Latin Jazz and Afro-Modernism

Modern artists' break with classical traditions was influenced by African art, as in Pablo Picasso's influence from African masks.

 

... and the modern dance of African-American choreographer and anthropologist Katherine Dunham.

The living presence of traces of African culture, music, and religion in Afro-Cuban music was also inspiring for black artists, like the brilliant jazz revolutionary Dizzy Gillespie. After helping transform swing music into the more technically sophisticated and experimental be-bop  in the 1950's...

... he incorporated Afro-Cuban musicna, composer, and ritual practitioner Chano Pozo into his big band for an important concert in Carnegie Hall in 1947.

George Russell's pioneering composition "Cubano Be Cubano Bop" was premiered by Gillespie and Pozo there in 1947.

As was Pozo's composition "Manteca."

Aside from sparking Latin jazz, it also changed African-American music, allowing for a new type of rhythm in the bass, from swing to Cuban "tumbao"
Swing / Walking bass line (jazz):

Tumabo bass line (here, by Cachao, from 1957):

Machito and his Afro-Cubans were also popular among African-Americans experimentalists.  One of these musicians was the legendary African-American saxophonist Charlie Parker, here playing with Machito. (Jazzheads can check out an analysis by Steve Coleman here).

 

"Progressive jazz" musicians on the West Coast, many of whom were white, were also collaborating with Cuban musicans. Vibraphonist Cal Tjader worked closely with the legendary Afro-Cuban percussionist Mongo Santamaría. Stan Kenton also worked with Cuba musicians, incudingthe Mahcito band, and even covered "The Peanut Vendor."