Editing Jazz (section)

===Afro-Cuban influence===
{{Further|Music of African heritage in Cuba}}
[[African-American music]] began incorporating [[Afro-Cuban]] rhythmic motifs in the 19th century when the [[habanera (music)|habanera]] (Cuban [[contradanza]]) gained international popularity.<ref>"[Afro]-Latin rhythms have been absorbed into black American styles far more consistently than into white popular music, despite Latin music's popularity among whites" (Roberts 1979: 41).</ref> Musicians from [[Havana]] and New Orleans would take the twice-daily ferry between both cities to perform, and the habanera quickly took root in the musically fertile Crescent City. [[John Storm Roberts]] states that the musical genre habanera "reached the U.S. twenty years before the first rag was published."<ref name="JSRoberts">{{cite book |last1=Roberts |first1=John Storm |title=Latin Jazz |url=https://archive.org/details/latinjazzfirstof00robe |url-access=registration |date=1999 |publisher=Schirmer Books |location=New York |pages=[https://archive.org/details/latinjazzfirstof00robe/page/12 12], 16|isbn=978-0-0286-4681-7}}</ref> For the more than quarter-century in which the [[cakewalk]], [[ragtime]], and proto-jazz were forming and developing, the habanera was a consistent part of African-American popular music.<ref name="JSRoberts"/>

Habaneras were widely available as sheet music and were the first written music which was rhythmically based on an African motif (1803).<ref name="Manuel">{{cite book |last1=Manuel |first1=Peter |title=Creolizing Contradance in the Caribbean |date=2000 |publisher=Temple University Press |location=Philadelphia |pages=67, 69}}</ref> From the perspective of African-American music, the "habanera rhythm" (also known as "congo"),<ref name="Manuel"/> "tango-congo",<ref name="Acosta">{{cite book |last1=Acosta |first1=Leonardo |title=Cubano Be Cubano Bop: One Hundred Years of Jazz in Cuba |date=2003 |publisher=Smithsonian Books |location=Washington, D.C. |page=5}}</ref> or [[tango (music)|tango]].<ref name="Salsa">{{cite book |last1=Mauleon |title=Salsa guidebook: For Piano and Ensemble |date=1999 |publisher=Sher Music |location=Petaluma, California |isbn=0-9614-7019-4 |page=4}}</ref> can be thought of as a combination of [[tresillo (rhythm)|tresillo]] and the [[beat (music)|backbeat]].{{sfn|Peñalosa|2010|p=42}} The habanera was the first of many Cuban music genres which enjoyed periods of popularity in the United States and reinforced and inspired the use of tresillo-based rhythms in African-American music.

: <score override_audio="Tresillo+ backbeat.mid" lang="lilypond">
    \new Staff <<
       \relative c' {
           \clef percussion
           \time 2/4  
           \repeat volta 2 { g8. g16 d'8 g, }
       }
   >>
</score>

New Orleans native [[Louis Moreau Gottschalk]]'s piano piece "Ojos Criollos (Danse Cubaine)" (1860) was influenced by the composer's studies in Cuba: the habanera rhythm is clearly heard in the left hand.<ref name="Sublette"/>{{rp|125}} In Gottschalk's symphonic work "A Night in the Tropics" (1859), the tresillo variant [[cinquillo]] appears extensively.<ref name="SubletteCuba">{{cite book |last1=Sublette |first1=Ned |title=Cuba and Its Music: From the First Drums to the Mambo |date=2008 |publisher=Chicago Review Press |location=Chicago |page=125}}</ref> The figure was later used by Scott Joplin and other ragtime composers.

:<score override_audio="Cinquillo.mid">
\new RhythmicStaff {
   \clef percussion
   \time 2/4
   \repeat volta 2 { c8 c16 c r[ c c r] }
}
</score>

Comparing the music of New Orleans with the music of Cuba, [[Wynton Marsalis]] observes that [[tresillo (rhythm)|tresillo]] is the New Orleans "clavé", a Spanish word meaning "code" or "key", as in the key to a puzzle, or mystery.<ref>"Wynton Marsalis part 2." ''60 Minutes''. CBS News (June 26, 2011).</ref> Although the pattern is only half a [[Clave (rhythm)|clave]], Marsalis makes the point that the single-celled figure is the [[bell pattern|guide-pattern]] of New Orleans music. [[Jelly Roll Morton]] called the rhythmic figure the [[Spanish tinge]] and considered it an essential ingredient of jazz.<ref name="ReferenceB">Morton, Jelly Roll (1938: Library of Congress Recording) ''The Complete Recordings By Alan Lomax''.</ref>