Mongo Santamaria first recorded his composition “Afro Blue” in 1959. Originally released on the album Mongo (Fantasy Records – 1959)
Afro Blue” was the first jazz standard built upon a typical African 3:2 cross-rhythm, or hemiola. The song begins with the bass repeatedly playing 6 cross-beats per each measure of 12/8, 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 1963 John Coltrane recorded “Afro Blue” with Elvin Jones on drums. Jones took the opposite approach of Santamaria, superimposing two cross-beats over every measure of a 3/4 jazz waltz (2:3). This particular swung 3/4 is perhaps the most common example of overt cross-rhythm in jazz.  Coltrane and Jones reversed the metric hierarchy of Santamaria’s composition, by performing in 3/4 swing (2:3), instead of 6/8 or 12/8 (3:2). See: Demonstration of 2:3 cross-rhythm in 3/4 jazz waltz.
Just some amazing Public Murals from the U.S and Europe.
Car Park // Neptune Hotel // Bergen, Norway
A mural painted on the wall of the underground car park of the Neptune Hotel in Bergen, Norway. This one is Billie Holliday, it’s a reversal of the iconic Gottlieb pic from the American jazz magazine ‘Downbeat’, published in February 1947. Visible to guests only, by loan of an access key from Reception.
Ridge on the Rise // Eric Okdeh // Philadelphia, Pa
This story – telling mural – includes Cecil Moore, people at the wall of Girard college, Pearl theatre where jazz greats like John Coltrane performed. In the mural, the art deco façade of the long gone theatre contrasts with the forbidding ten foot stone wall that still encloses the grounds of Girard College, location of the landmark civil rights struggle.”