Brown plays a string of clean, even eighth notes 'A Night in Tunisia' plays a very, very important role in being one of the first compositions to have something that's very common today, which is a non-walking bassline," trumpeter Jon Faddis says. Again returning to high A, Brown plays a sharp, detached cross-rhythm that is instantly reinforced by Brown enters, playing the tune on the trumpet over the two-chord progression of the vamp. “The moon is the same moon above you / Aglow with its cool evening light / But shining at night, in Tunisia / Never does it shine so bright”… 3:15 Dizzy was a careful man. The bridge begins with a fast barrage of sixteenth notes. Composer and bandleader Dizzy Gillespie playing in 1970. Having played for several measures at the top of his horn, Brown starts a phrase too difficult Once again, Brown begins the fourth chorus by blasting out a high A, but quickly shifts to a series of triplets. "At the same time, there were pieces that would. 1:42 B

Playing at the very top of his register, Brown squeaks out a line that is slightly out-of-tune Brown plays a fanfare-like statement on a high-pitched note-A, the fifth degree of the home key of D minor. 2:03 A 2:33 Brown's solo ends. Brown plays a pair of phrases, each beginning with insistent triplets, answered at 3:44 by a concluding phrase 1:00 The chord is an Eb7 (#11), and the ascending notes A-Bb-Db-F-C are the upper part of the voicing. The B section is notable for having an unresolved minor II-V, since the chord progression of the B section is taken from the B section of the standard "Alone Together", causing the V chord to lead back into the Su… Brown begins again on high A, playing a line strikingly similar to the line heard at 2:14. 0:39 B Conversation can be heard in the background. 4:20 A When Gillespie came to New York in 1937, the great Cuban trumpeter Mario Bauza took him to hear music in Spanish Harlem. During his last melodic pattern, Brown plays dissonant intervals within a

The rhythm section leaves the Latin groove behind for a straight bebop-style four-four, with walking bass. “A night in Tunisia” is a mythical song of the 40’s jazz. 0:50A 3:58 1:53 A 1:31 A It pictures the poetry of nights in the desert, but also the dream of freedom and identity of African-Americans. The new chorus begins with a four-note motive, played in a simple descending pattern. 2:24 B 0:38 The drummer marks the end of the eight-bar section with a drum fill. 1:16

"I think people really like to hear melodies that are familiar to them, and this was a very outstanding melody that one could whistle or hum along as they're — da-daddle-a-da, di-da-la-dit — bopping down the street. 2:35 A

Click here to listen. Analysis of "A Night in Tunisia",written by Dizzy Gillespie and performed by Miles Davis. Seizing upon the run as a compositional idea, Brown folds it into a series of repeated phrases, 3:28 A For the last time, Brown begins on high A before quickly descending.

2:52 Aiming for a climax, Brown hits, and holds, a sharply dissonant note. each ascending higher than the last. 3:49 B Clifford Brown, Trumpet; Mel "Ziggy Vines, Billy Root, tenor saxophone; Sam Dockery, piano; Ace Tesone, bass; Ellis Tollin, drums. It was uneasy music, meant to shake people up, according to composer and jazz theorist George Russell. In 1942, Dizzy Gillespie had never spent a night in Tunisia, but he was starting to travel to new places musically.

0:00The rhythm section plays a vamp: an open-ended, two-measure figure in a Latin groove, with an asymmetric, syncopated bass line.

(play Eb and G with your left hand, and all the RH notes at the same time and you’ll have a very “bebop-sounding” voicing!) that reaches a peak at 1:17. 2:56 A A Night in Tunisia is a colorful tune written by arguably jazz music’s most colorful character-Dizzy Gillespie. For the bridge, the accompanying horns drop out, leaving the trumpet alone on the melody.

the bass drops out entirely, while the piano does his best to approximate the chords.

hide caption. in eighth notes. Jon Faddis agrees that it's a simple composition, but he says that's exactly its appeal. 2:13 3:59 A unexpected polyrhythmic accents. ", We Insist: A Timeline Of Protest Music In 2020, The Legendary Dizzy Gillespie On Piano Jazz, Dizzy Gillespie's Cold War Jazz Diplomacy. Gillespie's solo break on the tune remains one of the most dramatic moments in jazz.

The accent for the triplet falls on the normally unaccented last note of each group. Brown's descending line connects smoothly with his solo, drawing applause from the crowd. He had a sense of the audience, and then also reaching them with this piece, he could make a headway up to another realm where it was obvious that it was a different kind of music. During his last melodic pattern, Brown plays dissonant intervals within a rhythm drawn from the "Night in Tunisia" theme. 3:52

F. Scott Fitzgerald gave a name to the jazz age.

3:36 The triplet phrase ends suddenly on a short, bluesy motive. 0:26 As the phrase reaches a cadence, Brown's line is doubled by the other horns. Brown now plays with the two-note figure, placing it in different parts of the measure; 4:51 Dizzy Gillespie never had that problem.