Kenton continued to work with Afro-Cuban rhythms and musicians for another decade; the 1956 Kenton album Cuban Fire! was written as an Afro-Cuban suite by Johnny Richards. Cuban percussionist Mongo Santamaría first recorded his composition "Afro Blue" in 1959. "Afro Blue" was the first jazz standard built upon a typical African three-against-two (3:2) cross-rhythm, or hemiola. The song begins with the bass repeatedly playing 6 cross-beats per each measure of , or 6 cross-beats per 4 main beats—6:4 (two cells of 3:2). The following example shows the original ostinato "Afro Blue" bass line. The slashed noteheads indicate the main beats (not bass notes), where you would normally tap your foot to "keep time." In the mid-1940s, the mambo craze originated with the recordings of Perez Prado, who included jazz elements, and ideas from Stravinsky in his arrangements. Guajeos (Afro-Cuban ostinato melodies), or guajeo fragments are commonly used motifs in Latin jazz melodies. For example, the A section of "Sabor" is a 2-3 onbeat/offbeat guajeo, minus some notes. The following excerpt is from a performance by Cal Tjader. 1980s New York City Afro-Cuban jazz has been for most of its history a matter of superimposing jazz phrasing over Cuban rhythms. In the 1980s a generation of New York City musicians had come of age playing both salsa dance music and jazz. In 1967 brothers Jerry and Andy González at the ages of 15 and 13 formed a Latin jazz quintet inspired by Cal Tjader's group. with Jerry on congas and Andy on bass. During 1974–1976 they were members of one of Eddie Palmieri's experimental salsa groups. Andy González recounts, "We were into improvising... doing that thing Miles Davis was doing—playing themes and just improvising on the themes of songs, and we never stopped playing through the whole set." While in Palmieri's band, the González brothers started showing up in the DownBeat Readers' Poll. In 1974, the González brothers and Manny Oquendo founded the salsa band Libre and experimented with jazz and Afro-Cuban rhythms. Libre recorded Charlie Parker's "Donna Lee" as a danzón, Miles Davis's "Tune Up" as a conga de comparsa, and Freddie Hubbard's "Little Sunflower" as a mambo. In the 1980s, Tito Puente began recording and performing Latin jazz. The González brothers worked with Puente as well as Dizzy Gillespie. McCoy Tyner hired the brothers when he played Afro-Cuban jazz. Other New York musicians included Bobby Sanabria, Steve Turre, Conrad