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The origins of Latin Jazz

The origins of Latin Jazz

Latin Jazz is characterized by rhythms combined with jazz melodies and progressions of stringed instruments. The Latin influences began to merge with the traditional American music in 1930. In the years since 1950 to 1960 these influences have become particularly strong, with Hispanic dances such as the mambo, cha-cha-cha, samba and bossa nova that become widely available in the United States. Other Latin dances such as salsa and merengue still feel the influence today. Latin music has its own unique sound. The eight notes are played directly, not like in other jazz styles but swingate syncopation. A wide variety of Latin percussion foster birth of musical orchestras. The Congas, which are of Afro-Cuban origin are played with your palms and fingers, even the Bongos are Afro-Cuban, but I'm taller and thinner. Other common tools are timbales, claves and cowbells. Some bands that have joined a Latin element in their bands are Dizzy Gillespie and Stan Kenton. Atria musicians incorporating Latin elements in their music include percussion as Peruvian percussionist Airto Moreira, Alex Acuña, trumpeter, pianist and composer, Arturo Sandoval, the pianist Eddie Palmieri, Tito Puente and percussionist Poncho Sanchez, Mario Bauza, the trombone player Steve Turré and Alto saxophonist Paquito D'Rivera Cuban … … … … bongoman But we do take a few steps back in time to see how and where does the LATIN JAZZ when Europeans began to arrive in America brought with them African slaves who were sold and enslaved even before the arrival of Columbus. Africans brought with them from Africa drums. Everywhere in America, Europeans are taking their slaves and plant the seeds for a African-influenced music that is emerging. While the afro Caribbean undergoes these influences, the United States and Brazil already have given their worldwide recognition to afro-influenced of Mexico. The Colombia and Peru are emerging only now. European string instruments, wind instruments and piano combined with African drums and percussion form the line used by LATIN JAZZ groups. But of course none of this happened in just one night! For centuries the native African influences were suppressed, persecutate, ignored. In America this inquisition resulted in that the drums were taken to African slaves by their owners afraid of rebellion. This has not decreased fortunately afro-influenced that it flourished anyway. When the hosts have transferred their fears on drums, the slaves have only moved the pace with other instruments like the banjo or the clarinet or fiddle … and so arose the glorious sounds of NEW ORLEANS JAZZ. JAZZ was born in NEW ORLEANS that Jelly Roll Marton calls "THE LATIN TINGE which is the LATIN TINGE" geographic proximity between HAVANA and NEW ORLEANS has facilitated a confluence of stilii. Whereas the JAZZ in the United States was proposed by black bluesman and their spiritual traditions, black musical traditions of Cuba instead were preserved in the development of the syncretic religion known as "Santeria". The hallmark of both styles is a "call and response", improvisation, music method which is highly loaded and interactive. Cuban improvisation method, this form is known as "DESCARGA" and it was evident in the music played by sextets (typical training consisting of guitar, tres (Cuban stringed instrument) double bass, Bongos, maracas and clave) in teens and 20 years of the present century. Was the great Cuban composer Ignacio Piñero to transform the Sextet in Septet, thanks to the introduction of the trumpet, solo instrument par excellence. palladium palladium A dance track was needed and in the new city in New York that produced such as the Palladium, a huge room located in the legendary Broadway., the Conga and the Copacabana. From every corner of America Afro-Latin percussion gifts arrived that enriched New York as the Spanish galleons were filled with gold. Among the first to arrive from Cuba, the fever of RUMBA and add grain to this rich musical limbo were Mario Bauzá, Frank Grillo "Machito", Arturo "Chico" O'Farrill and Israel Lopez "Cachao." These "GIANTS" went back and forth between New York with jazz and Havana City with Latin music with an ease and a function that is not strictly human. As musicians, composers and arrangers, they contributed to BIG BAND SWING of the orchestras conducted by Benny Goodman, Chick featured Web and Cab Calloway. At the same time they have conducted their orchestras and in his spare time they invented the MAMBO! Dizzy Gillespie mario bauza and band pictured left Dizzy Gillespie, pictured right Mario Bauzá (fourth from right) and PuertoRican-born, trumpeter Fernand Arbello (second from right) with Chick Webb Band out of Savoy Ballroom in Harlem, 1935. JAZZ environment they crossed paths great innovators like Charlie Parker, Dizzy Gillespie, Art Blakey, Kenny Dorham and Fats Navarro. A defining moment in the history of LATIN JAZZ occurred in 1947 when Luciano Pozo González, Cuban percussionist Chano "Pozo" the immortal "joined to Dizzy and his Band giving alive to a new musical genre called CUBOP. So the big bands were born of Machito, Chico O'Farrill, Tito Puente and Tito Rodriguez who were the main architects of the legendary Palladium in New York. In followed Chano was killed and thereafter in Harlem, some said that was because it had revealed the secret Abakuá, Nigerian cult rhythms. Pozo actually was killed in El Rio Bar by a former officer of the US Army's motovo Muñoz, Eusebius ' El Cabito was a rematch by Cabito for a public humiliation after a quarrel with Chano. Pozo was buried in Cuba. Machito and hs band the CUBOP was never so popular, only experimental for the MAMBO CRAZE or MAMBO CRAZE of the 1950. The CUBOP engagement primarily for the intrinsic pleasure by musicians who were amused, and a small group of fans, not drawn into dance floors as the MAMBO. MAMBO, much more than a dance, is the war horse who declines the BIG BAND ERA in its setting. Is a marathon from which something has yet to come out. TITO PUENTE, whose career puts the development in parallel to LATIN JAZZ is almost solely responsible for the privileged continued of MAMBO. It is impossible to define who has more, on: MAMBO to TITO PUENTE, for longevity, or TITO to MAMBO for giving him the Crown of THE KING OF LATIN JAZZ. Tito Puente The Cuban embargo threw a rock into the current LATIN JAZZ but after splash, the eddies are finished in vacuum feeding the language from two sources. As JAZZ was created by blacks who were for generations reduced to slavery in New York was something qualitatively new generated by musicians as culturally were deported from the land of Jose Martí. It contained elements of Cuban music but with large doses of JAZZ, SOUL and even ROCK inside. The voices were different because the singers (like all other members of the Group) were probably just as both of Puerto Rico's Cuban ancestry. Over time the sound was more electric and the texts loaded with social content. The Cuban tradition of descarga, they added elements of Puerto Rico and Dominican MERENGUE BOMBA and PLENA. Larry Harlow, Ray Barretto, Willie Colon, Ruben Blades, Johnny Pacheco, Carlos Santana and Eddie Palmieri, among others, were the architects of what the world has come to know as a sauce the second source of original ideas in the years 60 came from Brazil. The Afro-Brazilian SAMBA and BOSSA NOVA were given to jazz in General and to LATIN JAZZ in particular a new momentum that is still evolving. While Laurindo Almeida and Bud Shank went first, was Charlie Byrd and Stan Getz jazz fans in the United States that initiation, of the work of Joao Gilberto, Antonio Carlos Jobim and Luis Bonfa. In all major groups of 1970s JAZZ FUSION "sin qua non" was the Brazilian percussionist. Among those distinguished by their service to jazz there are Airto Moreira, Paulinho da Costa, Guilherme Franco and Nana Vasconcelos. What the Brazilian musicians have found when they came into the United States was a development of LATIN JAZZ designed to appreciate the BRAZILIAN JAZZ by cenerii Cuban fire. LATIN JAZZ has in a very short time, developed the largest growth sector in jazz. He's outgrown fast in relation to its relative "JAZZ". Simply because AFRO-CUBAN JAZZ and AFRO-CARIBBEAN JAZZ expanded to the speed of light from Argentina to Germany to Italy and Spain to France Panama. LATIN JAZZ takes root. International festivals of jazz traditional jazz artists can be observed only with envy the enthusiastic response given by LATIN JAZZ groups. In 1994 the subcategory of LATIN JAZZ Grammy Awards was created in recognition of this phenomenon. In fact, the LATIN JAZZ has become the lingua franca of jazz enthusiasts throughout the world. In the United States this language has for decades wavered between a salsa-jazz more commercial and more accessible (for dancers) and something closer to CUBOP ideal (for musicians) The most laudable of TITO PUENTE is the subtlety with which he avoided this dichotomy. As popularity Tito is like no other! Over the decades, its popularity steadily and the integrity of his music has never lapsed. Some latin jazz album ("Salsa meets jazz" Concord Picante, 1988 and "Tito Puente's golden Latin jazz all stars in 1994 session RMM records) are the result of Tito's singular devotion to bring together the best musicians from both sides. Other countries where it has taken root, in Argentina and in Spain there are exotic varieties: one can now talk of TANGO-JAZZ-FLAMENCO JAZZ as a sub-genres. What happened instead in Cuba? LATIN JAZZ is alive and well in his native! The main groups led by Chucho Valdes, Emiliano Salvador, Gonzalo Rubalcaba and Jesus Alemañy more recently, gave credibility that if CUBAN JAZZ seemed to be magically stopped during decades of embargo, now is in the eye of the hurricane! The most important Latin jazz musicians: Saxophonists Paquito D'Rivera, Dave Valentin Mario Bauza Trumpeters Dizzy Gillespie Flautists Jerry Gonzalez Charlie Sepulveda Arturo Sandoval Trombone Papo Vasquez Voices Celia Cruz Ruben Blades Vibraphone Cal Tjader Pianists Chucho Valdez Papo Lucca Charlie Palmieri Eddie Palmieri Hilton Ruiz Gonzalo Rubalcaba Bassists Cachao Oscar D'leon Percussionist Chano Pozo Tito Puente Jerry Gonzalez Pancho Sanchez Mongo Santamaria Ray Barretto Giovanni Hidalgo 

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