Latin Jazz Instruments: Roots, Contrasts and Musical Interaction
Latin Jazz is, by definition, a genre of fusions: it combines the rhythmic richness of Afro-Cuban music with the harmonic and melodic sophistication of American jazz. This union takes place not only stylistically, but also through its instruments, which come from very different cultural backgrounds yet find fertile ground for musical dialogue.
A clear example of this contrast can be seen between the congas and the saxophone. The congas, of African origin, are derived from barrel drums brought to the Caribbean — mainly from the Congo — during the diaspora, and they developed in countries like Cuba, where they took on a central role in genres like rumba. They are hand-played percussion instruments whose primary function is to maintain and enrich the rhythmic foundation. Their sound is visceral, physical, and emotional, as before arriving in Latin America they were used in religious rites and ceremonies. They were originally known as Makuta and Yuka, drums of Bantu origin that evolved into an essential part of Afro-Cuban culture. In the 19th century, they were literally barrels tied with cords and natural leather; in the 20th century, metal tuning lugs were introduced, and the bodies materials began to change to wood or synthetics. This development coincided with the congas' popularization and adoption into jazz and popular music, leading to the widespread use of the name "conga" that persists today.
The saxophone, on the other hand, was invented in Europe in 1846 by Adolphe Sax, a Belgian instrument maker who sought to create an instrument that combined the power of brass with the flexibility of woodwinds. Although it was originally intended for military bands and had little acceptance in European classical music, its history changed dramatically in the United States, where it was adopted and transformed by African American musicians in the early 20th century. In the context of jazz, the saxophone was adapted with new techniques in articulation, improvisation, and expressiveness, becoming one of the most iconic instruments of the genre.
In songs like “Manteca” (1947), this contrast becomes a collaboration. Composed by Dizzy Gillespie, Chano Pozo, and Gil Fuller, the piece is a landmark in Latin Jazz precisely because it allowed these traditions to interact organically for the first time. The Afro-Cuban percussion, led by Chano Pozo’s congas, sets a persistent and cyclical rhythmic pattern over which the horn section (trumpets, saxophones) executes syncopated phrases, often with a logic closer to bebop. “Manteca,” recorded during the third session of Dizzy Gillespie’s big band, is considered by critic Gary Giddins as one of the most influential recordings in the history of American music. Gillespie described its impact with a powerful metaphor: "It was similar to a nuclear weapon when it burst on the scene. They'd never seen a marriage of Cuban music and American music like that before." Beyond its musical brilliance, Manteca proved that such a cultural combination was possible, and for that reason alone, its influence on both jazz and Latin music is immeasurable.
A “nuclear weapon” that came from an unexpected union between two artistic expressions with similar essences. The result is a conversation where the congas set the pulse and foundation, while challenging the other instruments to explore uncharted territories. The saxophone brings agile melodic lines that sometimes mimic the rhythmic phrasing of the percussion and at other times take the spotlight. These instruments have opposite origins — one created in 19th-century Europe, the other born of rhythmic traditions from African regions impacted by European colonization and the diaspora.
Works like Manteca go beyond music — they have historical and cultural depth, as they unite places thousands of kilometers apart through instruments and musical traditions.
Another example of this fusion is “Congo Mulence” by Machito and his Afro-Cubans, where the brass and woodwinds contribute their jazzy sound, shaped by Cuban rhythms and melodies, without losing their essence. They also deliver punchy breaks that sound spectacular in a big band setting and complement the rhythmic patterns of the congas, bongos, and maracas. The bass acts as the backbone connecting percussion with melody and harmony. Its opening line and grounding presence are vital to the song’s structure.
European instruments adapted for American music join forces with African instruments developed in the Caribbean, merging two histories that once seemed parallel and destined to remain separate. Time has revealed the genius behind a tumbao supporting a horn line — or how brilliantly son, guaguancó, and mambo rhythms sound when fused with bebop harmonies and scales.
by José Daniel Mejía Valle