Dizzy Gillespie on traditional Afro-Cuban rhythms. Gillespie was introduced to Chano Pozo in 1947 by Mario Bauza, a Latin jazz trumpet player. Chano Pozo became Gillespie's conga drummer for his band. Gillespie also worked with Mario Bauza in New York jazz clubs on 52nd Street and several famous dance clubs such as the Palladium and the Apollo Theater in Harlem. They played together in the Chick Webb band and Cab Calloway's band, where Gillespie and Bauza became lifelong friends. Gillespie helped develop and mature the Afro-Cuban jazz style. Afro-Cuban jazz was considered bebop-oriented, and some musicians classified it as a modern style.
Horn in jazz though he began composing without recognition earlier. His first piece, “Jumpin in the Future” was an atonal jazz composition based on 12-tone music. However once Schuller began composing, he stopped playing horn. Once he spent too much time away from the instrument, he believed he no longer had the chops to continue playing. Still, most of his third stream works include horn parts. Many contemporary jazz horn players have made a name for themselves in the 70s, 80s, 90s, and 00s. Some popular jazz hornists were taught privately by the breakthrough jazz horn players. Besides those mentioned below, other important