Give a correct short answer to each question (Use whole sentences!). Read the attachment files to find the answer to the question. 1. Give a basic definition/description of “hard bop” as given on

Julian “Cannonball” Adderley Cannonball Adderley Another variant of Hard Bop is what is often called “Soul Jazz”. While Hard Bop is defined as jazz with an R & B and Gospel influence, soul jazz is just hard bob with a very strong gospel feel. Perhaps the most prominent and successful of the artists associated with this style is Cannonball Adderley. Here is his bio from The Grove Encyclopedia of music : Adderley , Cannonball [Julian Edwin] (b Tampa, FL, 15 Sept 1928; d Gary, IN, 8 Aug 1975 ). American jazz alto saxophonist and bandleader . He directed a high -school band in Fort Lauderdale and, after serving in army bands (1950 –53), resumed teaching until 1955. He then moved to New York, intending to play with his brother, the cornettist Nat Adderley . Instead, a chance jam session led to his joining Oscar Pettiford’s band and signing a recording contract. The Adderley brothers formed a quintet in 1956, but Adderley repl aced Sonny Rollins in the Miles Davis Quintet in October 1957 although he continued to issue recordings as a leader, notably Somethin’ Else (1958, BN). Among his recordings with Davis were Milestones (1958, Col.) and Kind of Blue (1959, Col.). He stayed in Davis’s famous sextets, along with John Coltrane, until September 1959, when he formed a second quintet with his brother. This group, which played soul jazz and bop, remained intact until 1975; members included the pianists Victor Feldman and Joe Zawinul (who composed their hit tune Mercy, Mercy, Mercy ). From January 1962 to July 1965 the group expanded to form a sextet with the addition of Yusef Lateef and later Charles Lloyd on reed instruments. Articulate and effective as a teacher, Adderley led the qui ntet at college workshops in the late 1960s and early 1970s, speaking on the musical and sociological aspects of jazz. A masterful, confident improviser, Adderley was called ‘the new Bird’ because his début in 1955 occurred shortly after Charlie Parker’s death. This unfortunate label caused resentment among the press and public, and set him unattainable standards. Although he at times imitated Parker (as did all bo p alto saxophonists), his first bop recordings reveal more chromatic and continuous lines and a more cutting tone than Parker’s; on other early recordings he played and composed in a simple blues - and gospel -orientated style. His approach to improvisation changed significantly while he was with Davis, who taught him to use silence effectively, and again during the mid -1960s when he incorporated elements of free jazz. From 1969 he also performed on soprano saxophone. Barry Kernfeld -Grove Music Whet her or not you want to call Adderley “the next Bird” , he is probably the most s ignificant alto saxophonist to come up after Charlie Parker’s death. They do share a lot of traits, primarily their use the blues and their emphasis on simple “head -improvised s olos -head” combo arrangements. Listen to “Mercy, Mercy, Mercy” from 1966. Written by the keyboardist in his quintet; Joe Zawinul. Zawinul goes on to future fame and success in the “fusion” genre with his very popular band, “Weather Report”. Notice the “revival meeting” feel and the use of a very basic (major pentatonic) scale for the melody.