Pianist Eddie Cano spent most of his career trying to find the balance between jazz and Latin jazz styles. He found an appreciative audience for a series of albums under his own name released in the '50s and '60s by labels such as Atco, Reprise, and RCA, his following similar to that of vibraphonist Cal Tjader and bandleader Les Baxter. Cano also drew on dance crazes such as the cha cha and the Watusi to promote his efforts. His family was rich musically, Cano's father a bass guitarist, his grandfather a member of the Mexico City Symphony. Cano studied bass with his grandfather and private teachers, also studied piano and trombone, spent two years in the Army beginning in 1945, and then began hitting stages in a group led by Miguelito Valdés.

He soon made a connection with Herb Jeffries, a singer whose forte was balladry and with whom Cano would collaborate off and on over the next decade. The pianist had his own bands going as early as 1948, but continued working with Jeffries, Bobby Ramos, and Tony Martinez. As a composer, Cano came up with a large repertoire, including the tasty "Algo Sabroso," the friendly "Cal's Pals," the wiggly "Watusi Walk," and the thrilling "Ecstasy" -- not to mention "Honey Do," which could be a cross-genre answer song to Carl Perkins' popular "Honey Don't." While many of his peers concentrated on the peerless thrust of Latin rhythms, Cano hardly ignored this component but seemed equally intent on emphasizing the kind of complex, provocative harmonic and melodic structures associated with modern jazz.Cano, Eddie (b 6 June '27, L.A., father Mexican, mother Mexican-American; d 30 Jan. '88, L.A.) Latin jazz pianist, leader, composer, arranger. Infl. by Noro Morales and Errol Gardner, he developed an inimitable rhythmic style, drive and ability to "lift" a band. Often in his numbers he'd switch styles from Latin (with Latin rhythm section) to straight jazz (accompanied by drum kit). Began classical piano studies at age five; played bass in junior high school and trombone in high school, where he became interested in jazz and decided to turn pro; an uncle introduced him to Duke Ellington's music; started working in local nightclub bands '43, playing both Latin and American dance music. Joined US Army '45, assigned to various military bands and completed a course in six months at L.A. Conservatory of Music '46.~ Eugene Chadbourne, Allmusic<ref name="Afro-Cuban Jazz"></ref>

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This category is for musicians of the genre, and not an indicator of nationality.<br /> See also *Afro-Cuban jazz *:Category:Afro-Cuban jazz composers *:Category:Afro-Cuban jazz ensembles *:Category:Jazz musicians by genre

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[Up] Bebo Valdés

Bebo Valdés (born Ramón Emilio Valdés Amaro in Quivicán, Havana, 9 October 1918) is a Cuban pianist, bandleader, composer and arranger. He was a central figure in the golden age of Cuban music, led two famous big bands, and was one of the 'house' arrangers for the Tropicana Club.Giro, Radamés 2007. Diccionario enciclopédico de la música en Cuba. La Habana. vol 4, p232 et seq.

Valdés started his career as a pianist in the night clubs of Havana during the 1940s. From 1948 to 1957 he worked as pianist and arranger for the vedette Rita Montaner, who was the lead act in the Tropicana cabaret. His orchestra Sabor de Cuba, and that of Armando Valdés, alternated at the Tropicana backing singers such as Benny More and Pio Leyva. Valdés played a role in the development of the mambo during the 1950s, and developed a rew rhythm to compete with Perez Prado's mambo, called the batanga. Valdés was also an important figure in Cuban jazz and taking part in the Panart Cuban jazz sessions (one was commissioned by American producer Norman Granz). In the late 1950s he recorded with Nat 'King' Cole.

In 1960, with his singer Rolando La Serie, Bebo left Cuba for Mexico. He then lived briefly in the United States before touring Europe, and eventually settlrd in Stockholm, where he lived until 2007. In Sweden he was instrumental in spreading the techniques of Cuban music and latin jazz.

In 1994 a CD, Bebo rides again, revived his career. The film Calle 54 by Fernando Trueba brought his piano playing to a wide audience. In 2004 he was again filmed by Trueba, in El milagro de Candeal, in Brazil. Valdés has won five Grammy Awards: two for El arte del sabor in 2002, one for Lagrimas negras, and two for Bebo de Cuba in 2006 (in the categories Best traditional tropical album and Best Latin jazz album).

His many compositions included Guempa, Daquirí, Dile a Catalina, Nocturno en batanga, La rareza del siglo, México querido and Ritmando el chachacha.

[Up] Dudu Pukwana

Mtutuzel Dudu Pukwana (18 July 1938, in Walmer Township, Port Elizabeth, South Africa – 30 June 1990) was a South African saxophone player, pianist and composer, though he is not known for his piano playing at all.

[Up] Bugge Wesseltoft

Jens Christian Bugge Wesseltoft (born February 1, 1964 in Porsgrunn) is a Norwegian jazz musician, pianist, composer and producer. He has his own label named Jazzland Records. In the 1990s, Bugge has made a transition from Nordic jazz traditions exemplified by the ECM record label to a style sometimes referred to as "future jazz" or nu jazz. He has played with Jan Garbarek.