(Although sometimes included under the rubric of Latin jazz, the fusion of Brazilian music with jazz properly deserves its own designation as Brazilian jazz.)From the 1970s onward, the development of Latin jazz was characterized by the exploration of diverse national traditions and the bridging of musical borders.
New generations of musicians expanded the Afro-Cuban foundation of the music by adding elements from other Latin American traditions.
A well-known pianist and composer of the time, Jelly Roll Morton, referred to that Latin influence as the “Spanish tinge” of jazz.
Early in the 20th century, several American musicians adopted the Cuban habanera rhythm (a syncopated four-beat pattern) in their compositions; most notably, St. 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.
Meanwhile, Chucho Valdés became a prominent leader of small ensembles.
Bandleader and percussionist timbales, a pair of shallow single-headed drums with a metal casing.
With players using sticks to strike not only the heads but also the metal rims and sides of the instruments, the timbales added several distinct timbres to the music’s rhythmic component.
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