3 3
22. The author mentions Berry's solo in "Oh, Lady Be
Good primarily in order to:
F. illustrate why most people haven't heard of Berry.
G. provide an example of Berry's musical excellence.
H. contrast Berry's later work with Berry's early
J. establish that Berry's solo was better than Count
Basie's.
]
23. The author points out that many serious jazz enthusi-
asts know little about Berry primarily in order to:
A. criticize scholarship that has provided an unbal-
B. demonstrate that the author is more knowledgeable
than most jazz scholars.
C. illustrate the secrecy Berry demanded in order to
preserve his family's privacy.
D. explain why it's likely that readers would be unfa-
miliar with Berry.
26. As it is used in line 35, the word court most nearly
means to:
F. seek to attract.
G. romantically pursue.
H. dangerously provoke.
J. pass judgment upon.
27. In the seventh paragraph (lines 57-75), the author
compares sidemen to traveling salesmen
in order to:
A. make clear how often musicians had to travel.
B. indicate that musicians often had side jobs.
C. illustrate sidemen's supportive role in a band.
D. show how hard sidemen worked to get hired.
28. The author describes Henderson's "Blues in C Sharp
Minor" as:
E. innovative, indulgent, and colorful
G. fast-moving, memorable, and eerie.
H. artful, sublime, and unexpectedly upbeat.
J. odd, haunting, and relaxing.
29. According to the author, what is unique about the June
1940 rendition of the song "A Ghost of a Chance"?
A. It's the only recorded piece that features Berry
from beginning to end.
B. Berry plays an alto saxophone instead of his usual
tenor saxophone
C. It was the only public performance Berry gave in
1940.
D. Berry showcases his unrivaled ability to play a
solo that blends into the background.
30. The author uses the phrase "a cathedral of a solo"
(line 85) most likely to create a sense that Berry's solo
was:
F. an intricate, awe-inspiring masterpiece.
G. a somber, mournful hymn.
H. a crumbling remnant of Berry's once-great skill.
J. a testament to Calloway's band leadership.
24. According to the author, Berry's solos as a recording-
session musician were often very short because he:
E. wasn't a very good saxophone player until late in
his career.
G. drew more attention playing ensemble passages.
H. worked within the recording constraints of the era.
J. preferred playing many short solos to playing a
few long ones.
25. The author indicates that during Berry's time as a
musician, swing music was primarily regarded as:
A. an opportunity for soloists to show off their skills.
B. a genre to be most appreciated by young people.
c. musician's music that lacked a popular audience.
D. music for dance parties but not music for study.