Jazz in the post-war years: In the early 1940s, bebop-style performers began to shift jazz from danceable popular music toward a more challenging "musician's music." The most influential bebop musicians included saxophonist Charlie Parker, pianists Bud Powell and Thelonious Monk, trumpeters Dizzy Gillespie and Clifford Brown, and drummer Max Roach. Divorcing itself from dance music, bebop established itself more as an art form, thus lessening its potential popular and commercial appeal. Composer Gunther Schuller wrote, "In 1943 I heard the great Earl Hines band which had Bird in it and all those other great musicians. They were playing all the flatted
Music of Cuba Along with "Nuyoricans" Ray Barretto and Tito Puente and others, several waves of Cuban immigrants introduced their ideas into US music. Among these was Celia Cruz, a guaracha singer. Others were active in Latin jazz, such as percussionist Patato Valdés of the Cuban-oriented "Tipíca '73", linked to the Fania All-Stars. Several former members of Irakere have also become highly successful in the US, among them Paquito D'Rivera and Arturo Sandoval. Tata Güines, a famous conguero, moved to New York City in 1957, playing with jazz players such as Dizzy Gillespie, Maynard Ferguson, and Miles Davis at Birdland. As a percussionist,