Class 2a (Latin Jazz, Afro-Cuban, Gillespie, Brazilian, Getz)

Afro Cuban

Caribbean dance beats have always had a long relationship with jazz, demonstrated by Jelly Roll Morton’s insistence that the “Spanish tinge” was vital. Cuban music already had a presence in the U.S. as well, with Americans learning popular dances like the mambo, rumba, and cha-cha-cha, and the admiration of Cuban bands who performed in the U.S.

Dizzy Gillespie helped popularize Afro-Cuban Jazz, but its beginnings can largely be traced to Mario Bauza and Machito. While their first attempt at forming an Afro-Cuban band folded, Machito’s second attempt with his band the Afro-Cubans, under musical direction of Mario Bauza, found large success. Mario Bauza hired innovative young arrangers to assist in giving the band a jazz sound.

An important feature of Cuban music and Afro-Cuban jazz is the clave, a rhythmic foundation that had roots in Africa. The two types of claves, the son clave and rumba clave, both have an asymmetrical, disruptive feel and allow for the large percussion section typical of Afro-Cuban bands to layer on additional rhythms. This rhythmic layering and texture gives this music tension, and contributes to its danceable nature.

Dizzy’s Contribution to Afro-Cuban Jazz

Dizzy Gillespie triggered the largest breakthrough for Afro-Cuban jazz. He already showed interest in Latin and Afro rhythms with “A Night in Tunisia,” but Mario Bauza gave him instruction on the essentials of Cuban music like the clave during their time with Cab Calloway. This allowed Gillespie to later form a jazz-Latin fusion big band, with one of the strongest members being the great congas player Chano Pozo. This band released hits like “Cubana Be,” “Cubana Bop,” and the highly influential “Manteca.” Chano Pozo had near free reign over “Manteca,” establishing a Latin groove saturated with layered rhythms filled with tension. Gillespie had to reel the piece back in and link the sound to jazz by instilling swing sections and more bop-like harmonies.

Samba, Bossa Nova, and Brazilian Music

Similar to Cuban music, the Brazilian style samba had a presence in the U.S. before jazz had incorporated it, with popular samba hits and Brazilian Hollywood stars. Samba, and later bossa nova, followed a similar rhythmic foundation to the clave, but it was more relaxed and looser, making it more interpretable for jazz.

Bossa Nova arose as a departure from samba tradition due to the work of songwriter Tom Jobim. His pieces were often performed with João Gilberto on guitar, whose light, tranquil playing helped establish the new style. Bossa nova’s gentle, swaying feel made it appropriate for interpretation by jazz artists, as it could easily be adapted to the looser style of swing.

Samba and Bossa Nova’s success stayed confined to Brazil for a while until touring jazz artists heard Jobim’s music and added it to their repertory, with Dizzy Gillespie being among them.

Charlie Byrd, Stan Getz, and Bossa Nova

Among the touring musicians was Charlie Byrd, who despite his admiration for Bossa Nova, could not get a label to record it. This was until he recruited Stan Getz, a highly influential tenor saxophonist of the 1950s who had rose to acclaim with Woody Herman and had a very romantic, smooth sound. His first bossa nova album Jazz Samba reached no. 1 on the pop music charts, popularizing bossa nova in the U.S. and producing dozens of imitators. He later collabed with other Brazilian originators on Gilberto/Getz which contained the highly popular song “Girl from Ipanema,” cementing jazz-bossa nova fusion’s popularity.