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.
Jazz improvisation bassline for 1920s-1950s jazz; rock-style ostinato riffs for jazz-rock fusion; and Latin basslines for Latin jazz. Improvised basslines typically outline the harmony of each chord by playing the root, third, seventh and fifth of each chord, and playing any other notes that the composer has requested in the chord (e.g., if the chord chart indicates a sixth chord on the tonic in C Major, the bassist might include the sixth degree of the C Major scale, an "A" note, in her/his bassline). The chordal instrument players improvise chords based on the chord progression. Chordal instrument players use jazz chord voicings