Mongo Santamaría, cited by Washburne, Christopher (2008: 190) Sounding Salsa; Performing Latin Music in New York City. Philadelphia: Temple University Press ISBN 1-59213-315-0. 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 1984 he appeared on 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. [22] [23] [24] While Vasconcelos uses Afro-Brazilian rhythms and instruments, he like Airto, transcend the categories of Brazilian jazz and Latin jazz. Neto, Luiz Costa Lima (2000). "The experimental music of Hermeto Paschoal e Grupo (1981-93): a musical system in the making". British Journal of Ethnomusicology. 9: 119–142. doi: 10.1080/09681220008567294. S2CID 217508944.

Orovio, Helio. 1981. Diccionario de la Música Cubana, p. 237. La Habana, Editorial Letras Cubanas. ISBN 959-10-0048-0. In his presence no one can undress or even think about the pleasures of the flesh; one cannot speak rudely or establish fights. He enjoys great prestige among mortals and his children are subjected to absolutely rigid and austere behavior. She is particularly adored in Santiago de Cuba. EleguáReview of: Martínez, Pedro, and Román Díaz. 2oo8. The Routes of Rumba. Round World Productions /Round Whirled Records 844185096942

Bass drum strokes follow the bass pattern, the "Tumbao", which is rhythmically similar in many Afro Cuban and Latin rhythms.half clave) the song flips to the three-side. It continues in 3–2 on the V 7 chord for 4 + 1⁄ 2 claves. The second measure of 2

In the decades leading to 1940, Latin American melodies and dance rhythms made their way farther northward into the United States, while the sounds of American jazz spread through the Caribbean and Central and South America. Musicians and dancers across the entire region became familiar with both musical languages, and the large bands of the swing era expanded their repertory to include rumbas and congas, two types of Afro-Cuban dance music. Those developments laid the foundation for the fusion of jazz and Cuban music, a process inaugurated in 1940 in New York City with the establishment of the Machito and the Afro-Cubans orchestra, under the musical directorship of Cuban-born trumpeter Mario Bauzá. For many jazz critics, Bauzá’s tune “ Tanga,” one of the Machito orchestra’s hits dating to the early 1940s, was the first true example of the music that is now known as Latin jazz. Linares, María Teresa; Núñez, Faustino (1998). La música entre Cuba y España. Fundación Autor. p.113. Roberts, John Storm 1979. The Latin tinge: the impact of Latin American music on the United States. Oxford. Washburne (2020). Latin Jazz. Oxford University Press. p.3. ISBN 978-0-19-751085-8. OCLC 1125295202. The first bossa nova single to achieve international popularity 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.Aguabella, Francisco (1999) Inter. J. Poet. “Francisco Aguabella: Sworn to the Drum.” Drum Magazine Online. Web. The first regular use of the rumba clave in Cuban popular music began with the mozambique, created by Pello el Afrikan in the early 1960s. When used in popular music (such as songo, timba or Latin jazz) rumba clave can be perceived in either a 3–2 or 2–3 sequence. 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. Variation of Bembé with 3 Shekeres of different tones creating interesting rhythmic figures Toque de Guiro The third branch comes from the United States. An important North American contribution to clave theory is the worldwide propagation of the 3–2/2–3 concept and terminology, which arose from the fusion of Cuban rhythms with jazz in New York City. [24]

Understanding Hispanic a. This can be done using body percussion, various classroom percussion instruments, or instruments students have made.Toussaint, Godfried, "The Rhythm that Conquered the World: What Makes a 'Good' Rhythm Good?", Percussive Notes. Web.