Latin jazz

Latin jazz is a genre of jazz with Latin American habanera rhythm included in Will H. Tylers Maori": I
rhythms. Although musicians continually expand its pa- observed that there was a sudden, proud and graceful re-
rameters, the term Latin jazz is generally understood to action to the rhythm...White dancers, as I had observed
have a more specic meaning than simply jazz from Latin them, took the number in stride. I began to suspect that
America. Some Latin jazz typically employs rhythms that there was something Negroid in that beat. After noting
a similar reaction to the same rhythm in La Paloma,
either have a direct analog in Africa, or exhibit an African
inuence. The two main categories of Latin jazz are: Handy included this rhythm in his St. Louis Blues,
the instrumental copy of Memphis Blues, the chorus
1. Afro-Cuban jazzjazz rhythmically based on of Beale Street Blues, and other compositions.[6] Jelly
Cuban popular dance music, often with a rhythm Roll Morton considered the tresillo/habanera (which he
section employing ostinato patterns and/or a clave. called the Spanish tinge) to be an essential ingredient of
jazz.[7] The habanera rhythm can be heard in his left hand
2. Afro-Brazilian jazzincludes bossa nova and jazz on songs like The Crave (1910, recorded 1938).
samba.
Now in one of my earliest tunes, New
Orleans Blues, you can notice the Spanish
1 Afro-Cuban jazz tinge. In fact, if you cant manage to put
tinges of Spanish in your tunes, you will never
1.1 Spanish tingeThe Cuban inu- be able to get the right seasoning, I call it,
ence in early jazz and proto-Latin jazz for jazzMorton (1938: Library of Congress
Recording).[8]
African American music began incorporating Afro-
Cuban musical motifs in the 19th century, when the
habanera (Cuban contradanza) gained international pop-
ularity. The habanera was the rst written music to be
rhythmically based on an African motif. The habanera
rhythm (also known as congo,[1] tango-congo,[2] or tango
[3]
) can be thought of as a combination of tresillo and the
backbeat. Wynton Marsalis considers tresillo to be the
New Orleans clave, although technically, the pattern is
only half a clave.[4]

Tresillo. Play

Jelly Roll Morton

Habanera rhythm.[5]
Although the exact origins of jazz syncopation may never
"St. Louis Blues" (1914) by W.C. Handy has a ha- be known, theres evidence that the habanera/tresillo was
banera/tresillo bass line. Handy noted a reaction to the there at its conception. Buddy Bolden, the rst known

1
2 1 AFRO-CUBAN JAZZ
jazz musician, is credited with creating the big four, a
habanera-based pattern. The big four (below) was the
rst syncopated bass drum pattern to deviate from the
standard on-the-beat march.[9] As the example below
shows, the second half of the big four pattern is the ha-
banera rhythm.
Buddy Boldens big four pattern
It is probably safe to say that by and large
the simpler African rhythmic patterns survived
in jazz ... because they could be adapted
more readily to European rhythmic concep-
tions. Some survived, others were discarded
as the Europeanization progressed. It may also
account for the fact that patterns such as [tre-
sillo have] . . . remained one of the most use-
ful and common syncopated patterns in jazz
Schuller (1968).[10]
The Cuban inuence is evident in many pre-1940s jazz
tunes, but rhythmically, they are all based on single-celled
motifs such as tresillo, and not do not contain an overt
two-celled, clave-based structure. "Caravan", written by
Juan Tizol and rst performed in 1936, is an early proto-
Latin jazz composition. It is not clave-based.
1.2 Jazz in-clave
Machito and his sister Graciela
The rst jazz piece to be overtly based in-clave, and there-
fore, the rst true Latin jazz piece, was Tanga (1943)
composed by Mario Bauza and recorded by Machito and
his Afro-Cubans the same year, 1943. The tune was ini-
tially a descarga (Cuban jam) with jazz solos superim-
posed, spontaneously composed by Bauz.
The right hand of the Tanga piano guajeo is in the
style known as ponchando, a type of non-arpeggiated
guajeo using block chords. The sequence of attack-
points is emphasized, rather than a sequence of dierent
pitches. As a form of accompaniment it can be played
in a strictly repetitive fashion or as a varied motif akin to
jazz comping.[11] The following example is in the style of
a 1949 recording by Machito. 23 clave, piano by Ren
Hernndez.[12]
Tanga in the style of Machito and His AfroCubans (recorded
1949). 23 clave, piano: Ren Hernndez.
The rst descarga that made the world take
notice is traced to a Machito rehearsal on May
29, 1943, at the Park Palace Ballroom, at 110th
Street and 5th Avenue. At this time, Machito
was at Fort Dix (New Jersey) in his fourth week
of basic training. The day before at La Conga
Club, Mario Bauza, Machitos trumpeter and
music director, heard pianist Luis Varona and
bassist Julio Andino play El Botellero com-
position and arrangements of the Cuban-born
Gilberto Valdez which would serve as a perma-
nent sign o (end the dance) tune.
On this Monday evening, Dr. Bauza leaned
over the piano and instructed Varona to play
the same piano vamp he did the night be-
fore. Varonas left hand began the introduc-
tion of Gilberto Valdes El Botellero. Bauza
then instructed Julio Andino what to play; then
the saxes; then the trumpets. The broken
chord sounds soon began to take shape into an
Afro-Cuban jazzed up melody. Gene John-
sons alto sax then emitted oriental-like jazz
phrases. Afro-Cuban jazz was invented when
Bauza composed Tanga (African word for
marijuana) that evening of 1943.
Thereafter, whenever Tanga was played,
it sounded dierent, depending on a soloists
individuality. In August 1948, when trum-
peter Howard McGhee soloed with Machitos
orchestra at the Apollo Theatre, his ad-libs
to Tanga resulted in Cu-Bop City, a tune
which was recorded by Roost Records months
later. The jams which took place at the
Royal Roots, Bop City and Birdland between
1948 and 1949, when Howard McGhee, tenor
saxophonist Brew Moore, Charlie Parker and
1.2 Jazz in-clave 3

Dizzy Gillespie sat in with the Machito orches-
tra, were unrehearsed, uninhibited, unheard-
of-before jam sessions which at the time, mas-
ter of ceremonies Symphony Sid called Afro-
Cuban jazz.
The Machito orchestras ten- or fteen-
minute jams were the rst in Latin music to
break away from the traditional under-four-
minute recordings. In February 1949, the Ma-
chito orchestra became the rst to set a prece-
dent in Latin music when it featured tenor sax-
ophonist Flip Phillips in a ve-minute record-
ing of Tanga. The twelve-inch 78 RPM, part
of The Jazz Scene album, sold for $25Salazar
(1997).[13]
The rst big band to explore, from an Afro-Cuban
rhythmic perspective, large-scale extended compo-
sitional works. e.g. The Afro-Cuban Jazz Suite by
Chico O'Farill.
The rst band to successfully wed jazz big band
arranging techniques within an original composi-
tion with jazz oriented soloists utilizing an authen-
tic Afro-Cuban based rhythm section in a successful
manner. e.g. Gene Johnson - alto, Brew Moore -
tenor, composition - Tanga (1943).
The rst Afro-Cuban based dance band to overtly
explore the concept of clave counterpoint from an
arranging standpoint. The ability to weave seam-
lessly from one side of the clave to the other without
breaking its rhythmic integrity within the structure
of a musical arrangement.[16]

3-2 clave and 23 clave written in cut-time

Mario Bauz developed the 3-2 / 2-3 clave concept and

terminology. A chord progression can begin on either
side of clave. When the progression begins on the three-
side, the song or song section is said to be in 32 clave.
When the chord progression begins on the two-side, it
is in 23 clave. In North America, salsa and Latin
jazz charts commonly represent clave in two measures of
cut-time (2/2); this is most likely the inuence of jazz
conventions.[14] When clave is written in two measures
(above) changing from one clave sequence to the other is
a matter of reversing the order of the measures.
Bobby Sanabria, who was Bauz's drummer, cites several
important innovations of Machitos band:

The rst band to explore jazz arranging techniques

with authentic Afro-Cuban rhythms on a consistent
basis giving it a unique identiable sound that no
other band in the genre of Afro-Cuban based dance Dizzy Gillespie 1955
music had at the time. Cuban big band arranger
Chico O'Farill stated: This was a new concept in in- Bauz introduced bebop innovator Dizzy Gillespie to the
terpretating Cuban music with as much (harmonic) Cuban conga drummer Chano Pozo. "Manteca" is the
richness as possible. You have to understand how rst jazz standard to be rhythmically based on clave.
important this was. It made every other band that Manteca was co-written by Dizzy Gillespie and Chano
came after, followers.[15] Pozo in 1947. According to Gillespie, Pozo created the
The rst band to explore modal harmony (a con- layered, contrapuntal guajeos (Afro-Cuban ostinatos) of
cept explored much later by Miles Davis and Gil the A section and the introduction, and Gillespie wrote
Evans) from a jazz arranging perspective through the bridge. The rhythm of the melody of the A section is
their recording of Tanga. Of note is the sheet of identical to a common mambo bell pattern.
sound eect in the arrangement through the use of On March 31, 1946, Stan Kenton recorded Machito,
multiple layering. written by his collaborator / arranger Pete Rugolo, which
4 1 AFRO-CUBAN JAZZ

Afro Blue bass line, with main beats indicated by slashed note-
heads.
Top: opening measures of "Manteca" melody. Bottom: common
mambo bell pattern (2-3 clave).
largely from the eorts of Brazilians Antonio Carlos Jo-
bim and Joo Gilberto, and American Stan Getz. Its most
is considered by some to be the rst Latin jazz record- famous song is arguably "The Girl from Ipanema" sung by
ing by American jazz musicians. The Kenton band was Gilberto and his wife, Astrud Gilberto. While the mu-
augmented by Ivan Lopez on bongos and Eugenio Reyes sical style evolved from samba, it is more complex har-
on maracas. Later, on December 6 the same year, Stan monically and less percussive. Bossa nova emerged pri-
Kenton recorded an arrangement of the Afro-Cuban tune marily from the upscale beachside neighborhoods of Rio
"The Peanut Vendor" with members of Machitos rhythm de Janeiro as opposed to sambas origins in the favelas
section. of Rio. Certain similar elements were already evident,
even inuencing Western classical music like Gershwins
Cuban Overture which has the characteristic 'Latin' clave
rhythm. The inuence on bossa nova of jazz styles such
as cool jazz is often debated by historians and fans, but a
similar cool sensibility is apparent.
Bossa nova was developed in Brazil in the mid-1950s,
with its creation being credited to artists including Johnny
Alf, Antonio Carlos Jobim and Joo Gilberto. One of
the rst songs was "Bim-Bom"(Gilberto). Bossa nova
was made popular by Dorival Caymmi's Saudade da
Bahia and Elizete Cardoso's recording of "Chega de
Saudade" on the Cano do Amor Demais LP, composed
by Vincius de Moraes (lyrics) and Antonio Carlos Jobim
(music). The song was soon after released by Gilberto.
The initial releases by Gilberto and the internationally
popular 1959 lm Orfeu Negro (Black Orpheus, with
score by Luiz Bonf) brought signicant popularity of
this musical style in Brazil and elsewhere in Latin Amer-
ica, which spread to North America via visiting American
jazz musicians. The resulting recordings by Charlie Byrd
and Stan Getz cemented its popularity and led to a world-
Mongo Santamaria 1969 wide boom with 1963s Getz/Gilberto, numerous record-
ings by famous jazz performers such as Ella Fitzgerald
Cuban percussionist Mongo Santamaria rst recorded his (Ella Abraa Jobim) and Frank Sinatra (Francis Albert
composition Afro Blue in 1959.[17] Afro Blue was Sinatra & Antnio Carlos Jobim). Since that time, the
the rst jazz standard built upon a typical African three- bossa nova style maintains a lasting inuence in world
against-two (3:2) cross-rhythm, or hemiola.[18] The song music for several decades and even up to the present.
begins with the bass repeatedly playing 6 cross-beats per
The rst bossa nova single to achieve international pop-
each measure of 12/8, or 6 cross-beats per 4 main beats
ularity was perhaps the most successful of all time, the
6:4 (two cells of 3:2). The following example shows the
1964 Getz/Gilberto recording "The Girl From Ipanema",
original ostinato Afro Blue bass line. The slashed note-
edited to include only the singing of Astrud Gilberto,
heads indicate the main beats (not bass notes), where you
Gilbertos then wife. The genre would withstand sub-
would normally tap your foot to keep time.
stantial watering down by popular artists throughout the
next four decades.
1.3 Bossa nova An early inuence on bossa nova was the song "Dans mon
le" by French singer Henri Salvador, featured in the 1957
Bossa nova is a hybrid form based on the samba rhythm, Italian movie Europa di notte by Alessandro Blasetti; the
but inuenced by European and American music from song was distributed in Brazil and covered later by Brazil-
Debussy to US jazz. Bossa nova originated in the 1950s, ian artists Eumir Deodato (Los Danseros en Bolero -
1.4 Beyond Latin jazz 5

1964) and Caetano Veloso (Outras Palavras - 1981). In

2005, Henri Salvador was awarded the Brazilian Order of
Cultural Merit, which he received from singer and Minis-
ter of Culture, Gilberto Gil, in the presence of President
Lula for his inuence on Brazilian culture.
The so-called bossa nova clave (or Brazilian clave) is
played on the snare rim of the drum kit in bossa nova. The
pattern has a similar rhythm to that of the son clave, but
the second note on the two-side is delayed by one pulse
(subdivision). The pattern is shown below in 2/4, as it is
written in Brazil. In North American charts it is more
likely to be written in cut-time.

Bossa nova snare rim pattern.

According to drummer Bobby Sanabria the Brazilian

composer Antonio Carlos Jobim, who developed the pat-
tern, considers it to be merely a rhythmic motif and
not a clave (guide pattern). Jobim later regretted that
Latino musicians misunderstood the role of this bossa
nova pattern.[19]

1.4 Beyond Latin jazz

Nan Vasconcelos playing the Afro-Brazilian Berimbau

Airto played in the two most important avant-garde elec-

Brazilian percussionist Airto Moreira
Brazilian percussionist Airto Moreira became a profes-
sional musician at age 13. He won acclaim as a member
of the samba jazz pioneers Sambalano Trio and for his
landmark recording Quarteto Novo with Hermeto Pascoal
in 1967. Shortly after, he followed his wife Flora Purim
to the United States. Once in the U.S., Airto introduced
Afro-Brazilian folkloric instruments into a wide variety
of jazz styles, in ways that had not been done before. In
Chick Corea's original Return to Forever band, Airto was
able to showcase his samba prowess on several percussion
instruments, including drum kit. However, the terms jazz
samba or Latin jazz are too limiting a label for the types
of music Airto participated in the U.S. during the 1970s.
tric jazz bands of the dayMiles Davis and Weather Re-
port. He also performed on more mainstream albums,
such as those of CTI Records. Besides energetic rhyth-
mic textures, Airto added percussion color, using bells,
shakers, and whistles to create evocative textures of tim-
bre. Airto paved the way for other avant garde Brazilian
musicians such as Hermeto Pascoal, to enter the North
American jazz scene.
Another innovative Brazilian percussionist is Nan Vas-
concelos. Vasconcelos contributed to four Jon Hassell
albums from 1976 to 1980 (including Possible Musics by
Brian Eno and Hassell), and later to several Pat Metheny
Group works and Jan Garbarek concerts from early 1980s
to early 1990s. In 1984 he appeared on the Pierre Favre
album Singing Drums along with Paul Motian. He also
appears on Arild Andersen's album If You Look Far
Enough with Ralph Towner. Vasconcelos formed a
group named Codona with Don Cherry and Collin Wal-
cott, which released three albums in 1978, 1980 and
1982.[20][21][22] While Vasconcelos uses Afro-Brazilian
rhythms and instruments, he like Airto, transcend the cat-
egories of Brazilian jazz and Latin jazz.
6 7 BIBLIOGRAPHY
2 Comparing Latin jazz with
straight-ahead jazz
In comparison with straight-ahead jazz, Latin jazz em-
ploys straight rhythm (or even-eighths), rather than [9] Marsalis, Wynton (2000: DVD n.1). Jazz. PBS
swung rhythm. Early Latin jazz rarely employed a
backbeat, but contemporary forms fuse the backbeat with [10] Schuller, Gunther (1968: 19) Early Jazz; Its Roots and
the clave. The conga, timbale, giro, bongos, and claves
are percussion instruments often used in place of the [11] Pealosa, David 2010. The Clave Matrix; Afro-Cuban
drum kit.
3 Formats
Latin jazz music, like most types of jazz music, can be
played in small or large groups. Small groups, or combos, [13] Salazar, Max (1997). The Beginning and Its Best Latin
often use the bebop format made popular in the 1950s in
America, where the musicians play a standard melody,
many of the musicians play an improvised solo, and then [14] Maulen, Rebeca (1993: 52) Salsa Guidebook for Piano
everyone plays the melody again. In Latin jazz bands,
percussion is often featured in solos.
4 Quotation
We play jazz with the Latin touch, thats all, you know. -
Tito Puente[23]
5 See also
Calle 54 - a lm about Latin jazz
Grammy Award for Best Latin Jazz Album
6 References
[1] Manuel, Peter (2009: 69). Creolizing Contradance in the
Caribbean. Philadelphia: Temple University Press.
[2] Acosta, Leonardo (2003: 5). Cubano Be Cubano Bop;
One Hundred Years of Jazz in Cuba. Washington D.C.:
Smithsonian Books.
[3] Maulen (1999: 4) Salsa Guidebook for Piano and Ensem-
ble. Petaluma, California: Sher Music. ISBN 0-9614701-
9-4.
[4] Wynton Marsalis part 2. 60 Minutes. CBS News (26
June 2011).
[5] Orovio, Helio. 1981. Diccionario de la Msica Cubana,
p.237. La Habana, Editorial Letras Cubanas. ISBN 959-
10-0048-0.
[6] Father of the Blues: An Autobiography. by W.C. Handy,
edited by Arna Bontemps: foreword by Abbe Niles.
Macmillan Company, New York; (1941) pages 99,100.
no ISBN in this rst printing
[7] Roberts, John Storm 1979. The Latin tinge: the impact of
Latin American music on the United States. Oxford.
[8] Morton, Jelly Roll (1938: Library of Congress Record-
ing) The Complete Recordings By Alan Lomax.
Musical Development. New York: Oxford Press.
Rhythm: Its Principles and African Origins p. 256. Red-
way, CA: Bembe Inc. ISBN 1-886502-80-3.
[12] Moore, Kevin (2009). Beyond Salsa Piano; The Cuban
Timba Piano Revolution v.2 Early Cuban Piano Tum-
bao (19401959) p. 17. Santa Cruz, CA: Moore Mu-
sic/Timba.com. ISBN 144998018X
Beat Magazine v.7 n. 1.
and Ensemble. Petaluma, California: Sher Music. ISBN
0-9614701-9-4.
[15] Notes from The Mambo Inn -The Story of Mario Bauza.
PBS documentary (1998).
[16] Bobby Sanabria, posting to the Latinjazz discussion list
(2008). http://launch.groups.yahoo.com/group/latinjazz/
[17] Afro Blue, Afro Roots (Mongo Santamaria) Prestige CD
24018-2 (1959).
[18] Pealosa, David (2010). The Clave Matrix; Afro-Cuban
Rhythm: Its Principles and African Origins p. 26. Redway,
CA: Bembe Inc. ISBN 1-886502-80-3.
[19] Bobby Sanabria cited by Pealosa (2009: 243). The Clave
Matrix.
[20] Allmusic Biography
[21] Palmer, Robert (1982-06-28). Jazz Festival - A Study
Of Folk-Jazz Fusion - Nytimes.Com. New York Times.
Retrieved 2014-02-24.
[22] Robert Palmer (1987-09-03). Jazz: Don Cherry. New
York Times. Retrieved 2014-02-24.
[23] Du Noyer, Paul (2003). The Illustrated Encyclopedia of
Music (1st ed.). Fulham, London: Flame Tree Publishing.
p. 148. ISBN 1-904041-96-5.
7 Bibliography
Acosta, Leonardo (2003) One Hundred Years of
Jazz in Cuba. Washington DC: Smithsonian Books.
Campos Fonseca, Susan. Una habitacin propia
en el Jazz Latino?. En: IASPM@Journal, Vol. 1,
N2 (2010).
Delannoy, Luc (2001) Caliente, una historia del Jazz
Latino. Mexico: FCE.
 7

Delannoy, Luc (2005) Carambola, vidas en el Jazz

Latino. Mexico: FCE.
Leymarie, Isabelle (1979). Latin Jazz, the Best of
Both Worlds. Jazz Spotlite News. New York.
Leymarie, Isabelle (1985). Salsa and Latin jazz.
In Quill. Hot Sauces: Latin and Caribbean Pop. New
York. pp. 94115. ISBN 0-688-02193-X.

Leymarie, Isabelle (1993). La Salsa et le Latin jazz.

Paris: PUF. ISBN 2130453171.

Leymarie, Isabelle (1995). Du tango au reggae:

Musiques noires d'Amrique latine et des Carabes.
Paris: Flammarion. ISBN 2082108139.

Leymarie, Isabelle (1997). Du boogaloo la salsa.

In Gallimard. La musique sud-amricaine: rythmes
et danses d'un continent. Paris. pp. 8285. ISBN
2-07-053391-3.

Leymarie, Isabelle (1998). La salsa. In Ediciones

Akal. Msicas del Caribe. Madrid. pp. 107108.
ISBN 84-460-0894-7.
Leymarie, Isabelle (1998). Du tango la salsa: le
bal sous inuence latino-amricaine. In Cit de la
Musique. Histoires de bal. Paris. pp. 115122.
ISBN 2-906460-69-9.
Leymarie, Isabelle (2000). La salsa. In Editions
Autrement. Danses Latines. Paris. pp. 113123.
ISBN 2-7467-0118-9.

Leymarie, Isabelle (2002). Cuban Fire: The Story of

salsa and Latin jazz. New York: Continuum. ISBN
0826455867.
Maulen, Rebeca (1993). Salsa Guidebook for Pi-
ano and Ensemble. Petaluma, California: Sher Mu-
sic. ISBN 0-9614701-9-4.

Pealosa, David (2009). The Clave Matrix; Afro-

Cuban Rhythm: Its Principles and African Origins.
Redway, CA: Bembe Inc. ISBN 1-886502-80-3.
Roberts, John Storm (1999) Latin Jazz. New York:
Schirmer Books.

8 External links
Latin jazz at DMOZ
8 9 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

9 Text and image sources, contributors, and licenses

9.1 Text
Latin jazz Source: https://en.wikipedia.org/wiki/Latin_jazz?oldid=737418307 Contributors: SimonP, Infrogmation, Lexor, Ronz, Jimf-
bleak, TUF-KAT, Tpbradbury, Hyacinth, Sevenstones, Mintleaf~enwiki, Cjb~enwiki, DO'Neil, Gzornenplatz, Ot, Martinl~enwiki, Andros
1337, Whosyourjudas, CTanguy~enwiki, Spangineer, Snowolf, Drummstikk, Netkinetic, Markaci, Woohookitty, GVOLTT, Scriberius,
RuM, BD2412, Angusmclellan, Quiddity, FlaBot, Chobot, YurikBot, NawlinWiki, Joel7687, Ospalh, Edwinlugo, SmackBot, Stephen-
suleeman, Yamaguchi , Alexan es, Gilliam, Hmains, Chris the speller, Yid613, Eugene33, Decltype, Derek R Bullamore, Kolins,
Starghost, SilkTork, Misteror, Andypandy.UK, Impy4ever, Igoldste, Courcelles, De mortuis..., Blueturtle01, CmdrObot, Cydebot, Mato,
Keyplyr, Chasingsol, Studerby, Christian75, DumbBOT, SpK, Reverting, Barticus88, D, Scottandrewhutchins, AntiVandalBot, Beta16,
EdgarR, JAnDbot, Dogru144, Leuko, Rothorpe, Magioladitis, Conteordeo, Catgut, Acalamari, Shawn in Montreal, Michellebee, Mer-
curywoodrose, Slysplace, Broadbot, McM.bot, Jimbenitez, Turgan, Macdonald-ross, Calliopejen1, Dawn Bard, Sterry2607, C'est moi,
Videmus Omnia, Denisarona, ClueBot, Binksternet, Magiciandude, Nyc777, DeltaQuad, Jbenck, Carlos28, XLinkBot, Tommy The Wise,
Garycompugeek, Addbot, Opus88888, La Fuente, Latinwebmaestro, Misterx2000, Tide rolls, Lightbot, Luckas-bot, Jim1138, Piano non
troppo, Kingpin13, Materialscientist, Amaury, Sabrebd, Eugene-elgato, SD5, Juan Quisqueyano, FoxBot, Rlholden, EmausBot, Immunize,
AvicBot, Dr clave, Staszek Lem, ChuispastonBot, Helpsome, ClueBot NG, Tierraman, Negromacondo, Dhervas, Lowercase sigmabot,
Gabriel Yuji, Eltacotac, Metricopolus, Pirata77~enwiki, Arch1p1elago, Blueshellsong, BattyBot, MadGuy7023, DmitriiLD, Isabelle Ley-
marie, Kalope and Anonymous: 102

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