Latin jazz
| Latin jazz | |
|---|---|
| Stylistic origins |
1943 New York, Cuban music and jazz 1957 Brazil, Brazilian music and jazz |
| Cultural origins | |
| Regional scenes | |
1943 New York, Cuban music and jazz
Latin jazz is a genre of jazz with Latin American rhythms. Although musicians continually expand its parameters, the term Latin jazz is generally understood to have a more specific meaning than simply jazz from Latin America. Some Latin jazz typically employs rhythms that either have a direct analog in Africa, or exhibit an African influence. The two main categories of Latin jazz are:
African American music began incorporating Afro-Cuban musical motifs in 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, 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 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).
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