Question: When did the music gene performed by Maria Fumaça originate?

full_context: Document 1: Viva La Musica: Viva La Musica is a popular band from Zaire (now DR Congo) founded by singer Papa Wemba in 1977. While Viva La Musica started out as a soukous band (essentially a spin-off of Zaiko Langa Langa), it eventually grew into a world music act, reaching some popularity and success in the European, American, and even Asian markets, as well as in most of Africa. The band is still active today, although it is just one of a number of musical ensembles used by Papa Wemba as a backup for his essentially soloist production.
Document 2: Rail Band: The Rail Band is a Malian band formed in 1970; it was later known as Super Rail Band, Bamako Rail Band or, most comprehensively and formally, Super Rail Band of the Buffet Hotel de la Gare, Bamako. Its fame was built upon the mid-20th century craze for Latin — especially Cuban — jazz music which came out of Congo in the 1940s. The Rail Band was one of the first West African acts to combine this mature Afro-Latin sound with traditional instruments and styles. In their case, this was built upon the Mande Griot praise singer tradition, along with Bambara and other Malian and Guinean musical traditions. Their distinctive sound came from combining electric guitar and jazz horns with soaring Mandinka and Bamabara lyrical lines, African and western drums, and local instruments such as the kora and the Balafon. At their height of fame in the 1970s, the Rail Band played to sold out venues and even stadia across West Africa, and launched solo careers for many of its members, including the legendary vocalist Salif Keita.
Document 3: Jazz-funk: Jazz-funk is a subgenre of jazz music characterized by a strong back beat (groove), electrified sounds and an early prevalence of analog synthesizers. The integration of funk, soul, and R&B music and styles into jazz resulted in the creation of a genre whose spectrum is quite wide and ranges from strong jazz improvisation to soul, funk or disco with jazz arrangements, jazz riffs, and jazz solos, and sometimes soul vocals.
Document 4: Soul blues: Soul blues is a style of blues music developed in the late 1960s and early 1970s that combines elements of soul music and urban contemporary music. Singers and musicians who grew up listening to the traditional electric blues of artists such as Muddy Waters, Bo Diddley, Jimmy Reed and Elmore James; soul singers such as Sam Cooke, Ray Charles and Otis Redding; and gospel music wanted to bridge their favorite music together. Bobby Bland was one of the pioneers of this style. This is a subgenre of blues that is very popular with African American audiences but less known by white audiences. The style continues to be popular in the new millennium.
Document 5: Funk: Funk is a music genre that originated in the mid-1960s when African American musicians created a rhythmic, danceable new form of music through a mixture of soul music, jazz, and rhythm and blues (R&B). Funk de-emphasizes melody and chord progressions used in other related genres and brings a strong rhythmic groove of a bass line played by an electric bassist and a drum part played by a drummer to the foreground. Like much of African-inspired music, funk typically consists of a complex groove with rhythm instruments playing interlocking grooves. Funk uses the same richly-colored extended chords found in bebop jazz, such as minor chords with added sevenths and elevenths, or dominant seventh chords with altered ninths.
Document 6: Jazz: Jazz is a music genre that originated in African American communities of New Orleans, United States, in the late 19th and early 20th centuries, and developed from roots in blues and ragtime. Since the 1920s Jazz Age, jazz has become recognized as a major form of musical expression. It then emerged in the form of independent traditional and popular musical styles, all linked by the common bonds of African American and European American musical parentage with a performance orientation. Jazz is characterized by swing and blue notes, call and response vocals, polyrhythms and improvisation. Jazz has roots in West African cultural and musical expression, and in African-American music traditions including blues and ragtime, as well as European military band music. Although the foundation of jazz is deeply rooted within the black experience of the United States, different cultures have contributed their own experience and styles to the art form as well. Intellectuals around the world have hailed jazz as "one of America's original art forms".
Document 7: Funk rock: Funk rock is a fusion genre that mixes elements of funk and rock. James Brown and others declared that Little Richard and his mid-1950s road band, The Upsetters, were the first to put the funk in the rock and roll beat, with a biographer stating that their music "spark[ed] the musical transition from fifties rock and roll to sixties funk".
Document 8: List of record labels from Bristol: The English city of Bristol has, since the mid-1970s, had a particularly fertile music culture, resulting in not only a great many influential musicians and bands, but also its own sound, Bristol sound or trip hop. Along with the music, a number of local record labels also developed, some receiving national and international attention, others with a smaller audience appeal. In the 1970s, there was a DIY culture of record production and the independent record label came to prominence. One of the most successful at that time was Virgin Records started in 1972. Chiswick Records, Stiff Records, Rough Trade Records and Factory Records followed. By the later part of the decade, Virgin had become a part of the music business establishment, and new independent record labels began appearing in virtually every British town and city: Bristol was no exception. One of the very first Bristol punk bands, The Cortinas released its first single on Miles Copeland's Step Forward Records in 1977, eventually moving on to CBS before disbanding. Copeland also released, in 1977, The Pigs' Youthanasia EP on his newly formed New Bristol Records. The explosion in punk/new wave bands forming in the area did not attract interest from the major London-based record labels, so local labels sprung up to release recordings from these groups. Amongst the first, and initially more successful, were Heartbeat Records, Fried Egg Records, Recreational Records and Riot City Records (a Heartbeat subsidiary). Others with more modest success were Wavelength Records (although its subsidiary Bristol Recorder, did achieve some popularity), Circle Records and Sheep Worrying. Some bands set up their own labels: Black Roots (Nubian Records) and Essential Bop (Monopause Records). Yet other labels, although not based in Bristol, had a strong representation of bands from the area: Y Records, Rialto Records and Naïve Records.
Document 9: The Music Band – Jazz: The Music Band – Jazz is an album by War, the fifth and final entry in their "Music Band" series, released on MCA Records in 1983. It consists of outtakes from sessions for their 1979 albums "The Music Band" and "The Music Band 2", and features several lineups of the band which existed that year. War were no longer recording for MCA when this album was released, and no singles from the album were issued. Track one was probably recorded/written in 1979, when B.B.Dickerson was still in band and before Charles Miller was murdered. Track two could have been recorded/written anytime up to 1979.
Document 10: Music of the African diaspora: Music of the African diaspora was mostly refined and developed during the period of slavery. Slaves did not have easy access to instruments, so vocal work took on new significance. Through chants and work songs people of African descent preserved elements of their African heritage while inventing new genres of music. The culmination of this great sublimation of musical energy into vocal work can be seen in genres as disparate as Gospel Music and Hip-Hop. The music of the African diaspora makes frequent use of ostinato, a motif or phrase which is persistently repeated at the same pitch. The repeating idea may be a rhythmic pattern, part of a tune, or a complete melody. The banjo is a direct decedent of the Akonting created by the Jola people, found in Senegal, Gambia and Guinea-Bissau in West Africa. Hence, the melodic traditions of the African diaspora are probably most alive in Blues and Jazz.
Document 11: Bassist: A bassist, or bass player, is a musician who plays a bass instrument such as a double bass, bass guitar, keyboard bass or a low brass instrument such as a tuba or sousaphone. Different musical genres tend to be associated with one or more of these instruments. Since the 1960s, the electric bass has been the standard bass instrument for funk, R&B, soul music, rock and roll, reggae, jazz fusion, heavy metal, country and pop music. The double bass is the standard bass instrument for classical music, bluegrass, rockabilly, and most genres of jazz. Low brass instruments such as the tuba or sousaphone are the standard bass instrument in Dixieland and New Orleans-style jazz bands.
Document 12: Soul Grand Prix: Soul Grand Prix initiated a new phase in Rio de Janeiro funk culture in 1975, a phase which celebrated [Blackness] and Black culture. Soul Grand Prix echoed the sounds of James Brown, Kool and the Gang and Wilson Pickett. In order to have large dances, "Soul Grand Prix" would put together huge sound systems, sometimes using over a hundred speakers and generating crowds of over ten thousand of Brazil's youth. Soul Grand Prix dances used mixed media, films, photos, and posters to inculcate the "Black is beautiful" style period. This period influenced the funkeiro culture in [Brazil] who still today host huge parties to dance to today's funk and sample music from the past to create new modernized music.
Document 13: Fiamma Fumana: Fiamma Fumana is an Italian world music ensemble. Formed in 1999 in Northern Italy, their name translates from Italian as "flame fog" or "fire mist". Their music mixes traditional Italian folk music with electronica. Starting out as a three-piece (Fiamma, Alberto, Marco), they added two members (Jessica, Medhin) for their second album, 2001's "Home". The group played at the WOMAD festival and the CMJ music marathon in 2001, and the Detroit Festival of the Arts in 2002.
Document 14: M-Base: The term "M-Base" is used in several ways. In the 1980s, a loose collective of young African-American musicians including Steve Coleman, Graham Haynes, Cassandra Wilson, Geri Allen, Robin Eubanks, and Greg Osby emerged in Brooklyn with a new sound and specific ideas about creative expression. Using a term coined by Steve Coleman, they called these ideas "M-Base-concept" (short for "macro-basic array of structured extemporization") and critics have used this term to categorize this scene’s music as a jazz style. But Coleman stressed "M-Base" doesn’t denote a musical style but a way of thinking about creating music. As famous musicians did in the past, he also refuses the word "jazz" as a label for his music and the music tradition represented by musicians like John Coltrane, Charlie Parker, Louis Armstrong, etc. However, the musicians of the M-Base movement, which also included dancers and poets, strived for common creative musical languages, so their early recordings show a lot of similarities reflecting their common ideas, the experiences of working together, and their similar cultural background. To label this kind of music, jazz critics have established the word "M-Base" as a jazz style for lack of a better term, distorting its original meaning.
Document 15: Maria Fumaça: Maria Fumaça is the debut album by Brazilian Funk band Banda Black Rio released in 1977 vinyl format by Atlantic Records (BR 20.022) and issued in 1994 CD format by WEA Music and distributed by Warner Music Brasil (450996349-2).
ground_truth: mid-1960s