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In detailing the history of this Pan-American musical mélange, Roberts's definitions of key Latin jazz terms are to the point and free of music-critic jargon. For example, he describes the 3/2 or 2/3 rhythmic pattern known as the Cuban clave as "a simplification, under a Euro-Latin influence, of a common West African organizing concept that consists of a regular total number of sounds and silences, usually carried on a bell." Roberts also introduces the reader to the many Caribbean, Central, and South American musicians who have moved and grooved the U.S. for decades, including Puerto Rican pianists and percussionists Eddie Palmieri, Tito Puente, Ray Barretto, and Jerry Gonzalez; the Argentinean nuevo tango creator Astor Piazzolla; the Cubano conguero Mongo Santamaria, and the Swedish-American vibraphonist Cal Tjader. Throughout this well-researched volume, Roberts reveals how the artistic contributions of Spanish- and Portuguese-speaking neighbors have enriched American music, and impresses upon us the fact that "the Latin tinge was one of the most crucial elements in the universality of jazz." --Eugene Holley Jr.
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