Historical classics re-arranged into latin beats.

Latin Jazz musicians deep dive the great song books for the past 100 years, from Broadway, pop music, classical and even rock n roll for material.

Here are five Latin interpretations of songs written by jazz musicians, a process that isn't as easy as playing the chords of a jazz composition over a latin rhythm. The real gold in the Latin jazz library comes from clever interpretations of songs that lend themselves to the intricate meter of Afro-Cuban music. Below I share with you 5 of my favorite interpretations and will showcase Tin Tin Deo. Chano Pozo - Tin Tin Deo Publisher: Jazz Lines Publications Although "Tin Tin Deo" is usually associated with trumpeter Dizzy Gillespie, it was actually co-composed by Gillespie's original arranging partner Gil Fuller and conguero Luciano "Chano" Pozo. This version, arranged by Fuller, was originally intended to feature Gillespie with the Monterey Jazz Festival Orchestra, but ended up being a feature for flutist James Moody on Fuller's 1965 album "Night Flight." The arrangement starts off with a bombastic half-time introduction before the usual brighter Latin tempo begins at bar 5. Moody enters with the melody at bar 11, with the saxophones and trombones providing some gently pulsing background riffs. The bombast returns at bar 43, where the trumpets take over the melody and the rhythm section shifts to a swing feel. A strong lead trumpet player is an absolute necessity for this portion of the arrangement. A brief interlude at bar 59 sets up the soloist, who is accompanied by the same background riffs that accompanied the melody. It is important for the ensemble to appropriately adjust their volume level so as to not overwhelm the soloist. The melody is never re-stated, as the arrangement opts to end with a fade out with the soloist improvising over the ensemble's introductory riff. The original version of this arrangement was written for standard big band instrumentation with three French horn players. We have included an alternate 4th trumpet part as well as an optional 5th trumpet and 4th trombone part if you want to play it with your ensemble but do not have access to French horn players. We have also included two separate soloist parts: a trumpet part (to reflect who the arrangement was originally written for) and a flute part (to reflect how it ended up being recorded). We hope you enjoy playing this chart as much as we enjoyed preparing it for you! The remaining 4 classics I'd like to share are below and in the future will showcase how latin jazz musicians have influenced the original sound. Horace Silver's - Nicas Dream Dizzy Gillespie - Night in Tunisia Frank Foster - Shiny Stockings Herbie Hancock - Watermelon Man

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