By Bernie Brink

Jazz is often referred to as “the original American art form” because much of its development was geographically confined.  But in many ways, jazz is truly a global music, drawing from many sounds and cultures across the world.  In observing Hispanic Heritage Month from September 15^th – October 15^th, it’s not an understatement to point out that jazz has been inexorably tied to Latin music throughout its history, even preceding the advent of so-called “Latin jazz.”

As the genesis of jazz dates to the 19^th century, so does its connection to Latin musical ideas.  In the early days of jazz, many artists and practitioners felt strongly that the ­tresillo – a syncopated rhythm borne of sub-Saharan Africa and sculpted by Black and Latine communities across Latin America (and especially Cuba) – was fundamental to the jazz sound.  Trumpeter Buddy Bolden, typically cited as the first jazz musician, combined tresillo with a basic march rhythm to create “the big four,” an essential ingredient in early jazz and New Orleans second-line.  W.C. Handy, a major Black composer of popular song in the early 20^th century, had notated tresillo as early as 1912 in hits like “Memphis Blues” and “St. Louis Blues.”  Pianist Jelly Roll Morton, inarguably one of jazz’s early progenitors (and a shameless self-promoter), went so far as to try and coin his own term for it, “the Spanish tinge.”

In the 1940s, Latine artists made further developments, reclaiming jazz in a big way.  During the height of the Swing era, many musicians emigrated to New York City directly from Havana, bringing with them their own rich musical heritage.  One such artist was Mario Bauzá, who came up in Chick Webb’s and Cab Calloway’s bands before co-founding his own orchestra, Machito and His Afro-Cubans.  Bauzá was the first to overtly combine Cuban dance music, clavé, and traditional big band arranging techniques, composing the first true Latin jazz work, “Tangá,” in 1943.  His ground-breaking work spearheaded the development of Cubop, mambo, and salsa music in the U.S.

Countless Latine artists have left their mark on jazz music.  Like Mario Bauzá, conguero Chano Pozo was a major force through his collaboration with Dizzy Gillespie, penning classics like “Manteca” and “Tin Tin Deo.”  Ray Barretto contributed to countless Blue Note recordings through their golden era in the 1950s and ‘60s.  Timbalero Tito Puente began his career with Machito and His Afro-Cubans and went on to become “The Mambo King.”  There is a rich tradition of virtuosic jazz pianists from Cuba, through the Valdeses (Bobo, Chucho, and Chuchito), Gonzalo Rubalcaba, and continuing today with Alfredo Rodriguez and Harold Lopez-Nussa.  Similarly, Chilean saxophonist Melissa Aldana is just now charting new modes of dialogue and expression in the realm of jazz music.

The world of Latin jazz is enormous and ever-expanding, and the Venn diagram of jazz, Latine musics, and American popular music shows a profound overlapping.  To celebrate Hispanic Heritage Month, tell us about your favorite Latin jazz or Latin dance music, and if you want to learn more, catch Latin Jazz Express (Saturdays, 4:00 PM) or The Brazilian Hour (Wednesdays, 5:00 PM, repeated Sundays, 4:00 PM) every week on Jazz 93.5.