Whether tresillo was directly transplanted from Cuba, or if the habanera merely reinforced tresillo-like "rhythmic tendencies" already present in New Orleans music is probably impossible to determine. It is reasonable to assume that tresillo-based rhythms were performed in Congo Square by Caribbean slaves. There are examples of tresillo-like rhythms in a few African American folk musics such as the foot stomping patterns in ring shout and the post-Civil War drum and fife music. Tresillo is also heard prominently in New Orleans second line music.Early New Orleans jazz bands had habaneras in their repertoire and the tresillo/habanera figure was a rhythmic staple of jazz at the turn of the 20th century. Comparing the music of New Orleans with the music of Cuba, Wynton Marsalis observes that tresillo is the New Orleans "clave". Although technically, the pattern is only half a clave, Marsalis makes the important point that the single-celled figure is the guide-pattern of New Orleans music. The New Orleans musician Jelly Roll Morton considered the tresillo/habanera (which he called the Spanish tinge) to be an essential ingredient of jazz. The habanera rhythm and tresillo can be heard in his left hand on songs like "The Crave" (1910, recorded 1938). Morton stated, "Now in one of my earliest tunes, "New Orleans Blues", you can notice the Spanish tinge. In fact, if you can't manage to put tinges of Spanish in your tunes, you will never be able to get the right seasoning, I call it, for jazz."