Latin jazz and Afro-Cuban jazz
The trumpeter Arturo Sandoval painted the portrait.
In the first times of the jazz an early incorporation of Latin elements happened already to the musician hot. In fact, the habanera rhythms, calinda, contredanse or fandango were usual in the music of Piece of news Orleans. The presence of Latin elements was supported in the jazz of the s and s, although without the necessary intensity to gestate a real merger. Nevertheless, to half of the year, the Cuban influence on the bop generated a style of merger which better exponent there were the Machito big band, and the works of Dizzy Gillespie, which were integrating elements typical of the bebop with Afro-Cuban rhythms. All the styles that arose after the age of the swing, the Latin jazz has been one of those that he has enjoyed major popularity, and Sanchez or Mario Bauza. have not changed its basic schemes too much along its history, across the work – for quoting only three of the most important – of the bands of Tito Puente, Poncho.
From middle the decade of and, especially, during the year, this merger style with Latin music, it settled of definitive form in the scene of the jazz. Inside the wide denomination of “Latin jazz”, music as different is included usually as those of Brazilian origin (bossa it nongoes, especially), those of Cuban origin and others of merger with other music of Latin character (and of special form, the tango). Between many artists who have developed its work in the different variants of this genre, it is necessary to quote, inside the jazz of merger of Brazilian origin, Flora Purim, Airto Moreira, Charlie Byrd, Antonio Carlos Jobim, Joao Gilberto, Ford Powell, Hermeto Pascoal, Dom Um Romão, Egberto Gismonti or Claudio Roditi. And, in the environment of the merger of jazz with the Afro-Cuban and Puerto Rican music, we find Irakere, Arturo Sandoval, Ray Barretto, Emiliano Salvador, Cal Tjader, Boy O’Farrill, Mongo Santamaria, Candid, Sabu Martinez, Chano Pozo, Mongrel Valdes, Steve Turre or Paquito D’Rivera, in addition to pianists like Hilton Ruiz, Gonzalo Rubalcaba and Michel Camilo, in that the Latin element joins of indistinguishable form to its origin bop.
Much more attached to the Cuban traditional styles, even to the sauce, we find musicians like Willie Bobo, Cachao, Carlos “Patato” Valdes, Tata Güines, Willie Columbus, Jesus Alemany or Francisco Aguabella, in addition to bands that historically had a big commercial projection, like those of Xavier Cugat and Perez Prado. Out of the Antillean world, stand out musicians who have developed approach works between the jazz and traditional musics of other places of Latin America: Astor Piazzolla (with its discs alone or with Gerry Mulligan), Cat Barbieri, Osvaldo Tarantino, Alex Acuña. . .
The style has given birth throughout the years to the whole series of related subgenres between which there are the boogaloo, the Cuban jazz, the Brazilian jazz and, over all in popularity and projection, the bossa nova.