Editing Jazz (section)

===Latin jazz===
{{Main|Latin jazz}}
[[File:Tito at the Village Gate.jpg|thumb|left|[[Tito Puente]], known as the "King of Latin Jazz."]]
Latin jazz is jazz that employs Latin American rhythms and is generally understood to have a more specific meaning than simply jazz from Latin America. A more precise term might be ''Afro-Latin jazz'', as the jazz subgenre typically employs rhythms that either have a direct analog in Africa or exhibit an African rhythmic influence beyond what is ordinarily heard in other jazz. The two main categories of Latin jazz are [[Afro-Cuban jazz]] and Brazilian jazz.

[[File:Eddie_Palmieri_mit_Bassist_Luques_Curtis.jpg|thumb|right|[[Eddie Palmieri]] is a pioneering Puerto Rican pianist and bandleader known for his innovative fusion of salsa and jazz.]]

In the 1960s and 1970s, many jazz musicians had only a basic understanding of Cuban and Brazilian music, and jazz compositions which used Cuban or Brazilian elements were often referred to as "Latin tunes", with no distinction between a Cuban [[son montuno]] and a Brazilian [[bossa nova]]. Even as late as 2000, in Mark Gridley's ''Jazz Styles: History and Analysis'', a bossa nova bass line is referred to as a "Latin bass figure".<ref>Gridley, Mark C. (2000: 444). ''Jazz Styles: History and Analysis'', 7th edn.</ref> It was not uncommon during the 1960s and 1970s to hear a conga playing a Cuban [[tumbao]] while the drumset and bass played a Brazilian bossa nova pattern. Many jazz standards such as "Manteca", "On Green Dolphin Street" and "Song for My Father" have a "Latin" A section and a swung B section. Typically, the band would only play an even-eighth "Latin" feel in the A section of the head and swing throughout all of the solos. Latin jazz specialists like [[Cal Tjader]] tended to be the exception. For example, on a 1959 live Tjader recording of "A Night in Tunisia", pianist [[Vince Guaraldi]] soloed through the entire form over an authentic [[mambo (music)|mambo]].<ref>Tjader, Cal (1959). ''Monterey Concerts''. Prestige CD. ASIN: B000000ZCY.</ref>

====Afro-Cuban jazz renaissance====
[[File:Dizzy Gillespie 1955 Press Photo.jpg|thumb|[[Dizzy Gillespie]] While primarily known as a bebop pioneer, Gillespie played a pivotal role in popularizing Afro-Cuban jazz.]]

For most of its history, Afro-Cuban jazz had been a matter of superimposing jazz phrasing over Cuban rhythms. But by the end of the 1970s, a new generation of New York City musicians had emerged who were fluent in both [[salsa (music)|salsa]] dance music and jazz, leading to a new level of integration of jazz and Cuban rhythms. This era of creativity and vitality is best represented by the Gonzalez brothers Jerry (congas and trumpet) and Andy (bass).<ref>Andy Gonzalez interviewed by Larry Birnbaum. Ed. Boggs, Vernon W. (1992: 297–298). ''Salsiology; Afro-Cuban Music and the Evolution of Salsa in New York City''. New York: Greenwood Press. {{ISBN|0-3132-8468-7}}</ref> During 1974–1976, they were members of one of [[Eddie Palmieri]]'s most experimental salsa groups: salsa was the medium, but Palmieri was stretching the form in new ways. He incorporated parallel fourths, with McCoy Tyner-type vamps. The innovations of Palmieri, the Gonzalez brothers and others led to an Afro-Cuban jazz renaissance in New York City.

This occurred in parallel with developments in Cuba<ref>Acosta, Leonardo (2003). ''Cubano Be, Cubano Bop: One Hundred Years of Jazz in Cuba'', p. 59. Washington, D.C.: Smithsonian Books. {{ISBN|1-5883-4147-X}}</ref> The first Cuban band of this new wave was [[Irakere]]. Their "Chékere-son" (1976) introduced a style of "Cubanized" bebop-flavored horn lines that departed from the more angular guajeo-based lines which were typical of Cuban popular music and Latin jazz up until that time. It was based on Charlie Parker's composition "Billie's Bounce", jumbled together in a way that fused clave and bebop horn lines.<ref>Moore, Kevin (2007) "History and Discography of Irakere". [http://www.timba.com/encyclopedia_pages/history-and-discography-of-irakere ''Timba.com''.] {{Webarchive|url=https://web.archive.org/web/20130326234736/http://www.timba.com/encyclopedia_pages/history-and-discography-of-irakere |date=March 26, 2013}}</ref> In spite of the ambivalence of some band members towards Irakere's Afro-Cuban folkloric / jazz fusion, their experiments forever changed Cuban jazz: their innovations are still heard in the high level of harmonic and rhythmic complexity in Cuban jazz and in the jazzy and complex contemporary form of popular dance music known as [[timba]].

====Afro-Brazilian jazz====
[[File:Naná Vasconcelos.jpg|thumb|left|Naná Vasconcelos playing the Afro-Brazilian [[Berimbau]]]]

Brazilian jazz, such as [[bossa nova]], is derived from [[samba]], with influences from jazz and other 20th-century classical and popular music styles. Bossa is generally moderately paced, with melodies sung in Portuguese or English, whilst the related jazz-samba is an adaptation of street samba into jazz.

[[File:Joao Gilberto.jpg|thumb|200px|right|[[João Gilberto]], alongside [[Antônio Carlos Jobim]], pioneered bossa nova with his unique guitar and vocal style.]]

The bossa nova style was pioneered by Brazilians [[João Gilberto]] and [[Antônio Carlos Jobim]] and was made popular by [[Elizete Cardoso]]'s recording of "[[Chega de Saudade]]" on the ''[[Canção do Amor Demais]]'' LP. Gilberto's initial releases, and the 1959 film ''[[Black Orpheus]]'', achieved significant popularity in [[Latin America]]; this spread to North America via visiting American jazz musicians. The resulting recordings by [[Charlie Byrd]] and Stan Getz cemented bossa nova's popularity and led to a worldwide boom, with 1963's ''[[Getz/Gilberto]]'', numerous recordings by famous jazz performers such as [[Ella Fitzgerald]] and [[Frank Sinatra]], and the eventual entrenchment of the bossa nova style as a lasting influence in world music.

Brazilian percussionists such as [[Airto Moreira]] and [[Naná Vasconcelos]] also influenced jazz internationally by introducing Afro-Brazilian folkloric instruments and rhythms into a wide variety of jazz styles, thus attracting a greater audience to them.<ref>{{cite web|last=Yanow|first=Scott|url={{AllMusic|class=artist|id=p36965/biography|pure_url=yes}}|title=Airto Moreira|website=AllMusic|date=August 5, 1941|access-date=October 22, 2011}}</ref><ref>[{{AllMusic|class=artist|id=p6300/biography|pure_url=yes}} Allmusic Biography]</ref><ref>{{cite news|last=Palmer|first=Robert|url=https://query.nytimes.com/gst/fullpage.html?res=9F01E6DF123BF93BA15755C0A964948260|title=Jazz Festival – A Study Of Folk-Jazz Fusion – Review|newspaper=The New York Times|date=June 28, 1982|access-date=July 7, 2012}}</ref>

While bossa nova has been labeled as jazz by music critics, namely those from outside of Brazil, it has been rejected by many prominent bossa nova musicians such as Jobim, who once said "Bossa nova is not Brazilian jazz."<ref>{{Cite news |last=Blount |first=Jeb |date=1994-12-09 |title=APPRECIATION |language=en-US |newspaper=Washington Post |url=https://www.washingtonpost.com/archive/lifestyle/1994/12/09/appreciation/87317f96-19bd-4bae-8ae1-d66d221bf510 |access-date=2022-05-05 |issn=0190-8286}}</ref><ref>{{Cite web |last=Friad |first=William |date=2004-03-04 |title=Brazil's Melgaço: The Music of Silence |url=https://www.brazzil.com/14899-brazil-s-melga-ccedil-o-the-music-of-silence |access-date=2022-05-05 |website=Brazzil |language=en-US}}</ref>