In the late 1940s this changed somewhat when the two-celled time line structure was brought into New Orleans blues. New Orleans musicians were especially receptive to Afro-Cuban influences precisely at the time when R&B was first forming. Dave Bartholomew and Professor Longhair (Henry Roeland Byrd) incorporated Afro-Cuban instruments, as well as the clave pattern and related two-celled figures in songs such as "Carnival Day" (Bartholomew 1949) and "Mardi Gras In New Orleans" (Longhair 1949). Robert Palmer reports that, in the 1940s, Professor Longhair listened to and played with musicians from the islands and "fell under the spell of Perez Prado's mambo records." Professor Longhair's particular style was known locally as "rumba-boogie".