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96-698: Afro-Cuban jazz is the earliest form of Latin jazz . It mixes Afro-Cuban clave -based rhythms with jazz harmonies and techniques of improvisation. Afro-Cuban music has deep roots in African ritual and rhythm. The genre emerged in the early 1940s with the Cuban musicians Mario Bauzá and Frank Grillo "Machito" in the band Machito and his Afro-Cubans in New York City. In 1947, the collaborations of bebop trumpeter Dizzy Gillespie and percussionist Chano Pozo brought Afro-Cuban rhythms and instruments, such as

192-459: 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

288-471: A post-modernist art form. While pushing the boundaries of harmonic improvisation, cu-bop as it was called, also drew more directly from Africa, rhythmically. Early performances of "Manteca" reveal that despite their enthusiasm for collaborating, Gillespie and Pozo were not very familiar with each other's music. The members of Gillespie's band were unaccustomed to guajeos , overly swinging and accenting them in an atypical fashion. Thomas Owens observes: "Once

384-501: A "cross between Celia Cruz and Aretha Franklin ". More than a half century ago, Mario Bauzá developed arranging in-clave to an art. Another name for clave is guide-pattern, and that is how Bauzá related to it. He taught Tito Puente, and Puente's arrangers learned from him. The techniques were passed down from one generation to the next. Many educated Cuban musicians reject the idea of 3-2/2-3 clave. Dafnis Prieto and Alain Pérez reject

480-691: A Theme of Thelonious Monk (1960, for 13 instruments) utilizing Eric Dolphy and Ornette Coleman . In 1966, he composed the opera The Visitation . He also orchestrated Scott Joplin 's only known surviving opera Treemonisha for the Houston Grand Opera 's premiere production of this work in 1975. In 1959, Schuller largely gave up performance to devote himself to composition, teaching and writing. He conducted internationally and studied and recorded jazz with such greats as Dizzy Gillespie and John Lewis among many others. Schuller wrote over 190 original compositions in many musical genres. In

576-465: A bit of a tongue in cheek attitude—'for the masses.' I remember Paquito d'Rivera thought it was pretty funny stuff (as opposed to 'serious' stuff)" (2011: web). In spite of the ambivalence by some members towards Irakere's Afro-Cuban folkloric/jazz fusion, their experiments changed Cuban popular music, Latin jazz, and salsa. Another important Cuban jazz musician is pianist Gonzalo Rubalcaba , whose innovative jazz guajeos revolutionized Cuban-style piano in

672-402: A combination of tresillo and the backbeat. Musicians from Havana and New Orleans took the twice-daily ferry between both cities to perform, and the habanera took root. John Storm Roberts states that the musical genre habanera "reached the U.S. 20 years before the first rag was published". For more than a quarter-century in which the cakewalk , ragtime , and jazz were forming, the habanera

768-545: A festival of Schuller's music, curated by Bruce Brubaker , titled "I Hear America." At the time, Brubaker remarked, "Gunther Schuller is a key witness to American musical culture." His modernist orchestral work Where the Word Ends , organized in four movements corresponding to those of a symphony, was premiered by the Boston Symphony Orchestra in 2009. In 2011 Schuller published the first volume of

864-629: A mambo. In the 1980s, Tito Puente began recording and performing Latin jazz. The González brothers worked with Puente as well as Dizzy Gillespie . McCoy Tyner hired the brothers when he played Afro-Cuban jazz. Other New York musicians included Bobby Sanabria , Steve Turre , Conrad Herwig , Hilton Ruiz , Chris Washburn , Ralph Irizarry, David Sánchez , and Dave Valentine. Latin jazz musicians in San Francisco included John Santos ' Machete Ensemble , Rebeca Mauleón , Mark Levine , Omar Sosa , and Orestes Vilato . Jan L. Hartong's Nueva Manteca

960-455: 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 a similar reaction to the same rhythm in "La Paloma", Handy included this rhythm in his "St. Louis Blues,"

1056-565: 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

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1152-732: A sixteen-bar bridge." It was the bridge that gave "Manteca" a typical jazz harmonic structure, setting the piece apart from Bauzá's modal "Tanga" of a few years earlier. Arrangements with a "Latin" A section and a swung B section, with all choruses swung during solos, became common practice with many "Latin tunes" of the jazz standard repertoire. This approach can be heard on pre-1980 recordings of " Manteca ", " A Night in Tunisia ", " Tin Tin Deo ," and " On Green Dolphin Street ." Gillespie's collaboration with Pozo brought African-based rhythms into bebop,

1248-488: A style of "Cubanized" bebop-flavored horn lines, that departed from the more "angular" guajeo -based lines typical of Cuban popular music. "Chékere-son" is an extremely interesting one. It's based on a legendary 1945 Charlie Parker bebop composition called "Billie's Bounce." Almost every phrase of the Parker song can be found in "Chékere-son" but it's all jumbled together in a very clever and compelling way. David Peñalosa sees

1344-583: A two-volume autobiography, Gunther Schuller: A Life in Pursuit of Music and Beauty . In 2012, Schuller premiered a new arrangement, the Treemonisha suite from Joplin's opera. It was performed as part of The Rest is Noise season at London's South Bank in 2013. Schuller died on June 21, 2015, in Boston , from complications from leukemia . He married Marjorie Black, a singer and pianist, in 1948, and

1440-417: 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

1536-453: Is "transcultural in its stylistic scope." Gunther Schuller Gunther Alexander Schuller (November 22, 1925 – June 21, 2015) was an American composer, conductor, horn player, author, historian, educator, publisher, and jazz musician. Schuller was born in Queens , New York City, the son of German parents Elsie (Bernartz) and Arthur E. Schuller, a violinist with

1632-475: 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

1728-410: 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

1824-422: Is an example of an early pre-Latin jazz composition. It is not clave-based. On the other hand, jazzy renditions of Don Azpiazú 's " The Peanut Vendor " ("El manicero") by Louis Armstrong (1930), Duke Ellington (1931), and Stan Kenton (1948), are all firmly in-clave since the 2-3 guajeo provides the primary counterpoint to the melody throughout the entire song. The consensus among musicians and musicologists

1920-584: 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

2016-719: Is based in The Hague , Netherlands, and Yilian Cañizares in Lausanne , Switzerland. "Jazz bands" began forming in Cuba as early as the 1920s. These bands often included both Cuban popular music and popular North American jazz, and show tunes in their repertoires. Despite this musical versatility, the movement of blending Afro-Cuban rhythms with jazz was not strong in Cuba itself for decades. As Leonardo Acosta observes: "Afro-Cuban jazz developed simultaneously in New York and Havana, with

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2112-572: Is credited with creating 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. In Early Jazz: Its Roots and Musical Development , Gunther Schuller states, 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

2208-501: 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, with René Hernández on piano. Written by Bobby Sanabria, published on November 28, 2007 on a blog called latinjazz@yahoogroups Bauzá developed the 3-2/2-3 clave concept and terminology. A chord progression can begin on either side of clave. When

2304-420: Is heard playing the 3-2 son clave pattern on claves throughout a good portion of this 2-3 song. The rhythm of the melody of the A section is identical to a common mambo bell pattern : In early 1947 Stan Kenton recorded "Machito," written by his collaborator / arranger Pete Rugolo . Some consider the piece to be the first Afro-Cuban jazz recording by American jazz musicians. John Storm Roberts observes that

2400-486: 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

2496-518: Is that the first jazz piece to be based in-clave was "Tanga" (1943) composed by Cuban-born Mario Bauza and recorded by Machito and his Afro-Cubans. "Tanga" began humbly as a spontaneous descarga (Cuban jam session) with jazz solos superimposed on top. The first descarga that made 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

2592-436: Is what makes Cuban music Cuban!" Mario Bauzá introduced bebop innovator Dizzy Gillespie to the Cuban conga drummer, dancer, composer, and choreographer Chano Pozo . The brief collaboration of Gillespie and Pozo produced some of the most enduring Afro-Cuban jazz standards. " Manteca " (1947), co-written by Gillespie and Pozo, is the first jazz standard to be rhythmically based on clave. According to Gillespie, Pozo composed

2688-846: The New York Philharmonic . He studied at the Saint Thomas Choir School and became an accomplished French horn player and flute player. At age 15, he was already playing horn professionally with the American Ballet Theatre (1943) followed by an appointment as principal hornist with the Cincinnati Symphony Orchestra (1943–45), and then the Metropolitan Opera Orchestra in New York, where he stayed until 1959. During his youth, he attended

2784-706: 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

2880-474: 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

2976-617: The tumbadora and the bongo , into the East Coast jazz scene. Early combinations of jazz with Cuban music, such as " Manteca " and "Mangó Mangüé", were commonly referred to as "Cubop" for Cuban bebop. During its first decades, the Afro-Cuban jazz movement was stronger in the United States than in Cuba. In the early 1970s, Kenny Dorham and his Orquesta Cubana de Música Moderna, and later Irakere , brought Afro-Cuban jazz into

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3072-464: 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

3168-500: The 1956 Kenton album Cuban Fire! was written as an Afro-Cuban suite by Johnny Richards . Cuban percussionist Mongo Santamaría first recorded his composition " Afro Blue " in 1959. "Afro Blue" 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 8 , or 6 cross-beats per 4 main beats—6:4 (two cells of 3:2). The following example shows

3264-587: 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")

3360-535: The 1960s and 1970s, Schuller was president of New England Conservatory , where he founded The New England Ragtime Ensemble . During this period, he also held a variety of positions at the Boston Symphony Orchestra 's summer home in Tanglewood , serving as director of new music activities from 1965 to 1969 and as artistic director of the Tanglewood Music Center from 1970 to 1984 and creating

3456-460: The 1980s. Like the musicians of his generation who founded the timba era, Rubalcaba is a product of the Cuban music education system. He studied both piano and drums. Rubalcaba began his classical musical training at Manuel Saumell Conservatory at age 9, where he had to choose piano; he moved up to "middle-school" at Amadeo Roldan Conservatory, and finally earned his degree in music composition from Havana's Institute of Fine Arts in 1983. By that time he

3552-479: 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,

3648-408: The A section of "Sabor" is a 2-3 onbeat/offbeat guajeo, minus some notes. The following excerpt is from a performance by Cal Tjader . Afro-Cuban jazz has been for most of its history a matter of superimposing jazz phrasing over Cuban rhythms. In the 1980s a generation of New York City musicians had come of age playing both salsa dance music and jazz. In 1967 brothers Jerry and Andy González at

3744-505: The Cuban music scene, influencing styles such as songo . Although clave -based Afro-Cuban jazz did not appear until the mid-20th century, the Cuban influence was present at the birth of jazz. African-American music began incorporating Afro-Cuban musical motifs in the 19th century when the habanera 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" or "tango") can be thought of as

3840-635: 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

3936-540: 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,

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4032-446: 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. 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 do not contain an overt two-celled, clave-based structure. " Caravan ", written by Juan Tizol and first performed in 1936,

4128-916: The Northwest Bach Festival in Spokane, Washington state . Each year the festival showcased works by J.S. Bach and other composers in venues around Spokane. At the 2010 festival, Schuller conducted the Mass in B minor at St. John's Cathedral , sung by the Bach Festival Chorus, composed of professional singers in Eastern Washington, and the BachFestival, composed of members of the Spokane Symphony and others. Other notable performances Schuller conducted at

4224-622: The Orquesta Cubana de Música Moderna. Irakere was in part a product of the Moderna, as its founding members completed their musical training in that orchestra and also played jazz in the different quartets and quintets that were created with the OCMM. Among the founders of Irakere were pianist Chucho Valdéz , its director since the beginning, [and] saxophonist Paquito D'Rivera , who acted as assistant director". "Chékere-son" (1976) introduced

4320-668: The Precollege Division at the Manhattan School of Music , later going on to teach at the school. But, already a high school dropout because he wanted to play professionally, Schuller never obtained a degree from any institution. He began his career in jazz by recording as a horn player with Miles Davis (1949–50). In 1955, Schuller and jazz pianist John Lewis founded the Modern Jazz Society, which gave its first concert at Town Hall , New York,

4416-595: 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

4512-430: 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

4608-698: The Seventies (1981), Robert Christgau wrote: "The melodies are fetchingly tried-and-true, the (unintentional?) stateliness of the rhythms appropriately nineteenth-century , and the instrumental overkill (twenty-four instruments massed on 'Flop-Eared Mule') both gorgeous and hilarious. A grand novelty." Schuller was editor-in-chief of Jazz Masterworks Editions, and co-director of the Smithsonian Jazz Masterworks Orchestra in Washington, D.C. Another effort of preservation

4704-477: 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

4800-687: The Tanglewood Festival of Contemporary Music. In the 1970s and 1980s Schuller founded the publishers Margun Music and Gun-Mar and the record label GM Recordings. Margun Music and Gun-Mar were sold to Music Sales Group in 1999. Schuller recorded the LP Country Fiddle Band with the Conservatory's country fiddle band, released by Columbia Records in 1976. Reviewing in Christgau's Record Guide: Rock Albums of

4896-400: 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

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4992-402: The ages of 15 and 13 formed a Latin jazz quintet inspired by Cal Tjader's group. with Jerry on congas and Andy on bass. During 1974–1976 they were members of one of Eddie Palmieri 's experimental salsa groups. Andy González recounts, "We were into improvising... doing that thing Miles Davis was doing—playing themes and just improvising on the themes of songs, and we never stopped playing through

5088-487: The clave direction is being sacrificed due to lack of knowledge in how to work with it from an arranging standpoint by young arrangers especially in the timba movement" Perhaps Juan Formell , founder of Los Van Van , summed up this contemporary Cuban clave attitude best. "We Cubans like to think we have 'clave license'...and we don't feel obsessed about the clave as many others do". Latin jazz African American music began incorporating Afro-Cuban musical motifs in

5184-433: The concept. Many younger musicians reject the concept of "clave rules". Pérez states, "I just don't treat the clave as a study or a profound analysis conceived around where it overlaps and where it comes in. I didn't learn it in that way". Bobby Sanabria laments the pervasiveness of this attitude in Cuba. "The lack of clave consciousness in Cuba is starting to be felt more and more where the rhythmic equilibrium established by

5280-507: 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

5376-457: The difference that in Cuba it was a silent and almost natural process, practically imperceptible".Cuba's contribution to the genre came relatively late, beginning with the band Irakere . With Irakere, a new era in Cuban jazz begins in 1973, one that will extend all the way to the present. At the same time, this period represents the culmination of a series of individual and collective efforts from our so-called transition period, which will end with

5472-673: The festival include the St Matthew Passion in 2008 and Handel's Messiah in 2005. Schuller's association with Spokane began with guest conducting the Spokane Symphony for one week in 1982. He then served as Music Director from 1984 to 1985 and later regularly appeared as a guest conductor. Schuller also served as Artistic Director to the nearby Festival at Sandpoint. In 2005, the Boston Symphony, New England Conservatory, and Harvard University presented

5568-452: The folkloric drums, jazzy dance music, and distorted electric guitar with wah-wah pedal . According to Raúl A. Fernández, the Orquesta Cubana de Música Moderna members would not have been allowed by the orquesta to record the unconventional song. The musicians travelled to Santiago to record it. "Somehow the tune made it from Santiago to radio stations in Havana where it became a hit; Irakere

5664-599: 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

5760-437: 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. Morton stated, "Now in one of my earliest tunes, 'New Orleans Blues', you can notice 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

5856-442: 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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5952-438: The layered, contrapuntal guajeos (Afro-Cuban ostinatos ) of the A section and the introduction, while Gillespie wrote the bridge. Gillespie recounted: "If I'd let it go like [Chano] wanted it, it would've been strictly Afro-Cuban, all the way. There wouldn't have been a bridge.... I ... thought I was writing an eight-bar bridge. But after eight bars I hadn't resolved back to B-flat, so I had to keep on going and ended up writing

6048-672: 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

6144-692: 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,

6240-455: 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." In the mid-1940s, the mambo craze originated with the recordings of Perez Prado , who included jazz elements, and ideas from Stravinsky in his arrangements. Guajeos (Afro-Cuban ostinato melodies), or guajeo fragments are commonly used motifs in Latin jazz melodies. For example,

6336-444: 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

6432-449: The other is a matter of reversing the order of the measures. Bauzá balanced Latin and jazz musicians in Machito's band to realize his vision of Afro-Cuban jazz. He mastered both types of music, but it took time for him to teach the jazz musicians in Machito's band about clave. When trumpeter Doc Cheatham joined the band, Machito fired him after two nights because he could not cope with clave. When Mario first utilized Edgar Sampson to write

6528-428: 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

6624-476: 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

6720-413: 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 Valdés' El Botellero. Bauzá 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

6816-416: The piece "has no Latino instrumentalists on it, a lack of that is obvious; the crisp, fast montuno with which the piece opens is weighed down by not-so-adept drumming from Shelly Mann." Later, on 6 December of the same year, Kenton recorded an arrangement of the son " The Peanut Vendor " with members of Machito's rhythm section. Kenton continued to work with Afro-Cuban rhythms and musicians for another decade;

6912-415: 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

7008-411: 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

7104-426: The right seasoning, I call it, for jazz—Morton (1938: Library of Congress Recording)." An excerpt of "New Orleans Blues" is shown below. In the excerpt, the left hand plays the tresillo rhythm, while the right hand plays variations on cinquillo. Although the origin of jazz syncopation may never be known, there's evidence that the habanera/tresillo existed at its conception. Buddy Bolden , the first known jazz musician,

7200-500: The same year and later became known as the Jazz and Classical Music Society. While lecturing at Brandeis University in 1957, he coined the term " Third Stream " to describe music that combines classical and jazz techniques. He became an enthusiastic advocate of this style and wrote many works according to its principles, among them Transformation (1957, for jazz ensemble), Concertino (1959, for jazz quartet and orchestra), Abstraction (1959, for nine instruments), and Variants on

7296-403: The theme ends and the improvisation begins, ... Gillespie and the full band continue the bebop mood, using swing eighths in spite of Pozo's continuing even eighths, until the final A section of the theme returns. Complete assimilation of Afro-Cuban rhythms and improvisations on a harmonic ostinato was still a few years away for the beboppers in 1947." On a live 1948 recording of "Manteca," someone

7392-434: The track as a pivotal one – perhaps the first really satisfying fusion of clave and bebop horn lines". The horn line style introduced in "Chékere-son" is heard today in Afro-Cuban jazz, and the contemporary popular dance genre known as timba . Another important Irakere contribution is their use of batá and other Afro-Cuban folkloric drums. "Bacalao con pan" is the first song recorded by Irakere to use batá. The tune combines

7488-440: 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

7584-463: 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. The right hand of 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

7680-418: 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

7776-421: 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"

7872-543: The very first drafts of arrangements for the Machito and his Afro-Cubans, he would draw three sticks for Sampson underneath the bar with the three-side and two sticks underneath the bar with the two-side. This way he would always know rhythmically where he was in the chart and supervise Sampson who was unaware of the clave concept in Cuban music. Mario utilized Sampson's harmonic mastery and Mario utilized his rhythmic mastery. Sampson asked Mario, "Why does it have to be this way?" Mario told me that he looked at Sampson and said "This

7968-640: 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

8064-584: The whole set." While in Palmieri's band, the González brothers started showing up in the DownBeat Readers' Poll. In 1974, the González brothers and Manny Oquendo founded the salsa band Libre and experimented with jazz and Afro-Cuban rhythms. Libre recorded Charlie Parker's " Donna Lee " as a danzón , Miles Davis's " Tune Up " as a conga de comparsa, and Freddie Hubbard 's "Little Sunflower" as

8160-418: 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

8256-475: Was a consistent part of African-American popular music. Early New Orleans jazz bands had habaneras in their repertoire, and the tresillo/habanera figure was a rhythmic staple of jazz at the turn of the 20th century. Comparing the music of New Orleans with the music of Cuba , Wynton Marsalis said that the tresillo is the New Orleans clave. " St. Louis Blues " (1914) by W. C. Handy has a habanera/tresillo bass line. The first measures are shown below. Handy noted

8352-450: Was already playing in clubs and music halls in Havana. Many Cuban jazz bands, such as the saxophonist Tony Martinez's group, perform at a level few non-Cubans can match rhythmically. The clave matrix offers infinite possibilities for rhythmic textures in jazz. The Cuban-born drummer Dafnis Prieto in particular, has been a trailblazer in expanding the parameters of clave experimentation. Afro-Cuban singer Daymé Arocena has been described as

8448-480: Was at Fort Dix (New Jersey) in his fourth week of basic training. The day before at La Conga Club , Mario Bauzá, Machito's trumpeter and music director, heard pianist Luis Varona and bassist Julio Andino play El Botellero composition and arrangements of the Cuban-born Gilberto Valdez which would serve as a permanent sign off (end the dance) tune. On this Monday evening, Dr. Bauzá leaned over

8544-491: 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"

8640-501: Was formally organized a little bit later". Several of the founding members did not always appreciate Irakere's fusion of jazz and Afro-Cuban elements. They saw the Cuban folk elements as a type of nationalistic "fig leaf", cover for their true love—jazz. They were obsessed with jazz. Cuba's Ministry of Culture is said to have viewed jazz as the music of "imperialist America." Pablo Menéndez, founder of Mezcla , recalls: "Irakere were jazz musicians who played stuff like 'Bacalao con pan' with

8736-700: Was his editing and posthumous premiering at Lincoln Center in 1989 of Charles Mingus 's immense final work, Epitaph , subsequently released on Columbia/Sony Records. He was the author of two major books on the history of jazz, Early Jazz (1968) and The Swing Era: The Development of Jazz, 1930-1945 . His students included Irwin Swack , Ralph Patt , John Ferritto , Mohammed Fairouz , Gitta Steiner , Oliver Knussen , Nancy Zeltsman , Riccardo Dalli Cardillo and hundreds of others. See: List of music students by teacher: R to S#Gunther Schuller . From 1993 until his death, Schuller served as Artistic Director for

8832-496: 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

8928-427: Was invented when Bauzá composed "Tanga" (African word for marijuana) that evening. 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

9024-402: 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

9120-495: 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

9216-468: 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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