There is another theory most vigorously championed by Ernest Borneman to the effect that American jazz developed primarily from the Creole music of New Orleans, which in turn was a "Latin American music," spawned out of a mixture of African and Spanish influences in the West Indies and Caribbean islands. The Caribbean was used by slave traders as a stopover between Africa and the American South. Although Borneman's theory leads hi to the untenable position that the only true jazz is Spanish- or Latin American-influenced jazz, there are certain points in his theory that are worth further investication. It is true, of course, that many of the slaves came in contact with Spanish music in their stay of weeks or months or years in the Caribbean. It is also likely tha thte slaves found in the music of "Spanish and Portuguese settlers similarities [to African music] in the handling of rhythm and timbre." But I suspect that these were mostly superficial, concidental similarities, for it is a fairly undisputed fact that African and Arabic-Islamic-Spanish rhythms are two entirely different disciplines, the former polyrhythmic, the latter monorhythmic in essence. Mr Borneman thus seems to hasty when he concludes that "Creole music had a head start over the development of spirituals, blues and other forms of Anglo-African music."
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