Walking over Night in Tunisia (A Section)

[Quinn.H]

I'm working on the famous jazz standard Night in Tunisia, and I'm not really sure how to go about walking over the a section.

The Chords are Eflat7 and D-

How should I think about this? Play the chord tones and then move down a half step?
I've read that the eflat7 is a tritone substitution, but my theory isn't very strong, how should this effect my lines?

Any advice would be greatly appreciated!

 

[Downunderwonder]

You wanna walk over the latin bit? I couldn't do that in my band if I wanted to. They would stop and say *** are you doing??!!

 

[pnchad]

it happens during solos - have fun - its easy

 

[fish slapper]

There's a specific part in the A section based which is largely pentatonic. Any jams I play at would want that part. It's written out in the Real Book.

 

[Quinn.H]

Do you not have to walk over the A section. I understand and can play the latin groove, but it was my impression that those changes later served as the "A" in the AABA format, and that solos were taken over the entire format, meaning I would need to walk to the A section

 

[Kapellas]

Generally when this chart gets called, for the head I play the lick (duh) during the A, but for solos I do a variation of the lick or turn it into a Lating groove.

 

[woolysock]

The A section has an afro-latin feel. I wouldn't exactly walk over it. Instead I'd play variations on the head's bass line while working off the drums.

 

[Danno1985]

I've read that the eflat7 is a tritone substitution, but my theory isn't very strong, how should this effect my lines?

Any advice would be greatly appreciated!

The "tritone substitution" means that the Eb7 functions as a substitute for A7, which is the "V" in the key of D. The 3 and 7 in the A7 chord become the 7 and 3 in the Eb7 chord, so that's why you can substitute an Eb in the bass, while the soloist plays around an A7 chord, and it still sounds "right". I'm probably not doing the greatest job explaining it, one of those things I picked up by ear before I knew what it was called, but if you want to learn more about jazz theory including tritone subs, I highly recommend picking up the Jazz Theory Book by Mark Levine. Absolutely invaluable resource regardless of which instrument you play. As for walking the changes, that song is fairly straightforward. Stay around Eb and D minor chord tones with passing notes and you'll be fine. As always, the best thing to do is download a bunch of versions by great jazz players and listen to what the greats do.

 

[Downunderwonder]

I got a chart all written out. Under the solos the bass goes up the Eflat7 and down the D-, over and over. I didn't recognise it as "A"!

 

[FretlessMainly]

Do you not have to walk over the A section. I understand and can play the latin groove, but it was my impression that those changes later served as the "A" in the AABA format, and that solos were taken over the entire format, meaning I would need to walk to the A section

The answer to your question depends on how your group is feeling the "blowing" choruses. I've played this tune live several dozens of times, and most often, we retained the latin/swing/latin feel over the solos.

Of course, jazz is the sound of surprise, so there's no reason why you couldn't walk over a latin drum beat every now and again to keep everyone on their toes. But by and large, I'd hit the Eb7 Dmin sections with a latin feel (or at least some form of ostinato feel). One important thing to note is that during the solos, my line, if including an "A," has always included an A natural under both the DMin (no surprise there) and under the Eb7 - so the Eb7 is lydian b7.

Of course, that's pretty much the norm in jazz anyway. I guess my point is that it's kinda hip to hammer that A natural over the Eb7 during the solos - not only is it somewhat (but nicely) dissonant if the chordal instruments are playing Eb7, but it harkens to the root of the tritone sub (in reverse of the Eb7 being a tritone sub of A7). Just hammer that A natural a couple of times and see what happens.

 

[BassChuck]

WWMD. What would Mingus do?

 

[sadeau]

There is indeed walking over the A section. It begins on the last A of the form before taking it to the top. So when you start the song the first two As are latin feel with the prewritten line, it then goes to B and optionally C, then for the last A the drums play swing feel and the bass swings with it. Once it goes to the top again the rhythm section continues playing in swing feel for the solos. Return to Latin feel for the head out.

As far as how to walk it, start out by simply ascending on Eb and descending on D with arpeggios and then play with it a bit from there. Ascend Eb G Bb Eb and decend D A F D. From there just have fun with it.

 

[George Himmel]

The "tritone substitution" means that the Eb7 functions as a substitute for A7, which is the "V" in the key of D. The 3 and 7 in the A7 chord become the 7 and 3 in the Eb7 chord, so that's why you can substitute an Eb in the bass, while the soloist plays around an A7 chord, and it still sounds "right". I'm probably not doing the greatest job explaining it, one of those things I picked up by ear before I knew what it was called, but if you want to learn more about jazz theory including tritone subs, I highly recommend picking up the Jazz Theory Book by Mark Levine. Absolutely invaluable resource regardless of which instrument you play. As for walking the changes, that song is fairly straightforward. Stay around Eb and D minor chord tones with passing notes and you'll be fine. As always, the best thing to do is download a bunch of versions by great jazz players and listen to what the greats do.

+EVERYTHING. This. /thread