A Little Cubop and a Revolution

In addition to giving the world a new kind of jazz, Bauzá, and Machito inspired a whole new wave of artists to participate with them and independently in the new innovation of Latin Jazz. Called Cubop gains worldwide fame and brings together artists such as Dizzle Gillespie, Charlie Parker, Chano Pozo, in addition to Mario Bauzá and Machito. They combine elements of mambo and Cuban sons with bebop and progressive jazz elements which are more equally balanced as compared to earlier Latin influenced works of Ellington and the more swing influenced Bauzá and Machito during his years working with Capitol Records. “Though it’s impact was sudden and dramatic on the New York Jazz scene, Cubop’s fusion process had been ongoning since the early 1940s” with groups such as the Cab Calloway Band and Glenn Miller recording jazz-Latin amalgamations, such as “Conchita” and “The Rumba Jumps” respectively.[1] At this same time, more jazz musicians made an active effort to play regularly with Latin musicians. Dizzy Gillespie in particular worked closely with many Latin musicians and that helped in the development of being a subgenre that both combined experimentalism with popular appeal.

Chano Pozo and Dizzy Gillespie photocredit: americansabor.org

Throughout his career, Dizzy Gillespie was surrounded by the influence of Latin musicians. From his early days in Soccarrás and His Magical Flute Orchestra to his days playing alongside Mario Bauzá in Cab Calloway’s band, he was interested in the substitution of more traditional jazz rhythms of a straight swing with the forward momentum of a Latin percussion section. Bauzá remembers some of these early conversations with Gillespie in trying to make jazz exciting again: “we always said that jazz was a great thing, but the rhythm was very monotonous. So we were always thinking, trying to see if we could innovate something else.”[2] This renewed interest echoes the same feelings of musicians in New Orleans at the turn of the century, “How can we make the music we are writing all the more interesting and inventive.” And yet, even years later, the answer was still the same: add Latin syncopation and rhythm. As a result Cubop was formed and became the new, fresh sound everyone wanted to hear.

In October of 1947, Gillespie took his band, which included Ella Fitzgerald and saxophonist Charlie Parker, to Carnegie Hall and played a concert that “gave Cubop the status of avante-garde jazz” and shocked a nation.[3] A Chicago Defender article stated: “The musical form bebop makes about as much sense as its name. Harsh, overly loud, soaring melodies, and filled with dissonant chords, bebop sounds like a musical version of Charlie Chaplin’s old movie ‘Modern Times.’” [4] Though Lillian Scott is fairly critical of the concert as a whole, she has this to say about “Afro-Cuban Drums Suite,” a piece written and performed by Charlie Parker, “it held musical meaning.” What this demonstrates is that it is through those Latin rhythms that audiences are able to connect better to the spirit of Bebop though it isn’t as minimalistic or unapproachable. Though this completely detracts from what the avante-garde is attempting to do, it makes Bebop more accessible to more listeners allowing it to gain quite a following. In addition, yet again, we see the use of Latin rhythm by American artists as a form of expression and communication with their audience.

[1] Roberts, John Storm. The Latin Tinge: The Impact of Latin American Music on the United States. New York: Oxford University Press, 1979. 113

[2] Ibid.,116.

[3] Roberts, John Storm. The Latin Tinge: The Impact of Latin American Music on the United States. New York: Oxford University Press, 1979. 116.

[4] Scott, Lillian. “‘Square’ Sees Gillespie Rebop At Carnegie Hall.” The Chicago Defender, October 25, 1947, 18.