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54-434: William Correa (February 28, 1934 – September 15, 1983), better known by his stage name Willie Bobo , was an American Latin jazz percussionist of Puerto Rican descent. Bobo rejected the stereotypical expectations of Latino music and was noted for his versatility as an authentic Latin percussionist as well as a jazz drummer easily moving stylistically from jazz , Latin and rhythm and blues music. Born William Correa to

108-454: A backbeat , but contemporary forms fuse the backbeat with the clave . The conga , timbale , güiro , bongos , and claves are percussion instruments often used in addition to, or in place of the drum kit . Latin jazz music, like most types of jazz music, can be played in small or large groups. Small groups, or combos, often use the bebop format made popular in the 1950s in America, where

162-504: A Puerto Rican family, Bobo grew up in Spanish Harlem , New York City, United States. His father played the cuatro , a ten stringed guitar-like instrument. As a teenager, Bobo taught himself the bongos and later the congas , timbales and drums . In 1947, Bobo started working as a band boy for Machito in order to gain entrance to the band's concerts, sometimes filling in on percussion. At age 12, he began his professional career as

216-511: A dancer and two years later made his recording debut as a bongo player. He met Mongo Santamaría shortly after his arrival in New York and studied with him while acting as his translator. In the early 1950s, Bobo recorded with Mary Lou Williams . She is said to have first given the nickname Bobo . From 1954 until 1957, Bobo played with Tito Puente's band as part of the percussion section alongside Santamaria. Bobo joined George Shearing 's band on

270-862: A jazz band in the 1950s, and subsequently leading bands that performed cool jazz , post bop , and jazz fusion . Foreststorn Hamilton was born in Los Angeles, California , one of three brothers, one of whom was actor Bernie Hamilton . Hamilton started his career in a band with Charles Mingus , Illinois Jacquet , Ernie Royal , Dexter Gordon , Buddy Collette and Jack Kelso before he had finished high school. Engagements with Lionel Hampton , Slim & Slam , T-Bone Walker , Lester Young , Count Basie , Duke Ellington , Charlie Barnet , Billy Eckstine , Nat King Cole , Sammy Davis Jr. , Billie Holiday , Gerry Mulligan and Lena Horne established his career. Hamilton appeared in You'll Never Get Rich (1941) as part of

324-723: A series of dance successes, including his signature song "Conquistadors" from his 1960s Impulse album El Chico , and the Brazilian-influenced song "Strut" from his 1980 Elektra album, Nomad . In 2002, a track titled "For Mods Only" from his 1966 Impulse! Records album The Dealer , was included on the Thievery Corporation 's Sounds from the Verve Hi-Fi . In 2006, Rong Music released the 12-inch vinyl Kerry's Caravan by Mudd and Hamilton, with remixes from Ray Mang. Several remixes of Hamilton's recordings were released in

378-560: A similar reaction to the same rhythm in "La Paloma", Handy included this rhythm in his "St. Louis Blues", the instrumental copy of "Memphis Blues", the chorus of "Beale Street Blues", and other compositions. Jelly Roll Morton considered the tresillo-habanera (which he called the Spanish tinge ) to be an essential ingredient of jazz. The habanera rhythm can be heard in his left hand on songs like "The Crave" (1910, recorded 1938). Now in one of my earliest tunes, "New Orleans Blues," you can notice

432-476: A small speaking role in a scene with Tony Curtis ) in 1957 and one including Eric Dolphy appeared in the film Jazz on a Summer's Day (1960), set at the 1958 Newport Jazz Festival . Hamilton revamped his group in 1961 with Charles Lloyd , Gábor Szabó , George Bohanon and Albert Stinson , playing what has been described as chamber jazz , with "a moderate avant-gardism ." The group recorded for Columbia , Reprise and Impulse Records and also recorded

486-417: 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. The first bossa nova single to achieve international popularity

540-412: Is "transcultural in its stylistic scope." Chico Hamilton Foreststorn " Chico " Hamilton (September 20, 1921 – November 25, 2013) was an American jazz drummer and bandleader . He came to prominence as sideman for Lester Young , Gerry Mulligan , Count Basie , and Lena Horne . Hamilton became a bandleader, first with a quintet featuring the cello as a lead instrument, an unusual choice for

594-475: Is a hybrid form based on the samba rhythm, but influenced by European and American music from Debussy to US jazz. Bossa nova originated in the 1950s, largely from the efforts of Brazilians Antonio Carlos Jobim and João Gilberto . Its most famous song is arguably " The Girl from Ipanema " sung by Gilberto and his wife, Astrud Gilberto . While the musical style evolved from samba , it is more complex harmonically and less percussive. Bossa nova emerged primarily from

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648-1349: Is a percussionist with crew Cypress Hill . He also performed on the Beastie Boys ' 1994 album Ill Communication . His grandson, William Valen Correa, is co-founder of the music-based non-profit organization HNDP Los Angeles. After a period of ill health, Bobo died at the age of 49, succumbing to cancer. With Nat Adderley With Dorothy Ashby With Bob Brookmeyer With Dave Burns With Eddie "Lockjaw" Davis With Miles Davis With Victor Feldman With José Feliciano With Benny Golson With Dexter Gordon With Grant Green With Chico Hamilton With Slide Hampton With Herbie Hancock With Eddie Harris With Bobby Hutcherson With Herbie Mann With Les McCann With Gary McFarland With Buddy Miles With Wes Montgomery With Oliver Nelson With Dave Pike With Tito Puente With Ike Quebec With Terry Reid With Dannie Richmond With Charlie Rouse With A. K. Salim With Mongo Santamaria With Doc Severinsen With Sonny Stitt With Gábor Szabó With Clark Terry With Cal Tjader With Don Wilkerson Latin jazz African American music began incorporating Afro-Cuban musical motifs in

702-410: Is an early proto-Latin jazz composition. It is not clave-based. The first jazz piece to be overtly based in-clave , and therefore, the first true Latin jazz piece, was "Tanga" (1943) composed by Mario Bauza and recorded by Machito and his Afro-Cubans the same year, 1943. The tune was initially a descarga (Cuban jam) with jazz solos superimposed, spontaneously composed by Bauzá. The right hand of

756-576: Is apparent. 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 . One of the first songs was " Bim-Bom "(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 song

810-481: Is played on the snare rim of the drum kit in bossa nova. The pattern has a similar rhythm to that of the son clave , but the second note on the two-side is delayed by one pulse (subdivision). The pattern is shown below in 2/4, as it is written in Brazil. In North American charts it is more likely to be written in cut-time. According to drummer Bobby Sanabria the Brazilian composer Antonio Carlos Jobim , who developed

864-770: The New School University Jazz and Contemporary Music Programs' Beacons in Jazz Award in recognition for his "significant contribution to the evolution of Jazz". In 2002, he was awarded the WLIU-FM Radio Lifetime Achievement Award. At the IAJE in NYC January 2004, he was awarded a NEA Jazz Master Fellowship . In December 2006, Congress confirmed the nomination of Hamilton to the President's Council on

918-695: The Pierre Favre album Singing Drums along with Paul Motian . He also appears on Arild Andersen 's album "If You Look Far Enough" with Ralph Towner . Vasconcelos formed a group named Codona with Don Cherry and Collin Walcott , which released three albums in 1978, 1980 and 1982. While Vasconcelos uses Afro-Brazilian rhythms and instruments, he like Airto, transcend the categories of Brazilian jazz and Latin jazz. In comparison with straight-ahead jazz, Latin jazz employs straight rhythm (or "even-eighths"), rather than swung rhythm . Early Latin jazz rarely employed

972-474: The big four , a habanera-based pattern. The big four (below) was the first syncopated bass drum pattern to deviate from the standard on-the-beat march. As the example below shows, the second half of the big four pattern is the habanera rhythm. It is probably safe to say that by and large the simpler African rhythmic patterns survived in jazz ... because they could be adapted more readily to European rhythmic conceptions. Some survived, others were discarded as

1026-558: The soundtrack for the industrial film Litho in 1962, the first American film to be shown behind the Iron Curtain . Hamilton formed a commercial and film production company in 1965, and went on to score the feature films Repulsion (1965), Mr. Ricco (1975), Coonskin (1975), By Design (1982), the television programs Portrait of Willie Mays and Gerald McBoing-Boing , and scored hundreds of commercials for TV and radio. In 1986 Hamilton formed his sextet Chico Hamilton and

1080-464: The "Tanga" piano guajeo is in the style known as ponchando, a type of non-arpeggiated guajeo using block chords. The sequence of attack-points is emphasized, rather than a sequence of different pitches. As a form of accompaniment it can be played in a strictly repetitive fashion or as a varied motif akin to jazz comping. The following example is in the style of a 1949 recording by Machito. 2‐3 clave, piano by René Hernández. The first descarga that made

1134-580: 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). In 2005, Henri Salvador was awarded the Brazilian Order of Cultural Merit , which he received from singer and Minister of Culture, Gilberto Gil , in the presence of President Lula for his influence on Brazilian culture. The so-called "bossa nova clave" (or "Brazilian clave")

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1188-473: The 19th century, when the habanera (Cuban contradanza ) gained international popularity. The habanera was the first written music to be rhythmically based on an African motif. The habanera rhythm (also known as congo , tango-congo , or tango ) can be thought of as a combination of tresillo and the backbeat . Wynton Marsalis considers tresillo to be the New Orleans "clave," although technically,

1242-522: The Arts. In 2007, he received a Living Legend Jazz Award as part of The Kennedy Center 's Jazz in Our Time Festival, as well as being awarded a Doctor of Fine Arts from The New School . In 2006, Hamilton released Joyous Shout! in celebration of his 85th birthday. In 2007, he released Hamiltonia , sampling his original compositions from the four albums released in 2006. Over the years, Hamilton had

1296-624: The Cuban-born Gilberto Valdez which would serve as a permanent sign off (end the dance) tune. On this Monday evening, Dr. Bauza leaned over the piano and instructed Varona to play the same piano vamp he did the night before. Varona's left hand began the introduction of Gilberto Valdes' El Botellero. Bauza then instructed Julio Andino what to play; then the saxes; then the trumpets. The broken chord sounds soon began to take shape into an Afro-Cuban jazzed up melody. Gene Johnson's alto sax then emitted oriental-like jazz phrases. Afro-Cuban jazz

1350-533: The Europeanization progressed. It may also account for the fact that patterns such as [tresillo have] . . . remained one of the most useful and common syncopated patterns in jazz—Schuller (1968). 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. " Caravan ", written by Juan Tizol and first performed in 1936,

1404-580: 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

1458-472: The Spanish tinge. 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). Although the exact origins of jazz syncopation may never be known, there is evidence that the habanera-tresillo was there at its conception. Buddy Bolden , the first known jazz musician, is credited with creating

1512-456: The United States. Once in the U.S., Airto introduced Afro-Brazilian folkloric instruments into a wide variety of jazz styles, in ways that had not been done before. In Chick Corea 's original Return to Forever band, Airto was able to showcase his samba prowess on several percussion instruments , including drum kit . However, the terms jazz samba or Latin jazz are too limiting a label for

1566-715: The Young Alto's featuring Kenneth Lampl , Eric Person and Marc Bernstein. The group performed at the 1986 JVC Jazz Festival, the Apollo Theater , and Lincoln Center for the Performing Arts . In 2001, Hamilton released Foreststorn featuring Euphoria with Cary DeNigris on guitar, Paul Ramsey on bass, Eric Lawrence on alto and soprano saxes and Evan Schwam on tenor sax, alongside notable guests. In August of that year, he performed My Funny Valentine: A Tribute to Chico Hamilton at Lincoln Center . In 1997, Hamilton received

1620-652: The album The Shearing Spell . After leaving Shearing, Cal Tjader asked Bobo and Santamaría to become part of the Cal Tjader Modern Mambo Quintet, who released several albums as the mambo craze reached fever pitch in the late 1950s. Reuniting with his mentor Santamaría in 1960, the pair released the album Sabroso! for the Fantasy label. Bobo later formed his own group, releasing Do That Thing/Guajira with Tico and Bobo's Beat and Let's Go Bobo for Roulette, without achieving huge market penetration. After

1674-582: The backing group supporting Fred Astaire . Hamilton also performed on the soundtrack of the Bing Crosby and Bob Hope film Road to Bali (1952). He recorded his first album as leader in 1955 with George Duvivier ( double bass ) and Howard Roberts ( guitar ) for Pacific Jazz . In the same year Hamilton formed an unusual quintet in Los Angeles, featuring cello , flute/saxes/clarinet, guitar , bass and drums . The quintet has been described as one of

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1728-503: The continued evolution of jazz in twenty-first century urban centers. 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. From this perspective, all jazz, including Latin Jazz, is not viewed as a uniquely American expression, but rather as "a global music" that

1782-635: The influential 1973 compilation of recordings, the Smithsonian Collection of Classic Jazz, and Ken Burns' popular documentary film Jazz, make little mention of Latin jazz. More recent scholarship has challenged this paradigm, arguing that music from the Caribbean and Latin American were essential to the emergence of early New Orleans jazz , to the music's Post-War development in New York City, and to

1836-434: The last important West Coast jazz bands. The original personnel included flutist/saxophonist/clarinetist Buddy Collette , guitarist Jim Hall , cellist Fred Katz and bassist Jim Aton , who was later replaced by Carson Smith . Hamilton continued to tour, using different personnel, from 1957 to 1960. A version of the quintet including flutist Paul Horn was featured in the film Sweet Smell of Success (in which he has

1890-491: The late 2000s. He released Twelve Tones of Love on Joyous Shout! in 2009. In March 2011, he had a long recording session, resulting in 28 new tracks with his Euphoria group. Following a health setback in 2010, he and the group began weekly rehearsals at Hamilton's Penthouse A; which brought together the material which would comprise Revelation , an 11-track CD, released in 2011. For the Dutch Radio Westerwolde he made

1944-442: The layered, contrapuntal guajeos (Afro-Cuban ostinatos ) of the A section and the introduction, and Gillespie wrote the bridge. The rhythm of the melody of the A section is identical to a common mambo bell pattern . On March 31, 1946, Stan Kenton recorded "Machito," written by his collaborator / arranger Pete Rugolo , which is considered by some to be the first Latin jazz recording by American jazz musicians. The Kenton band

1998-665: The musicians play a standard melody, many of the musicians play an improvised solo, and then everyone plays the melody again. Prominent Latin jazz big bands include Arturo O'Farrill 's Afro-Latin Jazz Orchestra, Bobby Sanabria's Multiverse Big Band, Raices Jazz Orchestra, Mambo Legends Orchestra, Pacific Mambo Orchestra, as well as others. In Latin jazz bands, percussion is often featured in solos. 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. Most jazz histories emphasize

2052-692: The narrative that jazz is exclusively an American music—a style created by African Americans in the early 20th century, fusing elements of African rhythm and improvisations with European instrumentation, harmonies, and formal structures. 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. Likewise,

2106-492: The other is a matter of reversing the order of the measures. Bobby Sanabria , who was Bauzá's drummer, cites several important innovations of Machito's band: Bauzá introduced bebop innovator Dizzy Gillespie to the Cuban conga drummer Chano Pozo . " Manteca " is the first jazz standard to be rhythmically based on clave . "Manteca" was co-written by Dizzy Gillespie and Chano Pozo in 1947. According to Gillespie, Pozo created

2160-475: The pattern is only half a clave . " St. Louis Blues " (1914) by W. C. Handy has a habanera-tresillo bass line. Handy noted a reaction to the habanera rhythm included in Will H. Tyler's "Maori": "I observed that there was a sudden, proud and graceful reaction to the rhythm...White dancers, as I had observed them, took the number in stride. I began to suspect that there was something Negroid in that beat." After noting

2214-476: The pattern, considers it to be merely a rhythmic motif and not a clave ( guide pattern ). Jobim later regretted that Latino musicians misunderstood the role of this bossa nova pattern. Brazilian percussionist Airto Moreira became a professional musician at age 13. 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. Shortly after, he followed his wife Flora Purim to

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2268-411: The progression begins on the three-side, the song or song section is said to be in 3–2 clave. When the chord progression begins on the two-side, it is in 2–3 clave. In North America, salsa and Latin jazz charts commonly represent clave in two measures of cut-time (2/2); this is most likely the influence of jazz conventions. When clave is written in two measures (above) changing from one clave sequence to

2322-418: The studio. Bobo then worked as a session musician for Carlos Santana among others, as well as being a regular in the band for Bill Cosby 's variety show Cos . Santana covered Willie Bobo's Latin song "Evil Ways" (written by Clarence "Sonny" Henry) in 1969 on their debut album . In the late 1970s, Bobo recorded albums for Blue Note and Columbia Records . Bobo's youngest son, Eric Bobo (Eric Correa),

2376-445: The success of Tjader's Soul Sauce , in which he was heavily involved, Bobo formed a new band with the backing of Verve Records , releasing Spanish Grease , the title track being perhaps his most well known tune. Highly successful at this attempt, Bobo released a further six albums with Verve. In 1969, he moved to Los Angeles. He again met up with his longtime friend Richard Sanchez Sr. and his son Richard Jr. and began recording in

2430-440: 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." The twelve-inch 78 RPM, part of The Jazz Scene album, sold for $ 25—Salazar (1997). Mario Bauzá developed the 3-2 / 2-3 clave concept and terminology. A chord progression can begin on either side of clave. When

2484-418: The types of music Airto participated in the U.S. during the 1970s. Airto played in the two most important avant-garde electric jazz bands of the day— Miles Davis and Weather Report . He also performed on more mainstream albums, such as those of CTI Records . Besides energetic rhythmic textures, Airto added percussion color, using bells, shakers, and whistles to create evocative textures of timbre. Airto paved

2538-421: The upscale beachside neighborhoods of Rio de Janeiro as opposed to samba's origins in the favelas of Rio. Certain similar elements were already evident, even influencing Western classical music like Gershwin's Cuban Overture which has the characteristic 'Latin' clave rhythm. The influence on bossa nova of jazz styles such as cool jazz is often debated by historians and fans, but a similar "cool sensibility"

2592-630: The way for other avant garde Brazilian musicians such as Hermeto Pascoal , to enter the North American jazz scene. Another innovative Brazilian percussionist is Naná Vasconcelos . Vasconcelos contributed to four Jon Hassell albums from 1976 to 1980 (including Possible Musics by Brian Eno and Hassell), and later to several Pat Metheny Group works and Jan Garbarek concerts from early 1980s to early 1990s. In 1976 joined Egberto Gismonti to record Dança das cabeças in ECM label. In 1984 he appeared on

2646-481: 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. At this time, Machito was at Fort Dix (New Jersey) in his fourth week of basic training. 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

2700-544: Was augmented by Ivan Lopez on bongos and Eugenio Reyes on maracas. 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. Kenny Dorham "Minor's Holiday", "Basheer's Dream", Hank Mobley "Recado Bossa Nova" and Sabu Martinez jazz tune developed Afro-Cuban jazz from 50s to 60s. Cuban percussionist Mongo Santamaria first recorded his composition "Afro Blue" in 1959. "Afro Blue"

2754-489: Was invented when Bauza composed "Tanga" (African word for marijuana) that evening of 1943. Thereafter, whenever "Tanga" was played, it sounded different, depending on a soloist's individuality. In August 1948, when trumpeter Howard McGhee soloed with Machito's orchestra at the Apollo Theatre, his ad-libs to "Tanga" resulted in "Cu-Bop City," a tune which was recorded by Roost Records months later. The jams which took place at

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2808-402: Was perhaps the most successful of all time, the 1964 Getz/Gilberto recording " The Girl From Ipanema ", edited to include only the singing of Astrud Gilberto , Gilberto's then wife. The genre would withstand substantial "watering down" by popular artists throughout the next four decades. An early influence on bossa nova was the song " Dans mon île " by French singer Henri Salvador , featured in

2862-488: Was soon after released by Gilberto. 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

2916-468: Was the first jazz standard built upon a typical African three-against-two (3:2) cross-rhythm , or hemiola . The song begins with the bass repeatedly playing 6 cross-beats per each measure of 12/8, or 6 cross-beats per 4 main beats—6:4 (two cells of 3:2). The following example shows the original ostinato "Afro Blue" bass line. The slashed noteheads indicate the main beats (not bass notes), where you would normally tap your foot to "keep time." Bossa nova

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