Classifier Instance:

Anchor text: Bobby Sanabria
Target Entity: Bobby_Sanabria
Preceding Context: The general consensus among musicians and musicologists is that the first original jazz piece to be overtly based in-clave was "Tanga" (1943) composed by Cuban-born Mario Bauza and recorded by Machito and his Afro-Cubans in New York City. "Tanga" began humbly, as a spontaneous descarga (Cuban jam session) with jazz solos superimposed on top. This was the birth of Afro-Cuban jazz.
Succeeding Context: cites several innovations of Machito's Afro-Cubans—they were the first band to successfully wed big band jazz arranging techniques within an original composition, with jazz oriented soloists utilizing an authentic Afro-Cuban based rhythm section in a successful manner. e.g. Gene Johnson – alto, Brew Moore – tenor; the first band to explore modal harmony (a concept explored much later by Miles Davis and Gil Evans) from a jazz arranging perspective. Of note is the sheet of sound effect in arrangements of "Tanga," through the use of multiple layering. They were also the first band to overtly explore the concept of clave conterpoint from an arranging standpoint: the ability to weave seamlessly from one side of the clave to the other without breaking its rhythmic integrity within the structure of a musical arrangement. Sanabria also points out that they were the first band in the United States to publicly utilize the term Afro-Cuban as the band's moniker (Machito and the Afro-Cubans), thus identifying itself and acknowledging the West African roots of the musical form they were playing. It forced both New York City's Latino and African American communities to deal with their common West African musical roots in a direct way, whether they wanted to publicly acknowledge it or not.
Paragraph Title: Afro-Cuban jazz (cu-bop)
Source Page: Jazz

Ground Truth Types:

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