West End Blues Style: early Jazz
Performed by: Louis Armstrong’s Hot Five
Body and Soul
Style: Swing Era Ballad Performed by: Coleman Hawkins
Boplicity Style: Cool
Performed by: Miles Davis
Embraceable You Style: Bebop Era Ballad
Performed by: Charlie Parker Jeep’s
One O’Clock Jump Style: Swing
Performed by: Count Basie
Minor Swing
Performed by: Django Reinhardt
So What Style: Modal
Performed by Miles Davis
Shaw Nuff Style: Bebop
Performed by: Dizzy Gillespie and his All Stars
Take Five Style: Cool
Performed by: Dave Brubeck Quartet
Jeep’s Blues
Performed by: Duke Ellington
Misterioso
Performed by: Thelonious Monk
The Preacher Style: Hard Bop
Performed by: Horace Silver Quintet
Lady Bird
Performed by: Dexter Gordon
The Girl from Ipanema Style: Bossa Nova
Performed by: Astrud Gilberto and Stan Getz
Gloria’s Step
Performed by: Bill Evans Trio
Jive Samba
Performed by: Cannonball Adderley
St. Thomas
Performed by: Sonny Rollins
Giant Steps Style: Post Bop
Performed by: John Coltrane
Ghosts
Style: Avant Garde Performed by: Albert Ayler
Miles Runs the Voodoo Down Style: Fusion
Performed by: Miles Davis
Watermelon Man Style: Fusion
Performed by: Herbie Hancock & Headhunters
Birdland Style: Fusion
Performed by: Weather Report
Bright Size Life Style: Fusion
Performed by: Pat Metheny
Ramblin
Style: Avant Garde
Performed by: Ornette Coleman
Mannenburg
Performed by: Abdullah Ibrahim
Inutil Paisagem Style: Bossa Nova
Performed by: Gretchen Parlato & Esperanza Spalding
Happy People
Performed by: Kenny Garrett
Mr. Day
Performed by Mark Turner and Chris Potter
Planet Rock
Performed by: Jason Moran
1. 1920’s recording named in honor of a little known nickname: DIPPERMOUTH BLUES
2. Song was named for a social club in a small Missouri town not far from St. Louis, Missouri: MAPLE LEAF RAG
3. A now famous cadenza introduces this nostalgically named song: WEST END BLUES
4. One of the 1,200 versions of this popular swing era standard tune: HONEYSUCKLE ROSE
5. The best-known recording of the “father of the tenor saxophone: BODY AND SOUL
6. I’m not sure that George would have approved this version of his ballad: EMBRACEABLE YOU – CHARLIE PARKER ON ALTO SAXOPHONE
7. Included on the 1945 recording of one of the most important dynamic duos in jazz history: SHAW NUFF – CHARLIE PARKER & DIZZY GILLESPIE
8. Based on an exotic 9/8 meter rhythmic motif from Turkish folk music: BLUE RONDO A LA TURK
9. Based on a single modal scale and the fusion of free jazz and rock elements it sounds a little eerie: MILES RUNS THE VODOO DOWN
10. Features the distinctive instrumental voice of bassist, Jacob Pastorius on bass and a disco influenced beat provided by drummer, Peter Erskine: BIRDLAND
11. A little atypically, this 1975 recording keeps improvisation to a minimum. The emphasis is on relaxed funk feel: HERBIE HANCOCK AND HEADHUNTERS –
12. This swing head arrangement signaled the time to dance for millions: ONE O’CLOCK JUMP
13. Guitar soloing sometimes suggests a “folk” music sensibility: BRIGHT SIZE LIFE
14. A native New Yorker with Puerto Rican roots who got his start playing the Machito and the Afro Cubans wrote this piece: OYE COMO VA
15. Based on quadruple meter rather than duple meter most often used in Brazilian sambas: GIRL FROM IPENEMA
16. Fat Girl plays spectacular double time figures in this very early bebop classic: GOOD BAIT
17. The African melody consists of two basic motifs over a simple recurring three-chord progression. MANNENBURG
18. Uses the interval of what has been described as “walking sixths.” MISTERIOSO
19. Uses the rhythm of a rap verse from the original version as the rhythmic starting point for improvisation: PLANET ROCK
20. Hard driving version of a T. Dameron standard from a Los Angeles native paired with a European rhythm section: LADY BIRD – DEXTER GORDON
21. Each strain of the theme ventures “outside,” further away from the original melody and is an example of “free jazz”: GHOSTS
22. Landmark recording from 1959 that redirected musical thinking in the direction of modal improvisation: SO WHAT FROM KIND OF BLUE, MILES DAVIS
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