The Cuban origins of the music do not conveniently fit into the pan-Latino narrative. Many leading salsa artists have described salsa in broad and inclusive, but vague terms, making no mention of the music's Cuban foundation. For example, Johnny Pacheco has consistently articulated a vision of salsa as a broad, multi-ethnic movement: "Salsa was, and still is, a Caribbean musical movement." Similarly, Willie Colón sees the scope of salsa's power to unite in the broadest terms: "Salsa was the force that united diverse Latino and other non-Latino racial and ethnic groups ... It is a concept. An open, ever-evolving musical, cultural, socio-political concept." Rubén Blades' definition of salsa is also inclusive: "Salsa music is urban folklore at the international level." Journalist Scott Heller writes, "music circulates across national boundaries, becoming a useful example of the globalization of culture and of the ways that people build community in diaspora." As an example of this, ethnomusicologist Ed Morales notes that the interaction of Latino rhythms and Jazz music in mid-twentieth century New York was crucial to the innovation of both forms of music. Musicians who would become great innovators of Salsa, like Mario Bauza and Chano Pozo, began their careers in New York working in close conjunction with some of the biggest names in Jazz, like Cab Calloway, Ella Fitzgerald, and Dizzy Gillespie, among others, Morales noted that: "The interconnection between North American jazz and Afro-Cuban music was taken for granted, and the stage was set for the emergence of mambo music in New York, where music fans were becoming accustomed to innovation." He later notes that Mambo helped pave the way for the widespread acceptance of Salsa years later. In the pivotal documentary movie "Salsa: Latin Pop Music in Cities" (1979), the history of salsa is explained as a mixing of African, Caribbean, and New York cultures and musics, with no mention of Cuba. In one scene, the Afro-Cuban folkloric genres of batá and rumba are shown being performed in Puerto Rico, implying that they originated there.