Also around 1922, Louis Armstrong, leaves the Onward Brass Band to play with Joe'King'Oliver in Chicago. In 1917 The New York bandleader James Reese Europe, recruits fifteen Puerto Ricans musicians for the 369th U.S. Infantry Military Band,with popularizd Ragtime in France during World War I. By 1925 Mario Bauza, (The Godfather of Latin-Jazz), is already playing in jazz-band in Cuba, moving to the U.S., in 1930, playing with Don Redman, Sam Wooding, Noble Sissle, Fletcher Henderson and director of Chick Webb Band since 1933. Also around 1925 Argentina started playing that genre with, Francisco Canaro, Roberto Firpo, Adolfo Aviles, Rene Cospito, and the Rietti's brother being one of the pioneer in that country. On the other coin, Clarence Williams becomes and important facilitator for recording of jazz and Blues, being, Alberto Socarras one of the recipients of the opportunity for the first recording of Flute in the jazz-music, (1927-1929),, by that time. Ramon, (Moncho) Usera, is also playing with Noble Sissle Band. Through the mid 1920's ang 1950's, a lot of jazz musicians are visiting and jamming in Cuba's Clubs and Casinos, Max Dollin, Coleman Hawkins, Louis Armstrong, Paul Withman, Ted Naddy, Jimmy Holmes, Frank Sinatra, Cob Calloway, and more. In the 1929, Duke Ellington recruits Juan Tizol, (which came to the U.S.,in 1920), and around 1938 Mario Bauza is recruited as Musical director for Cab Calloway Band, finding the opportunity for the young Dizzy Guillespie's in that Band. In the 1940's, Dante Varela, ( from Argentina), moved to L.A., and started doing some musical arrengements for Stan Kenton,. During the Dizzy Guillespie's tour of Argentina in 1956, he recruits 'Lalo' Schifrin as pianist, composer and for musical arrengement. Some Scholars set the fusion in jazz in the 60's, I think that the fusion in jazz started in 1940's when Chano Pozo and Dizzy Guillespie's did the historic recording which incorporated both Cuban-folklore and a new instrument, (Congas) in to jazz, creating a fire which was followed by the rest of the musicians in jazz, (everybody was looking for congeros, and percussionists like, Sabu Martinez, Candido Camero, Mongo Santamaria, Armando Peraza, Patato Valdez, Julito Collazo, Francisco Aguabella, Carlos Vidal, Jose Mangual Sr, Willy Bobo, Chino Pozo, Diego Iborra, Ubaldo Nieto, Silvestre Mendez, Rey Barreto, and others were the percussionists which the jazz players were incorporating in that fusion. Gerry Zaragemca

International Club of Percussionists