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67-570: Callen Radcliffe Tjader Jr. ( / ˈ dʒ eɪ d ər / JAY -dər ; July 16, 1925 – May 5, 1982) was an American Latin Jazz musician, often described as the most successful non-Latino Latin musician . He explored other jazz idioms, especially small group modern jazz , even as he continued to perform music of Africa, the Caribbean and Latin America. Tjader played the vibraphone primarily, and

134-646: A Gene Krupa drum solo contest, making it to the finals and ultimately winning by playing " Drum Boogie ." But the win was overshadowed by the attack on Pearl Harbor that morning. Tjader entered the United States Navy in 1943 at age 17 and served as a medical corpsman in the Pacific Theater until March 1946. He saw action in five invasions, including the Marianas campaign and the Battle of

201-404: A backbeat , but contemporary forms fuse the backbeat with the clave . The conga , timbale , güiro , bongos , and claves are percussion instruments often used in addition to, or in place of the drum kit . Latin jazz music, like most types of jazz music, can be played in small or large groups. Small groups, or combos, often use the bebop format made popular in the 1950s in America, where

268-521: A career that spanned over 40 years. Callen Radcliffe Tjader Jr. was born July 16, 1925, in St. Louis to touring Swedish American vaudevillians . His father tap danced and his mother played piano, a husband-wife team going from city to city with their troupe to earn a living. When he was two, Tjader's parents settled in San Mateo, California , and opened a dance studio. His mother (who dreamed of becoming

335-572: A concert pianist) instructed him in classical piano and his father taught him to tap dance. He performed around the Bay Area as "Tjader Junior," a tap-dancing wunderkind . He performed a brief non-speaking role dancing alongside Bill "Bojangles" Robinson in the film The White of the Dark Cloud of Joy . He joined a Dixieland band and played around the Bay Area. At age sixteen, he entered

402-479: A leader with them for Fantasy, but soon worked with Alvino Rey and completed his degree at San Francisco State. Jazz pianist George Shearing recruited Tjader in 1953 when Joe Roland left his group. Al McKibbon was a member of Shearing's band at the time and he and Tjader encouraged Shearing to add Cuban percussionists. Tjader played bongos as well as the vibes: "Drum Trouble" was his bongo solo feature. Down Beat ' s 1953 Critics Poll nominated him as best New Star on

469-565: A similar reaction to the same rhythm in "La Paloma", Handy included this rhythm in his "St. Louis Blues", the instrumental copy of "Memphis Blues", the chorus of "Beale Street Blues", and other compositions. Jelly Roll Morton considered the tresillo-habanera (which he called the Spanish tinge ) to be an essential ingredient of jazz. The habanera rhythm can be heard in his left hand on songs like "The Crave" (1910, recorded 1938). Now in one of my earliest tunes, "New Orleans Blues," you can notice

536-417: A worldwide boom with 1964's Getz/Gilberto , numerous recordings by famous jazz performers such as Ella Fitzgerald ( Ella Abraça Jobim ) and Frank Sinatra ( Francis Albert Sinatra & Antônio Carlos Jobim ). Since that time, the bossa nova style maintains a lasting influence in world music for several decades and even up to the present. The first bossa nova single to achieve international popularity

603-475: Is "transcultural in its stylistic scope." Down Beat DownBeat (styled in all caps) is an American music magazine devoted to " jazz , blues and beyond", the last word indicating its expansion beyond the jazz realm that it covered exclusively in previous years. The publication was established in 1934 in Chicago , Illinois . It is named after the " downbeat " in music, also called "beat one", or

670-475: Is a hybrid form based on the samba rhythm, but influenced by European and American music from Debussy to US jazz. Bossa nova originated in the 1950s, largely from the efforts of Brazilians Antonio Carlos Jobim and João Gilberto . Its most famous song is arguably " The Girl from Ipanema " sung by Gilberto and his wife, Astrud Gilberto . While the musical style evolved from samba , it is more complex harmonically and less percussive. Bossa nova emerged primarily from

737-410: Is an early proto-Latin jazz composition. It is not clave-based. The first jazz piece to be overtly based in-clave , and therefore, the first true Latin jazz piece, was "Tanga" (1943) composed by Mario Bauza and recorded by Machito and his Afro-Cubans the same year, 1943. The tune was initially a descarga (Cuban jam) with jazz solos superimposed, spontaneously composed by Bauzá. The right hand of

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804-584: Is apparent. Bossa nova was developed in Brazil in the mid-1950s, with its creation being credited to artists including Johnny Alf , Antonio Carlos Jobim and João Gilberto . One of the first songs was " Bim-Bom "(Gilberto). Bossa nova was made popular by Dorival Caymmi 's "Saudade da Bahia" and Elizete Cardoso 's recording of " Chega de Saudade " on the Canção do Amor Demais LP , composed by Vinícius de Moraes (lyrics) and Antonio Carlos Jobim (music). The song

871-1002: Is associated with that of Gábor Szabó and Gary McFarland, who worked and founded Skye Records together (the PANDORA archive spells Szabó without the acute accent). The American hip-hop band A Tribe Called Quest sampled Tjader's "Aquarius" (from The Prophet ) as an outro to most of the songs on their album Midnight Marauders . According to one estimation, Tjader's work has been sampled in 214 tracks. Compilations With Ed Bogas With Dave Brubeck With Rosemary Clooney With Dizzy Gillespie With Woody Herman With Eiji Kitamura With Charles Mingus With Toshiyuki Miyama With Brew Moore With Vido Musso With Art Pepper With Armando Peraza With Tito Puente With George Shearing Latin Jazz African American music began incorporating Afro-Cuban musical motifs in

938-517: Is credited with bringing in big ticket sales for the second and saving the landmark festival before it had even really started. The Modern Mambo Quintet disbanded within a couple of years. Tjader formed several more small-combo bands, playing regularly at such San Francisco jazz clubs as the Blackhawk . After recording for Fantasy for nearly a decade, Tjader signed with better-known Verve Records , founded by Norman Granz but owned then by MGM. With

1005-486: Is played on the snare rim of the drum kit in bossa nova. The pattern has a similar rhythm to that of the son clave , but the second note on the two-side is delayed by one pulse (subdivision). The pattern is shown below in 2/4, as it is written in Brazil. In North American charts it is more likely to be written in cut-time. According to drummer Bobby Sanabria the Brazilian composer Antonio Carlos Jobim , who developed

1072-706: The Pierre Favre album Singing Drums along with Paul Motian . He also appears on Arild Andersen 's album "If You Look Far Enough" with Ralph Towner . Vasconcelos formed a group named Codona with Don Cherry and Collin Walcott , which released three albums in 1978, 1980 and 1982. While Vasconcelos uses Afro-Brazilian rhythms and instruments, he like Airto, transcend the categories of Brazilian jazz and Latin jazz. In comparison with straight-ahead jazz, Latin jazz employs straight rhythm (or "even-eighths"), rather than swung rhythm . Early Latin jazz rarely employed

1139-474: The big four , a habanera-based pattern. The big four (below) was the first syncopated bass drum pattern to deviate from the standard on-the-beat march. As the example below shows, the second half of the big four pattern is the habanera rhythm. It is probably safe to say that by and large the simpler African rhythmic patterns survived in jazz ... because they could be adapted more readily to European rhythmic conceptions. Some survived, others were discarded as

1206-464: The "Tanga" piano guajeo is in the style known as ponchando, a type of non-arpeggiated guajeo using block chords. The sequence of attack-points is emphasized, rather than a sequence of different pitches. As a form of accompaniment it can be played in a strictly repetitive fashion or as a varied motif akin to jazz comping. The following example is in the style of a 1949 recording by Machito. 2‐3 clave, piano by René Hernández. The first descarga that made

1273-587: The 1957 Italian movie Europa di notte by Alessandro Blasetti ; the song was distributed in Brazil and covered later by Brazilian artists Eumir Deodato ( Los Danseros en Bolero – 1964) and Caetano Veloso ( Outras Palavras – 1981). In 2005, Henri Salvador was awarded the Brazilian Order of Cultural Merit , which he received from singer and Minister of Culture, Gilberto Gil , in the presence of President Lula for his influence on Brazilian culture. The so-called "bossa nova clave" (or "Brazilian clave")

1340-430: The 1970s, Tjader's Concord Picante work was largely straight-ahead Latin jazz. Electronic instruments and rock backbeats were dropped, reverting to a more "classic" sound. During the prior decade he'd built up a crew of young musicians consisting of Mark Levine on piano, Roger Glenn on flute, Vince Lateano on drums, Robb Fisher on the bass, and Poncho Sanchez on the congas. Tjader cut five albums for Concord Picante,

1407-479: The 19th century, when the habanera (Cuban contradanza ) gained international popularity. The habanera was the first written music to be rhythmically based on an African motif. The habanera rhythm (also known as congo , tango-congo , or tango ) can be thought of as a combination of tresillo and the backbeat . Wynton Marsalis considers tresillo to be the New Orleans "clave," although technically,

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1474-464: The 5-star maximum rating system. DownBeat was established in 1934 in Chicago , Illinois. In September 1939, the magazine announced that its circulation had increased from "a few hundred five years ago to more than 80,000 copies a month", and that it would change from monthly to fortnightly from the following month. In Summer 1960 DownBeat launched the Japanese edition. In 1972 the publisher of

1541-640: The Cal Tjader Quartet (composed of bassist Gene Wright , drummer Al Torre, and pianist Vince Guaraldi). Tjader is sometimes lumped in as part of the West Coast (or " cool ") jazz sound, although his rhythms and tempos (both Latin and bebop) had little in common with the work of Los Angeles jazzmen Gerry Mulligan , Chet Baker , or Art Pepper . Tjader and his band opened the second Monterey Jazz Festival in 1959 with an acclaimed "preview" concert. The first festival had suffered financially. Tjader

1608-635: The Cuban-born Gilberto Valdez which would serve as a permanent sign off (end the dance) tune. On this Monday evening, Dr. Bauza leaned over the piano and instructed Varona to play the same piano vamp he did the night before. Varona's left hand began the introduction of Gilberto Valdes' El Botellero. Bauza then instructed Julio Andino what to play; then the saxes; then the trumpets. The broken chord sounds soon began to take shape into an Afro-Cuban jazzed up melody. Gene Johnson's alto sax then emitted oriental-like jazz phrases. Afro-Cuban jazz

1675-475: The Dave Brubeck Octet with Tjader on drums. Although the group recorded only one album and had difficulty finding work, the recording is regarded as important due to its early glimpse at these soon-to-be-legendary jazz greats. After the octet disbanded, Tjader and Brubeck formed a trio, performing jazz standards in the hope of finding more work. The Dave Brubeck Trio succeeded and became a fixture in

1742-540: The Europeanization progressed. It may also account for the fact that patterns such as [tresillo have] . . . remained one of the most useful and common syncopated patterns in jazz—Schuller (1968). The Cuban influence is evident in many pre-1940s jazz tunes, but rhythmically, they are all based on single-celled motifs such as tresillo , and not do not contain an overt two-celled, clave -based structure. " Caravan ", written by Juan Tizol and first performed in 1936,

1809-490: The Gillespie/ Chano Pozo composition into something new. (The name "Soul Sauce" came from Taylor's suggestion for a catchier title and Willie Bobo 's observation that Tjader's version was spicier than the original.) The song's identifiable sound is a combination of the call-outs made by Bobo ( "Salsa ahi na ma ... sabor, sabor!" ) and Tjader's crisp vibes work. The album sold over 100,000 copies and popularized

1876-482: The Monterey Jazz Festival show, he played a mix of jazz standards and Latin arrangements. Later he toured Japan with saxophonist Art Pepper, the latter recovering from alcohol and drug dependencies. Carl Jefferson , president of Concord Records , created a subsidiary label called Concord Picante to promote and distribute Tjader's work. Unlike his excursions in the 1960s and his jazz-rock attempts in

1943-611: The Philippines . Upon his return he enrolled at San Jose State College (now San José State University ) under the G.I. Bill , majoring in education. Later he transferred to San Francisco State College , still intending to teach. It was there he took timpani lessons, his only formal music training. At San Francisco State, he met Dave Brubeck , a young pianist also fresh from a stint in the Army. Brubeck introduced Tjader to Paul Desmond . The three connected with more players and formed

2010-595: The Royal Roots, Bop City and Birdland between 1948 and 1949, when Howard McGhee, tenor saxophonist Brew Moore, Charlie Parker and Dizzy Gillespie sat in with the Machito orchestra, were unrehearsed, uninhibited, unheard-of-before jam sessions which at the time, master of ceremonies Symphony Sid called Afro-Cuban jazz . The Machito orchestra's ten- or fifteen-minute jams were the first in Latin music to break away from

2077-598: The San Francisco jazz scene. Tjader taught himself the vibraphone during this period, alternating between it and the drums depending on the song. Brubeck suffered major injuries in a diving accident in 1951 in Hawaii and the trio was forced to dissolve. Tjader continued the trio work in California with bassist Jack Weeks from Brubeck's trio and pianists John Marabuto or Vince Guaraldi , recording his first 10" LP as

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2144-477: The Spanish tinge. In fact, if you can't manage to put tinges of Spanish in your tunes, you will never be able to get the right seasoning, I call it, for jazz—Morton (1938: Library of Congress Recording). Although the exact origins of jazz syncopation may never be known, there is evidence that the habanera-tresillo was there at its conception. Buddy Bolden , the first known jazz musician, is credited with creating

2211-463: The United States. Once in the U.S., Airto introduced Afro-Brazilian folkloric instruments into a wide variety of jazz styles, in ways that had not been done before. In Chick Corea 's original Return to Forever band, Airto was able to showcase his samba prowess on several percussion instruments , including drum kit . However, the terms jazz samba or Latin jazz are too limiting a label for

2278-498: The Veterans Committee. Popular features of DownBeat magazine include its "Reviews" section where jazz critics, using a '1-Star to 5-Star' maximum rating system, rate the latest musical recordings, vintage recordings, and books; articles on individual musicians and music forms; and its famous "Blindfold Test" column, in which a musician listens to records by other artists, tries to guess who they are, and rates them using

2345-456: The continued evolution of jazz in twenty-first century urban centers. Proponents of this view advocate for the inclusion of influential Caribbean band leaders including Frank Machito Grillo, Mario Bauzá , Chico O'Farrill , Tito Puente , Ray Barretto , and Jerry and Andy Gonzalez in the broader jazz cannon. From this perspective, all jazz, including Latin Jazz, is not viewed as a uniquely American expression, but rather as "a global music" that

2412-571: The first beat of a musical measure. DownBeat publishes results of annual surveys of both its readers and critics in a variety of categories. The DownBeat Jazz Hall of Fame includes winners from both the readers' and critics' poll. The results of the readers' poll are published in the December issue, those of the critics' poll in the August issue. Since 2008, the Hall of Fame also includes winners from

2479-562: The first time, and even made an album based on Asian scales and rhythms. His biggest success was the album Soul Sauce (1964). Its title track, a Dizzy Gillespie cover Tjader had been toying with for over a decade, was a radio hit (hitting the top 20 on New York's influential pop music station WMCA in May 1965), and landed the album on Billboard 's Top 50 Albums of 1965. Titled "Guachi Guaro" (a nonsensical phrase in Spanish), Tjader transformed

2546-542: The group produced several albums in rapid succession, including Mambo with Tjader . The Mambo craze reached its pitch in the late 1950s, a boon to Tjader's career. Unlike the exotica of Martin Denny and Les Baxter , music billed as "impressions of" Oceania (and other locales), Tjader's bands featured seasoned Cuban players and top-notch jazz talent conversant in both idioms. He cut several notable straight-ahead jazz albums for Fantasy using various group names, most notably

2613-605: The influential 1973 compilation of recordings, the Smithsonian Collection of Classic Jazz, and Ken Burns' popular documentary film Jazz, make little mention of Latin jazz. More recent scholarship has challenged this paradigm, arguing that music from the Caribbean and Latin American were essential to the emergence of early New Orleans jazz , to the music's Post-War development in New York City, and to

2680-415: The late 1960s Tjader, along with guitarist Gábor Szabó and Gary McFarland , helped to found the short-lived Skye record label. Tjader's work of this period is characterized by Solar Heat (1968) and Tjader Plugs In (1969), precursors to acid jazz . During the 1970s Tjader returned to Fantasy Records, the label he began with in 1954. Embracing the jazz fusion sound that was becoming its own subgenre at

2747-442: The layered, contrapuntal guajeos (Afro-Cuban ostinatos ) of the A section and the introduction, and Gillespie wrote the bridge. The rhythm of the melody of the A section is identical to a common mambo bell pattern . On March 31, 1946, Stan Kenton recorded "Machito," written by his collaborator / arranger Pete Rugolo , which is considered by some to be the first Latin jazz recording by American jazz musicians. The Kenton band

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2814-564: The luxury of larger budgets and seasoned recording producer Creed Taylor in the control booth, Tjader cut a varied string of albums. During the Verve years Tjader worked with arrangers Oliver Nelson , Claus Ogerman , Eddie Palmieri , Lalo Schifrin , Don Sebesky , and performers Willie Bobo , Donald Byrd , Clare Fischer , a young Chick Corea , Jimmy Heath , Kenny Burrell , Hank Jones , Anita O'Day , Armando Peraza , Jerome Richardson and others. Tjader recorded with big band orchestras for

2881-658: The magazine was Maher Publishers. Starting in July 1979, DownBeat went to a monthly schedule for the first time since 1939. DownBeat was named Jazz Publication of the Year in 2016, 2017, 2018, 2019, and 2021 by the Jazz Journalists Association . The DownBeat Jazz Hall of Fame's current membership, by year, is listed in the following table. The Readers' Poll began in 1952, the Critics' Poll in 1961, and

2948-554: The most successful being La Onda Va Bien (1979) (roughly "The Good Life"), produced by Carl Jefferson and Frank Dorritie, which earned a Grammy award in 1980 for Best Latin Recording. The A section of Tjader's "Sabor" is a 2-3 onbeat/offbeat guajeo , minus some notes. Tjader died on tour. On the road with his band in Manila , he collapsed from the third of a series of heart attacks, and died on May 5, 1982, aged 56. Tjader's legacy

3015-672: The musicians play a standard melody, many of the musicians play an improvised solo, and then everyone plays the melody again. Prominent Latin jazz big bands include Arturo O'Farrill 's Afro-Latin Jazz Orchestra, Bobby Sanabria's Multiverse Big Band, Raices Jazz Orchestra, Mambo Legends Orchestra, Pacific Mambo Orchestra, as well as others. In Latin jazz bands, percussion is often featured in solos. Contemporary Latin jazz pieces by musicians such as Hermeto Pascoal are mostly composed for these small groups, with percussion solos as well as many wind-instrumentals. Most jazz histories emphasize

3082-692: The narrative that jazz is exclusively an American music—a style created by African Americans in the early 20th century, fusing elements of African rhythm and improvisations with European instrumentation, harmonies, and formal structures. The influences of musics from the Caribbean and Latin America—save Jelly Roll Morton's often quoted comments on the "Spanish tinge" rhythms of early New Orleans jazz, and trumpeter Dizzy Gillespie 's famous Post-War collaborations with Afro-Cuban drummer Chano Pozo —have received little or no mention in standard jazz textbooks used in most American universities. Likewise,

3149-496: The other is a matter of reversing the order of the measures. Bobby Sanabria , who was Bauzá's drummer, cites several important innovations of Machito's band: Bauzá introduced bebop innovator Dizzy Gillespie to the Cuban conga drummer Chano Pozo . " Manteca " is the first jazz standard to be rhythmically based on clave . "Manteca" was co-written by Dizzy Gillespie and Chano Pozo in 1947. According to Gillespie, Pozo created

3216-479: The pattern is only half a clave . " St. Louis Blues " (1914) by W. C. Handy has a habanera-tresillo bass line. Handy noted a reaction to the habanera rhythm included in Will H. Tyler's "Maori": "I observed that there was a sudden, proud and graceful reaction to the rhythm...White dancers, as I had observed them, took the number in stride. I began to suspect that there was something Negroid in that beat." After noting

3283-476: The pattern, considers it to be merely a rhythmic motif and not a clave ( guide pattern ). Jobim later regretted that Latino musicians misunderstood the role of this bossa nova pattern. Brazilian percussionist Airto Moreira became a professional musician at age 13. He won acclaim as a member of the samba jazz pioneers Sambalanço Trio and for his landmark recording Quarteto Novo with Hermeto Pascoal in 1967. Shortly after, he followed his wife Flora Purim to

3350-411: The progression begins on the three-side, the song or song section is said to be in 3–2 clave. When the chord progression begins on the two-side, it is in 2–3 clave. In North America, salsa and Latin jazz charts commonly represent clave in two measures of cut-time (2/2); this is most likely the influence of jazz conventions. When clave is written in two measures (above) changing from one clave sequence to

3417-494: The time, he added electronic instruments to his lineup and began to employ rock beats behind his arrangements. His most notable album during this period is Amazonas (1975) (produced by Brazilian percussionist Airto Moreira ). He played on the soundtrack to the 1972 animated film Fritz the Cat , most notably on the track entitled "Mamblues". In 1976, Tjader recorded several live shows performed at Grace Cathedral, San Francisco . Like

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3484-578: The time. Tjader soon quit Shearing after a gig at the San Francisco jazz club the Blackhawk. In April 1954, he formed the Cal Tjader Modern Mambo Quintet. The members were brothers Manuel Duran and Carlos Duran on piano and bass respectively, Benny Velarde on timbales, bongos, and congas, and Edgard Rosales on congas (Luis Miranda replaced Rosales after the first year). Back in San Francisco and recording for Fantasy Records ,

3551-440: The traditional under-four-minute recordings. In February 1949, the Machito orchestra became the first to set a precedent in Latin music when it featured tenor saxophonist Flip Phillips in a five-minute recording of "Tanga." The twelve-inch 78 RPM, part of The Jazz Scene album, sold for $ 25—Salazar (1997). Mario Bauzá developed the 3-2 / 2-3 clave concept and terminology. A chord progression can begin on either side of clave. When

3618-418: The types of music Airto participated in the U.S. during the 1970s. Airto played in the two most important avant-garde electric jazz bands of the day— Miles Davis and Weather Report . He also performed on more mainstream albums, such as those of CTI Records . Besides energetic rhythmic textures, Airto added percussion color, using bells, shakers, and whistles to create evocative textures of timbre. Airto paved

3685-421: The upscale beachside neighborhoods of Rio de Janeiro as opposed to samba's origins in the favelas of Rio. Certain similar elements were already evident, even influencing Western classical music like Gershwin's Cuban Overture which has the characteristic 'Latin' clave rhythm. The influence on bossa nova of jazz styles such as cool jazz is often debated by historians and fans, but a similar "cool sensibility"

3752-484: The vibes. His next 10" LP as a leader was recorded for Savoy during that time, as well as his first Latin Jazz for a Fantasy 10" LP. While in New York City, bassist Al McKibbon took Tjader to see the Afro-Cuban big bands led by Machito and Chico O'Farrill , both at the forefront of the nascent Latin jazz sound. In New York he met Mongo Santamaría and Willie Bobo who were members of Tito Puente 's orchestra at

3819-640: The way for other avant garde Brazilian musicians such as Hermeto Pascoal , to enter the North American jazz scene. Another innovative Brazilian percussionist is Naná Vasconcelos . Vasconcelos contributed to four Jon Hassell albums from 1976 to 1980 (including Possible Musics by Brian Eno and Hassell), and later to several Pat Metheny Group works and Jan Garbarek concerts from early 1980s to early 1990s. In 1976 joined Egberto Gismonti to record Dança das cabeças in ECM label. In 1984 he appeared on

3886-515: The word salsa in describing Latin dance music. The 1960s were Tjader's most prolific period. With the backing of a major record label, Verve, he could afford to stretch out and expand his repertoire. The most obvious deviation from his Latin jazz sound was Several Shades of Jade (1963) and the follow-up Breeze From the East (1963). Both albums attempted to combine jazz and Asian music, much as Tjader and others had done with Afro-Cuban. The result

3953-490: The world take notice is traced to a Machito rehearsal on May 29, 1943, at the Park Palace Ballroom, at 110th Street and 5th Avenue. At this time, Machito was at Fort Dix (New Jersey) in his fourth week of basic training. The day before at La Conga Club , Mario Bauza , Machito's trumpeter and music director , heard pianist Luis Varona and bassist Julio Andino play El Botellero composition and arrangements of

4020-400: Was accomplished on the drums , bongos , congas , timbales , and the piano . He worked with many musicians from several cultures. He is often linked to the development of Latin rock and acid jazz . Although fusing Jazz with Latin music is often categorized as "Latin Jazz," Tjader's works swung freely between both styles. His Grammy award in 1980 for his album La Onda Va Bien capped off

4087-491: Was augmented by Ivan Lopez on bongos and Eugenio Reyes on maracas. Later, on December 6 the same year, Stan Kenton recorded an arrangement of the Afro-Cuban tune " The Peanut Vendor " with members of Machito's rhythm section. Kenny Dorham "Minor's Holiday", "Basheer's Dream", Hank Mobley "Recado Bossa Nova" and Sabu Martinez jazz tune developed Afro-Cuban jazz from 50s to 60s. Cuban percussionist Mongo Santamaria first recorded his composition "Afro Blue" in 1959. "Afro Blue"

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4154-451: Was dismissed by the critics, chided as little more than the dated exotica that had come and gone in the prior decade. Tjader also recorded a notable straight modern jazz live album Saturday Night/ Sunday Night at the Blackhawk, San Francisco with his regular quartet in 1962. Other experiments were not so easily dismissed. Tjader teamed up with New Yorker Eddie Palmieri in 1966 to produce El Sonido Nuevo ("The New Sound"). A companion LP

4221-496: Was invented when Bauza composed "Tanga" (African word for marijuana) that evening of 1943. Thereafter, whenever "Tanga" was played, it sounded different, depending on a soloist's individuality. In August 1948, when trumpeter Howard McGhee soloed with Machito's orchestra at the Apollo Theatre, his ad-libs to "Tanga" resulted in "Cu-Bop City," a tune which was recorded by Roost Records months later. The jams which took place at

4288-402: Was perhaps the most successful of all time, the 1964 Getz/Gilberto recording " The Girl From Ipanema ", edited to include only the singing of Astrud Gilberto , Gilberto's then wife. The genre would withstand substantial "watering down" by popular artists throughout the next four decades. An early influence on bossa nova was the song " Dans mon île " by French singer Henri Salvador , featured in

4355-404: Was recorded for Palmieri's contract label, Tico, titled Bamboleate . While Tjader's prior work was often dismissed as "Latin lounge ", here the duo created a darker, more sinister sound. Cal Tjader Plays The Contemporary Music Of Mexico And Brazil (1962), released during the bossa nova craze, actually bucked the trend, instead using more traditional arrangements from the two countries' past. In

4422-495: Was soon after released by Gilberto. The initial releases by Gilberto and the internationally popular 1959 film Orfeu Negro ("Black Orpheus", with score by Luiz Bonfá ) brought significant popularity of this musical style in Brazil and elsewhere in Latin America, which spread to North America via visiting American jazz musicians. The resulting recordings by Charlie Byrd and Stan Getz cemented its popularity and led to

4489-468: Was the first jazz standard built upon a typical African three-against-two (3:2) cross-rhythm , or hemiola . The song begins with the bass repeatedly playing 6 cross-beats per each measure of 12/8, or 6 cross-beats per 4 main beats—6:4 (two cells of 3:2). The following example shows the original ostinato "Afro Blue" bass line. The slashed noteheads indicate the main beats (not bass notes), where you would normally tap your foot to "keep time." Bossa nova

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