The song marked the beginning of Gillespie's unique blending of Afro-Cuban rhythms with American jazz. Brown suddenly breaks into a quick, upward run.
2:56 A But it wasn't strikingly obvious, you know, like hearing Ornette [Coleman] for the first time.". 3:36 The triplet phrase ends suddenly on a short, bluesy motive. The interlude ends with a four-measure break. "Oh, yeah!" It was uneasy music, meant to shake people up, according to composer and jazz theorist George Russell. The band plays a complicated interlude, designed to connect the head with the solos. 3:49 B 3:22 4:20 A 4:23 One of the pioneers of American Bebop music was Dizzy Gillespie, who composed "A Night in Tunisia" which is characterized by the combination of swing and Cuban styles. A Night in Tunisia is a colorful tune written by arguably jazz music’s most colorful character-Dizzy Gillespie. Jazz folklore has it that Dizzy Gillespie penned A Night in Tunisia, also known as Night in Tunisia, on the bottom of a garbage can, with Art Blakey present. While "A Night in Tunisia" is one of Gillespie's earliest compositions, you can already hear two trademarks of his music: Afro-Cuban rhythms and his innovative approach to harmony and melody… the drummer responds by playing unexpected bass drum accents (dropping bombs). In the midst of this fast passage, Brown turns a simple 5-note scale into a complex polyrhythm. 2:35 A The piano enters on downbeat, the drums following a beat later. In an impressive display of breath, Brown continues playing the phrase that began four measures earlier (at 1:47). 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. F. Scott Fitzgerald gave a name to the jazz age. He says that "A Night in Tunisia" qualifies, but that it was safe bebop. The chord is an Eb7 (#11), and the ascending notes A-Bb-Db-F-C are the upper part of the voicing. Clifford Brown, Trumpet; Mel "Ziggy Vines, Billy Root, tenor saxophone; Sam Dockery, piano; Ace Tesone, bass; Ellis Tollin, drums. Brown's descending line connects smoothly with his solo, drawing applause from the crowd. Brown begins again on high A, playing a line strikingly similar to the line heard at 2:14. It pictures the poetry of nights in the desert, but also the dream of freedom and identity of African-Americans. When Gillespie came to New York in 1937, the great Cuban trumpeter Mario Bauza took him to hear music in Spanish Harlem. As the excerpt fades out, a tenor sax solo begins. Having played for several measures at the top of his horn, Brown starts a phrase too difficult Its origins remain somewhat of a mystery. Every time he reaches for the high note, it falls slightly behind the beat. 4:51 Brown's solo ends. 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… hide caption. 2:13 1:00 During his last melodic pattern, Brown plays dissonant intervals within a rhythm drawn from the "Night in Tunisia" theme.

0:18 A to finish; he subsequently descends to a more comfortable register.

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