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Nu jazz (also spelt nü jazz or known as jazztronica, [1] or future jazz) is a genre of jazz and electronic music. The music blends jazz elements with other musical styles, such as funk, electronic music, and free improvisation. [2] Nu jazz typically ventures further into the electronic territory than does its close cousin, acid jazz. [3]
Latin jazz is a genre of jazz with Latin American rhythms. The two main categories are Afro-Cuban jazz, rhythmically based on Cuban popular dance music, with a rhythm section employing ostinato patterns or a clave, and Afro-Brazilian jazz, which includes samba and bossa nova.
The Latin Grammy Award for Best Latin Jazz/Jazz Album is an honor presented annually at the Latin Grammy Awards, a ceremony that recognizes excellence and creates a wider awareness of cultural diversity and contributions of Latin recording artists in the United States and internationally. [1]
The Grammy Award for Best Latin Jazz Album is an award presented at the Grammy Awards, a ceremony that was established in 1958 and originally called the Gramophone Awards, [1] to recording artists for quality works (songs or albums) in the Latin jazz music genre.
The Jazz Review was a jazz criticism magazine founded by Nat Hentoff and Martin Williams in New York City in 1958. It was published till 1961. Hentoff and Williams were co-editors throughout its brief existence (23 issues). Many issues of The Jazz Review are available at Jazz Studies Online, which assesses its quality as follows:
"Morning" is a Latin Jazz standard written by American pianist/composer/arranger Clare Fischer, [2] first heard on his 1965 LP, Manteca!, Fischer's first recording conceived entirely in the Afro-Cuban idiom, which, along with the Brazilian music he had explored at length over the previous three years, [3] would provide fertile ground for ...
From border narratives that go beyond the immigration debate to coming-of-age quasi-musicals with puppets; from a western that confronts Chile's dark past to an adaptation of one of Mexico's most ...
Afro-Cuban jazz has been for most of its history a matter of superimposing jazz phrasing over Cuban rhythms. In the 1980s a generation of New York City musicians had come of age playing both salsa dance music and jazz. In 1967 brothers Jerry and Andy González at the ages of 15 and 13 formed a Latin jazz quintet inspired by Cal Tjader's group.