The percussion work Pozo produced was quite electrifying and over the next few months, more Latin-inspired tracks were added by Gillespie, including AlgoBueno, which was also known as Woody 'n You (1947), to enable him feature his talented conga drummer. Though Pozo could not possibly read music, he produced or co-composed a number of major examples of Afro-Latin jazz, such as Manteca (1947), which was recorded by the Gillespie big-band (Appiah 433)
The recording of the landmark bossa nova debuted in 1964; it was a partnership between guitarist/singer Joao Gilberto and jazz saxophonist Stan Getz. The Girl from Ipanema was the signature track, which made it to the chart as a top single towards the end of that year (Campbell 281-2)
Until his death, Chano Pozo made significant contribution to both Jazz and Latin American music. Manteca contrasts parts of percussion-propelled, rhythmically intricate Afro-Cuban passages with those which are similar to the melodic and vocal conventions associated with American jazz (Lomanno para 4)
The musician worked together with Chano Pozo, a Cuban percussionist, in creating popular tunes like Manteca. Manteca was a superb composition that enjoyed extensive recording (Sampat 3)
The relationship between the beats of the music is what made it complex, for one could not be separated from the other, as they participated in a kind of dialogue, so to speak. This supports the call-and-repeat scheme of the overall structure of this early influence on the development of jazz (Cooke 8)
The African-Americans made these songs into their "spirituals" and these spirituals were often spirited, which would give to jazz its rollicking, lively, and spirited vibe. Still, while these hymnals and spirituals were essentially of a single melody, the jazz that developed out of them consisted of multiple melodies and was more complex in terms of creating a texture in the music that would produce these different melodies at the same time, filling the ear with a burst of sound that went in different directions at once (Kubik, 112)
Thus what happened was that African-Americans used their bodies to produce rhythmic beats: they clapped and stomped their feet, and this was later incorporated into jazz too. So all of these elements were there being combined together to originate a new style of music that was wholly unique and unlike anything the world had ever seen before (Palmer 39)
Moreover, the ragtime style is often linked to the African dance. Ragtime is easily recognizable (Tivis) and was made mainly for the piano