Latin Jazz - N PDF

1
Introductory Panel
Latin Jazz: La Combinacin Perfecta

Growing out of a unique combination of cultures, instruments,
and performers, Latin Jazz is a fusion of two kinds of music:
jazz from the United States and music from the Caribbean and
Latin America. Latin music has influenced jazz practically from
its beginnings in New Orleans. (The pioneering jazz pianist Jelly
Roll Morton called this ingredient the Spanish tinge.) The
pivotal moment came in the 1940s in New York City, when
American jazz innovators and Cuban-born musicians blended
Cuban music with the revolutionary jazz style known as Bebop.
A brand new sound was born, called Cubop, Afro-Cuban Jazz,
and eventually Latin Jazz. Its still going strong, growing,
evolving, and winning new fans around the globe.
El Jazz Latino: The Perfect

Combination
Nacido de una combinacin nica de culturas, instrumentos y
artistas, el Jazz latino es una fusin de dos clases de msica: el
jazz de los Estados Unidos y la msica del Caribe y
Latinoamrica. La msica latina ha influido el jazz
prcticamente desde sus comienzos en New Orleans. (El pianista
de jazz Jelly Roll Morton llam a este ingrediente el toque
latino.) El jazz vivi su momento crucial en los aos de 1940 en
New York City, cuando innovadores del jazz americano y msicos
cubanos combinaron la msica cubana con el estilo
revolucionario de jazz conocido como Bebop. Un nuevo ritmo
naci de esta unin, y comenz llamndose Cubop, luego Jazz
afrocubano y por ltimo Jazz latino. Este ritmo contina
creciendo, fortalecindose, evolucionando y ganando nuevos
entusiastas en todo el mundo.
#
Credits
Developed and organized by / desarrollada y organizada por
Smithsonian Institution Traveling Exhibition Service
curator / curador
Ral Fernndez, University of California, Irvine
design / diseo
Museum Design Associates, Cambridge, Massachusetts
editing / edicin
Office of Exhibits Central, Smithsonian Institution
This exhibition and related programs are part of Americas Jazz
Heritage, A Partnership of the Lila Wallace-Readers Digest
Fund and the Smithsonian Institution. Additional support has
been provided by BETJazz.
#
[Smithsonian and
BETJazz logos
here]
Intro Kiosk
Reverse Side
There is an infectious element in Latin jazz, and you can
detect it when you go to a club or a performance. It could be a
straight-ahead jazz tune, and all of a sudden there is a break,
and the piano player goes into a montuno, people just
explode.
Hay un elemento contagioso en el jazz latino, y puedes
detectarlo cuando vas a un club o a una presentacin. Se puede
tratar de una pieza de jazz puro y de repente se hace una
pausa, el pianista empieza a tocar un montuno y la gente
simplemente estalla.
Alfredo Cruz, radio host / locutor de radio
Smithsonian Institution Jazz Oral History Project, 2001
#
SECTION ONE:
ROOTS/ROUTES
[Cases with musical
instruments]
CASE 1
Artifact: marmbula
Label
Marmbula
Cuba, Puerto Rico
Vidal Collection, National Museum of American History, Behring
Center, Smithsonian Institution
#
Photo:
[musician playing
marmbula]
Caption
Street Son Group; Havana, Cuba, 2002

Grupo callajero de son, La Habana, Cuba, 2002
Courtesy of Alfredo Cruz
CASE 2
Artifact: giro
Label
Giro
Cuba, Puerto Rico, Dominican Republica / Repblica
Dominicana
National Museum of American History, Behring Center, Smithsonian
Institution
#
Artifact: maracas
Label
Maracas
Cuba, Puerto Rico, Dominican Republic / Repblica Dominicana
#
Artifact: bongo drums
Label
Bong
Cuba
Institution
#
Artifact: pandereta
Pandereta
Puerto Rico
#
Artifact: claves
Label
Claves
Cuba, Puerto Rico, Dominican Republic / Repblica Dominicana
Smithsonian Institution
WALL PANEL / W-1

Graphic:
tree illustration
Text for tree
Roots and Branches of Latin Jazz

Latin jazz is a fusion of two kinds of music: jazz from the
United States and dance music from the Caribbean. Both of
these types of music are mixtures of European and African
elements, shaped by a history of colonialism, plantation
systems based on slave labor, and societies divided by class and
race. Communities within the larger society developed music
that was uniquely their own.
The African roots include several nations and traditions that
merged in the Americas, where they encountered European
concert music, folk songs, and dance tunes. All these
ingredients converged, mixed, separated, and re-mixed,
producing a rich variety of music unique to the Americas.
Races y ramas del jazz latino

El jazz latino es una fusin de dos clases de msica: el jazz de
los Estados Unidos y la msica bailable del Caribe. Estos dos
tipos de msica son una combinacin de elementos europeos y
africanos, formados por una historia de colonialismo, sistemas de
plantacin basados en el trabajo de esclavos y sociedades
divididas por clase y raza. Comunidades dentro de la sociedad
desarrollaron msica que fue singularmente propia.
Las races africanas incluyen varias naciones y tradiciones que se
unieron en las Amricas, donde encontraron msica europea de
concierto, canciones y danzas populares. Todos estos
ingredientes convergieron, se mezclaron, se separaron y
volvieron a mezclarse, produciendo una variedad de msica muy
rica y nica de las Amricas.
Drawing / dibujo por Leonardo Acosta
#
Artifact
(framed on wall)
original tree
drawing
MAP 1
Text
Roots and Branches: Migration

Afro-Cuban music, a mixture of African and European elements,
was the first Latin American and Caribbean sound to gain worldwide popularity. The Cuban danza and habanera traveled to
Europe in the 19th century. At the same time, Afro-Cuban music
entered the U.S. by way of New Orleans, where it joined
spirituals and blues as well as music from France and Haiti.
Cuban and Puerto Rican music became part of the New York
music scene in the 1920s and 1930s, leading to an explosion of
Afro-Cuban sounds, and the birth of Latin jazz, in the 1940s.
Races y ramas de las migraciones

La primera msica del Caribe y Latinoamrica que gan
popularidad mundial fue la afrocubana, una mezcla de
elementos africanos y europeos. La danza cubana y la habanera
se conocan en Europa en el siglo 19. Al mismo tiempo, la msica
afrocubana entr a los Estados Unidos a travs de New Orleans,
donde se uni a los blues y los spirituals, as como tambin a
la msica de Francia y Hait.
La msica de Cuba y Puerto Rico se convirti en parte del
ambiente musical de New York en los aos de l920 y 1930,
conduciendo a la explosin de msica afrocubana y al nacimiento
del jazz latino en la dcada de 1940.
#
Legend for map
AFRICAN TRADITIONS
(15001900)
1a. Yoruba, Efik (Nigeria); 1b. Congo Bant (Congo);
1c. Fanti, Ashanti (Ghana); 1d. Abakua (Calabar);
1e. Ewe, Arar (Old Dahomey)
EUROPEAN TRADITIONS
(15001900)
2a. English/Scottish/Irish brass and drum bands, folk
music/dance, country dance;
2b. Spanish flamenco, North African-Moorish music, pasodoble;
2c. French military bands, quadrille, contredanse
CUBA
(19th 20th century)
3. (19th century) danzn, danza, habanera, son Santiago, son
montuno, rumba, toques de santo (bemb), cocoy;
(1920s-30s) son Habana, rumba de saln, conga de saln,
bolero; (1940s50s) - Feeling, mambo, cha cha ch, son-Afro,
guaguanc, Afro-Cuban jazz; (1960s on) Afro-Cuban jazz fusion,

timba, songo, pachanga
UNITED STATES
(19th 20th century)
4. (19th century) work songs, spirituals, cakewalk, southern
blues, ragtime; (19001920s) urban blues, gospel, Chicago-style
jazz, Kansas City-style jazz, Dixieland, boogie-woogie, stride
piano, jazz standards; (1930s40s) swing, big-band jazz, bebop,
cool jazz; (1950s) rhythm and blues, progressive jazz, soul;
(1960s70s) West Coast cool jazz, fusion, funk, boogaloo, salsa,
modal jazz; (1980s on) new fusions, international style
PUERTO RICO
5. bomba, plena (both introduced to New York about 1920)
ARGENTINA
6. tango
DOMINICAN REPUBLIC/REPUBLICA DOMINICANA
7. merengue, bachata
COLOMBIA
8. cumbia
BRAZIL
9. samba, bossa nova
PANAMA
10. tamborito
10
KIOSK A
KIOSK PANEL A-1
Poem
It all began with the cord
between the fingers.
Its sound
penetrated even the bottom of the soul,
and there it remained.
Later came the drum,
marvelous, rhythmic, sensual.
Its sound vibrated between my hands, and
entered the center of the heart;
And there it stayed.
Todo empez
Con la cuerda entre los dedos.
Su sonido penetr
Al mismo fondo del alma
Y all qued.
Luego vino el tambor
Rtmico, sensual, maravilloso.
Su sonido vibr entre mis manos,
Fue al centro del corazn
Y all qued.
Helio Orovio
The Cord and the Drum: From Music Comes Poetry (1991)
Spanish version by Remigio Fernndez based on English translation
of 1991.
Versin en espaol de Remigio Fernndez basada en la previa
traduccin al ingls de 1991.
#
Painting repro.: Griot,
Claudia Ruiz
Caption
Painting / pintura: Griot, 1990

Claudia Ruiz
#
11
KIOSK PANEL A-2:

Heading
(Section title)
Roots / Routes: Migrations

Races / rutas: Migraciones
#
Quote
Latin jazz . . . I think its the same as Afro-Cuban jazz . . . is

neither straight-ahead jazz nor just Afro-Cuban music. . . . It is
a marriage of two and they dont fight.
El jazz latino . . . yo pienso que es lo mismo que el jazz
afrocubano . . . no es ni jazz puro, ni msica afrocubana pura. .
. . Es un matrimonio de dos y no pelean.
Arturo Chico OFarrill, arranger, composer / arreglista,
compositor
#
Text
The story of Latin jazz is about movement. As people moved

between the Caribbean and the Americas propelled by social,
economic, or political forces they carried with them
rhythms, dances, melodies, and instruments that influenced
the musical atmosphere wherever they went. And when jazz
intertwined with Afro-Cuban music, it produced a new sound in
which the African heritage of both became more pronounced.
La historia del jazz latino es una historia de migraciones. A
medida que la gente se fue desplazando entre el Caribe y las
Amricas impulsada por fuerzas sociales, econmicas, polticas
fue llevando consigo ritmos, bailes, melodas e instrumentos
que influyeron en el ambiente musical all donde fueron. Y
cuando el jazz se entreteji con la msica afrocubana, produjo
un nuevo sonido en el cual se acentu an ms la herencia
africana de ambos.
#
12
KIOSK PANEL A-3

Quote
We carry with us our African roots, sometimes without

realizing it, because it is so natural . . . like the language we
speak, which we speak without thinking, and so we play the
music just like we engage in conversation.
Cuban music is highly rhythmic. . . . we come from African
forebears whose music was highly rhythmic and from very
rhythmic Spanish music, so we ended up being perhaps even
more rhythmic than our predecessors.
Chucho Valds, musician
#
Graphic: painting
Panzella, Congarous
Caption
Painting / pintura: Congarous

Wren Panzella
#
13
KIOSK PANEL A-4

Heading
Danza, Habanera, Danzn
Definitions
Danza / contradanza
A dance (and its music) popular throughout the Caribbean in
the 1800s. Originally the country dance of England, in the
1700s it became the French contredanse and Spanish
contradanza. In the hands of Caribbean musicians, the music
became more syncopated and sensuous.
Msica y baile popular en todo el Caribe en el siglo XIX.
Originalmente un baile tradicional ingls, la Country Dance
se convirti en el siglo XVIII en la contredanse francesa y la
contradanza espaola. En manos de msicos caribeos, esta
msica se torn ms sincopada y sensual.
Habanera
Around 1850 lyrics were added to the danza. This new style of
song was called habanera, after Havana, Cuba. It had a
syncopated rhythm inherited from the danza. In Argentina the
habanera evolved into the tango.
Alrededor de 1850 se agreg letra a la danza. Este nuevo estilo
de cancin se llam habanera, por La Habana, Cuba. Tena un
ritmo sincopado heredado de la danza. En Argentina la habanera
evolucion hacia el tango.
Danzn
A Cuban dance (and its music) that developed from the danza.
Slower and more complex than the danza, the danzn was a
dance for couples. It became a national symbol of Cuba in the
late 1800s and early 1900s.
Msica y baile cubano que surgi de la danza. Ms lento y ms
complejo que la danza, el danzn fue un baile de parejas. Se
convirti en un smbolo nacional de Cuba a fines del siglo XIX y
principios de siglo XX.
#
Quote:
Nosotros llevamos races africanas y a veces no lo sabemos

porque es algo natural . . . es un legado como el idioma que uno
habla sin pensarlo, as que uno toca msica igual que uno
conversa.
La msica cubana es muy rtmica . . . somos descendientes de
africanos con una gran cultura rtmica y de espaoles de gran
legado rtmico tambin, as que tiene sentido que nosotros
seamos an ms rtmicos que nuestros antecesores.
Chucho Valds, msico
14
KIOSK PANEL A-5

Text
New Orleans
The Beginning of the Blend
From the early 1800s, New Orleans was a center of musical
exchange. Home to a mix of peoples and cultures, this port city
was connected to Cuba and Mexico by trade in sugar and
tobacco. Musicians traveled along those trade routes as well,
spreading musical influences as they went. African drumming
and ritual music mixed with French, Spanish, and Caribbean
(particularly Cuban, Mexican, and Haitian) music to produce a
rich international blend.
El comienzo de la mezcla
Desde principios del siglo XIX, New Orleans fue un centro de
intercambio musical. Como punto de reunin de varios pueblos y
culturas, esta ciudad portuaria estaba conectada con Cuba y
Mxico por el comercio de azcar y tabaco. Los msicos tambin
viajaron esas rutas de comercio, difundiendo la msica a su
paso. El ritmo del tambor africano y la msica ritual se fundieron
con msica francesa, espaola y caribea (particularmente
cubana, mexicana y haitiana) para producir una rica mezcla
internacional.
#
Focus label
Louis Moreau Gottschalk

The New Orleans-born concert pianist and composer Louis
Moreau Gottschalk (182969) visited Cuba often. He loved the
music he heard there particularly works by Nicols Ruiz
Espadero and Manuel Saumell and adapted Cuban forms to
his own classical style. Saumell, a master of habanera and
other syncopated music, influenced not only Gottschalk, but
also ragtime.
#
El pianista y compositor Louis Moreau Gottschalk (182969),
nacido en New Orleans, visit Cuba a menudo. Se enamor de
la msica que escuch all en particular obras de Nicols Ruiz
Espadero y Manuel Saumell y adapt las formas cubanas a su
propio estilo clsico. Saumell, un maestro de habanera y otra
msica sincopada, influy no slo a Gottschalk, sino tambin al
ragtime.
#
Reproduction:
music book cover
Caption
Sheet music cover / cubierta de partitura:
15
L.M. Gottschalks Choicest Compositions, 1888

Courtesy of The Hogan Jazz Archive, Tulane University
16
KIOSK PANEL A-6

Focus label
The Mexican Band

In 1884 Mexicos 8th Cavalry Military Band came to New Orleans
to perform at the Worlds Cotton and Industrial Exposition. The
group which locals called the Mexican Band was instantly
popular, and New Orleans music publishers were quick to sell
Mexican-style tunes based on music, much of it Cuban,
played by the Mexican Band.
#
La Banda Mexicana
En 1884 la Banda Militar Mexicana del Octavo Regimiento de
Caballera lleg a New Orleans para actuar en la Exposicin
Mundial del Algodn y la Industria. El grupo a quienes los
residentes llamaron la Banda Mexicana tuvo inmediata
popularidad, y los editores de msica de New Orleans se
apresuraron a vender las obras de estilo mexicano, basadas en
msica mayormente cubana, interpretadas por la Banda
Mexicana.
#
Photo: Mexican Band
Caption
The 8th Cavalry Military Band, New Orleans, about 1885. Right:
Encarnacin Payn, director of the Mexican Band
Banda Militar Mexicana del Octavo Regimiento de Caballera,
New Orleans, cerca de 1885. Derecha: Encarnacin Payn,
director de la Banda Mexicana
17
CASE 3
Artifact (in case 3):
sheet music
Ojos Criollos
Caption

L.M. Gottschalk, Ojos Criollos (William Hall & Son, New York,
1860)
#
sheet music cover
El Nopal
Caption

N. Martinez & W.T. Francis, El Nopal (Junius Hart, New
Orleans, 1885)
#
sheet music cover,
Encarnacion
Caption

C. Maduell, Encarnacin (L. Grunewald, New Orleans, n.d.)
This danzn (the latest style of dance music from Cuba) was a
tribute to Encarnacin Payn, director of the Mexican Band.
Este danzn (el ltimo estilo de msica bailable de Cuba) fue un
tributo a Encarnacin Payn, director de la Banda Mexicana.
#

sheet music cover,
Mexican Music
Caption

Mexican Music (Junius Hart, New Orleans, n.d.)
#
sheet music cover,
St. Louis Blues
Caption
18

W.C. Handy, St. Louis Blues (Handy Brothers Music, New
York, 1914, 1940)
W.C. Handy (18731958) used the rhythm of the Cuban
habanera in crafting his classic St. Louis Blues. Called the
father of the blues, Handy knew Cuban music from a visit to
the island in 1900.
W.C. Handy (18731958) us el ritmo de la habanera cubana al
componer su clsico St. Louis Blues. Conocido como el padre
de los blues, Handy se familiariz con la msica cubana en
una visita a la isla en 1900.
Moorland-Spingarn Research Center, Howard University
#
Quote
The blues were played in New Orleans in the early days very,
very slow, and not like today, but in a Spanish rhythm.
Los blues se interpretaban en New Orleans en los primeros
tiempos muy, muy lento, y no como hoy, sino en un ritmo
latino.
Warren Baby Dodds, drummer / baterista
#
Artifact: sheet music,

The Peanut Vendor,
Noro Morales
arrangement
Caption

The Peanut Vendor (El Manisero), arranged by Noro Morales
(Edward B. Marks, New York, 1932)
El Manisero (The Peanut Vendor) was the first rhumba tune

to sweep America. Noro Moraless arrangement was one of the
most popular versions.
El Manisero (The Peanut Vendor) fue la primera rumba que
arraz a Amrica. El arreglo de Noro Morales fue una de las
versiones ms populares.
19
CASE 4
handmade conga
drums
Caption
Congas, 1969
Modern conga drums evolved in Cuba from larger Central
African prototypes. In New Orleans similar drums developed
from the same source.
Las congas modernas evolucionaron en Cuba de prototipos
grandes de Africa Central. En New Orleans tambores similares
se desarrollaron del mismo origen.
Ral Fernndez
#
Photo:
Baby Dodds with
Conga drum
Caption
Baby Dodds with African-style hand drum, New Orleans, 1954

Baby Dodds con un tambor de estilo africano, New Orleans,
1954
#
Quote
I had to beat drums because nothing else answers.

Tena que tocar los tambores porque nada ms me responde.
Warren Baby Dodds, drummer / baterista
#
Illustration: Congo
Square
Caption
Congo Square, New Orleans, about 1850 / aos de 1850

At a time when African drums were outlawed throughout most
of North America, they could be heard at the Afro-American
gathering-place called Congo Square.
Durante la poca en la que los tambores africanos fueron
prohibidos en la mayora de Norteamrica, stos podan orse en
Congo Square, el lugar de reunin de afroamericanos.
The Historic New Orleans Collection
20
KIOSK B
KIOSK PANEL B-1
Heading
New Orleans
The Tio Family
#
Photo: Lorenzo Tio Sr.

Caption
Lorenzo Tio Sr., 1894

#
Name block
Lorenzo Tio Sr.

clarinet clarinete
c. 1865 (Mxico) c. 1920 (Jackson, Mississippi)
#
Caption
Lorenzo Tio Sr. was a musician and teacher to many early New
hthe 1880s and 1890s. Both he and his son were distinguished
clarinetists. Tio Jr. taught jazz greats Jimmie Noone, Sidney
Bechet, Barney Bigard, Johnny Dodds, Louis Cottrell, and many
others.
Lorenzo Tio era msico y fue maestro de muchos msicos de la
primera poca del jazz en New Orleans. Su popular banda de
baile toc entre 1880 y 1890. Tanto l como su hijo eran
distinguidos clarinetistas. Tio, hijo, ense a grandes del jazz
como Jimmie Noone, Sidney Bechet, Barney Bigard, Johnny
Dodds, Louis Cottrell y muchos otros.
#
Name block
Lorenzo Tio Jr.

clarinet clarinete
1884 (New Orleans) 1933 (New York City)
#
21
Photo: Piron Orchestra
Caption
Lorenzo Tio Jr. (third from left) with Pirons New Orleans
Orchestra, a popular early jazz ensemble
Lorenzo Tio, Jr. (tercero desde la izquierda) con la Piron
Orchestra de New Orleans, un conjunto popular de la poca
temprana del jazz
#
Quote
My teacher was Mexican, Lorenzo Tio . . . . If hed take a

pupil and he could see that he wasnt going to be any good
playing the clarinet, hed tell him, Son, I dont want your
money, you dont have it. And nine times out of ten he was
right.
Mi profesor fue mexicano, Lorenzo Tio . . . . Si tena un alumno
y vea que no iba a ser bueno tocando el clarinete, le deca,
Hijo, no quiero tu dinero, no tienes el talento. Y nueve de cada
diez veces tena razn.
Barney Bigard, musician / msico
#
22
KIOSK PANEL B-2

Heading
New Orleans
Manuel Prez
#
Name block
Manuel Prez
bandleader director de banda
1873 (La Habana, Cuba) 1946 (New Orleans)
#
Poster Reproduction:
St. Joseph Night Ball
Caption
Poster for Manuel Prezs Imperial Orchestra, 1910

Cartel para la Imperial Orchestra de Manuel Prez, 1910
#
Photo: Prez Orchestra
Caption
Manuel Prez (standing second from left) and his Imperial

Orchestra, about 1923
Manuel Prez (de pie, Segundo a la izquierda) y su Imperial
Orchestra, alrededor de 1923
#
Photo:
crowd at Pythian
Temple
Caption
Pythian Temple Roof Garden, New Orleans, 1923

Manuel Perez and his band play from the balcony for a crowd of
dancers. One of the most respected of early jazz musicians,
Perez organized his Imperial Orchestra in 1900.
Manuel Prez y su banda tocan desde el balcn para un grupo
de bailadores. Prez fue uno de los msicos ms respetados de
la primera poca del jazz. Cre su Imperial Orchestra en
1900.
23
KIOSK PANEL B-3

Painting Repro.:
Crucicorde,
Claudia Ruiz
Caption
Painting / pintura: Crucicorde, 1996

Claudia Ruiz
#
Quote
Jazz music came from New Orleans, and New Orleans was
inhabited with maybe every race on the face of the globe. . . .
I heard a lot of Spanish tunes, and I tried to play them in
correct tempo, but I personally didnt believe they were really
perfected in the tempo.
La msica de jazz provino de New Orleans y New Orleans estaba
habitada tal vez por todas las razas del mundo. . . . O muchas
canciones en espaol con ritmo latino y trat de tocarlas en el
tempo correcto, pero yo personalmente no crea que estaban
realmente perfeccionadas en el tempo.
Jelly Roll Morton, musician / msico
#
24
KIOSK PANEL B-4

Heading
Jelly Roll Morton, Luis Russell, Willie Santiago
Name block
Ferdinand Jelly Roll Morton

piano
1890 (New Orleans) 1941 (Los Angeles, California)
#
Photo: Jelly Roll Morton
and band
Caption
Jelly Roll Morton and His Red Hot Peppers, 1920s / aos de
1920
Morton, who claimed to be the inventor of jazz, attributed the
Spanish tinge in his music to the Cuban songs he learned
from his Mexican guitar teacher. Specifically, the tinge
consisted of rhythmic patterns borrowed from the danza and
habanera.
Morton, que aleg ser el inventor del jazz, atribuy el toque
latino en su msica a las canciones cubanas que aprendi de su
profesor mexicano de guitarra. Especficamente, el toque
constaba de modelos rtmicos tomados de la danza y la
habanera.
The Historic New Orleans Collection
Name block
Photo: Arnold Metoyer

Band
Caption
Luis Russell
1902 (Careening Cay, Panam) c. 1962 (New York City)
#
Luis Russell and Willie Santiago with the Arnold Metoyer Band,
New Orleans, 1923
Luis Russell and Willie Santiago con la Arnold Metoyer Band,
New Orleans, 1923
Left to right / de izquierda a derecha:
Paul Barbarin, Arnold Metoyer, Luis Russell, Willie Santiago,
Albert Nicholas
As a child in Panam, Luis Russell studied violin, guitar, and
piano. In the 1920s he moved to New Orleans, where by 1924
he was leading his own group, which included one of the
25
greatest rhythm men of the day, Willie Santiago, a drummer of

Filipino heritage.
In 1935, Russells band became Louis Armstrongs back-up
group in New York City. Russell remained as Armstrongs
musical director until 1945.
De nio en Panam, Luis Russell estudi violn, guitarra y piano.
En los aos de 1920 se mud a New Orleans, donde ya en 1924
estaba dirigiendo su propio grupo, que contaba con una de las
grandes figuras del ritmo de su tiempo, Willie Santiago, un
percusionista de ascendencia filipina.
En 1935, la banda de Russell se convirti en la banda de
acompaamiento de Louis Armstrong en New York City. Russell
sigui siendo director musical de Armstrong hasta 1945.
Name block:
Willie Santiago
percussion percusin
c. 1887 (New Orleans) 1945 (New Orleans)
#
26
KIOSK PANEL B-5

Heading
SON
Quote
Just like the blues is at the root of jazz, in Cuban music the
root is the son.
As como los blues son la raz del jazz, el son es la raz de la
msica cubana.
Chucho Valds, musician / msico
#
Text
At the same time that jazz was taking shape in the United
States, another new music was developing in Cuba. Called son
(Spanish for pleasant sound), this fusion of Spanish guitars
and African drumming emerged in eastern Cuba in the early
1900s and was soon sweeping the island. In time, son would
enter the United States as the rhumba, evolve into mambo, and
lend its compelling rhythms to Latin jazz.
Al mismo tiempo que el jazz estaba tomando forma en los
Estados Unidos, una nueva msica surga en Cuba. El son,
producto de la mezcla de la guitarra espaola y el tambor
africano, surgi en el este de Cuba a comienzos del siglo XX y se
expandi rpidamente a toda la isla. Con el tiempo, el son
entrara a los Estados Unidos bajo el nombre de rhumba,
evolucionara al mambo y contribuira sus atractivos ritmos al
jazz latino.
#
Photo:
Sexteto Habanero
Caption
Sexteto Habanero, Cuba, 1920s /aos de 1920

#
27
KIOSK PANEL B-6

Heading
Antonio Machn, Arsenio Rodrguez

#
Name block
Antonio Machn
singer, composer cantante, compositor
1904 (Sagua La Grande, Cuba) 1977 (Madrid, Espaa)
#
Record Album Cover:

Antonio Machin,
Lamento Esclavo
Caption
Record album cover / cartula de disco: Antonio Machn,

Lamento Esclavo
Antonio Machn was already a well known sonero when he came
to New York in 1930, where he popularized such tunes as El
Manisero (The Peanut Vendor) and Lamento Esclavo (Slaves
Lament). After a few years recording and performing in the
U.S., he made a successful tour of Europe and settled in Spain.
Antonio Machn era ya un conocido sonero cuando lleg a New
York en 1930, donde populariz xitos como El Manisero y
Lamento Esclavo. Despus de algunos aos de grabar y tocar
en los Estados Unidos, hizo una gira exitosa en Europa y se radic
en Espaa.
Courtesy of Tumbao Cuban Classics, Barcelona, Spain
#
Newspaper Ad:
Antonio Machin at the
Apollo Theater
[no caption]
Name block
Arsenio Rodrguez
1911 (Gira de Macurije, Matanzas, Cuba) 1970 (Los Angeles,
California)
#
Photo: Rodrguez jam
session
Caption
Jam session with Arsenio Rodrguez and the Tico-Alegre All

Stars, Village Gate, New York City, 1965
In the 1940s Arsenio Rodrguez, called El Ciego Maravilloso
(The Blind Marvel), revolutionized the Cuban son. By adding
28
conga drums and cowbell, he modified the basic rhythm section

for son, salsa, and much of Latin jazz. He re-energized the son
with street rumbas and with melodies and rhythms from Cubas
Palo Monte religion. The result was the son montuno, a
forerunner of mambo and salsa.
Descarga con Arsenio Rodrguez y Tico-Alegre All Stars, Village
Gate, New York City, 1965
En los aos de 1940 Arsenio Rodrguez, apodado El Ciego
Maravilloso, revolucion el son cubano. Al incluir las congas y el
cencerro, modific la seccin bsica de ritmos del son, la salsa y
gran parte del jazz latino. Dio nueva vida al son, mezclndolo
con rumbas callejeras y con melodas y ritmos de la religin palo
monte de Cuba. El resultado fue el son montuno, precursor del
mambo y la salsa.
Max Salazar Archives
#
Focus label
Santiago de Cuba
The cradle of the son and the bolero, two of the most popular
types of Cuban music, Santiago de Cuba is the center of a region
made culturally rich with the mixture of Spaniards, Africans,
Indians, Chinese, French, and other nationalities. U.S. music
joined the mix in the 20th century, when composers of the son
added blues chords to their music, creating a style they called
influencia.
Santiago de Cuba, la cuna del son y del bolero, dos de los ritmos
ms populares de la msica cubana, es el centro de una regin
de gran riqueza cultural debido a la mezcla de espaoles,
africanos, indios, chinos, franceses y otras nacionalidades. La
msica de los Estados Unidos se uni a esta mezcla en el siglo
XX, cuando los compositores del son agregaron acordes de blues
a su msica, creando el estilo llamado influencia.
#
29
BANNER / B-1
Timeline A
1809-1939
#
30
SECTION TWO
(SOUL OF THE PEOPLE)
KIOSK C
KIOSK PANEL C-1
Heading
(Section title)
The Soul of the People

El alma del pueblo
#
Quote
Music is the soul of the people.

La msica es el alma del pueblo.
Jos Mart, Cuban poet and patriot / poeta y patriota cubano
#
Painting repro.:
Blue Rumba,
Wren Panzella
Caption
Painting / pintura: Blue Rumba

Wren Panzella
#
31
KIOSK PANEL C-2:

Heading
New Arrivals: 1910-1940
Text
Latin jazz is about people in motion chiefly the flow of

peoples and cultures from the Caribbean to New York and other
U.S. cities, where Puerto Rican, Cuban, and other Latino
communities grew and thrived. Musicians, music, and music
fans were all part of this flow, and they played their part in
creating Latin jazz over two periods of time:
Before 1940: Latino music was introduced to the United
States, but usually played on the instruments of U.S. jazz
bands.
After 1940: Caribbean musical instruments most
importantly, the conga drum combined with jazz instruments
to create more complex sounds and rhythms.
Nuevas influencias: 1910-1940

El jazz latino es sobre gente en movimiento principalmente el
flujo de gente y culturas del Caribe a New York y otras ciudades
de los Estados Unidos, donde puertorriqueos, cubanos y otras
comunidades latinas crecieron y prosperaron. La msica, los
msicos y sus entusiastas fueron parte de este flujo y
participaron en la creacin del jazz latino durante dos perodos
diferenciables:
Antes de 1940: La msica latina fue introducida en los Estados
Unidos, pero generalmente se tocaba con los instrumentos de las
bandas de jazz americanas.
Despus de 1940: Los instrumentos musicales del Caribe
fundamentalmente las congas se unieron a instrumentos de
jazz para crear sonidos y ritmos ms complejos.
#
4 Scrapbook Photos:
[credit only]
- Graciela singing
- Machito
- Couple dancing
- Musician playing flute
Graciela
32
KIOSK PANEL C-3

Heading
Alberto Socarrs
#
Name block
Photo:
Socarrs & Cubanacn
Caption
Alberto Socarrs
bandleader, flute director de banda, flauta
1908 (Manzanillo, Cuba) 1987 (New York City)
#
Alberto Socarrs (far right) with Orquesta Cubanacn, El

Cubanacn nightclub, New York City, 1934
A classically trained flautist, Socarrs played popular and
classical music in Cuba. In New York in the 1930s he worked in
jazz bands, led his own Cuban dance band, Cubanacn, and
recorded the first jazz flute solo. His later band, the Socarrs
and His Magic Flute Orchestra, included, for a short time, a
young trumpeter named Dizzy Gillespie.
Alberto Socarrs (extrema derecha) con la Orquesta Cubanacn,
El Cubanacn nightclub, New York City, 1934
Socarrs, un flautista educado en la msica clsica, tocaba
msica popular y clsica en Cuba. En los aos de 1930 trabaj en
New York en bandas de jazz, dirigi su propia banda cubana de
msica bailable, Cubanacn y grab el primer solo de jazz para
flauta. Su ltima banda, Socarrs y su Orquesta Flauta Mgica,
incluy, por un corto tiempo, a un joven trompetista llamado
Dizzy Gillespie.
Frank Driggs Collection
Photo: Las Anacaonas

Caption
Las Anacaonas, 1938

Alberto Socarrs led this all-woman Cuban band during the
groups 1938 tour of Europe. The singer Graciela is at far left.
Alberto Socarrs dirigi esta banda cubana de mujeres, durante
la gira del grupo por Europa en 1938. La cantante Graciela es la
primera a la izquierda.
Graciela
33
KIOSK PANEL C-4

Heading
Hellfighters
#
Text:
In 1917 bandleader James Reese Europe was looking for a few

good men musicians for a U.S. Army band with a jazz sound.
Among his recruits were 15 musicians from Puerto Rico. The
band of the 369th Infantry Regiment (nicknamed the
Hellfighters) gave many audiences in the United States and
Europe their first taste of jazz. Many of its members went on to
careers with jazz bands in New York and elsewhere.
En 1917 el director de orquesta James Reese Europe estaba
buscando buenos msicos para una banda con sonido de jazz del
Ejrcito de los Estados Unidos. Entre sus reclutas figuraron 15
msicos de Puerto Rico. La banda del Regimiento 369 de
Infantera (llamada los Hellfighters) introdujo por primera vez
el jazz a pblicos de los Estados Unidos y Europa. Muchos de sus
miembros continuaron sus carreras en jazz tocando con bandas
en New York y en otras ciudades.
#
Photo: Hellfighters
Caption
369th Infantry Hellfighters Band, 1918

Regimiento 369 de Infantera (Hellfighters), 1918
National Archives and Records Administration
#
Photo: Hernandez and
brother in uniform
Caption
Rafael Hernndez (left) with his brother Jess, about 1919

One of Puerto Ricos most celebrated songwriters, Hernndez
became a highly regarded composer in New York after his tour
of duty with the Hellfighters.
Rafael Hernndez (izquierda) con su hermano Jess, hacia 1919
Uno de los compositores de canciones ms famosos de Puerto
Rico, Hernndez se convirti en un compositor muy respetado en
New York despus de su perodo de servicio con los
Hellfighters.
Justo E. Mart Photographic Collection, Centro de Estudios
Puertorriqueos, Hunter College, CUNY
#
Name block
34
Rafael Hernndez
composer compositor
1896 (Aguadilla, Puerto Rico) 1965 (San Juan, Puerto Rico)
#
35
KIOSK PANEL C-5

Heading
Innovators
Rafael Escudero, Juan Tizol
#
Name block
Rafael Ralph Escudero

tuba
1898 (Manat, Puerto Rico) 1970 (Puerto Rico)
#
Photo: Fletcher
Henderson Orchestra
Caption
The Fletcher Henderson Orchestra, with Rafael Escudero on

tuba
La Fletcher Henderson Orchestra con Rafael Escudero en la
tuba
A member of Puerto Ricos Municipal Band, Rafael Escudero
joined the pit orchestra at Washington, D.C.s Howard Theatre
in 1917. He later recruited his compatriot Juan Tizol to join
him there. In 1921 Fletcher Henderson heard Escudero at the
Howard and signed him to his band in New York, the leading
jazz band of the 1920s.
Rafael Escudero, miembro de la Banda Municipal de Puerto Rico,
se uni a la orquesta del Howard Theatre en Washington, D.C. en
1917. Luego reclut a su compatriota Juan Tizol para que lo
acompaara. En 1921 Fletcher Henderson escuch a Escudero en
el Howard Theatre y lo contrat para su banda en New York, la
principal banda de jazz de los aos de 1920.
#
Name block
Juan Vicente Martnez Tizol

trombone trombn
1900 (San Juan, Puerto Rico) 1984 (Inglewood, California)
#
Photo: Tizol
Caption
Juan Tizol, Harlem, about 1930 / aos de 1930

When Juan Tizol joined Duke Ellingtons orchestra in 1929, he
brought a Latin flavor to one of the most influential bands in
jazz. Ellington admired Tizols fluid style on the trombone, but
36
Tizol is best known as composer of such classics as Moon Over

Cuba, Pyramid, Conga Brava, Perdido, and Caravan.
Cuando Juan Tizol se uni a la orquesta de Duke Ellington en
1929, le dio un sabor latino a una de las bandas ms influyentes
en el jazz. Ellington admiraba el estilo fludo de Tizol en el
trombn. Tizol es ms conocido como compositor de clsicos
tales como Moon over Cuba, Pyramid, Conga brava,
Perdido y Caravan.
Duncan Schiedt Collection
#
Quote
[When I met Ellington] I was playing the tambourine, the

maracas sometimes, the claves, and some of my own tunes [on
trombone] you know, Spanish things like that. . . . [New York
bands] were playing a lot of congas, and he asked me to write
something like that. . . . I called it Conga Brava.
[Cuando conoc a Ellington] estaba tocando la pandereta,
algunas veces las maracas, las claves y algunas de mis propias
tonadas [en trombn] sabes, cosas latinas como esas. . . . [Las
bandas en New York] tocaban mucho las congas y me pidieron
que escribiera algo as. . . . Lo llam Conga brava .
Juan Tizol, musician / msico
#
Photo: on the bus

Caption
Juan Tizol on the bus with Harry Carney, Jimmy Blanton, and
Ben Webster of the Duke Ellington Orchestra, 1940s
Juan Tizol en el autobs con Harry Carney, Jimmy Blanton y Ben
Webster de la Orquesta de Duke Ellington, aos de 1940.
Duke Ellington Collection, National Museum of American History,
Behring Center, Smithsonian Institution
#
37
KIOSK PANEL C-6:

Heading
Innovadores
Noro Morales, Xavier Cugat
#
Name block
Noro Morales
piano, bandleader piano, director de banda
1911 (Puerta de Tierra, Puerto Rico) 1964 (San Juan, Puerto
Rico)
#
Photo: Morales Orchestra
Caption
Noro Morales Orchestra

Justo Mart Photographic Collection, Centro de Estudios
#
Photo: Noro Morales
Caption
Noro Morales
Arriving in New York in 1935, pianist Noro Morales found his
first job with Alberto Socarrss Cubanacn Orchestra. Three
years later, he and his brothers Humberto and Esy formed the
Morales Brothers Puerto Rican Orchestra. He recorded Cuban
and Puerto Rican songs and Latin-style versions of American
pop tunes, but was known primarily for his own compositions,
such as Serenata Rtmica, Noro in Rumbaland, and
Vitamina.
El pianista Noro Morales, lleg a New York en 1935 y encontr su
primer trabajo con la Orquesta Cubanacn de Alberto Socarrs.
Tres aos despus, l y sus hermanos Humberto y Esy formaron
la Orquesta Puertorriquea de los Hermanos Morales. Grab
canciones cubanas y puertorriqueas y versiones latinas de las
canciones populares americanas, pero fue conocido
principalmente por sus composiciones, como Serenata Rtmica,
Noro en Rumbaland y Vitamina.
Centro de Estudios Puertorriqueos, Hunter College, CUNY
#
Name block
Xavier Cugat
1900 (Gerona, Espaa) 1990 (Barcelona, Espaa)
#
38
Album Cover:
Cugat, Rumba Rumbero
Caption
Album cover / cartula de disco: Xavier Cugat and His

Orchestra, Rumba Rumbero
Xavier Cugat introduced Latin music to a wider audience in the
United States. Born in Spain and raised in Cuba, he moved to
the U.S. in the 1920s. His first orchestra played mostly tangos,
but eventually he added the rhumba, conga, mambo, and
merengue to his repertoire. Cugat offered a diluted version of
Afro-Cuban music, but he also featured leading Cuban singers
and percussionists.
Xavier Cugat introdujo la msica latina a un numeroso pblico en
los Estados Unidos. Naci en Espaa, se cri en Cuba y se mud a
los Estados Unidos en los aos de 1920. Su primera orquesta
tocaba principalmente tangos pero con el tiempo agreg rumba,
conga, mambo y merengue a su repertorio. Cugat ofreci una
versin diluda de la msica afrocubana, pero tambin incluy a
importantes cantantes y percusionistas cubanos.
Courtesy of Tumbao Cuban Classics, Barcelona, Spain
39
BANNER / B-3
Timeline B
1940-1959
40
BANNER / B-4
3- photo series:
Cndido & Patato
Caption
Top / arriba: Cndido

Bottom / abajo: Jos Mangual (left / izquierda), Patato
Photographer / fotgrafo: Bob Parent
#
Quote
Jazz provided conga drummers with the opportunity to play

more, and to use several congas. The traditional style in Cuban
music limited the drummers, you had to just keep the beat, not
do much more. With jazz you could be free.
El jazz proporcion a los congueros la oportunidad de tocar ms
y de usar varias congas. El estilo tradicional de la msica cubana
limitaba a estos percusionistas, uno solo tena que mantener el
ritmo y no hacer mucho ms. Con el jazz uno tena ms
libertad.
Armando Peraza, percussionist / percusionista
#
41
KIOSK D
KIOSK PANEL D-1
Heading
Percussionists
Percusionistas
#
Quote
In Latin jazz, the horns take care of the jazz, and the
percussion takes care of the Latin.
En el jazz latino, los metales se encargan del jazz y la
percusin se encarga de lo latino .
Francisco Aguabella, percussionist / percusionista
#
Painting repro.:
Viredo, The Cabildo
Is Coming
Text
Painting / pintura: The Cabildo Is Coming (Ah viene el

cabildo), 1997
By Cuban artist Viredo / por el artista cubano Viredo
#
Cuban-style percussion gave Latin jazz its special rhythm and
energy. The Cubop era of the 40s and 50s ushered in a
number of congueros and bongoseros (conga and bongo
drummers) whose names would become identified with the new
jazz style.
El estilo percusionista cubano dio al jazz su ritmo y energa
especial. La era del Cubop de los aos de 1940 y 1950 hizo
posible que surgieran varios congueros y bongoseros cuyos
nombres seran identificados con el nuevo estilo de jazz.
#
42
KIOSK PANEL D-2

Heading
Chano Pozo
#
Poem (excerpt)
Oye
Im in the presence of ancestor
Chano Pozo
Chano connector of two worlds
You go and celebrate again with
The compaeros in Santiago
and tell us about it.
You go to the spirit house of Antonio Maceo
and tell us about it
You go to Angola
You go to Calabar
You go see the slave castles
you go see the massacres
you go see the afflictions
you go see the battlefields
you go see the warriors
you go as a healer
you go conjurate
you go meditate
you go to the cemetery of drums
And return to tell us about it.
Oye
Estoy ante la presencia del ancestro
Chano Pozo
Chano, enlace de dos mundos
V y celebra otra vez con
los compaeros en Santiago
y cuntanos.
V a la casa espiritual de Antonio Maceo
y cuntanos
V a Angola
y cuntanos
V a Calabar
y cuntanos
V a ver los castillos de los esclavos
V a ver las masacres
V a ver las aflicciones
V a ver los campos de batalla
V a ver a los guerreros
V como curandero
V a conjurar
V a meditar
43
V al cementerio de los tambores

Y vuelve a contarnos
Jayne Cortez, I See Chano Pozo
#
Name block
Chano Pozo (Luciano Pozo y Gonzlez)

congas, composer congas, compositor
1915 (Pueblo Nuevo, Cuba) 1948 (New York City)
#
Photo: Chano Pozo, 1940s
Caption
When Chano Pozo met Dizzy Gillespie, the encounter changed

the course of jazz. Joining Gillespies band in 1947, he was the
first to make Afro-Cuban drumming an integral part of jazz,
turning the conga drum into a true jazz instrument.
Cuando Chano Pozo conoci a Dizzy Gillespie se produjo un
cambio en la historia del jazz. Cuando se integr a la banda de
Gillespie en 1947, fue el primero en hacer que la percusin
afrocubana formara parte integral del jazz, convirtiendo a las
congas en un verdadero instrumento de jazz.
44
KIOSK PANEL D-3

heading
Cndido
#
Name block
Cndido Camero
bong, congas
1921 (San Antonio de los Baos, Cuba)
#
2 Photos: Cndido
Caption
Cndido
A compelling and inventive drummer, Cndido first made his
name in Cuba as a player of the tres guitar. In the 1940s and
1950s, he shuttled between Cuba and the United States,
playing and recording with dozens of artists in both countries.
Un percusionista preciso e inventivo, Cndido primero se hizo
conocer en Cuba como intrprete del tres. En los aos de 1940 y
1950, viaj a menudo entre Cuba y los Estados Unidos, tocando y
grabando con docenas de artistas en ambos pases.
#
Quote
Normally the man who played conga would keep the time. The
other man would be soloing on the bongos. I did both at the
same time. I would put the bongos between my legs and the
conga on the floor to my left. My left hand would play a
pattern on the conga and my right hand would riff on the
bongos. I would riff along with the dancers.
Generalmente el hombre que tocaba la conga mantena el
tempo. El otro hombre haca solos en el bong. Yo tocaba ambos
al mismo tiempo. Pona el bong entre mis piernas y la conga en
el piso a mi izquierda. Mi mano izquierda tocaba un ritmo en la
conga y mi mano derecha improvisaba en el bong. Improvisaba
junto con los bailarines.
Cndido Camero, percussionist / percusionista
#
45
KIOSK PANEL D-4

Heading
Patato
#
Name block
Carlos Patato Valds

congas
1926 (La Habana, Cuba)
#
Photo: Carlos Patato
Valds
Caption
A master innovator of the congas, Patato would play several

drums at once, drawing melodies from them. He came to
prominence in Cuba as the conguero for the popular dance
band Conjunto Casino. In New York in the early 1950s he joined
the Machito Orchestra. Patato also made a number of
important recordings of Afro-Cuban music.
Maestro innovador de las congas, Patato toca varios tambores
al mismo tiempo, arrancndoles sus melodas. Lleg a tener
renombre en Cuba como conguero para el popular Conjunto
Casino. En New York a principios de los aos de 1950 se integr
a la Orquesta de Machito. Patato tambin hizo varias
grabaciones importantes de msica afrocubana.
#
Quote
I went to Africa with Herbie Mann all over, Dakar, Sierra

Leone, Monrovia, Congo, Nyasaland, Kenya, Zanzibar, Lagos . .
. . I played with African drummers . . . . I could play all their
drums, but they learned from me, because they did not know
how to play congas.
Fui a Africa con Herbie Mann anduvimos por todas partes,
Dakar, Sierra Leona, Monrovia, Congo, Nyasaland, Kenya,
Zanzibar, Lagos . . . . Toqu con percusionistas africanos . . . .
poda tocar todos sus tambores, pero ellos aprendieron de m,
porque ellos no saban cmo tocar las congas .
Carlos Patato Valds, percussionist / percusionista
#
46
KIOSK PANEL D-5

Heading
Armando Peraza, Mongo Santamara

#
Name block
Armando Peraza
bong, congas
c. 1918 (La Habana, Cuba)
#
Photo: Armando Peraza

Caption
Armando Peraza became the premier Latin drummer on the

West Coast. Famous in Cuba in the 1940s as a bongosero, he
left for New York in 1948, finally settling in San Francisco in
the early 1950s. He recorded with Cal Tjader, played with the
George Shearing Quintet, and accompanied Carlos Santanas
Latin rock band for 17 years.
Armando Peraza se convirti en el ms destacado percusionista
latino en la costa oeste. Famoso en Cuba en los aos de 1940
como bongosero, parti para New York en 1948, finalmente
asentndose en San Francisco a principios de los aos de 1950.
Grab con Cal Tjader, toc con el George Shearing Quintet, y
acompa a la banda de Latin rock de Carlos Santana por 17
aos.
Photographer / fotgrafo: Ken Franckling
#
Name block
Ramn Mongo Santamara

bong, congas
#
Photo: Santamara
Caption
Mongo Santamara arrived in the U.S. in the 1940s after a long

career as a bongosero in Cuban dance bands. He was the conga
drummer for Tito Puente until 1957, when he left for the West
Coast to join Cal Tjader. Santamara has led his own Latin jazz
groups since the early 1960s and composed the Latin jazz
standard Afro-Blue. His career has bridged jazz, Latin jazz,
rhythm and blues, and other popular music.
Mongo Santamara lleg a los Estados Unidos en los aos de 1940
despus de una larga carrera como bongosero en bandas cubanas
de msica bailable. Fue conguero para Tito Puente hasta 1957,
cuando se fue a la costa oeste para unirse a Cal Tjader.
Santamara ha dirigido sus propios grupos de jazz latino desde
principios de los aos de 1960 y compuso el clsico de jazz latino
47
Afro-Blue. Su carrera ha unido el jazz, el jazz latino, rhythm

and blues y otras msicas populares.
Lee Tanner / The Jazz Image
#
Quote
I was born in the Jess Mara barrio of Havana . . . my

grandfather was from the Congo, but I dont remember him too
much. I basically taught myself to play bongos, watching other
people.
Nac en el barrio Jess Mara de La Habana . . . mi abuelo era
del Congo, pero yo no lo recuerdo demasiado. Bsicamente me
ense a m mismo a tocar el bong mirando a otras personas.
Mongo Santamara, percussionist / percusionista
#
48
KIOSK PANEL D-6

Heading
Jos Mangual, Willie Bobo, Francisco Aguabella

#
Name block
Francisco Aguabella
percussion percusin
1925 (Matanzas, Cuba)
#
Magazine cover:
Francisco Aguabella,
Latin Beat
Caption
Francisco Aguabella Francisco Aguabella,

Latin Beat, May 1999
Francisco Aguabella learned the intricacies of Afro-Cuban

drumming, in particular the bat drums of the Santera
religion, at an early age. He traveled the world with Katherine
Dunhams African-American dance troupe in the 1950s and then
settled in the United States. Aguabella leads both Latin jazz
and dance bands, performs ceremonial drumming at religious
events, and teaches Afro-Cuban religious drumming.
Francisco Aguabella aprendi a una temprana edad las
complejidades de la percusin afrocubana, en particular los
tambores bat de la santera. Viaj por el mundo con el grupo de
baile afroamericano de Katherine Dunham en los aos de 1950 y
luego se estableci en los Estados Unidos. Aguabella dirige
bandas de jazz latino y de baile, toca percusin ceremonial en
eventos religiosos y ensea percusin religiosa afrocubana.
Artist / artista: Yvette Mangual
Latin Beat magazine, May 1999
#
Name block
Jos Mangual (Buy)

bong
1924 (Juana Daz, Puerto Rico) 1998 (New York City)
#
Photo: Jos Mangual
Caption
Jos Mangual (left / izquierda), Luis Miranda, 1955

One of the all-time great bongoseros, Jos Mangual played for
Machito and the Afro-Cubans from 1942 to 1959. He recorded
with Stan Kenton and Dizzy Gillespie, and also played bongos
with the bands of Herbie Mann, Count Basie, and Erroll Garner.
49
Uno de los ms grandes bongoseros de todos los tiempos, Jos

Mangual toc para Machito y los Afrocubanos desde 1942 a 1959.
Grab con Stan Kenton y Dizzy Gillespie y tambin toc bong
con las bandas de Herbie Mann, Count Basie y Erroll Garner.
Ray Avery Jazz Archives
#
Name block
Willie Bobo (William Correa)

percussion percusin
1934 (New York City) 1983 (Los Angeles, California)
#
Photo: Willie Bobo
and son
Caption
Willie Bobo and his son Eric Correa, 1977

Willie Bobo y su hijo Eric Correa, 1977
Willie Bobo played some of the most exciting timbales solos
ever recorded. He worked with dance bands in New York and in
the 1950s became Tito Puentes bongosero. Bobo eventually
left New York to become the timbalero in Cal Tjaders San
Francisco-based quintet. He also made a series of recordings
that combine Afro-Cuban rhythms with jazz and rhythm and
blues.
Willie Bobo toc algunos de los solos de timbales ms excitantes
que se hayan grabado. Trabaj con bandas de baile en New York
y en los aos de 1950 se convirti en el bongosero de Tito
Puente. Con el tiempo, Bobo se fue de New York para
convertirse en el timbalero del quinteto de Cal Tjader en San
Francisco. Tambin hizo una serie de grabaciones que combinan
los ritmos afrocubanos con jazz y rhythm and blues.
50
BANNER / B-5
Painting repro.:
Ruiz, Tumbao
Caption
Painting / pintura: Tumbao, 2000

Claudia Ruiz
#
Poem
Conguero,
your hands
Sweet mangos
dropping from trees
falling on the skins
of years past.
They prop you up
A relic of the rumba
with mechanical palms
Still
beating the rhythm of the tumbao.
The night is smoke & stars, new children
Dancing to an invisible memory,
to a silent clave.
They are not with you now, conguero,
Yamb angel.
Somewhere in a communication between
Heaven
And earth
Legend has made you the ghost of the guaguanc.
Conguero,
tus manos
Mangos dulces
Bajando de los rboles
Cayendo en la piel
de aos pasados.
Te levantan en tu lugar
Una reliquia de la rumba
con palmas mecnicas
An
batiendo el ritmo del tumbao.
La noche es humo y estrellas, nuevos nios
Bailando al son de una memoria invisible,
de una silenciosa clave.
No estn contigo ahora, conguero,
ngel Yamb.
En alguna parte en una comunicacin entre
El cielo
Y la tierra
La leyenda te ha hecho el fantasma del guaguanc.
51
Lola Rodrguez, Conguero

#
52
WALL PANEL / W-2

Text
Rooted in the Spirit

Some of Cubas best drummers mastered their craft through
religious practices of African or Caribbean origin, such as
Santera, Abaku, and Palo Monte. Afro-Cuban drumming often
contains an element of spirituality.
Arraigado en el espritu
Algunos de los mejores percusionistas de Cuba perfeccionaron
su arte mediante las prcticas religiosas de origen africano o
del Caribe, tales como santera, abaku y palo monte. La
percusin afrocubana a menudo retiene un elemento de
espiritualidad.
#
CD cover
Francisco Aguabella:
Latin Jazz Ensemble
Caption: credit only
OLM Records
#
Definitions
Clave
(Spanish for key or code) A rhythmic pattern of five strokes
that is the basis of much Cuban music, salsa, and Latin jazz.
Un patrn rtmico de cinco toques que es la base de mucha de
la msica cubana, la salsa y el jazz latino.
Conguero
Conga player.
Quien toca las congas o tumbadoras.
Lucum
In Cuba, the name given to Yoruba or Yoruba-derived
traditions, customs, religion, and language.
En Cuba, el nombre dado a los yoruba o a las tradiciones,
costumbres, religin e idioma derivados de los yoruba.
Palo Monte
A Cuban religion with roots in the Congo River Basin of Central
Africa.
53
Una religin cubana con races en la cuenca del Ro Congo en

Africa Central.
Santera
A spiritual path that combines elements of African (primarily
Yoruba) and Roman Catholic religious beliefs and practices.
Un camino espiritual que combina elementos de creencias y
prcticas religiosas africanas (principalmente yoruba) y
catlicas romanas.
Tumbao
A rhythmic pattern played on conga drum or bass in Cuban
music, salsa, and Latin jazz.
Un patrn rtmico que se toca en conga o contrabajo en la
msica cubana, la salsa y el jazz latino.
Yamb
A very slow style of traditional Cuban rumba.
Un estilo muy lento de rumba cubana tradicional.
#
54
MAP 2
(next to Rooted in the
Spirit panel)
[[Migration and development of drums and other Caribbean
percussion instruments]]
[[Migracin y evolucin de los tambores y otros instrumentos de
percusin del Caribe]]
#
Quote (with map)
. . . in all hearts throb the collective heartbeats of humanity

and in each human skin there is a drum that vibrates.
. . . en todos los corazones palpitan los latidos de una
humanidad comn y en cada piel humana hay un tambor que
vibra.
Fernando Ortiz, Cuban anthropologist / antroplogo cubano
#
Legend
Claves (Cuba)
These two hardwood sticks are used to beat out clave (literally,
the key), a basic rhythm of Latin percussion. Adapted from
West African rhythms, clave is one of the foundations of Latin
jazz.
Estos dos palos de madera se usan para marcar el comps de la
clave, un ritmo bsico de la percusin en el jazz latino. Derivado
de los ritmos de Africa Occidental, la clave es uno de los
fundamentos del jazz latino
#
Conga drums / congas (Cuba)
Congas (called tumbadoras in Cuba) evolved in Cuba from larger
Central Africa drums. Congas join with piano and bass to develop
the rhythms (tumbaos) anchored by the claves.
Las Congas (llamadas tumbadoras en Cuba) evolucionaron en
Cuba de tambores grandes de Africa Central. Las congas se unen
al piano y al contrabajo para desarrollar ritmos (tumbaos)
conformes con el comps de la clave.
#
Bongo drums / bong (Cuba)
Bongo drums were developed in eastern Cuba, where they were
associated with the son. They are used to play rhythm and to
add spice and color to the music.
55
El bong se desarroll en el este de Cuba como parte de los

grupos de son. Se usa para acompaar el ritmo y aadir sabrosos
repiques.
#
Timbales (Cuba, Puerto Rico)
The timbales developed in Cuba as a portable version of the
European kettledrum.
Los timbales se desarrollaron en Cuba como una versin porttil
del timbal europeo.
#
Giro (Cuba, Puerto Rico, Dominican Republic)
A dried gourd with shallow cuts along one side. The giro is
played by rubbing a stick across the cuts to produce a rhythmic
sound. The giro may have its roots in Amerindian music and has
long been associated with Cuban and Puerto Rican bands.
El fruto seco de la gira o higera con pequeos surcos cortados
por un lado, el giro se toca frotando sobre stos una varilla
dura para producir un sonido que da relieve al ritmo. El giro
podra tener sus orgenes en la msica indgena y ha sido muy
usado en las bandas de msica cubana y puertoriquea.
#
Maracas (Cuba, Puerto Rico, Dominican Republic)
A Caribbean instrument with Amerindian roots, the maracas are
dried-gourd rattles with a stick handle, filled with seeds or
beads. They are sometimes made from leather.
Un instrumento caribeo de races indgenas, las maracas se
construyen con la corteza seca de una higera o giro,
conteniendo semillas o bolitas de cualquier sustancia dura y lleva
un asidero manual. Las maracas a menudo son hechas de cuero.
#
Shekere (West Africa, Cuba)
The shekere in its present form evolved in Cuba out of West
African gourd rattles. The loose-fitting net of beads strikes
against the gourd as it is shaken.
El shekere es una maraca o giro con origen en Africa Occidental
que evolucion en Cuba hasta su presente forma. En los hilos de
la red holgada que lo forra van pasadas unas cuentas que
percuten la superficie exterior del giro cuando ste sacude.
#
Pandereta (North Africa, Spain, Brazil, the Caribbean)
The pandereta developed independently in many parts of the
world. (Related instruments are also known as pandero, tambor,
tambora or tambourine).
56
La pandereta se desarroll independientemente en muchas

partes del mundo. (Instrumentos relacionados tambin se
conocen como pandero, tambor, tambora o tamborn
#
Marmbula (West Africa, the Caribbean)
Popularly known as a thumb piano, the marmbula consists of
a wood box with a hole in the center for resonance. A musician
plucks the metal strips that are laid over the hole to produce
sound.
Popularmente conocida como un piano de dedo, la marmbula
consiste de una caja de madera con una apertura en el centro
para la resonancia. El ejecutante la hace sonar oprimiendo con
los dedos los flejes colocados sobre la caja armnica
#
Jazz drum set / batera
A modern addition to Latin jazz, the jazz drum set is an
adaptation of European drums used by military marching bands,
played with sticks and brushes.
Una adicin moderna al jazz latino, la batera del jazz es una
adaptacin del tambor europeo usado por las bandas militares,
tocado con palillos y brochas.
#
57
SECTION THREE:
(CENTERS OF LATIN
JAZZ)
KIOSK E
KIOSK PANEL E-1
Section title
Centers of Latin Jazz

Centros del jazz latino
#
Quote
. . .everytime I come to giant city

Hear tambores . . .
. . . cada vez que vengo a ciudad gigante
Escuchar tambores . . .
Vctor Hernndez Cruz, Tropicalizacin, 1976
#
Photo: NY City
Caption
New York City, 1930s / aos de 1930

Library of Congress
58
KIOSK PANEL E-2

Heading
New York City

#
Text
New York City had been the center of the jazz world since the
late 1920s. Jazzmen from all over converged on the Big
Apple for a chance to play with the worlds best. At the same
time, people from Puerto Rico, Cuba, the Dominican Republic,
and elsewhere in the Caribbean were migrating to New York.
Many settled in Harlem and in the barrios, neighborhoods alive
with their own music.
In New York in the 1940s, jazz collided with the music of the
Spanish Caribbean. In the jazz clubs, dance halls, and social
clubs of New York, these two worlds came together.
La ciudad de New York haba sido el centro del mundo del jazz
desde fines de los aos de 1920. Jazzistas de todo el mundo

llegaban a la Gran Manzana para tener la oportunidad de tocar
con los mejores msicos del mundo. Al mismo tiempo, gente de
Puerto Rico, Cuba, Repblica Dominicana y otros pases del
Caribe estaba emigrando a New York. Muchos se establecieron en
Harlem y en los barrios, vecindarios que vibraban con su propia
msica.
En New York en los aos de 1940, el jazz choc con la msica del
Caribe hispano. En los clubes de jazz, salones de baile y clubes
sociales de New York, estos dos mundos se unieron.
#
Quote
A culture, we all know, is made by its cities.

Todos sabemos que una cultura est hecha por sus ciudades.
Derek Walcott, poet / poeta
#
Photo: Ruth Fernandez

and band de-planing
Caption
Singer Ruth Fernndez (in dark coat) and musicians arrive at

New York International Airport.
La cantante Ruth Fernndez (con abrigo oscuro) y msicos llegan
al Aeropuerto Internacional de New York.
59
#
Photo: Crowd in front
of theater
Caption

#
Photo: NY City, 1950s

60
KIOSK PANEL E-3

Heading
Cradle of Cubop
Cuna del Cubop
#
Text
Cubop, Afro-Cuban jazz, or Latin jazz whatever you call it,

its a New York sound.
New York was the place where jazz mixed with Caribbean
dance music for the first time. The new sound developed in
dance halls, social clubs, and other hot spots first in Harlem
and the South Bronx and later throughout the city. At jam
sessions, musicians of various backgrounds watched and
listened to each others performances, exchanging ideas,
improvising new rhythms, and inspiring new compositions.
Cubop, jazz afrocubano, o jazz latino como se llame, es un
sonido de New York.
New York fue el lugar donde el jazz se mezcl con la msica
bailable del Caribe por primera vez. El nuevo sonido se
desarroll en los salones de baile, clubes sociales y otros lugares
de moda primero en Harlem y el sur del Bronx y luego en toda
la ciudad. Cuando se reunan a tocar, msicos de experiencias
diversas observaban y escuchaban las actuaciones de los dems,
intercambiando ideas, improvisando nuevos ritmos e inspirando
nuevas composiciones.
#
Painting repro.:
Liggins, Latin Rhythms
Run Deep
Caption
Painting / pintura: Latin Rhythms Run Deep, 2001

Anthony Liggins
#
61
KIOSK PANEL E-4:

Heading
Rumba
Rhumba: La Conga Club
#
Quote
American jazz and Cuban rumbas have the same African

roots.
Machito, Cubop City liner notes, 1948
El jazz americano y las rumbas cubanas tienen las mismas
races africanas.
Machito, comentario de cartula, Cubop City, 1948
#
Text
In the 1930s, the Cuban son entered the United States under
the assumed name of rhumba or rumba and quickly took
over the dance floors of New York. The opening of La Conga,
the first pan-American supper club, brought Caribbean and
Latin American dance to an ever-expanding audience.
En los aos de 1930, el son cubano entr en los Estados Unidos
bajo el nombre de rhumba o rumba y se impuso en los
salones de baile de New York. La apertura de La Conga, el
primer club panamericano, permiti que el baile caribeo y
latinoamericano llegara a un pblico cada vez ms amplio.
#
Photo: Machito, Graciela
et al backstage at
La Conga
Caption
Machito, Graciela, Bobby Cap, and Mario Bauz backstage at

La Conga, 1950s
Machito, Graciela, Bobby Cap y Mario Bauz entre bambalinas
en La Conga, aos de 1950
Graciela
#
Newspaper Ad:
Pan-Americana
Moves North
(no credit available)
Photo: Conga Club
62
KIOSK PANEL E-5

Heading
The Apollo Theatre

Harlems High Spot
El lugar preferido de Harlem
#
Text
Since 1935, the Apollo Theatre in Harlem has showcased top

performers. The famous 1930s battles of the bands under
such titles as Harlem vs. Cuba, Puerto Rico vs. Cuba, AfroLatin Blowout (a battle of horns), and Harlem-Havana
Showdown were good-natured fun, and the beginning of the
music fusion called Latin jazz. In the 1940s Cubop brought waves
of Spanish Caribbean musicians and spectators to the Apollo.
Desde 1935, los mejores artistas han actuado en el Apollo
Theatre en Harlem. Las famosas batallas de las bandas de los
aos de 1930 bajo ttulos como Harlem vs. Cuba, Puerto
Rico vs. Cuba, Afro-Latin Blowout (una batalla de metales)
y Harlem-Havana Showdown fueron diversin sana y
marcaron el comienzo de la fusin musical llamada jazz latino.
En los aos de 1940 el Cubop trajo al Apollo un gran nmero de
msicos y espectadores del Caribe hispano.
#
Photo: publicity montage,

Apollo Theatre
Caption
Performers at the Apollo Theatre, 1950s

Artistas en el Apollo Theatre, aos de 1950
The line-up includes Machito and Graciela, members of the
Machito Orchestra, and master of ceremonies Charlie Packard.
La foto presenta a Machito y Graciela, miembros de la orquesta
de Machito y el maestro de ceremonias Charlie Packard.
Graciela
#
Photo: Mario Bauz
Caption
Mario Bauz, Harlem, 193536

Courtesy Lourdes Bauz
63
Quote
When I got to New York, I went to Harlem . . . when I heard

the Charlie Johnson Orchestra, I said this is what Im looking
for.
Cuando llegu a New York, fui a Harlem . . . cuando escuch la
orquesta de Charlie Johnson dije, sto es lo que estaba
buscando .
Mario Bauz, musician / msico
#
64
KIOSK PANEL E-6

Heading
Palladium Ballroom
Home of the Mambo
La casa del mambo
Text
In the 1950s, the dance music known as the mambo a

descendant of the Cuban danzn and son swept through New
York like a storm. While authentic mambo enthusiasts
favored places like Hunts Point Palace in the Bronx and the
Park Plaza Ballroom in Manhattan, the Palladium Ballroom on
Broadway attracted Latin/Caribbean and jazz audiences alike,
particularly fans who wanted jazz they could dance to. Top
Latin bands from New York, Havana, and San Juan, Puerto Rico,
played the Palladium.
En los aos de 1950, la msica bailable conocida como el mambo
descendiente del danzn cubano y del son arras a New York
como una tormenta. Aunque los autnticos entusiastas del
mambo preferan lugares como Hunts Point Palace en el Bronx y
Park Plaza Ballroom en Manhattan, el Palladium Ballroom de
Broadway atraa al pblico latino/caribeo y de jazz por igual,
en particular a entusiastas que queran un jazz que pudieran
bailar. Las principales bandas latinas de New York, La Habana y
San Juan, Puerto Rico, tocaron en el Palladium.
#
Photo: Machito Orchestra
Caption
Machito Orchestra, Palladium Ballroom, 1950s / dcada de

1950
65
KIOSK F
KIOSK PANEL F-1
Heading
Mario Bauz
#
Photo: Bauza at 80
Caption
Mario Bauz at his 80th birthday celebration, New York City,

1991
Mario Bauz celebrando sus 80 aos, New York City, 1991
Photographer / fotgrafo: Enid Farber
#
Text
The year 1940 was a milestone for Latin jazz when Mario Bauz
and Machito founded the band Machito and the AfroCubans in
New York City. With Bauz as music director and Machito as
bandleader and singer, the group served up Afro-Cuban spice
powered by a big-band sound. Bauz had dreamed of bringing
jazz together with Afro-Cuban music. This band was the cauldron
in which the new fusion began to simmer.
El ao 1940 marc un hito para el jazz latino con la creacin de
la banda Machito y los Afrocubanos en New York City. Con Mario
Bauz como director musical y Machito como director y
cantante, el grupo ofreca un ritmo afrocubano bien picante,
impulsado por un sonido big-band. Bauz haba soado con
unir el jazz y la msica afrocubana. Esta banda fue el caldo de
cultivo donde se gener esta nueva fusin.
#
Name block
Mario Bauz
trumpet trompeta
1911 (La Habana, Cuba) 1993 (New York City)
#
Photo: Bauza as child

Caption
Mario Bauz (front row, center), age nine, with music students
and instructors in Havana, 1920
Mario Bauz (primera fila, centro), a la edad de nueve aos, con
estudiantes de msica y profesores en La Habana, 1920
One of the architects of Latin jazz, Mario Bauz had his start in
classical music, studying nine years at the Havana Music
Conservatory and joining the Havana Symphony at 16. In 1930,
he left Cuba with Don Azpiazus band, settling in New York.
66
Uno de los arquitectos del jazz latino, Mario Bauz se inici en la

msica clsica, estudiando nueve aos en el Conservatorio de
Msica de La Habana e integrndose a la Sinfnica de La Habana
a los 16 aos. En 1930 sali de Cuba con la banda de Don
Azpiazu, radicndose en New York.
67
KIOSK PANEL F-2

Heading
Machito
#
Name block
Machito (Frank Grillo)

bandleader, singer director de banda, cantante
1908 (La Habana, Cuba) 1984 (London)
#
Newspaper Article:
Machitos obituary
New York Times, April 17, 1984 / 17 de abril de 1984

#
Photo: Machito,
Graciela at Glen Island
Caption
Machito (far right) and his sister Graciela (far left), Glen Island
Casino, New Rochelle, New York, 1947
Other musicians: Jos Mangual (front, on bongos); top, left to
right: Carlos Vidal (congas), Ren Hernndez (piano), Ubaldo
Nieto (timbales), Bobby Rodrguez (bass)
Machitos blend of Afro-Cuban music and jazz thrilled
Caribbean and American audiences alike. Machito had been a
vocalist in the orchestras of Noro Morales, Alberto Iznaga, and
Xavier Cugat. He recorded with a whos-who of jazz greats,
including Noble Sissle, Fletcher Henderson, Chick Webb, Buddy
Rich, Cannonball Adderley, Herbie Mann, and many others.
Machito (extrema derecha) y su hermana Graciela (extrema
izquierda), Glen Island Casino, New Rochelle, New York, 1947
Otros msicos: Jos Mangual (al frente, en el bong); fila
superior, de izquierda a derecha: Carlos Vidal (congas), Ren
Hernndez (piano), Ubaldo Nieto (timbales) y Bobby Rodrguez
(contrabajo)
La mezcla de msica afrocubana y jazz de Machito estremeci
por igual al pblico caribeo y estadounidense. Machito haba
sido vocalista en las orquestas de Noro Morales, Alberto Iznaga y
Xavier Cugat. Grab con los nombres ms grandes del jazz,
incluyendo a Noble Sissle, Fletcher Henderson, Chick Webb,
Buddy Rich, Cannonball Adderley, Herbie Mann y muchos otros.
Photographer / fotgrafo: William H. Gottlieb / Library of Congress
68
KIOSK PANEL F-3

Heading
Bebop to Cubop
Del Bebop al Cubop
#
Quote
When we started to play things with a Latin flavor in the Dizzy

Gillespie band, some kind of magic happened . . . . when we
played Cubano Be, Cubano Bop and Manteca at the Apollo, I
thought the balcony was going to fall off the hinges . . . Chano
was really brilliant!
Cuando comenzamos a tocar cosas con un sabor latino en la
banda de Dizzy Gillespie, sucedi algo mgico . . . . al tocar
Cubano Be, Cubano Bop y Manteca en el Apollo, pens que el
balcn se vena abajo . . . Chano era realmente brillante!
Al McKibbon, musician / msico
#
Text
In the 1940s a group of young New York musicians created a

radical new sound called Bebop. With its speed and harmonic
complexities, Bebop was a far cry from the danceable jazz of
the 20s and 30s. But when Bebop mixed with Afro-Cuban
rhythms and traditional jazz improvisation, the result was a
danceable new music called Cubop, Afro-Cuban jazz, or just
Latin jazz.
En los aos de 1940 un grupo de msicos jvenes de New York
cre un nuevo sonido radical llamado Bebop. Con su rapidez y
complejidad armnica, el Bebop era muy diferente del jazz
bailable de los aos de 1920 y 1930. Pero cuando esta nueva
forma se mezcl con ritmos afrocubanos e improvisaciones
tradicionales de jazz, el resultado fue una nueva msica bailable
llamada Cubop, jazz afrocubano o simplemente jazz latino.
#
Photo: Gillespie &

Bauza
Caption
Dizzy Gillespie, Mario Bauz, 1991

Photographer / fotgrafo: Jorge Carva
69
KIOSK PANEL F-4

Heading
Dizzy Gillespie, Chano Pozo

#
Quote
All of my Afro-Cuban numbers were composed by Chano and me

. . . they were Chanos ideas and I always added something.
Chano would always sing the instrumental parts, then ask if
anything was missing . . .
Todos mis nmeros afrocubanos fueron compuestos por Chano y
por m . . . eran ideas de Chano y yo siempre agregaba algo.
Chano siempre cantaba las partes instrumentales y luego me
preguntaba si faltaba algo . . .
Album cover:
Gene Norman Presents
Caption
Dizzy Gillespie, musician / msico

#
Album cover / cartula de disco, 1949

Courtesy GNP Crescendo Records
#
Name block
John Birks Dizzy Gillespie

trumpet trompeta
1917 (Cheraw, South Carolina) 1993 (Englewood, New Jersey)
#
Photo: Dizzy Gillespie
Caption
Dizzy Gillespie
One of the creators of Bebop, Gillespie was also a major force
in Latin jazz. In 1939 he met Mario Bauz when both played
trumpet for Cab Calloways band. Bauz introduced him to
Afro-Cuban music and, when Gillespie had his own band,
encouraged him to hire conga player Chano Pozo. Gillespie
discovered that Afro-Cuban rhythms put a new spin on his
music.
Gillespie, uno de los creadores del Bebop, fue tambin una gran
influencia en el jazz latino. En 1939 conoci a Mario Bauz
cuando ambos tocaban trompeta para la banda de Cab Calloway.
Bauz introdujo a Gillespie a la msica afrocubana y cuando ste
form su banda, lo anim para que contratara al conguero Chano
Pozo. Gillespie descubri que los ritmos afrocubanos le daban
una nueva dimensin a su msica.
Photographer / fotgrafo: Martin Cohen
70
Photo: Diz, Chano Pozo,

James Moody
Caption
Dizzy Gillespie (right / derecha), Chano Pozo (center / centro)

and James Moody, New York City, 1948
#
Quote
Dizzy and I approached Afro-Cuban music in slightly different

ways. What I did first, and always, was to put in the bass line
and the piano line from the Cuban traditional style. He was one
of the creators of Bebop, so that was his basis, and to that he
added a conga drum.
Dizzy y yo encaramos la msica afrocubana en formas un poco
diferentes. Lo que yo haca primero, y siempre, era incluir la
lnea del contrabajo y del piano al estilo tradicional cubano. El
fue uno de los creadores del Bebop, as que sa fue su base y a
eso le agreg las congas.
#
Reproduction:
page from Manteca
Caption
Manteca, 1948
Composed by Chano Pozo with Dizzy Gillespie, Manteca is the
first real collaboration between a U.S. jazz composer and a
specialist in Afro-Cuban rhythms. A Latin jazz anthem, it is one
of the most frequently played and recorded of all Latin jazz
standards.
Manteca, compuesta por Chano Pozo y Dizzy Gillespie, es la
primera colaboracin real entre un compositor de jazz de los
Estados Unidos y un especialista de ritmos afrocubanos. Un
himno del jazz latino, Manteca es una de las piezas ms
tocadas y grabadas de todas las formas de este gnero musical.
71
KIOSK PANEL F-5

Heading
Chico OFarrill, Afro-Cuban Jazz Suite

#
Quote
When we heard the Machito Orchestra for the first time, it

knocked the breath out of me. It was the first time I heard
Afro-Cuban music with a touch of jazz . . . so intense . . . like a
big-band sound with harmonies. I was dumbfounded.
Cuando escuch a la Orquesta de Machito por primera vez, me
dej sin aire. Fue la primera vez que escuch msica afrocubana
con un toque de jazz . . . tan intenso . . . como si fuera un
sonido big-band con armonas. me dej sin habla.
Chico OFarrill, composer, arranger / compositor, arreglista,
1948
#
Photo: Chico OFarrill

Caption
Chico OFarrill, 1996

Chico OFarrills Havana family sent him to military school in
the U.S. to learn discipline. Instead, he learned about jazz.
Back in Cuba, he studied trumpet and composition, but after
moving to New York in the late 1940s, he gave up the trumpet
for music arranging. He wrote classics of Afro-Cuban jazz,
including The Afro-Cuban Jazz Suite and the Manteca Suite for
Dizzy Gillespie.
La familia de Chico OFarrill en La Habana lo envi a una escuela
militar en los Estados Unidos para aprender disciplina. En
cambio, l aprendi jazz. De vuelta en Cuba, estudi trompeta y
composicin, pero despus de mudarse a New York a fines de los
aos de 1940, dej la trompeta y se dedic a arreglista. Escribi
clsicos del jazz afrocubano, como The Afro-Cuban Jazz Suite, y
Manteca Suite para Dizzy Gillespie.
Photographer / fotgrafo: John Abbott
#
Name block
Arturo Chico OFarrill

trumpet, arranger trompeta, arreglista
1921 (La Habana, Cuba) 2001 (New York City)
#
72
KIOSK PANEL F-6

Heading
Cutting-Edge Jazz
Jazz de vanguardia
Royal Roost
Birdland
Bop City
Village Gate
#
Text
Clubs that specialized in cutting-edge jazz would not normally

have booked Latin bands. But after Bebop began to mix with
the Afro-Cuban sound, the clubs opened their doors to the new
fusion. While many audiences were turned off by the
complexities of Bebop, the danceable rhythms of Cubop pulled
the fans back in.
Los clubes que se especializaron en el jazz de vanguardia
normalmente no incluan bandas latinas. Pero despus que el
Bebop comenz a mezclarse con la msica afrocubana, los
clubes abrieron sus puertas a la nueva fusin. Mientras que
muchos pblicos no disfrutaban de la complejidad del Bebop,
los ritmos bailables del Cubop volvieron a capturar a los
entusiastas.
#
Photo: Royal Roost

marquee
73
WALL PANEL / W-3

Heading
Tanga, Cubop City

#
Text
Tanga, the signature tune of Machito and the AfroCubans,

was the first true Latin jazz composition. Heard for the first
time in New York City in 1943, it evolved out of the Cuban tune
El Botellero (The Bottle Vendor) during after-hours jam
sessions and announced the arrival of a new sound on the
musical scene.
Tanga, el tema que identificaba a Machito y los Afrocubanos,
fue la primera composicin verdadera de jazz latino. Este tema
se escuch por primera vez en New York en 1943, evolucion de
la meloda El Botellero durante sesiones de improvisacin y
marc la llegada de un nuevo sonido musical.
#
Photo: Howard McGhee

Howard McGhee
#
Photo: Brew Moore
Brew Moore
#
Photo: Flip Phillips
Flip Phillips
#
Caption
At an Apollo Theatre show, Howard McGhee and Brew Moore

riffed improvisations on Tanga with the Machito Orchestra.
Those improvisations became the basis of the landmark
recording Cubop City (Parts 1 and 2). McGhee, Moore, and Flip
Phillips were featured soloists on a number of recordings with
the Afro-Cubans.
74
Durante una actuacin en el Apollo Theatre, Howard McGhee y

Brew Moore improvisaron sobre el tema Tanga con la
orquesta de Machito. Esas improvisaciones fueron la base de
Cubop City (Partes 1 y 2). McGhee, Moore y Phillips fueron los
solistas principales en varias grabaciones con los Afrocubanos.
#
75
BANNER / B-6
Timeline C
1960-1979
76
BANNER / B-7
Heading
Graciela
#
Name block:
Graciela (Graciela Grillo)

singer cantante
#
Photo: Graciela
Caption
A singer with her brother Machitos band for more than 30

years, Graciela introduced the sensual Cuban bolero to jazz
audiences in the U.S. She was also noted for humorous doubleentendre tunes, which became her trademark. Graciela was
still recording her boleros in the 1990s.
Graciela, quien cant con la banda de su hermano Machito por
ms de 30 aos, introdujo el sensual bolero cubano a los
amantes de jazz en los Estados Unidos. Tambin fue conocida
por canciones humorsticas de doble sentido que la hicieron
famosa. Graciela estaba todava grabando sus boleros en los aos
de 1990.
Graciela
#
Song lyric
Letra de la cancin: Ayer lo v llorar

Ayer lo v llorar,
Llorar por m,
Y, de emocin, desesperada,
Me estremec.
Esas lgrimas de amor
Hoy a mi vida encantan
Pues brotaron del pudor
De un sin igual santo.
Ayer lo v llorar
Llorar por m,
Y, de repente
En mi pecho yo sent,
Sent tristeza al comprender
Que algo lo hera
Sublime dicha al conocer
Que me quera.
77
Song lyrics: Ayer lo v llorar

I saw him crying yesterday
Crying for me,
And, with emotion, desperate,
I trembled.
Those love tears
Make my life a delight
Because they came from the shyness
Of a unique angel.
I saw him crying yesterday
Crying for me,
And, suddenly
I felt in my heart,
I felt sadness when I understood
That something was hurting him
Sublime happiness when I learned
That he loved me.
Jos Antonio Mndez, composer / compositor
#
78
FRAMED ITEM 1
Artifact: program, 50th

anniversary tribute to Machito
Artifact: Chano Pozo Program
79
BANNER / B-8
Photo: marquee,
Tito Puente &
Rene Touzet
Caption
Hollywood Palladium, 1958

Chico Sesma Collection
#
Photo: Beny Mor

Caption
Beny Mor, Hollywood Palladium, 1958

Quote
My sisters used to have all the Machito records, Tito Puente

and Tito Rodrguez. . . . We lived here in California so we had
the Hollywood Palladium . . . Latin dances like they had at the
Palladium in New York City . . . the mambo, cha cha cha, the
pachanga, and all that stuff. . . . To me it was the music that
we played at home every day.
Mis hermanas solan tener todos los discos de Machito, Tito
Puente y Tito Rodrguez. . . . Vivamos aqu en California y
tenamos al Hollywood Palladium . . . bailes latinos como los
tenan en el Palladium de la ciudad de New York . . . el
mambo, cha cha ch, la pachanga y todas esas cosas. . . . Para
m era la msica que escuchbamos en casa todos los das.
Poncho Snchez, percussionist / percusionista
#
80
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KIOSK PANEL G-1
Heading
West Coast
#
BANNER: painting
DuFore, Third World
Caption
Quote
Painting / pintura: Third World (Carlos Santana), 1975

Peter Michael DuFore
#
In Southern California, especially in Los Angeles, we cant say

that our jazz audience is primarily black, or white, or middleclass, or anything because the audience is everything and
everybody. There is a tremendous diversity. It is totally
different from Chicago or New York. There is an emerging
America here.
En el sur de California, especialmente en Los Angeles, no
podemos decir que nuestra audiencia de jazz es principalmente
negra, blanca o de clase media, porque la audiencia es todo y
son todos. Hay una extraordinaria diversidad. Es totalmente
diferente de Chicago o New York. Aqu est surgiendo otra
Amrica.
#
81
KIOSK PANEL G-2:

Heading
Originals
Originales de la costa oeste
#
Text
As Cubop spread across the United States, San Francisco and

Los Angeles developed into important centers of Latin jazz,
hotbeds of experimentation, musical individualism, and new
fusions. By the 1990s, the West Coast had become home to
several yearly festivals and nearly two dozen Latin jazz venues
in Los Angeles alone.
Segn el Cubop se fue difundiendo por los Estados Unidos, San
Francisco y Los Angeles se convirtieron en centros importantes
del jazz latino, de experimentacin, individualismo musical y
nuevas fusiones. Para los aos de 1990, la costa oeste se haba
convertido en el centro de varios festivales anuales y Los Angeles
contaba con casi dos docenas de locales dedicados al jazz latino.
#
Name block
Photo: Mongo, Machito

et al.
Caption
Ren Bloch
saxophone, bandleader saxofn, director de banda
1925 (Los Angeles)
#
Ren Bloch (seated, far left) with Mongo Santamara, Machito,

Miguelito Valds, Francisco Aguabella, Graciela, Ren Touzet,
Willie Bobo, and friends, 1950s
Ren Bloch (sentado, extrema izquierda) con Mongo Santamara,
Machito, Miguelito Valds, Francisco Aguabella, Graciela, Ren
Touzet, Willie Bobo y amigos, aos de 1950
Ren Bloch landed his first professional job as an alto
saxophonist at age 17 with the Johnny Otis Band. He went on to
play with Harry James, Charlie Barnet, Prez Prado, and a
number of other big bands. Bloch formed his own group, The
Ren Bloch Orchestra, in 1958.
Ren Bloch consigui su primer trabajo profesional como
saxofonista a los 17 aos con la banda de Johnny Otis. Luego
toc con Harry James, Charlie Barnet, Prez Prado y algunas
otras bandas grandes. Bloch form su propio grupo, la orquesta
de Ren Bloch, en 1958.
82
Ren Bloch Collection, Ray Avery Jazz Archives
#
Name block
Eddie Cano
piano
1927 (Los Angeles) 1988 (Los Angeles)
#
Photo: Eddie Cano
Caption
Eddie Cano, Hollywood Palladium, 1958

Eddie Cano, trained in classical piano, began his career as a
bassist. While playing for Miguelito Valds in New York from
1947 to 1949, Cano also performed with Tito Puente, Machito,
and Noro Morales. In Los Angeles, he recorded with Cal Tjader,
Jack Costanzo, Buddy Collette, and Poncho Snchez. In the
1960s, Eddie Canos quintet drew a stream of Hollywood stars
to a small after-hours club called P.J.s.
Eddie Cano, educado como pianista clsico, empez su carrera
como bajista. Mientras tocaba para Miguelito Valds en New York
desde 1947 a 1949, Cano tambin toc con Tito Puente, Machito
y Noro Morales. En Los Angeles, grab con Cal Tjader, Jack
Costanzo, Buddy Collette y Poncho Snchez. En los aos de 1960,
el quinteto de Eddie Cano atrajo un grupo de estrellas de
Hollywood a un pequeo club llamado P.J.
83
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Heading
Moving West
Mudndose al oeste
#
Text
Through the 1950s, a number of jazz masters migrated to

California from the East Coast. Away from New York, where the
Afro-Cuban sound dominated Latin jazz, musicians
experimented freely, mixing jazz with music from Brazil, Peru,
Colombia, and other places. Adventurous small combos sprang
up.
En los aos de 1950, varios maestros de jazz emigraron de la
costa este a California. Lejos de New York, donde el sonido
afrocubano dominaba el jazz latino, los msicos experimentaron
libremente, mezclando el jazz con msica de Brasil, Per,
Colombia y otros lugares. De estas mezclas surgieron combos
pequeos muy audaces.
#
Name block
George Shearing
piano
1919 (London)
#
Photo: George Shearing

Caption
George Shearing, Hollywood Palladium, 1950s / aos de 1950

A pioneer of small-combo Latin jazz, George Shearing began to
emphasize Afro-Cuban rhythms after moving to California in the
1950s. There he formed a group with Armando Peraza on
bongos and congas, Al McKibbon on bass, and Cal Tjader on
vibes.
George Shearing, pionero del jazz latino de combos pequeos,
comenz a enfatizar los ritmos afrocubanos en su msica
despus de mudarse a California en los aos de 1950. All form
un quinteto que inclua a Armando Peraza en bong y conga, Al
McKibbon en contrabajo y Cal Tjader en vibrfono.
84
Name block
Al McKibbon
bass contrabajo
1919 (Chicago)
#
Photo: McKibbon et al
Caption
Al McKibbon, Tito Puente, Miguelito Valds, George Shearing,

Hollywood Palladium, Los Angeles, 1953
Al McKibbon, sought as a sideman by both jazz and Latin jazz
musicians, had been playing in Detroit and New York since the
1930s, but his reputation was made when he joined Dizzy
Gillespies orchestra in 1947. Particularly adept at blending
Latin rhythms with straight jazz, he was at the heart of the
George Shearing Quintet from 1951 until 1958, when he left to
join Cal Tjader.
Al McKibbon, muy solicitado como miembro de orquesta tanto
por msicos de jazz como de jazz latino, haba estado tocando
en Detroit y New York desde los aos de 1930, pero se dio a
conocer cuando ingres a la orquesta de Dizzy Gillespie en 1947.
Particularmente adepto en mezclar los ritmos latinos con el jazz
puro, fue puntal del quinteto de George Shearing entre 1951 y
1958, cuando lo dej para unirse a Cal Tjader.
#
Quote
When I was with Shearing, I used to take Cal Tjader to the

Palladium. We would slip in the back door to listen to Machito,
Puente . . . . Cal got the bug, said I just have to do this . . . .
Cuando estaba con Shearing, yo sola llevar a Cal Tjader al
Palladium. Entrbamos por la puerta de atrs para escuchar a
Machito, a Puente . . . . A Cal le pic el gusanillo y dijo, yo
tengo que hacer esto . . .
Al McKibbon, musician / msico
#
85
KIOSK PANEL G-4

Heading
Miguelito, Mr. Babal

#
Name block
Miguelito Valds
singer cantante
1910 (La Habana, Cuba) 1978 (Bogot, Colombia)
#
Newspaper Ad:
Mr. Babalu
Caption
Newspaper ad / anuncio de peridico, Los Angeles, 1971

#
Newspaper Ad:
Miguelito & Shearing
Caption
New York Amsterdam News, 1950

#
Photo: Miguelito and
Bloch
Caption
Miguelito Valds (right) and Ren Bloch, Los Angeles, 1950s

Miguelito Valds (derecha) y Ren Bloch, Los Angeles, aos de
1950
Singer, percussionist, bass and guitar player Miguelito Valds
turned to music after a brief career as a prizefighter. Miguelito
sang in every style of Cuban music, but he is best known for
Babal, a hit in the Caribbean and New York. In New York he
worked with various Latin bands before forming his own
orchestra. The opportunity to appear in Hollywood films drew
him to the West Coast.
Cantante, percusionista y msico de contrabajo y guitarra,
Miguelito Valds se dedic a la msica despus de una breve
carrera como boxeador profesional. Miguelito cant en todos los
estilos de la msica cubana, pero es ms conocido por Babal,
un xito en el Caribe y New York. En New York trabaj con
diversas bandas latinas antes de formar su propia orquesta. La
oportunidad de participar en pelculas de Hollywood lo llev a la
costa oeste.
Ren Bloch Collection, Ray Avery Jazz Archives
86
KIOSK PANEL G-5:

Heading
San Francisco
Cal Tjader
#
Text
Since the 1950s, musicians in the dynamic artistic scene of the

Bay Area of San Francisco have crossed musical boundaries with
ease. Blues, jazz, and rock and roll mixed with music from
places as diverse as Brazil and India. Afro-Cuban sounds have
been part of the mix for decades.
Desde los aos de 1950 los msicos del movido ambiente artstico
de la Baha de San Francisco haban cruzado fronteras musicales
con facilidad. Los blues, el jazz y el rock and roll se mezclaron
con msica de lugares tan diversos como Brasil y la India. Los
ritmos afrocubanos han sido parte de esta mezcla por dcadas.
#
Name block
Callen Radcliffe Cal Tjader

percussion percusin
1925 (St. Louis, Missouri) 1982 (Manila, Philippines)
#
Photo: Tjader, McKibbon

Caption
Cal Tjader on vibraphone, with Al McKibbon, Willie Bobo, and

Mongo Santamara, 1950s
The most famous non-Latino leader of Latin jazz bands, Cal
Tjader had been the percussionist in the first Dave Brubeck
Trio and vibraphonist for George Shearing. Influenced by the
music of Machito and Tito Puente, Tjader organized his first
combo specifically to play Latin-influenced music. Over the
years he moved between jazz and Afro-Cuban music,
collaborating with a variety of musicians.
Cal Tjader en el vibrfono, con Al McKibbon, Willie Bobo y
Mongo Santamara, aos de 1950
Cal Tjader, el lder no latino ms famoso de bandas de jazz
latino, haba sido percusionista del primer tro de Dave Brubeck
y vibrafonista para George Shearing. Bajo la influencia de la
msica de Machito y Tito Puente, Cal organiz su primer combo
especficamente para interpretar msica con influencia latina. A
travs de los aos Tjader oscil entre el jazz y la msica
afrocubana, colaborando con varios msicos.
#
Quote
87
Chano Pozo and Dizzy started it but did not succeed in

popularizing the new Latin jazz sound . . . . Cal Tjader was the
one that really made the sound popular nation-wide.
Aunque Chano Pozo y Dizzy comenzaron el proceso, no lograron
popularizar el nuevo sonido del jazz latino. . . . Cal Tjader fue
quien realmente lo populariz en todo el pas.
Jesse Chuy Varela, radio host / locutor de radio
#
88
KIOSK PANEL G-6:

Heading
No Boundaries
Sin fronteras
#
Text
In recent years California has been home to a vanguard of

musicians who charge across musical boundaries with ease.
Artists such as Luis Gasca, Carlos Santana, and John Santos
move from Latin jazz to rock, blues, New Age, and beyond.
En aos recientes California se ha convertido en hogar para un
grupo de msicos de vanguardia que atraviezan fcilmente
fronteras musicales. Artistas como Luis Gasca, Carlos Santana y
John Santos se desplazan del jazz latino al rock, los blues, la
msica New Age y ms all.
#
Name block
Photo: Gasca with

Mongo Santamara
Caption:
Luis Gasca
trumpet trompeta
1940 (Houston, Texas)
#
Luis Gasca, Mongo Santamara (congas), Boston, 1967

Luis Gasca has played trumpet with several jazz bands,
including those of Woody Herman, Lionel Hampton, Mongo
Santamara, and Cal Tjader. Once a soloist for the Prez Prado
mambo orchestra, he has often crossed musical divides to play
with rock musicians, such as Van Morrison and Janis Joplin. He
was a founding member of the Latin rock group MALO.
Luis Gasca toc trompeta con varias bandas de jazz, incluyendo
las de Woody Herman, Lionel Hampton, Mongo Santamara y Cal
Tjader. Gasca, quien fuera solista de la orquesta de mambo de
Prez Prado, a menudo traspas gneros musicales para tocar
con msicos de rock como Van Morrison y Janis Joplin. Fue
miembro fundador del grupo de rock latino, MALO.
Lee Tanner / The Jazz Image
89
Name block
Carlos Santana
guitar guitarra
1947 (Autln de Navarro, Mxico)
#
Photo:
Santana & Peraza
Carlos Santana, Armando Peraza

More often identified with Latin rock rather than Latin jazz,
Santana mixes Afro-Cuban music with a blues-rock style that
allows him to cross from rock into jazz effortlessly. Even when
he is at his most experimental, or exploring music sounds from
India, the influence of Afro-Cuban music is always evident.
Ms a menudo identificado con el rock latino que con el jazz
latino, Santana mezcla msica afrocubana con un estilo de bluesrock que le permite pasar del rock al jazz sin esfuerzo. An
cuando est experimentando o explorando sonidos musicales de
la India, es evidente la influencia de la msica afrocubana.
90
WALL PANEL / W-4

Heading
Poncho Snchez
#
Name block
Ildefonso Poncho Snchez

percussion percusin
1951 (Laredo, Texas)
#
Photo: Sanchez at SI
Caption
Poncho Snchez, Smithsonian Institution, 2000

Texas-born, Los Angeles-raised Poncho Snchez discovered the
conga drums in high school and taught himself to play in a style
influenced by Mongo Santamara. In 1975 he joined Cal Tjaders
quintet, playing and recording with Tjader for the next seven
years. After Tjaders death, Sanchez organized his own group.
Nacido en Texas y criado en Los Angeles, Poncho Snchez
descubri las congas en la escuela secundaria y aprendi por s
mismo a tocarlas en un estilo infludo por Mongo Santamara. En
1975 se uni al quinteto de Cal Tjader, tocando y grabando con
l durante los prximos siete aos. Despus de la muerte de
Tjader, Snchez organiz su propio grupo.
Photographer / fotgrafo: Hugh Talman
Smithsonian Institution, Msica de las Amricas concert series
91
WALL PANEL / W-6

Heading
Beat
#
Quote
The mambo beat is the beat from the Congo, the river of
Africa and the world; its really the world beat.
El ritmo del mambo es el ritmo del Congo, el ro de Africa y del
mundo; es realmente el ritmo del mundo.
Jack Kerouac, On the Road, 1957
#
Text
In the 1950s, jazz and the idea of a universal beat that

connects all humanity inspired the San Francisco Bay Areas
counter-culture, popularly known as the Beat movement.
Jack Kerouac, Alan Ginsberg, and other Beat writers adopted a
percussive style of writing and created avant-garde
performance pieces that featured conga and bongo drums. The
percussionists Armando Peraza, Mongo Santamara, and Willie
Bobo settled in the San Francisco Bay Area around the same
time.
En los aos de 1950, el jazz y la idea de un ritmo universal que
conectara toda la humanidad inspiraron la contra-cultura del
Area de la Baha de San Francisco, conocida popularmente como
el movimiento beat. Jack Kerouac, Alan Ginsberg y otros
escritores beat adoptaron un estilo percusionista de escritura
y crearon piezas de poesa dramatizada de vanguardia que
tenan como instrumentos principales las congas y los bongs.
Los percusionistas Armando Peraza, Mongo Santamara y Willie
Bobo se establecieron en el Area de la Baha de San Francisco
por esa misma poca.
#
Photo: beat writers etc.
playing drums
Caption
Beatniks, San Francisco, 1957

Photographer / fotgrafo: Jerry Stoll
#
Quote
I arrived in San Francisco in 1949. I used to paint my fingers

with fluorescent paint, put fluorescent lights on my congas,
and when I played, it looked that the whole thing was on fire!
92
Llegu a San Francisco en 1949. Yo me pintaba los dedos con

pintura fluorescente, pona luces fluorescentes en mis congas y
cuando tocaba pareca que todo se incendiaba!
Armando Peraza, percussionist / percusionista
#
93
KIOSK H
KIOSK PANEL H-1
Heading
Havana
#
Painting:
Panzella,
Havana Blue
Caption
Painting / pintura: Havana Blue

Wren Panzella
#
Quote
There was always interest in jazz in Cuba from the earliest

times, and there were periods of decline in interest. People
that used to play jazz sometimes switched to play danzn,
mambo, cha cha ch . . . which they played with a jazz band
format . . . . Between 1950 and 1960 there were clubs where a
lot of jazz was played . . . from New York, Los Angeles, and
Washington, D.C., famous jazz musicians, very good musicians,
went to Cuba to play.
Siempre hubo inters en el jazz en Cuba desde las primeras
pocas, pero haba perodos donde el inters declinaba. Las
personas que acostumbraban a tocar jazz a veces cambiaban y
tocaban danzn, mambo, cha cha ch . . . el cual tocaban con
un formato de jazz band . . . . Entre 1950 y 1960 haba clubes
donde se tocaba mucho jazz . . . msicos famosos y muy buenos
de New York, Los Angeles y Washington, D.C., iban a tocar a
Cuba.
Israel Cachao Lpez, musician / msico
#
94
KIOSK PANEL H-2

Heading
La Habana
#
Photo: Jazzband Sagua

Caption
Jazzband Sagua, Havana, 1914

Musical groups called jazzbands formed all over Cuba from
the early 1900s. Such groups may not have actually played
jazz. The term meant that they used the same instruments as
American jazz bands.
Los grupos musicales llamados jazzbands surgieron en toda
Cuba desde principios de 1900. Esos grupos tal vez no tocaban
msica de jazz. El trmino se refera a que usaban los mismos
instrumentos que las bandas de jazz estadounidenses.
Courtesy of Leonardo Acosta
#
Text
Like New Orleans, less than 700 miles away, Havana was a port
city with a mix of cultures, a strong African influence, and a
constantly evolving blend of musical styles.
After the Spanish-American War (1898), the United States
maintained a foothold in Cuba for decades. Many Americans
moved there to live and work, and the sound of jazz soon
followed.
By the late 1930s, some Cuban musicians were mixing jazz with
Cuban-style rhythmic riffs. And when Cubop emerged in New
York City soon after, it spurred Cubas own experiments with
Latin jazz.
Al igual que New Orleans a menos de 700 millas de distancia, La
Habana era una ciudad portuaria con una mezcla de culturas,
una fuerte influencia africana y una mezcla de estilos musicales
en constante evolucin.
Despus de la Guerra Hispanoamericana (1898), los Estados
Unidos mantuvieron control sobre Cuba durante dcadas. Muchos
americanos se mudaron all para vivir y trabajar y pronto los
acompa el sonido del jazz.
Para finales de los aos de 1930, algunos msicos cubanos
estaban mezclando el jazz con improvisaciones rtmicas de
estilo cubano. Y cuando poco despus surgi el Cubop en la
ciudad de New York, esto estimul experimentos cubanos con
el jazz latino.
95
#
Photo:
Havana nightlife
Havana nightlife, Paseo del Prado, about 1950

Vida nocturna de La Habana, Paseo del Prado, alrededor de 1950
Archivo Bohemia
96
KIOSK PANEL H-3

Header
Show Bands
Bandas de clubes
#
Text
Bands at Cuban hotels and nightclubs added jazz to their

repertoires, as tourists and locals clamored for the music. Most
of these show bands played a kind of diluted ballroom jazz,
although some developed a genuine jazz style.
Las bandas en los hoteles y clubes nocturnos cubanos agregaron
el jazz a sus repertorios, a medida que los turistas y los
residentes lo pedan. La mayora de estas bandas tocaba un tipo
de jazz bailable ligero, aunque algunos desarrollaron un estilo de
jazz genuino.
#
Postcard: Tropicana
#
Photo: Armando Romeu
Orch.
Caption
Armando Romeu and the Tropicana Orchestra, Havana, 1950

Armando Romeu y la Orquesta Tropicana, La Habana, 1950
Left to right / izquierda a derecha:
Armando Romeu, Isidro Prez, Pucho Escalante, Nilo Argudn,
Kiki Hernndez, Bebo Valds, Guillermo Barreto
Unlike many other Cuban show bands, Romeus orchestra
possessed a true jazz style.
A diferencia de muchas otras bandas cubanas de clubes, la
orquesta de Romeu posea un verdadero estilo de jazz.
#
Quote
Armando Romeu, who later would be the most important

conductor of Cuban jazz bands of all times, began his career as
a jazz player with North American bands that visited the
islands. But Cuban musicians also listened to the latest in jazz
on the radio, broadcast from Chicago, and they acquired
records and sheet music through North American musicians.
97
Armando Romeu, quien posteriormente sera el conductor ms

importante de las bandas cubanas de jazz de todos los tiempos,
comenz su carrera como msico de jazz con bandas
norteamericanas que visitaron las islas. Pero los msicos cubanos
tambin escuchaban en la radio lo ltimo en materia de jazz
transmitido desde Chicago y compraban las grabaciones y las
partituras a travs de msicos norteamericanos.
Leonardo Acosta, Cuban musician, writer / msico cubano,
escritor
#
98
KIOSK PANEL H-4

Heading
Jam Sessions
Descargas
#
Text
A descarga is a Cuban jam session, often a free improvisation

on a melody, with percussion instruments taking the lead.
Una descarga es una sesin de improvisacin de msica cubana, a
menudo una improvisacin libre sobre una meloda, guiada por
instrumentos de percusin.
#
Name block
Photo: Israel Cachao

Lopez
Caption
Israel Cachao Lpez

bass contrabajo
#
Israel Cachao Lpez, 1991

The great Cuban bassist Cachao has made descargas a
specialty, leading all-star casts in numerous recorded jam
sessions. Since the late 1950s his most celebrated work has
been in descargas, for which he won a Grammy in 1993.
El gran contrabajista cubano Cachao ha hecho de las descargas
una especialidad, dirigiendo grupos de figuras estelares en
numerosas grabaciones de estas sesiones. Desde fines de los aos
de 1950 su trabajo ms celebrado ha sido en descargas, por las
cuales gan un premio Grammy en 1993.
Photographer / fotgrafo: Jack Vartoogian Front Row Photos, NYC
#
Quote
There has always been improvisation in Cuban music. With the

descargas what Cachao did was to systematically get every
musician in the group to take turns improvising.
Siempre ha habido improvisacin en la msica cubana. Con las
descargas lo que Cachao hizo fue que sistemticamente cada
msico en el grupo tomara un turno improvisando.
Carlos del Puerto, musician / msico
#
99
FRAMED ITEMS 2
Album Cover:
Cuban Jam Sessions
Album Cover:
Cuban Jam session
in miniature
Caption
Album covers /cartulas de disco

Recorded September 1956, Pannart Studios, Havana, Cuba
Courtesy Max Salazar
In 1956 the Cuban record company Panart threw a party,

inviting musicians to bring their instruments and jam. Panart
surreptitiously recorded the exhilarating result led by pianist
Peruchn Jstiz and vocalist Francisco Fellove and released it
as Cuban Jam Sessions, Volume 1.
En 1956 la compaa cubana de discos Panart dio una fiesta e
invit a que los msicos trajeran sus instrumentos y
descargaran. Sin que ellos supieran Panart grab la sesin
dirigida por el pianista Peruchn Jstiz y el cantante Francisco
Fellovey la lanz como Cuban Jam Sessions, volumen 1.
Recorded September 1957, Pannart Studios, Havana, Cuba
Courtesy Ral Fernndez
In the 1950s, recordings of free-wheeling Cuban jam sessions

made a big impact on jazz artists in the U.S. In particular,
Israel Cachao Lpezs Cuban Jam Session in Miniature
Descargas has become a legend in the history of Afro-Cuban
instrumental music.
En los aos de 1950, grabaciones de descargas cubanas tuvieron
una gran influencia en los artistas de jazz en EE.UU. En
particular, el Cuban Jam Session in Miniature Descargas de
Israel Cachao Lpez se convirti en una leyenda en la historia
de la msica instrumental afrocubana.
#
100
KIOSK PANEL H-5

Heading
Havana Masters
Maestros de La Habana
#
Photo: Cuban music

greats
Caption
A gathering of Cuban music greats, Havana, 1957

Una reunin de grandes de la msica cubana, La Habana, 1957
Among them are Ren Hernndez, Mario Bauz, Machito, and
Arsenio Rodrguez. Many of these musicians had left Cuba to
make careers in Europe and the United States. Cuba is still
home to great jazz musicians.
Entre ellos estn Ren Hernndez, Mario Bauz, Machito y
Arsenio Rodrguez. Muchos de estos msicos se fueron de Cuba
para hacer carrera en Europa y los Estados Unidos. Cuba sigue
siendo cuna de grandes msicos de jazz.
Fotocrart
#
Name block
Frank Emilio Flynn

piano
1921 (La Habana, Cuba) 2001 (La Habana)
#
Photo: Frank Emilio

Flynn
Caption
Frank Emilio Flynn, Havana , 1999

Blind since childhood, Flynn taught himself piano before taking
up serious musical studies. He led the group Quinteto Cubano
de Msica Moderna, later renamed Los Amigos, which continued
the descarga movement in the 1960s.
Ciego desde la niez, Flynn aprendi a tocar piano de odo antes
de comenzar estudios musicales serios. Dirigi el grupo Quinteto
Cubano de Msica Moderna, conocido luego como Los Amigos, el
cual continu el movimiento de las descargas en los aos de
1960.
101
Name block
Bebo Valds
Bandleader, piano director de banda
1918 (Quivicn, Cuba)
#
Photo: Bebo Valds Trio
Caption
Bebo Valds Trio with singer Delia Bravo, Orestes Urf (bass),
and Guillermo Barreto (drums), Hotel Sevilla, Havana, 1958
El Tro de Bebo Valds con la cantante Delia Bravo, Orestes Urf
(contrabajo) y Guillermo Barreto (batera), Hotel Sevilla, La
Habana, 1958
One of the giants of Cuban music, a student of Cuban son and
danzn as well as American jazz, Bebo Valds began
experimenting in the late 1930s with mixtures of jazz and
Cuban dance music.
Uno de los grandes de la msica cubana, estudiante del son y el
danzn cubanos y del jazz americano, Bebo Valds comenz a
experimentar a fines de los aos de 1930 con mezclas de jazz y
msica bailable cubana.
#
Name block
Tata Gines (Arstides Soto)

congas
1930 (Gines, Cuba)
#
Photo: Tata Guines
Caption
Tata Gines, Havana, 1999

A legendary conga drummer, Tata Gines gained fame for his
inspired, elegant, extended improvisations in Cachaos
descargas recordings of the 1950s. It is said that his unique
style of playing the congas as if they were a piano makes them
sing.
Tata Gines, un conguero legendario, se hizo famoso por sus
inspiradas, elegantes y extensas improvisaciones en las
grabaciones de descargas de Cachao en los aos de 1950. Se ha
dicho que su, forma de tocar las congas como si fueran un piano
las hace cantar.
#
102
KIOSK PANEL H-6

Heading
Club Cubano de Jazz

#
Photo: Max Roach

Caption
Drummer Max Roach with the rhythm section of the Cuban

band Irakere
Drummer Max Roach con la seccin de ritmo de la banda
cubana Irakere
#
Text
American jazz musicians had been coming to Cuba to perform

from the 1920s until 1960. This trend began again in the late
1970s.
In the 1950s, to promote exchanges between Cuban and
American jazz artists and audiences, a group of Cuban
musicians Leonardo Acosta, Frank Emilio Flynn, Jess
Caunedo, Walfredo de los Reyes, Orlando Hernndez, and
Orlando Cachato Lpez formed the Club Cubano de Jazz.
Through the club, U.S. jazzmen joined in concerts and jam
sessions with their Cuban counterparts.
Los msicos de jazz de los Estados Unidos viajaban a Cuba para
actuar entre los aos de 1920 y 1960. Esta prctica se reanud
hacia finales de la dcada de 1970.
En los aos de 1950, para promover el intercambio entre artistas
y audiencias de jazz cubanos y americanos, un grupo de msicos
cubanos Leonardo Acosta, Frank Emilio Flynn, Jess Caunedo,
Walfredo de los Reyes, Orlando Hernndez y Orlando Cachato
Lpez form el Club Cubano de Jazz. Mediante el club, los
jazzistas de Estados Unidos participaron en conciertos y jam
sessions con sus contrapartes cubanas.
#
Photo: Haynes & Davis

Caption
Drummer Roy Haynes and bassist Richard Davis at a Havana jam

session, 1957
El percusionista Roy Haynes y el bajista Richard Davis en una
descarga en La Habana, 1957
#
Photo: Zoot Sims
103
Caption
Saxophonist Zoot Sims at the club El Bodegn de Goyo, Havana

El saxofonista Zoot Sims en el club El Bodegn de Goyo, La
Habana
#
Photo: Philly Joe Jones
Caption
Philly Joe Jones performing in Havana at the invitation of Club

Cubano de Jazz, 1960
Philly Joe Jones actuando en La Habana por invitacin del Club
Cubano de Jazz, 1960
#
Photo: Chucho Valdes
et al
Caption
Chucho Valds (piano), Billy Cobham (drums / tambores),

Carlos del Puerto (guitar / guitarra), Havana / La Habana, 1978
104
WALL PANEL / W-6:

Heading
Festival Jazz Plaza, La Habana

#
Text
In 1977 Havana hosted its first jazz festival. The occasion

brought together Cuban jazz artists with musicians from around
the world all performing together before an ecstatic
audience of jazz fans.
En 1977 La Habana tuvo su primer festival de jazz. La ocasin
reuni a artistas cubanos de jazz con msicos de todo el mundo
tocando juntos ante un pblico exttico de entusiastas del
jazz.
#
Quote
They were playing Manteca and a roar crescendoed

throughout the theatre . . . .Through Manteca, Gillespie had
brought the spirit of Chano Pozo to the Havana theatre and
kept it there for 20 minutes. Joining Diz in this tribute to
Chano was Getz. . . . Amram with French horn, Mantilla,
Sandoval, DRivera, the Valds brothers, and Earl Hines playing
Manteca in bop, rock, jazz, and Afro-Cuban rhythms.
Max Salazar on the 1977 Festival Jazz Plaza, Havana
Latin Beat magazine, March 1994
Estaban tocando Manteca y el estruendo fue aumentando en
todo el teatro . . . . Con Manteca, Gillespie haba trado el
espritu de Chano Pozo al teatro de La Habana y lo mantuvo all
durante 20 minutos. Se sumaron a Diz en este homenaje a
Chano, Getz. . . . Amram en trompa, Mantilla, Sandoval,
DRivera, los hermanos Valds y Earl Hines tocando Manteca
en bop, rock, jazz y ritmos afrocubanos.
Max Salazar en el Festival Jazz Plaza de 1977, La Habana
Revista Latin Beat, marzo de 1994
#
Photo: Los Papines,

Getz, etc.
Caption
Festival Jazz Plaza, 1977

Los Papines (drums / tambores), Stan Getz (sax), Dizzy
Gillespie (trumpet / trompeta), Arturo Sandoval (trumpet /
trompeta), Rodney Jones (bass / contrabajo), Paquito DRivera
(sax/saxfono), David Amram
Photographer / fotgrafo: Ira Sabin
105
Audio Station #1
Credit
Radio production / grabacin de radio
Jacquie Gales Webb
Sound editing / edicin de sonido
Surya Mohammed
Smithsonian Institution, 2002
#
106
SECTION FOUR:
(RHYTHM, INSTRUMENTS,
DANCE)
BANNER / B-10
Photo:
Andy Gonzales/Rumba
Club
Caption
Andy Gonzlez
Jeffrey Kliman / Photography You Can Hear
#
Quote
Clave is a two-bar pattern of three and two thats almost like

a religious incantation that you dont mess with.
Clave es un patrn de dos compases de tres y dos que es casi
como un conjuro religioso con el que uno no interfiere.
Todd Barkin, record producer / productor de msica, 1995
#
107
BANNER / B-11
Blen blen blen blen blen blen blen blen blen blen blen blen
blen blen blen blen blen blen blen blen blen blen blen blen
Adapted from the song Blen Blen Blen by Chano Pozo, 1946
The syllables represent the clave beat.
From the novel Tres tristes tigres (Three Trapped Tigers, 1967)
by Cuban writer Guillermo Cabrera Infante
Adaptacin de la cancin Blen Blen Blen de Chano Pozo, 1946
Las slabas representan el ritmo de la clave.
De la novela Tres tristes tigres, 1967 del autor cubano Guillermo
Cabrera Infante
#
108
WALL PANEL / W-7

Heading
Clave
#
Quote
It looks like nothing, but those two little sticks . . . wow! Its
the foundation of your house. You have to have a strong
foundation, especially in Afro-Cuban music.
No parecen gran cosa, pero esos dos palitos . . . caramba! Es
como los cimientos de tu casa. T tienes que tener una base
slida, especialmente en la msica afrocubana.
Cndido Camero, percussionist / percusionista
Text
Clave is rhythm. Its the beat. (Pronounce it klah-vay.) It is

not one rhythm, but several rhythms unique to Latin and AfroCaribbean music.
Claves are the wooden sticks used to beat out a central pulse
in Latin jazz.
Clave es ritmo. Es el toque. No es un solo ritmo, sino varios
ritmos caractersticos de la msica latina y afrocaribea.
Las claves son los palos de madera usados para marcar un pulso
fundamental en el jazz latino.
#
Photos (2): Palmieri

Caption
Eddie Palmieri clapping out the clave beat, 2000

Eddie Palmieri marcando el toque de la clave, 2000
#
Photo: Machito & Graciela
Caption
Machito (maracas) and Graciela (claves), Glen Island Casino,

New York, 1947
Photographer / fotgrafo: William P. Gottlieb / Library of Congress
109
Quote
I paid attention to Machito because he was a sonero in Cuba.

He used to explain to me the importance of the clave in the
music. I would show something to him I had written . . . hed
say careful, Mario, careful with the clave there.
Le prestaba atencin a Machito porque haba sido un sonero en
Cuba. l sola explicarme la importancia de la clave en la
msica. Cuando le mostraba algo que haba escrito . . . l me
deca cuidado, Mario, cuidado con la clave ah .
#
Photo:
Tjader & Puente
Caption
Cal Tjader (claves), Tito Puente (timbales), 1981

110
CASE 5
Text
Instruments and Instrumentalists

Instrumentos e instrumentistas
Elements of Caribbean (especially Afro-Cuban) music entered
jazz in stages. First was the unique syncopation that Caribbean
music developed from its African legacy. Next came Afro-Cuban
rhythms and percussion. Since the late 1950s, melody
instrumentalists have been adding their own contributions,
bringing typically Latin phrasing and attack to jazz.
Elementos de la msica caribea (especialmente la afrocubana)
entraron en el jazz por etapas. Primero fue la sncopa con races

africanas desarrollada en la msica caribea. Luego siguieron los
ritmos y la percusin afrocubanos. Desde finales de los aos de
1950, los instrumentistas meldicos han estado aadiendo sus
propias contribuciones, dando al jazz un ataque y fraseo
latinos.
#
Artifact: timbales
Label
Tito Puentes timbales

Timbales de Tito Puente
Institution
Gift of the Puente Family
111
CASE 6
[musical instrument in case]
Artifact: congas
Caption
Poncho Snchezs congas,

autographed by Poncho Snchez
Congas de Poncho Snchez,
Autografiadas por Poncho Snchez
Institution
#
Photo (in case 6):
Poncho Sanchez
Caption
Poncho Snchez autographing the congas that he donated to

the Smithsonian Institution, 2000
Poncho Snchez autografiando las congas que don al
112
CASE 7
[Case with musical instruments]
Artifact: shekere
Label
Shekere
Made by the Banda brothers / hecho por los hermanos Banda
Africa, Cuba
Ramn and Tony Banda, with the Poncho Snchez band,

Ramn y Tony Banda, con la banda de Poncho Snchez,
#
Artifact: snake giro
Label
Giro
Cuba, Puerto Rico, Dominican Republic
113
CASE 8
Artifact: Dizs trumpet

Label
Dizzy Gillespies trumpet

Trompeta de Dizzy Gillespie
Carolyn Gillespie Baxter and Tristan E. Harris
#
Photo: Sandoval
& Gillespie
Caption
Arturo Sandoval and Dizzy Gillespie, 1990

Michael Wilderman-Jazz Visions
114
CASE 9
Artifact: tres guitar

Label
Humberto Cans tres

Tres de Humberto Can
Humberto Can
#
Photo:
Humberto Can
Caption
Humberto Can, 1947

Humberto Can
115
CASE 10
Artifact: flute
Label
Rolando Lozanos five-key flute

Flauta de cinco llaves de Rolando Lozano
Rolando Lozano
#
Photo:
Rolando Lozano
Caption
Rolando Lozano, late 1950s

Rolando Lozano, finales de los aos de 1950
116
KIOSK I
KIOSK PANEL I-1
Section title
Rhythm Is Everything
#
Quote
You walk with rhythm, you talk with rhythm, you eat your
food with rhythm . . . . Rhythm is in everything.
Mario Bauz, musician
#
Painting repro.:
Carnaval Habanero
Caption
Painting / pintura: Carnaval Habanero, 1989

By Cuban artist Viredo / por el artista cubano Viredo
#
117
KIOSK PANEL I-2

Heading
El ritmo es todo
#
Quote
T caminas con ritmo, hablas con ritmo, comes tu comida con

ritmo . . . . El ritmo est en todo.
Mario Bauz, msico
Text
Percussion instruments of the Spanish-speaking Caribbean give

Latin jazz its special flavor. Congas, bongos, timbales, giros,
and claves instruments of African and European ancestry,
created in the Caribbean islands provide a complex
background to the dances of the Caribbean and enrich the
rhythmic palette of jazz. Rhythm and dance are central to
Latin jazz.
Los instrumentos de percusin del Caribe de habla hispana dan
al jazz latino su sabor especial. Congas, bongs, timbales,
giros y claves instrumentos de ascendencia africana y
europea, creados en las islas del Caribe proporcionan un
fondo complejo a los bailes del Caribe y enriquecen la paleta
rtmica del jazz. El ritmo y el baile son la base del jazz latino.
#
Photo: Conga Kings

Caption
The Conga Kings

118
KIOSK PANEL I-3

Heading
Dance
Baile
#
Photo: Palladium
dancers
Caption
Palladium Ballroom, New York City, 1950s

#
Painting repro.:
Cha Cha Lounge
Cha Cha Lounge, Gary Kelly, 1999
#
Photo: Cha Cha Cha
Pedro Paquito Marcano Collection, Centro de Estudios

#
Quote
The Yoruba are the great choreographers of Africa. The Latin

dance steps still exhibit their great knowledge of rhythmic
patterns. Present also in Latin dance is the flamenco of the
Spaniards or, more accurately, of the Gypsies. It must also be
related to Arabian choreography, for much of Spanish style
derives its energy and flavor from that Muslim culture, which
made itself at home on their soil for close to 800 years.
Los yoruba son los grandes coregrafos de Africa. Los pasos de
baile de la msica latina an exhiben su gran dominio de
modelos rtmicos. El flamenco de los espaoles, o ms
precisamente de los gitanos, est presente en el baile latino.
Tambin est relacionado con la coreografa rabe, porque gran
parte del estilo espaol deriva su energa y sabor de la cultura
musulmana, que se asent en su tierra durante cerca de 800
aos.
Vctor Hernndez Cruz, poet / poeta
#
119
KIOSK PANEL I-4

Heading
Rhumba / Rumba
#
Text
In the 1930s the son renamed the rhumba came to the

United States with traveling Cuban dance bands. The hipswaying dance and its music soon took the country by storm. By
the 1940s the rhumba was part of Americas pop music idiom.
En los aos de 1930 el son con el nombre de rhumba lleg a
los Estados Unidos con bandas itinerantes cubanas de msica
bailable. Este baile de caderas oscilantes y su msica pronto se
apoder del pas. Para los aos de 1940 la rumba formaba parte
de la msica pop de Amrica.
#
Photo: Dance Hall Poster;

Morales & Rico
Newspaper Ad:
Rumba Festival

#
Newspaper ad / anuncio de peridico, 1948

#
Definitions
Rhumba or rumba U.S. adaptation of the Cuban son, which
blended African percussion and Spanish lyrics. It is sometimes
confused with:
rumba Afro-Cuban dance music, originally street
music performed by singers and percussion. The most
popular forms of rumba in Cuba are called guaguanc,
columbia, and yamb.
Rhumba o rumba Adaptacin en los Estados Unidos del son
cubano, que mezcla percusin africana y letra en espaol. Debe
diferenciarse de:
rumba Msica bailable afrocubana, originalmente
msica de la calle interpretada por un solista, coro y
percusin. Las formas ms populares de rumba en Cuba
se llaman guaguanc, columbia y yamb.
#
120
KIOSK PANEL I-5

Heading
Mambo
#
Song Lyric
Mambomania
They were doin the mambo
What the heck is a mambo?
They were doin the mambo
While I just stood around.
Mambomana
Ellos bailaban el mambo
Qu diablos es el mambo?
Ellos bailaban el mambo
Mientras yo estaba parado ah
Song lyric / letra de cancin: Sonny Burke, Don Raye, They
Were Doin the Mambo, Mayfair Music Corp., 1954, sung by
Vaughn Monroe
#
Text
Fast, sensual, exuberant, and irresistibly rhythmic, the mambo

is the high-energy offspring of Cubas son and danzn. It took
off in Cuba in the 1940s and swept across the U.S. in the 1950s.
Its rhythm is the basis of countless Latin jazz performances,
and eventually it became one of the foundations of the Latin
dance music called salsa.
Rpido, sensual, exuberante e irresistiblemente rtmico, el
mambo es el enrgico descendiente del son y el danzn cubanos.
Se hizo popular en Cuba en los aos de 1940 y se apoder de los
Estados Unidos en la dcada de 1950. Su ritmo fue la base de
innumerables sesiones de jazz latino, y con el tiempo se
convirti en uno de los cimientos de otro baile latino conocido
como la salsa.
#
121
Name block
Dmaso Prez Prado

1916 (Matanzas, Cuba) 1989 (Mexico City)
#
Caption
Prez Prado made mambo mainstream. Starting as a pianist in

Havanas Orquesta Casino de La Playa, he relocated to Mexico,
where he became famous for mambos. Prez Prado arrived in
Los Angeles in 1951. As the mambo craze swept the States, he
made it big with two pop hits, Cherry Pink and Apple Blossom
White and Patricia.
Prez Prado hizo que el mambo formara parte de la cultura
general. Comenz como pianista en la Orquesta Casino de La
Playa en La Habana, luego se mud a Mxico donde se hizo
famoso por sus mambos. Prez Prado lleg a Los Angeles en
1951. A medida que la locura del mambo se fue apoderando de
los Estados Unidos, se hizo famoso con dos temas populares, el
Cherry Pink and Apple Blossom White y Patricia.
#
Photo: poster, Prez Prado
Courtesy of the Oakland Museum of California
#
Photo: Mambo Aces
Caption
The Mambo Aces (Anbal Vsquez, Joe Centeno), Palladium

Ballroom, New York City, 1950s
122
KIOSK PANEL I-6

Heading
Tito Rodrguez, Tito Puente

#
Name block
Tito Rodrguez
bandleader, singer director de banda, cantante
1923 (San Juan, Puerto Rico) 1973 (New York City)
#
Poster Reproduction:
Rodriguez, Machito,
Graciela
Caption
In the 1960s, Tito Rodrguez led perhaps the most popular

Cuban-style dance orchestra in New York and Latin America,
where his interpretation of boleros became the rage. Although
specializing in Cuban music and salsa, the Tito Rodrguez
orchestra produced some outstanding Latin jazz recordings.
En los aos de 1960, Tito Rodrguez fue el director de quizs la
ms popular orquesta de baile de estilo cubano en New York y
Latinoamrica, donde su interpretacin de boleros hizo furor.
Aunque la orquesta de Tito Rodrguez se especializaba en msica
cubana y salsa, produjo grabaciones de jazz latino excelentes.
#
Name block
Ernesto Tito Puente

percussion, bandleader percusin, director de banda
1923 (New York City) 2000 (New York City)
#
Newspaper Ad: 4 Reyes

Puente, Machito,
Rodriguez, Gonzalez
Caption
Newspaper ad / anuncio de peridico, 1957

#
Photo: Puente Conjunto
Caption
Tito Puente Conjunto, 1950

Conjunto de Tito Puente, 1950
123
Luis Varona (piano), Manuel Patot (bass / contrabajo), Tito

Puente (timbales), Vicentico Valds (singer / cantante), Jimmy
Frisaura (trumpet / trompeta), Gene Rappetti (trumpet /
trompeta), Frank Le Pinto (trumpet / trompeta), Frankie Coln
(conga), Chino Pozo (bong)
Called the King of Latin Music, Tito Puente is a monument to
the steady evolution of Latin music. Initially inspired by AfroCuban music, Puentes own style was exciting and expansive
enough to weather every change in Latin music, adapting to
jazz, salsa, and several other musical styles.
Llamado El rey de la msica latina, Tito Puente es un
monumento a la constante evolucin de la msica latina.
Inspirado inicialmente por la msica afrocubana, el estilo de
Puente fue alegre y lo bastante amplio para tolerar cada cambio
en la msica latina, adaptndose al jazz, la salsa y otros estilos
musicales.
124
WALL PANEL / W-8

Heading
Latin Jazz, World Music

El Jazz Latino La msica del mundo
#
Text
While the Afro-Cuban root remains strong, musicians from all

over the world now bring their own cultural approaches to the
music. Latin jazz has been flavored by Dominican merengue,
Colombian vallenato, Puerto Rican bomba, Peruvian marinera,
Brazilian bossa nova, and Argentine tango. The distinctive
styles of some of these instrumentalists have added yet another
dimension to Latin jazz.
Aunque la raz afrocubana sigue siendo fuerte, msicos de todo
el mundo ahora traen sus propios enfoques culturales a esta
msica. El jazz latino se ha enriquecido con el sabor de el
merengue dominicano, el vallenato colombiano, la bomba
puertorriquea, la marinera peruana, el bossa nova brasileo y
el tango argentino. Los estilos distintivos de algunos de estos
instrumentistas han agregado otra dimensin al jazz latino.
#
Quote
Latin jazz is an art of musical inclusion.

El jazz latino es un arte de inclusin musical.
Danilo Lozano, flutist / flautista
#
Drawing repro.:
[Yvette Mangual]
caption
Drawing / dibujo: Untitled

Yvette Mangual
#
125
BANNER / B-12
Quote
Latin music, like Latin dance, follows a pattern; it starts suave

. . . all the instruments do not come in at once . . . the singer
comes in and plants his theme, accompanied by a chorus which
jumps in right after him, emphasizing the main poetic idea of
the song; the orchestra grows towards an area where individual
instruments can take a solo . . . once this is over, they gather
back onto a plateau . . . the music gathers momentum and
rises to a takeoff area where they all accelerate together.
La msica latina, como el baile latino, sigue un modelo;
comienza suave . . . todos los instrumentos no entran a la misma
vez . . . el cantante entra y planta su tema, acompaado de un
coro que le sigue inmediatamente, enfatizando la idea potica
principal de la cancin; la orquesta se mueve hasta un punto
donde los instrumentos individuales pueden hacer un solo . . .
cuando esto termina, los instrumentos vuelven a un mismo nivel
. . . la msica cobra impulso y asciende a un rea de despegue
donde todos aceleran juntos.
Vctor Hernndez Cruz, poet / poeta
#
3 photos:
Palmieri dancing
Caption
Eddie Palmieri dancing, 2001

Eddie Palmieri bailando, 2001
Photographs / fotgrafo: Hugh Talman
Smithsonian Institution Msica de las Amricas concert series
126
KIOSK J
KIOSK PANEL J-1
Text
New Fusions
Nuevas fusiones
By the 1960s Latin jazz was well established. Jazz musicians of
every style and nationality explored the possibilities of the
sound.
New fusions flourished. A new generation of Latin musicians,
many of them born in the U.S., blended their Caribbean
musical heritages with jazz, rhythm and blues, soul, and rock.
Close connections between Puerto Rican and African American
communities generated still more variations. Brazilian
musicians mixed jazz with their own national rhythms, such as
the bossa nova, producing Brazilian jazz.
Para los aos de 1960 el jazz latino estaba bien establecido. Los
msicos de jazz de cada estilo y nacionalidad exploraban las
posibilidades de este sonido.
Nuevas fusiones prosperaron. Una generacin nueva de msicos
latinos, muchos de ellos nacidos en los Estados Unidos, combin
su herencia musical del Caribe con jazz, rhythm and blues, soul
y rock. La relacin entre las comunidades puertorriqueas y
afroamericanas generaron todava ms variaciones. Los msicos
brasileos mezclaron el jazz con sus propios ritmos nacionales,
como el bossa nova, produciendo un jazz brasileo.
#
Painting repro.:
[Afro-Caribbean
Series #1 ]
Caption
Painting / pintura: Afro-Caribbean Series #1, 1962

Yvette Mangual
#
127
KIOSK PANEL J-2

Heading
Fort Apache Band

Gonzlez Brothers
#
Text
Perhaps the most successful of the fusion bands of the 1980s in

blending Afro-Cuban music with jazz was the Fort Apache Band.
Led by brothers Jerry and Andy Gonzlez, the band takes its
name from the New York City neighborhood where the brothers
grew up. The Fort Apache Band has evoked the early days of
Bebop with their Latin jazz interpretations of works by
Thelonious Monk.
Quizs la ms exitosa de las bandas de fusin de la dcada de
1980 en mezclar la msica afrocubana con jazz fue la Fort
Apache Band. Dirigida por los hermanos Jerry y Andy Gonzlez,
esta banda tom su nombre del barrio de New York donde los
hermanos se criaron. La Fort Apache Band ha evocado los
primeros das del Bebop con sus interpretaciones como jazz
latino de las obras de Thelonious Monk.
#
Name block
Andy Gonzlez
bass contrabajo
1951 (Bronx, New York)
#
Name block
Photo: A. & J. Gonzalez

Caption
Jerry Gonzlez
trumpet, percussion trompeta, percusin
1949 (Bronx, New York)
#
Andy and Jerry Gonzlez, Smithsonian Institution, 1992

Photographer / fotgrafo: Michael Wilderman / Jazz Visions
#
Photo: Fort Apache Band
Caption
The Fort Apache Band, Smithsonian Institution, 1992

From left / Desde la izquierda:
Milton Cardona, Andy Gonzlez, Steve Berrios, Jerry Gonzlez
Photographer / fotgrafo: Michael Wilderman / Jazz Visions
128
KIOSK PANEL J-3

Heading
Irakere
Chucho Valds
#
Name block
Jess Chucho Valds

piano
1941 (Quivicn, Cuba)
#
Photo: Irakere
Caption
Irakere
The Cuban band Irakere, organized in the early 1970s, is widely
admired for the strength of its soloists, its ensemble work, and
the freshness and complexity of its music. It grew out of
musical experiments directed by pianist and bandleader Chucho
Valds, mixing jazz, rock, funk, and European classical with
Cuban music. Some of Cubas best instrumentalists have been
part of Irakere.
La banda cubana Irakere, organizada a principios de los aos de
1970, es muy admirada por la calidad de sus solistas, su trabajo
de conjunto y la frescura y complejidad de su msica. Surgi de
los experimentos musicales dirigidos por el pianista y director
de banda Chucho Valds, que mezclaban jazz, rock, funk y
msica clsica europea con msica cubana. Algunos de los
mejores instrumentistas de Cuba han formado parte de Irakere
#
Photo: Chucho Valds

Caption
Cubas leading jazz artist today the son of Cuban bandleader

and pianist Bebo Valds Chucho Valds got an early start as a
musician, making his debut with his fathers band in the 1950s.
For nearly three decades he led Irakere and has composed a
number of tunes that have become Latin jazz standards, such
as Mambo Influenciado and Claudia.
Chucho Valds, hoy el principal artista de jazz de Cuba, hijo del
director de banda y pianista cubano Bebo Valds, comenz su
carrera de msico a una edad temprana, debutando con la banda
de su padre en los aos de 1950. Durante casi tres dcadas, fue
el director de Irakere y ha compuesto varios temas que se han
convertido en clsicos de jazz latino, como Mambo
Influenciado y Claudia.
Left / izquierda: Smithsonian Institution
Top / arriba: Chucho Valds
129
KIOSK PANEL J-4

Heading
Arturo Sandoval, Paquito DRivera

#
Name block
Arturo Sandoval
trumpet trompeta
1949 (Artemisa, Cuba)
#
Photo: Arturo Sandoval
Caption
Trumpeter Arturo Sandoval, one of Irakeres most celebrated

soloists, formed his own group in Havana in the early 1980s.
Since leaving Cuba in 1990, he has played and recorded jazz,
Latin jazz, European classical, and popular Cuban music.
Sandoval won two of the first Grammies awarded in the Latin
jazz category.
El trompetista Arturo Sandoval, uno de los solistas ms
celebrados de Irakere, form su propio grupo en La Habana a
comienzos de los aos de 1980. Desde que sali de Cuba en 1990,
ha tocado y grabado jazz, jazz latino, msica clsica europea y
msica cubana popular. Sandoval gan dos de los primeros
Grammies otorgados en la categora de jazz latino.
#
Quote
Jazz, that wonderful thing called jazz; that is American music

the music that represents the multicultural characteristics of
this country.
El jazz, esa cosa maravillosa llamada jazz; eso s es msica
americana la msica que representa las caractersticas
multiculturales de este pas.
Paquito DRivera, clarinetist / clarinetista
#
Name block
Photo: Paquito DRivera

Caption
Paquito DRivera
clarinet, saxophone clarinete, saxofn
#
130
A founding member of Orquesta Cubana de Msica Moderna in

Cuba, Paquito DRivera joined Irakere in 1973. Since leaving his
native country in 1980, he has championed Latin music worldwide as an outstanding soloist, bandleader, and producer. He
led his own band while simultaneously playing in Dizzy
Gillespies United Nation Orchestra. When Gillespie died,
DRivera became musical director of United Nation and codirector of the band Caribbean Jazz Project.
Paquito DRivera, miembro fundador de la Orquesta Cubana de
Msica Moderna en Cuba, ingres a Irakere en 1973. Desde que
sali de su pas natal en 1980, ha promovido la msica latina en
todo el mundo como solista destacado, director de banda y
productor. Dirigi su propia banda mientras tocaba al mismo
tiempo con la United Nation Orchestra de Dizzy Gillespie.
Cuando Gillespie muri, Paquito se convirti en director musical
de la United Nation Orchestra y codirector de la banda
Caribbean Jazz Project.
Photorapher / fotgrafo: Alan J. Nahigian, 1999
131
KIOSK PANEL J-5

Heading
The 90s and Beyond

#
Text
In the 1990s Latin jazz produced a new roster of performers who

display great jazz sensibility, a grounding in Afro-Cuban rhythms,
and extensive knowledge of other rhythmic and melodic
traditions from the Afro-Caribbean world. Michel Camilo, Danilo
Prez, and David Snchez are only three of the new crop of great
Latin jazz soloists.
En los aos noventa el jazz latino produjo una nueva generacin
de artistas que demostraron una gran sensibilidad jazzstica, un
profundo arraigo en los ritmos afrocubanos y un extenso
conocimiento de otras tradiciones rtmicas y meldicas del
mundo afrocaribeo. Michel Camilo, Danilo Prez y David
Snchez son slo tres de los grandes solistas de este nuevo grupo
de msicos.
#
Name block
Michel Camilo
piano
1954 (Santo Domingo, Repblica Dominicana)
#
Photo: Michel Camilo

Caption
In live performance and in recordings, Michel Camilo is one of

the most energetic pianists of Latin jazz. He has recorded a
number of exciting albums, leading his own trio, and wrote the
new standard Why Not!
Tanto en las actuaciones como en las grabaciones, Michel Camilo
es uno de los pianistas ms enrgicos del jazz latino. Ha grabado
muchos lbumes estupendos, dirigido su propio tro y escrito el
nuevo clsico de jazz latino Why Not!.
Photographer / fotgrafo: R. Andrew Lepley
#
Name block
Danilo Prez
piano
1966 (Monte Oscuro, Panam)
#
132
Photo: Danilo Prez
Caption
One of the most exciting inheritors of the Latin jazz tradition,

Danilo Prez has included rhythms and traditions of his native
Panam and other Latin American countries in his playing. He
counts as his inspiration several pianists: Cuban Ernesto Lecuona,
Panamanian Vctor Boa, and Americans Art Tatum, Duke
Ellington, and Thelonious Monk.
Danilo Prez, uno de los ms excitantes herederos de la
tradicin del jazz latino, ha includo ritmos y tradiciones de su
Panam natal y otros pases latinoamericanos en sus
actuaciones. Entre quienes fueron fuente de inspiracin para
Prez se encuentran: el cubano Ernesto Lecuona, el panameo
Vctor Boa y los americanos Art Tatum, Duke Ellington y
Thelonious Monk.
#
Name block
David Snchez
tenor saxophone saxofn tenor
1968 (Guaynabo, Puerto Rico)
#
Photo: David Snchez

Caption
A talented saxophonist, David Snchez gives a jazz interpretation

to contemporary Latin American music. The Afro-Cuban element
is always at the heart of his work, even when he does not use
the actual sounds of Afro-Caribbean drums.
Un talentoso saxofonista, David Snchez aporta una
interpretacin jazzista a la msica latinoamericana
contempornea. El elemento afrocubano est siempre en el
centro de su trabajo, an cuando no utiliza los sonidos de los
tambores afrocaribeos.
133
KIOSK PANEL J-6

Heading
De los aos noventa en adelante

#
Name block
John Santos
percussion percusin
1955 (San Francisco, California)
#
Photo: John Santos

Caption
John Santos began playing congas as a teenager in his stepgrandfathers band, learning the basics of Puerto Rican and
Cuban music. A student of African and Cuban music styles,
Santos formed the colorful and exciting Machete Ensemble in
1986. A writer and music historian, Santos represents a new
generation of musicians who combine innovative performance
with public education.
John Santos comenz a tocar congas desde adolescente en la
banda de su abuelo, aprendiendo las bases de la msica
puertorriquea y cubana. Estudioso de los estilos de msica
africana y cubana, Santos form el colorido y excitante grupo
Machete Ensemble en 1986. Autor e historiador de msica,
Santos representa una generacin nueva de msicos que
combinan la actuacin innovadora con la educacin pblica.
Photographer / fotgrafo: David Belove
#
Name block
Rebeca Maulen
piano
1962 (Santa Monica, California)
#
Photo: Rebeca Maulen
Caption
Pianist, percussionist, composer, and arranger Rebeca Maulen

was co-founder with John Santos of the Orquesta Batachanga
and fronts her own ensemble, Round Trip. Maulen also lectures
on Latin music and has written two important instructional
books, Salsa Guidebook for Piano and Ensemble and 101
Montunos.
Pianista, percusionista, compositora y arreglista, Rebeca
Maulen fund junto con John Santos la Orquesta Batachanga y
es directora de su propio conjunto, Round Trip. Maulen tambin
da conferencias sobre msica latina y ha escrito dos libros
134
educativos importantes, Salsa Guidebook for Piano and Ensemble

y 101 Montunos.
Photographer / fotgrafo: Michael Piazza, 1998
Quote
There is a debate about definitions, Afro-Cuban jazz or Latin

jazz . . . the terms are interchangeable. If you hear Chucho
Valds on the air, you can call it Afro-Cuban; if its something
in the Cal Tjader tradition, you can call it Latin jazz. I dont
think there is any one way which is correct or incorrect. The
question is,
does it move you?

Jazz afrocubano o jazz latino . . . existe un debate acerca de
estos trminos. Yo los uso indistintamente. Si pongo temas de
Chucho Valds en el aire, lo llamo afrocubano, si pongo algo en
la tradicin de Cal Tjader, lo llamo jazz latino . . . No pienso que
haya una manera correcta o incorrecta .
..
la pregunta es: te mueve?

#
135
BANNER / B-13
Timeline D
1980-present
136
CREDIT PANEL
Consultants and Advisors / Consultores y Asesores
Our great appreciation to the following consultants and advisors
for their contributions to this project:
Nuestra gran apreciacin a los siguientes consultores y asesores
por su contribucin a este proyecto:
Curatorial Consultants / Consultores de curadora
Leonardo Acosta, Musician and Jazz Historian
David Carp, Music Researcher
Cristbal Daz Ayala, Music Historian
Juan Flores, Professor of Sociology, Hunter College, New York
Marvette Prez, Curator, National Museum of American History
Max Salazar, Journalist and Radio Producer
Americas Jazz Heritage

Tonya Jordan, Program Manager
Katea Stitt, Coordinator, Jazz Oral History Program
Joana Champain, Webmaster
Advisory Committee / Comit Asesor
Leonardo Acosta, Writer and Musician
James Early, Director, Cultural Studies and Communication
Smithsonian Center for Folklife Programs
Dale Fitzgerald, Executive Director, The Jazz Gallery, New York
City
Juan Flores, Professor of Sociology, Hunter College, New York
Ira Gitler, Journalist and Writer
Andy Gonzlez, Musician
Giovanni Hidalgo, Musician
137
Suzan Jenkins, Consultant and Producer

Willard Jenkins, Journalist and Radio Producer
Isabelle Leymarie, Writer and Historian
Ren Lpez, Independent Producer
Danilo Lozano, Assistant Professor of Ethnomusicology, Whittier
College
Bruce Lundval, President, Jazz/Classics Capitol, Bluenote
Records
Max Salazar, Journalist and Radio Producer
John Santos, Musician and Educator
Vicki Sol, Music Director and Radio Broadcaster
Chucho Valds, Musician
#
END OF SCRIPT
FIN DEL LIBRETO
###

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1

Latin Jazz: La Combinacin Perfecta

El Jazz Latino: The Perfect

Street Son Group; Havana, Cuba, 2002

WALL PANEL / W-1

Roots and Branches of Latin Jazz

Races y ramas del jazz latino

Roots and Branches: Migration

Races y ramas de las migraciones

guaguanc, Afro-Cuban jazz; (1960s on) Afro-Cuban jazz fusion,

Painting / pintura: Griot, 1990

KIOSK PANEL A-2:

Roots / Routes: Migrations

Latin jazz . . . I think its the same as Afro-Cuban jazz . . . is

The story of Latin jazz is about movement. As people moved

KIOSK PANEL A-3

We carry with us our African roots, sometimes without

Painting / pintura: Congarous

KIOSK PANEL A-4

Danza, Habanera, Danzn

Nosotros llevamos races africanas y a veces no lo sabemos

KIOSK PANEL A-5

Louis Moreau Gottschalk

Sheet music cover / cubierta de partitura:

L.M. Gottschalks Choicest Compositions, 1888

KIOSK PANEL A-6

The Mexican Band

Sheet music cover / cubierta de partitura:

Sheet music cover / cubierta de partitura:

Sheet music cover / cubierta de partitura:

Artifact (in case 3):

Sheet music cover / cubierta de partitura:

Sheet music cover / cubierta de partitura:

Artifact: sheet music,

Sheet music cover / cubierta de partitura:

El Manisero (The Peanut Vendor) was the first rhumba tune

Baby Dodds with African-style hand drum, New Orleans, 1954

I had to beat drums because nothing else answers.

Congo Square, New Orleans, about 1850 / aos de 1850

Photo: Lorenzo Tio Sr.

Lorenzo Tio Sr., 1894

Lorenzo Tio Sr.

Lorenzo Tio Jr.

My teacher was Mexican, Lorenzo Tio . . . . If hed take a

KIOSK PANEL B-2

Poster for Manuel Prezs Imperial Orchestra, 1910

Manuel Prez (standing second from left) and his Imperial

Pythian Temple Roof Garden, New Orleans, 1923

KIOSK PANEL B-3

Painting / pintura: Crucicorde, 1996

KIOSK PANEL B-4

Jelly Roll Morton, Luis Russell, Willie Santiago

Ferdinand Jelly Roll Morton

Photo: Arnold Metoyer

greatest rhythm men of the day, Willie Santiago, a drummer of

KIOSK PANEL B-5

Sexteto Habanero, Cuba, 1920s /aos de 1920

KIOSK PANEL B-6

Antonio Machn, Arsenio Rodrguez

Record Album Cover:

Record album cover / cartula de disco: Antonio Machn,

Jam session with Arsenio Rodrguez and the Tico-Alegre All