For example, a variety of musicians like pianist Randy Weston, trumpeter Lester Bowie, drummer Max Roach, and multi-instrumentalists Yusef Lateef and Ornette Coleman had a fascination with other cultures' music.
[8] John Coltrane is generally understood to be the father of ethno jazz, having incorporated African, Middle Eastern, and Indian musical elements in many of his compositions.
[9] One of the first recognized examples of this fusion can be found in the African rhythm of his 1961 track "Dahomey Dance", which Coltrane discovered after a trip to Los Angeles earlier that year.
"Amen" and "Sun Ship", recorded four years later and released posthumously on the album Sun Ship, both feature extensive improvisation on commonly used conga and bongo rhythmic patterns, as opposed to more common, chordal improvisation, with the vocal quality of Coltrane's tenor saxophone intentionally paralleling the sound of an African horn he had heard in a Kenyan recording from the late 1930s.
Coltrane's Afro-Eastern sound is best exemplified in "Africa", from the album Africa/Brass, which was created after drawing rhythmic and timbral inspiration from many African records.
While standard jazz bands feature a rhythm section (piano, guitar, bass and drums) and winds (saxophone, trumpet or trombone), Latin music makes use of many more percussive instruments, such as timbales, congas, bongos, maracas, claves, guiros, and vibes, which were first played in a Latin setting by Tito Puente.
Bauzá introduced Dizzy to Chano Pozo and Chiquitico, conga and bongo players, respectively; together they began a big band that combined jazz and Cuban music.
Brazilian music was introduced to the United States around the 1930s by Hollywood, with songs like "Tico-Tico no Fubá" and "Brazil", but lost popularity over the coming years until its revival in 1962, when saxophonist Stan Getz and guitarist Charlie Byrd recorded the album Jazz Samba with Verve Records after Byrd was inspired by a trip to Brazil; the track "Desafinado" reached #1 status in the pop charts and won a Grammy for Best Solo Performance.
[17] In the 1950s, pianist Antônio Carlos Jobim, guitarist João Gilberto, and poet Vinicius de Moraes introduced a style similar to samba called bossa nova, which translates to "new flair" or "new beat".
[18] The Bossa Nova era was followed by various trends called Música popular brasileira, including Tropicália begun in Bahia.
[19] The former of the two makes use of the provikvane (a Bulgarian folk element characterized by an ascending leap to the leading tone of the scale) and interplay between the two genres via call and response.
This event was followed by the arrest, imprisonment, and deportation of many jazz musicians throughout the Soviet Union for their Western influence, as ordered by Joseph Stalin.
[20] This only made the genre more appealing to young musicians, resulting in multiple "underground" jazz bands and orchestras, among the first of which was a handful of Azerbaijani ensembles directed from 1926 by A. Ionannesyani and Mikhail Rol'nikov.
Much of the Western music introduced to Iran (and subsequently neighboring Middle Eastern countries) after World War II by the modernization policies of Shah Mohammad Reza Pahlavi was met with censorship similar to that what had occurred in the Soviet Union decades before.