![]() Morton referred to this rhythmic element as the "Spanish Tinge" and claimed that it was essential to so-called jazz. The tango rhythm can be found in Neil Moret’s Cubanola in Scott Joplin’s & Louis Chauvin’s Helioprope Bouquet many of Jelly Roll Morton’s compositions where he uses the rhythm as an ostinato bass pattern as well as W. Louis Maurice Gottschalk was one of the first to use these Latin American rhythms in some of his early compositions that were influenced by his Creole upbringing in New Orleans. Jelly Roll Morton famously declared jazz needed a Spanish tinge to enhance its blues and swing, and the Latin impulse has assumed all kinds of infectious. ![]() Latin American musical elements are found in early so-called jazz. The giants of the era were Tito Puente, Tito Rodriguez and Machitio. Pozo and Gillespie collaborated on a number of compositions and fused Cuban rhythm with the African-American Classical Art-Form “so-called jazz.” In the mid-1950s the mambo dance craze swept the United States. Bauza introduced him to the legendary Cuban conguero, Luciano “Chono” Pozo. When Gillespie formed his big band to try and broaden the appeal of the art-form of Be-bop, he asked Bauza to introduce him to a conga player. The phrase is a quotation from Jelly Roll Morton. True Latin jazz started with the meeting of Mario Bauza and Dizzy Gillespie in the late 1940s. The Spanish tinge is an Afro-Latin rhythmic touch that spices up the more conventional 4 4 rhythms commonly used in jazz and pop music. Although Jazz “so-called jazz” had long had what Jelly Roll Morton called the “Spanish Tinge” through the interchange of musicians from Havana and New Orleans during the late 19th and early 20th century, it never actually used the Afro-Cuban rhythmic components or percussion instruments. Art Ensemble of Chicago - The Spanish Tinge The African-American Classical Art-Form Afro-Cuban Latin jazz includes rhythmic components from the dance styles of salsa, merengue, songo, son, mambo, and cha cha. ![]()
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