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71-884: The Machete Ensemble was a Latin jazz band whose 21-year organization ended with its final concert on November 12, 2006, when it closed the 2006 San Francisco Jazz Festival . KQED News reported that "it seemed like everyone who was ever part of the San Francisco Latin jazz scene was on hand to bid adios to John Santos' Machete Ensemble." Its main personnel were San Francisco Bay Area musicians John Santos, director, congas, percussion, composer; Orestes Vilató , timbales, bongos; John Calloway , flute, composer/arranger; Wayne Wallace , trombone, composer/arranger; Melecio Magdaluyo , saxophone, clarinet, flute; Ron Stallings , saxophone, clarinet; David Belove , bass; Paul Van Wageningen , drumset; Murray Low , piano; Orlando Torriente , vocals, percussion. This article on

142-459: 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

213-458: A United States jazz band is a stub . You can help Misplaced Pages by expanding it . Latin jazz African American music began incorporating Afro-Cuban musical motifs in 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

284-417: A bona fide metrical structure because of its frequent departures from normative grouping structure. In divisive form, the strokes of tresillo contradict the beats. In additive form, the strokes of tresillo are the beats. From a metrical perspective then, the two ways of perceiving tresillo constitute two different rhythms. On the other hand, from the perspective of simply the pattern of attack-points, tresillo

355-520: A combination of tresillo and the backbeat . Wynton Marsalis considers tresillo to be the New Orleans "clave," although technically, 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

426-482: A few African American folk musics such as the foot stomping patterns in ring shout and the post-Civil War drum and fife music. Tresillo is also heard prominently in New Orleans second line music. Wynton Marsalis considers tresillo to be the New Orleans " clave ", although technically, the pattern is only half a clave. John Storm Roberts states that "the habanera reached the United States 20 years before

497-421: A sense of the rhythm's background [main beats], and who understand the surface morphology in relation to a regular subsurface articulation, will prefer the divisive format. Those who imagine the addition of three, then three, then two sixteenth notes will treat the well-formedness of 3 + 3 + 2 as fortuitous, a product of grouping rather than of metrical structure. They will be tempted to deny that African music has

568-520: 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 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

639-551: A straight swing rhythm and wrote out that rumba bass part for the saxes to play on top of the swing rhythm. Later, especially after rock 'n' roll came along, I made the 'rumba' bass part heavier and heavier. I'd have the string bass, an electric guitar and a baritone all in unison. Bartholomew referred to son by the misnomer rumba , a common practice of that time. On Bartholomew's 1949 tresillo-based "Oh Cubanas", we clearly hear an attempt to blend African American and Afro-Cuban music. Fats Domino's "Blue Monday", produced by Bartholomew,

710-570: A tresillo-based tumbao from "Alza los pies Congo" by Septeto Habanero (1925). Because of the popularity of the Cuban contradanza (habanera), the tresillo variant known as the habanera rhythm was adopted into European art music . For example, Georges Bizet 's opera Carmen (1874) has a famous aria , " L'amour est un oiseau rebelle " based on a habanera pattern. The first seven measures are shown below. In addition, Louis Moreau Gottschalk 's first symphony, La nuit des tropiques (lit. "Night of

781-417: 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

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852-615: Is "transcultural in its stylistic scope." Tresillo (rhythm) Tresillo ( / t r ɛ ˈ s iː j oʊ / tres- EE -yoh ; Spanish pronunciation: [tɾeˈsiʎo] ) is a rhythmic pattern (shown below) used in Latin American music . It is a more basic form of the rhythmic figure known as the habanera . Tresillo is the most fundamental duple-pulse rhythmic cell in Cuban and other Latin American music. It

923-450: Is a Spanish word meaning " triplet "—three equal notes within the same time span normally occupied by two notes. In its formal usage, tresillo refers to a subdivision of the beat that does not normally occur within the given structure. Therefore, it is indicated by the number 3 between the halves of a horizontal bracket over the notes, as shown below. The first measure divides each beat in three: one, and, ah, two, and, ah. The second divides

994-475: 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

1065-456: Is another example of this now classic use of tresillo in R&;B. On Bartholomew's 1949 tresillo-based "Oh Cubanas" we clearly hear an attempt to blend African American and Afro-Cuban music. In his composition "Misery" (1957), New Orleans pianist Professor Longhair (Henry Roeland Byrd) plays a habanera-like figure in his left hand. The bass line on Elvis Presley 's 1956 " Hound Dog " is perhaps

1136-584: 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

1207-426: 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, 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,

1278-486: 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

1349-536: The habanera consists of tresillo with the second main beat. The cinquillo pattern is another common embellishment of tresillo. Cinquillo is used frequently in the Cuban contradanza (the "habanera") and the danzón . The figure is also a common bell pattern found throughout sub-Saharan Africa. Tresillo is the rhythmic basis of many African and Afro-Cuban drum rhythms, as well as the ostinato bass tumbao in Cuban son -based musics, such as son montuno , mambo , salsa , and Latin jazz . The example below shows

1420-426: The habanera , was the first written music to be rhythmically based on an African motif (tresillo and its variants).{{ citation needed }} Tresillo is used as an ostinato figure in the left hand. The habanera was the first dance music from Cuba to be exported all over the world.{{ citation needed }} Because of the habanera's global popularity, tresillo and its variants are found in popular music in nearly every city on

1491-706: 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

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1562-587: 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")

1633-461: The Cuban contradanza (known outside of Cuba as the habanera ). The habanera was the first written music to be rhythmically based on an African motif (1803). Musicians from Havana and New Orleans would take the twice-daily ferry between both cities to perform and not surprisingly, the habanera quickly took root in the musically fertile city of New Orleans. The habanera was the first of many Cuban music genres which enjoyed periods of popularity in

1704-595: 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

1775-616: The Tropics") (1860) was influenced by the composer's studies in Cuba. Gottschalk uses the tresillo variant cinquillo extensively. With Gottschalk, we see the beginning of serious treatment of Afro-Caribbean rhythmic elements in New World art music. Tresillo and the habanera rhythm are heard in the left hand of Gottschalk's salon piano compositions such as Souvenir de la Havane ("Souvenirs From Havana" ) (1859). Bélé (also called belair )

1846-482: The United States, and reinforced and inspired the use of tresillo-based rhythms in African American music. From the perspective of African American music, the habanera rhythm can be thought of as a combination of tresillo and the backbeat . Tresillo in African American music is one of the clearest examples of African rhythmic retention in the United States. There are examples of tresillo-like rhythms in

1917-400: 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

1988-472: 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 the Europeanization progressed. It may also account for

2059-491: 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 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

2130-507: 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

2201-407: 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 the big four, a tresillo/habanera-based pattern. The big four 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

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2272-408: 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 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

2343-407: The excerpt below, the left hand plays the tresillo rhythm. As used in Cuban popular music, tresillo refers to the "three-side" (first three strokes) of the son clave pattern. Although the triplet divides the main beats by three pulses (triple-pulse) and tresillo divides them by four pulses (duple-pulse), the two figures share the same pulse names: one, one-ah, two-and. The common figure known as

2414-577: The fact that patterns such as [tresillo have] ... remained one of the most useful and common syncopated patterns in jazz. In the late 1940s, R&B music borrowed tresillo directly from Cuban music. New Orleans producer-bandleader Dave Bartholomew first employed this figure (as a saxophone-section riff) on his own 1949 disc "Country Boy" and subsequently helped make it the most over-used rhythmic pattern in 1950s rock 'n' roll. On numerous recordings by Fats Domino , Little Richard and others, Bartholomew assigned this repeating three-note pattern not just to

2485-578: The first rag was published." Scott Joplin 's " Solace " (1909) is considered a habanera. For the more than quarter-century in which the cakewalk , ragtime and proto- jazz were forming and developing, the habanera was a consistent part of African American popular music. Ned Sublette postulates that the habanera rhythm "found its way into ragtime and the cakewalk", while Roberts suggests that "the habanera influence may have been part of what freed black music from ragtime's European bass." Early New Orleans jazz bands had habaneras in their repertoire and

2556-447: The hemiola are generated by grouping triple pulses in twos: 6 pulses ÷ 2 = 3 cross-beats. Tresillo is generated by grouping duple pulses in threes: 8 pulses ÷ 3 = 2 cross-beats (consisting of three pulses each), with a remainder of a partial cross-beat (spanning two pulses). In other words, 8 ÷ 3 = 2, r2. Tresillo is a cross-rhythmic fragment. It contains the first three cross-beats of 4:3. The Cuban contradanza , known outside of Cuba as

2627-606: 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

2698-442: 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

2769-430: The most well known rock 'n roll example of the tresillo rhythm pattern. The first jazz standard composed by a non-Latin to play off of the correlation between tresillo and the hemiola, was Wayne Shorter 's " Footprints " (1967). On the version recorded on Miles Smiles by Miles Davis , the bass switches to tresillo at 2:20. This type of African-based rhythmic interplay between the two pulse (subdivision) structures,

2840-672: 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

2911-692: 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,

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2982-444: 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

3053-476: 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

3124-412: 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

3195-471: The planet. Later, Cuban musical exports, such as the son , son montuno , and the mambo continued to reinforce the use of tresillo bass lines and vamps. " La Paloma " (1863) is one of the most popular habaneras, having been produced and reinterpreted in diverse cultures, settings, arrangements, and recordings over the last 140 years. The song was composed and written by Spanish composer Sebastián Iradier (later Yradier) after he visited Cuba in 1861. In

3266-411: 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

3337-470: The rhythm is often simplified to an almost-constant 3+3+2 motif and played with rimshots on the snare while the chacha or hi-hats play the cinquillo-tresillo rhythm. Tresillio is present in South African music , particularly gqom music and its variants core tribe and taxi kick . African-American music began incorporating Afro-Cuban rhythmic motifs in the 1800s with the popularity of

3408-399: 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", the instrumental copy of "Memphis Blues", the chorus of "Beale Street Blues", and other compositions. Jelly Roll Morton considered

3479-477: The right seasoning, I call it, for jazz." 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. James P. Johnson 's influential " Charleston " rhythm is based on the first two strokes of tresillo. Johnson said he learned the rhythm from dockworkers in the South Carolina city of the same name. Although

3550-423: The side of the drum. In bélé, the cinquillo-tresillo is beat out by the tibwa, but it translates very well to the chacha (a maracas ) when the rhythms are applied for playing biguine music. The biguine, a modern form of bélé, is accompanied by call-and-response singing and by dancing. The tibwa rhythm also provided inspiration for the chouval bwa and then for zouk (two Antillean popular music). In zouk,

3621-566: The span of two main beats by three ( hemiola ): one-ah, two-ah, three-ah. In sub-Saharan rhythm, the four main beats are typically divided into three or four pulses, creating a 12-pulse ( 8 ), or 16-pulse ( 4 ) cycle . Every triple-pulse pattern has its duple-pulse correlate; the two pulse structures are two sides of the same coin. Cross-beats are generated by grouping pulses contrary to their given structure, for example: groups of two or four in 8 or groups of three or six in 4 . The duple-pulse correlative of

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3692-594: The spread of Islam . In Egyptian music and music from the Levant , the Tresillo pattern is referred to as "Malfouf". African-based music has a divisive rhythm structure. Tresillo is generated through cross-rhythm. In Middle Eastern and Asian music , the figure is generated through additive rhythm , 3+3+2 : Although the difference between the two ways of notating this rhythm may seem small, they stem from fundamentally different conceptions. Those who wish to convey

3763-404: The string bass, but also to electric guitars and even baritone sax, making for a very heavy bottom. He recalls first hearing the figure – as a bass pattern on a Cuban disc. In a 1988 interview with Robert Palmer , Bartholomew revealed how he initially superimposed tresillo over swing rhythm . I heard the bass playing that part on a 'rumba' record. On "Country Boy" I had my bass and drums playing

3834-498: The three cross-beats of the hemiola , is known in Afro-Cuban music as tresillo. The pulse names of tresillo and the three cross-beats of the hemiola (3:2) are identical: one, one-ah, two-and. The composite pattern of tresillo and the main beats is commonly known as the habanera , congo , tango-congo , or tango . The habanera rhythm is the duple-pulse correlate of the vertical hemiola (above). The three cross-beats of

3905-440: 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

3976-567: The tresillo bass pattern in his 1958 jazz standard “ Afro Blue ”. Tresillo is found within a wide geographic belt stretching from Morocco to Indonesia . Tresillo is used in many different types of music across the entire continent of Africa. Use of the pattern in Moroccan music can be traced back to slaves brought north across the Sahara Desert from present-day Mali . This pattern may have migrated east from North Africa to Asia through

4047-595: 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 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

4118-554: The tresillo/habanera was a rhythmic staple of jazz at the turn of the 20th century. For example, " St. Louis Blues " (1914) by W.C. Handy has a tresillo bass line. 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

4189-418: 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

4260-421: 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"

4331-640: 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

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4402-413: 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 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

4473-484: 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 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

4544-491: 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"

4615-400: Was developed in rural Martinique and is played on a drum of the same name. The drum is played by two performers: one straddles the drum, playing on the drumhead with both hands and a foot (which is used to dampen and undampen the drumhead in order to produce different pitches); the other performer uses a pair of sticks (called tibwa ) to beat out characteristic and intricate cross-rhythms on

4686-459: Was explored in the 1940s by Machito 's Afro-Cubans . Those structures are accessed directly by Ron Carter (bass) and Tony Williams (drums), via the rhythmic sensibilities of swing . Throughout the piece, the four beats, whether sounded or not, are maintained as the temporal referent. In the example below, the main beats are indicated by slashed noteheads. They are shown here for reference and do not indicate bass notes. Mongo Santamaria used

4757-636: Was introduced in the New World through the Atlantic slave trade during the Colonial period. The pattern is also the most fundamental and most prevalent duple-pulse rhythmic cell in Sub-Saharan African music traditions . The cinquillo pattern is another common embellishment of tresillo. Cinquillo is used frequently in the Cuban contradanza (the "habanera") and the danzón . Tresillo

4828-496: 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

4899-402: 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

4970-495: 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

5041-468: 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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