Night In Tunisia - Up Tempo Swing || BACKING TRACK

8 Bar Intro, Head In, Send Off, 4 Bar Solo Break, Solo x5, Head Out
Up Tempo Swing 210 BPM

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Some notes about the composition as found on
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Composer: Dizzy Gillespie

Year: 1942

Origin: Introduced by Sarah Vaughan in 1944 as "Interlude".

Style: A combination of straight and swing feels, typically played at brighter tempos.

Form: A-A-B-A (32 Bars) [8-8-8-8]
The A sections are played straight with the exception of the final 2 bars, while the B section is swung. This arrangement is commonly used for the head only, with the solo section entirely swung.

Intro: The bassline that moves from bII7 - Imi6 is usually used to begin the performance, and there is also a counter-melody that goes along with it.

Send-off: After the head in a 12 bar send-off is used to lead into the solos. This is then followed by a solo break which is commonly 4 bars long. It is typically only used the first time around, although it is sometimes used to introduce each new soloist. This section is played entirely swung.

Shout Chorus: After all the melodic soloists are finished a shout chorus is sometimes included. The shout is played during the A sections while the B section is left open to the drummer. Sonny Rollins offers a concise interpretation of this arrangement on his recording from A Night at the Village Vanguard.

Key: D minor

Harmony/Overview:  The harmony of this composition is mainly functional. The main theme revolves around the constant arrival of bII7 - Imi, which is essentially V7alt - Imi (tri-tone substitution). The bridge is identical to that of "Alone Together", taking place in the relative Major and moving from  II - V of II before a II - V - I.

Recordings: This song has been recorded over 400 times to date and is a widely popular standard. The first recording comes from Sarah Vaughan in 1944 and was originally entitled "Interlude", featuring lyrics written by Sarah Vaughan and Anita O'Day. One of the earliest instrumental recordings of Dizzy Gillespie performing the piece comes a 1945 session with Boyd Raeburn and his Orchestra. Dizzy would later record and perform this piece many times throughout his career, leaving behind several particularly inspired recordings.

JGC Top Picks:
Sonny Rollins, A Night at the Village Vanguard, 1957
McCoy Tyner, Today and Tomorrow, 1963
Dave Liebman, Besame Mucho and Other Latin Jazz Standards, 1993

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