Latin jazz
[6] Jelly Roll Morton considered the tresillo-habanera (which he called the Spanish tinge) to be an essential ingredient of jazz.
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).
[10]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.
The tune was initially a descarga (Cuban jam) with jazz solos superimposed, spontaneously composed by Bauzá.
As a form of accompaniment it can be played in a strictly repetitive fashion or as a varied motif akin to jazz comping.
[12] 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.
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.
The jams which took place at 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 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."
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.
Bossa nova is a hybrid form based on the samba rhythm, but influenced by European and American music from Debussy to US jazz.
Certain similar elements were already evident, even influencing Western classical music like Gershwin's Cuban Overture which has the characteristic 'Latin' clave rhythm.
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.
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 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 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.
An early influence on bossa nova was the song "Dans mon île" by French singer Henri Salvador, featured in 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).
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.
In Chick Corea's original Return to Forever band, Airto was able to showcase his samba prowess on several percussion instruments, including drum kit.
Airto paved the way for other avant garde Brazilian musicians such as Hermeto Pascoal, to enter the North American jazz scene.
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.
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.
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.
