let it go like [Chano] wanted it, it would've been strictly Afro-Cuban, all the way. There wouldn't have been a bridge.... I ... thought I was writing an eight-bar bridge. But after eight bars I hadn't resolved back to B-flat, so I had to keep on going and ended up writing a sixteen-bar bridge." It was the bridge that gave "Manteca" a typical jazz harmonic structure, setting the piece apart from Bauzá's modal "Tanga" of a few years earlier. Arrangements with a "Latin" A section and a swung B section, with all choruses swung during solos, became common practice with many "Latin tunes" of the jazz standard repertoire. This approach can be heard on pre-1980 recordings of "Manteca", "A Night in Tunisia", "Tin Tin Deo," and "On Green Dolphin Street." Gillespie's collaboration with Pozo brought African-based rhythms into bebop, a post-modernist art form. While pushing the boundaries of harmonic improvisation, cu-bop as it was called, also drew more directly from Africa, rhythmically. Early performances of "Manteca" reveal that despite their enthusiasm for collaborating, Gillespie and Pozo were not very familiar with each other's music. The members of Gillespie's band were unaccustomed to guajeos, overly swinging and accenting them in an atypical fashion. Thomas Owens observes: "Once the theme ends and the improvisation begins, ... Gillespie and the full band continue the bebop mood, using swing eighths in spite of Pozo's continuing even eighths, until the final A section of the theme returns. Complete assimilation of Afro-Cuban rhythms and improvisations on a harmonic ostinato was still a few years away for the beboppers in 1947." On a live 1948 recording of "Manteca," someone is heard playing the 3-2 son clave pattern on claves throughout a good portion of this 2-3 song. The rhythm of the melody of the A section is identical to a common mambo bell pattern: 1940s –1970s In early 1947 Stan Kenton recorded "Machito," written by his collaborator / arranger Pete Rugolo. Some consider the piece to be the first Afro-Cuban jazz recording by American jazz musicians. John Storm Roberts observes that the piece "has no Latino instrumentalists on it, a lack of that is obvious; the crisp, fast montuno with which the piece opens is weighed down by not-so-adept drumming from Shelly Mann." Later, on 6 December of the same year, Kenton recorded an arrangement of the son "The Peanut Vendor" with members of Machito's rhythm section.