The expression "Latin jazz" is commonly used today by musicians
and the audience to refer to a type of music which, based
on the American jazz and on some elements of Latin music
- especially Cuban - has become a musical manifestation by
itself. But neither the insertion of Cuban rhythms or musical
instruments nor the performance of Cuban rhythms using harmonic
elements or the American phrasing have nothing to do with
it. The Afro-Cuban jazz -as it was initially called--, emerged
from a brief process in comparison with the emergence
of Cuban music as a result of mixing European and African
music. In the case of Latin jazz, an exchange between jazz
and Cuban rhythms and sounds took place. A true fusion. In
Cuba, since the first decades of the 20th century, some
instrumentalists and composers got in touch with jazz.
Allegedly, some Cuban musicians lived in New Orleans when
jazz was emerging there and that some Afro-American musicians -soldiers
of the US occupation army--, brought their experiences
and knowledge about the blues and the jazz
to Cuba since 1898.
The 20´s were decisive in
Cuban music development, a time when the son reached its boom and other
musical genres like the danzón also prevailed.
It was also a very important decade for the development of
American jazz. At that time, several American orchestras
visited Cuba, and the contacts among Cuban and American musicians
intensified. The "jazz band" orchestral format was introduced
in Cuba and the first orchestras of this kind performed at
night places, hotels, etc. These groupings were not jazz
performers, but many of their musicians were interested in
this musical manifestation and started acquiring some records
and scores in the USA or through third persons.
The most outstanding Cuban jazzband director, and pioneer
among jazz players, was Master Armando Romeu. For many years,
he conducted, among others, the renowned "Bellamar" orchestra
and the "Tropicana" orchestra for more than two decades.
Armando Romeu has also been a teacher of some generations
of Cuban musicians and a name always present in the promotion
of jazz in Cuba.
Since the 30´s Cuban jazz bands mushroomed, such as
the "Hermanos Castro", "Casino de la Playa", "Riverside", "Siboney", "Orquesta
de Don Aspiazu" and the "Lecuona Cuban Boys". And though
these orchestras were not exclusively jazz players, they
introduced new American rhythms and sonorities in the performance
of Cuban music. However, in the orchestra founded
by Armando Romeu in 1936, included some Cuban musicians qualified
as first category jazz performers, and in the Mitsuko cabaret
-- where the band performed-- many "jam sessions" emerged
with the participation of musicians from other groups.
While the jazz disseminated in Cuba, in New York, Cuban
music performed by Cuban artists living or visiting that
city succeeded.
The "Machito and His Afrocubans" orchestra,
a band conducted by singer Frank Grillo (Machito) where the timba player
Tito Puente played, was created in New York in 1940. This
group had a great impact on the formation of Latin jazz,
mainly for the role played by Mario Bauzá, its musical
director, and composer, saxophonist and trumpet player.
Mario Bauzá was
the top musician in the creation of the so-called Afro-American-Cuban Jazz ; then
called Cubop and currently known as Latin jazz at
international level. We can say that Tanga , piece
composed by Bauzá and recorded in 1943, was a pioneer
in this new genre that constituted a real revolution in the
jazz ambience of the time.
Great jazz players like Charlie Parker and Dizzy Gillespie,
creators of the bop, admired and were interested in Cuban
music. Gillespie even made informal performances in some
of Machitos´s band presentations. The meeting of the
great percussionist and composer Chano Pozo with Dizzy Gillespie
was made possible by Mario Bauzá, in what can be considered
a historical encounter. In this regard, in 1947 both
musicians performed together the African-American-Cuban Drum
Suite at the great Carnegie Hall, thus creating the Cubob style
and an entire new era for jazz world.
At the same time, new
musicians and jazz groups emerged in Cuba, like the "Quinteto Instrumental de Música
Moderna" in the 50´s and later on "Los Amigos" group,
joined by pianist Frank Emilio Flynn, the tumbador player
Tata Güines and baterist Barreto. Together with other
orchestra conductors, composers and musical arrangers, Chico
O'Farrill and Felipe Dulzaides were very important in the
promotion of jazz in Cuba and, in the case of Chico, for
his contributions to the consolidation of the Afro-American-Cuban
jazz in New York.
Worthwhile mentioning among the great jazz pianists of all
times is the Cuban Chucho Valdés who, since the 70´s,
with his Irakere band, has been supporting Latin
jazz in Cuba and has contributed to train excellent instrumental
performers.
A new generation of Cuban musicians is still developing
this musical genre; such as the outstanding pianists Gonzalo
Rubalcaba and Ernán López-Nussa, the percussionist
Angá, the flutist Maraca, the ever young Bobby Carcassés
and many others who continue the magnificent legacy started
in Havana by Armando Romeu and in New York by Mario Bauzá.
Adolfo Costales Vega
