Editing Jazz (section)

====Dizzy Gillespie and Chano Pozo====
[[File:Dizzy Gillespie playing horn 1955.jpg|thumb|upright|Dizzy Gillespie, 1955]]
[[Mario Bauzá]] introduced bebop innovator Dizzy Gillespie to Cuban conga drummer and composer [[Chano Pozo]]. Gillespie and Pozo's brief collaboration produced some of the most enduring Afro-Cuban jazz standards. "[[Manteca (song)|Manteca]]" (1947) is the first jazz standard to be rhythmically based on clave. According to Gillespie, Pozo composed the layered, contrapuntal [[guajeo]]s (Afro-Cuban [[ostinato]]s) of the A section and the introduction, while Gillespie wrote the bridge. Gillespie recounted: "If I'd let it go like [Chano] wanted it, it would have been strictly Afro-Cuban all the way. There wouldn't have been a bridge. I thought I was writing an eight-bar bridge, but ... I had to keep going and ended up writing a sixteen-bar bridge."<ref>{{cite book|last1=Gillespie|first1=Dizzy|last2=Fraser|first2=Al|title=To Be or Not to Bop: Memoirs of Dizzy Gillespie|date=1985|publisher=Da Capo Press|location=New York|isbn=978-0-3068-0236-2|page=77|title-link=To Be or Not to Bop}}</ref> The bridge gave "Manteca" a typical jazz harmonic structure, setting the piece apart from Bauza's modal "Tanga" of a few years earlier.

Gillespie's collaboration with Pozo brought specific African-based rhythms into bebop. While pushing the boundaries of harmonic improvisation, ''cu-bop'' also drew from African rhythm. Jazz arrangements with a Latin A section and a swung B section, with all choruses swung during solos, became common practice with many Latin tunes of the jazz standard repertoire. This approach can be heard on pre-1980 recordings of "Manteca", "[[A Night in Tunisia]]", "Tin Tin Deo", and "[[On Green Dolphin Street (song)|On Green Dolphin Street]]".