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The phrase ''Spanish tinge'' is a reference to an Afro-Latin rhythmic touch that spices up the more conventional 4/4 rhythms commonly used in jazz and pop music. The phrase is a quotation from Jelly Roll Morton. In his Library of Congress recordings, after referencing the influence of his own French Creole culture in his music, he noted the Spanish (read Cuban) presence: What Morton described as a "Spanish" influence did not refer to Spanish culture. What he called "Spanish" were the tresillo and habanera rhythms of the Cuban contradanza ("habanera"). Morton demonstrated the "tinge" to Alan Lomax in the 1938 Library of Congress recordings.〔Morton, “Jelly Roll” (1938: Library of Congress Recording) ''The Complete Recordings By Alan Lomax''.〕 What is known in Latin music as the habanera rhythm (also known as the ''congo'',〔Manuel, Peter (2009: 69). ''Creolizing Contradance in the Caribbean''. Philadelphia: Temple University Press.〕 ''tango-congo'',〔Acosta, Leonardo (2003: 5). ''Cubano Be Cubano Bop; One Hundred Years of Jazz in Cuba''. Washington D.C.: Smithsonian Books.〕 and ''tango''.〔Mauleón (1999: 4)〕), and tresillo, are in fact, two of the most basic duple-pulse cells found in sub-Saharan African music traditions. They were brought to Cuba and elsewhere in the New World via the Atlantic slave trade. Morton categorized his compositions in three groups: blues, stomps, and ''Spanish tinge'', for those with habanera rhythms. Tunes with the "tinge" include "New Orleans Blues", "La Paloma", "The Crave", and "The Spanish Tinge". Morton also called attention to the habanera in "St. Louis Blues" as one of the elements in the song's success. ==Notable examples== Morton's maxim, usually given now as "You've got to have that ''Spanish tinge''", has proven to be apt for many artists to this day. Afro-Cuban rhythms and musical instruments are employed by artists of all sorts. Many jazz and pop compositions express ''Spanish tinge'', as well as other Cuban rhythmic elements such as clave. Cuban percussion instruments are also popular. Notable examples include: * Juan Tizol's "Caravan" and "Perdido", first performed by Duke Ellington * "Rum and Coca Cola" by the Andrews Sisters, an imported calypso * the "blues rhumba" of Professor Longhair * "Early in the Morning" and numerous calypso-style hits by Louis Jordan * Afro-Cuban jazz, as adopted and promoted by Dizzy Gillespie, Mongo Santamaría, and many others * The "Bo Diddley beat" is based on the clave rhythm, as are many other songs, such as "Not Fade Away" and "I Want Candy" *"Little Darling" by The Gladiolas, with its insistent clave rhythm. * "Under the Boardwalk" by The Drifters, produced by Jewish-American mambo aficionado Bert Berns with triangle, güiro, and castanets * "What'd I Say", "I'm Moving On" (congas and maracas on a country and western cover), and many other Ray Charles songs * "Twist and Shout", popularized by the Isley Brothers and later The Beatles; "Hang on Sloopy", a hit song by the pop group The McCoys; and Jimi Hendrix's "Wild Thing", all share the Cuban bassline and typical Cuban chord progressions. * Chuck Berry's "La Juanda" and "Havana Moon" * The boogaloo, a fusion of soul music with the Cuban mambo and son. * Richard Berry's inspiration for "Louie Louie" came from René Touzet's song "El Loco Cha Cha". René Touzet was a major figure in Cuban music in the 1940s, beginning his career leading a 16-piece orchestra at Havana's Grand Nacional Casino * The Rolling Stones' "Sympathy for the Devil", which is based on the Afro-Cuban tumbao rhythm * Tom Waits' "Back in the Crowd", from his 2011 album ''Bad as Me'' 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Spanish Tinge」の詳細全文を読む スポンサード リンク
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