Pillars of Latin Jazz: Bauzá, Gillespie and Pozo
The development of Latin Jazz—or Afro-Cuban Jazz—cannot be understood without the historic convergence of three fundamental figures: Dizzy Gillespie, Mario Bauzá, and Chano Pozo. Beyond their individual careers, it was the creative exchange between these musicians that sparked a new energy in modern jazz, blending the rhythmic complexity of Afro-Cuban traditions with the harmonic freedom of bebop. This article explores how their collaboration laid the foundation for a vibrant, hybrid, and deeply influential genre.
Born in Havana, Cuba, in 1911, Bauzá began his unparalleled musical journey as a clarinetist in the city’s symphony orchestra. He later focused on the trumpet, playing in bands such as Don Azpiazú’s in New York. His arrival in North America in 1930 was met with cultural clashes and racial discrimination—normalized dynamics in the U.S. at the time, where apartment buildings in Manhattan openly displayed signs stating, “No dogs, no Blacks, no Hispanics."
New York City was multicultural, with various immigrant groups coexisting, yet xenophobia and racism were ingrained in daily life. People like Bauzá—both Cuban and Black—faced double discrimination, which deeply affected his journey in the U.S. Language barriers also made it hard to form relationships and connections. Nevertheless, despite these adversities, Bauzá found success. Through music, he united Cuban performers and created a cultural fusion that contrasted with the hostile societal environment.
His interest in jazz led him to play with various orchestras, including Chick Webb’s band in 1933. He not only proved to be a remarkable musician but also an astute talent scout—he was the one who recommended a young Ella Fitzgerald to Webb. In 1938, after Webb’s death, Bauzá joined Cab Calloway’s band, where he befriended a certain Dizzy Gillespie. From that friendship and countless jam sessions emerged Cubop—or "Afro-Cuban" jazz, as Bauzá called it. The fusion of Cuban music and American jazz grew stronger and gained widespread popularity.
In 1941, Bauzá became the musical director of Machito and His Afro-Cubans, a role he held for over 35 years. In this position, he helped develop new sounds and concepts for big bands, including mambo and Afro-Cuban jazz. His greatest contributions were introducing clave rhythms, congas, and timbales to the genre. While the harmonies and melodies leaned toward North American jazz, the percussion was rooted in Afro-Cuban traditions—creating a powerful marriage between the two musical styles.
Meanwhile, Gillespie was carving out his place in jazz history during the 1940s, co-creating bebop alongside figures like Charlie Parker, and continued experimenting with Latin rhythms. His piece “A Night in Tunisia” demonstrates how he combined Latin polyrhythms with bop harmonies. The song became immensely popular following a 1946 big band recording. Thanks to Cab Calloway and Mario Bauzá, Gillespie met a musician full of mystique and talent: Chano Pozo, a percussionist specializing in conga and bongo. Pozo brought Gillespie deep knowledge of Yoruba sacred rhythms, and his virtuosity is evident in the recording of “Cubana Be, Cubana Bop,” where he provides the rhythmic foundation for Gillespie’s improvisations. That recording marks a milestone in Latin Jazz, and the partnership between the two musicians produced unforgettable works like “Manteca” and “Tin Tin Deo.”
Chano Pozo was born on January 7, 1915, in Havana in a context of poverty. He had a difficult childhood—his mother died young, and he spent time in reformatories due to reportedly impulsive and violent behavior shaped by his environment. His musical talent allowed him to deeply engage with the complexities of African polyrhythm found in Santería rituals. He was a member of the secret Abakuá society, participating in religious ceremonies, drumming, and performing as a rumbero during carnival nights. As a young man, he stood out as a composer, percussionist, singer, and dancer—even though he never learned formal music or how to read sheet music. He often relied on fellow musicians to transcribe the rhythms and melodies constantly running through his mind.
By the 1940s, his arrangements and compositions had reached New York, performed by Machito and His Afro-Cubans under Bauzá’s direction. In 1946, Pozo moved to the U.S., where he formed a historic bond with Gillespie, leaving an indelible mark on Latin Jazz.
Chano Pozo was tragically killed in Harlem, Manhattan, by Eusebio Muñoz—known as Cabito—who accused him of owing a debt. They say six bullets and a man’s bad intentions ended Chano’s life, but they couldn't stop him from becoming a pillar of a genre remembered even 80 years after his passing. Gillespie, for his part, continued exploring this fusion and collaborated with Machito and arranger Chico O’Farrill on the album Afro-Cuban Jazz Moods. He passed away in January 1993 and remains one of jazz’s most important figures. Mario Bauzá, who continued leading Machito’s orchestra, died in July of the same year.
by José Daniel Mejía Valle