1956, December 4 - Metronome Year Book - p.44,45
Charlie Parker 's Night In Tunisia 'break' analysis
by © Tony Scott

TONY SCOTT like the other musicians, was asked to name his favorite Charlie Parker record together with the reasons why. Tony took us very much at our word and wrote a real manuscript with accompanying musical analysis. In all the comments there are interesting insights into both the Parker music and these participating musicians.

I was asked by the editor, Bill Coss, to write what I thought was Bird's best record or at least my favorite record. The editor also gave me two or three choices if I needed them. I find I need only four bars of Bird's playing to use as a basis for everything I write about the man and the music he created. The four bars I chose are from the "break" he played in Night In Tunisia… recorded at Carnegie Hall and available on Black Deuce label. (Several other versions of Night In Tunisia are to be obtained on Dial records.) These four bars best show his ability to swing with or without rhythm accompaniment. The ensemble interlude before this break is like the warming up of a jet motor ? and then Bird's solo break is like the jet taking off…straight up! He finally levels off at an altitude that no other man ever reached, musically or in a plane. The audience felt the same way because they cheered right after Bird played the four bar solo break.
Most laymen don't realize that musicians hear music through their emotions and that it isn't just a matter of cold, intellectual analysis. In other words a musician is either "wailin' " or "ain't making it" as far as other musicians are concerned. What makes up "wailin'" is a combination of the following:

Bar 1: A pattern that is exciting both horizontally and vertically in its movement.

Bar 2: A selection of notes of different time value so as to give both Tension and Release.

Bar 3: Accentuation of varied beats in a manner so as not to let the phrases become stagnant.

Bar 4: Use of harmony, its neighboring tones and altered substitutions.

Bar 5: A large, full tone loaded with warmth, emotion and a singing quality.

Bar 6: The ability to take the above 5 technical requisites coupled with imagination and transmit an emotional impact.

Bar 7: Soul ? (no technical explanation).

When a musician can put all the above seven components together in a four bar break I would call him a genius, or I would simply call him "Bird."
A Musical Analysis of Bird's Break: It starts in key of D (alto) and heads toward B minor.
He reaches it on the 4th beat of the 3rd bar, then uses F#7 in the 4th bar into the 1st bar of Night in Tunisia. I mention this to point out that it would be easier for an alto player to imitate this break than other horn blowers (in this key). Tunisia starts in B minor and ends in the relative major (D major). (Note Bird's use of Tension & Release.)

Bar 1: 1 beat rest release ? building of tension to 4th beat.

Bar 2: Release starting from upbeat of 4th beat preceding bar then use of appoggiatura triplet to dive down to end of 2nd beat - then repeat arpeggio on lower tone (E) (3rd beat) - then on 4th beat another start to build into 3rd bar.

Bar 3: Gradual tonal buildup given strong impetus by rhythmic use of accent on A, end of 2nd beat still climbing tonally lie again uses rhythmic accent on C#, end of 3rd beat ? to the tonal peak of the break which is the last note of the triplet (E natural), in the 4th beat. Actually the peak of the break is the C sharp at the end of the 3rd bar, 3rd beat. It has both rhythmic and tonal peak.

Bar 4: Release starts gradually from end of 3rd bar, 4th beat to the 4th bar, 4th beat where Bird finally lifts you up and sets you down gently but firmly on the 1st beat of the chorus, not on a chord tone but the 11th or flatted 5th of a B7 chord. Have no fear, just hang on to Bird's coat tails because he knows the way home!

After a long study of these 4 bars I find that Bird shifted not only the rhythmic pattern but also his chord pattern. By use of one beat rest he shifted the entire break one beat later for 3 bars then brings it back in on the 4th bar. While writing this I realized the break could have started on the 2nd beat as well as the first beat, but the one beat rest used gives the break an over all tension which is released on the 4th bar. I'd better stop going over this break, I could very well end up making it a lifelong study! After listening to just 4 bars of Bird, taking it off the record, writing it out, playing it on my clarinet, memorizing it, analyzing it? I find it just knocks me out emotionally. I still shake my head and mutter "wow" to myself. It is now 5:00 A.M., Sunday, December 4th and while I've been writing and studying Bird's break I've been listening to recordings by Mahalia Jackson singing gospel and Wanda Landowska playing Bach. I am at my new home in Point Pleasant, Pennsylvania. loaned to me Bv Chan Parker, Bird's wife. Bird loved it out here and wanted to work around New York City and Philly so lie could live in the country. He did so until his death. As I sit here, nearby on the shelf are a few things Bird has used: an alto mouthpiece; two clarinet mouthpieces; never heard Bird blow clarinet: a watch; a sax-strap. Bird and Chan's record collection are here a little damaged by the flood that hit the house Charlie, Chan, Baird and Kim occupied previously. Chan, Kim and Baird ("Little Bird") now live in New Hope, Pa. Chan runs a coffee shop and ice cream parlor which is called Bird's Nest. If Bird were alive and I were to read this to him, at the end of it he would look at me and smile that broad gold toothed smile and say "Thanks, Tony" and I would and do say...
Thank You, BIRD.
©Tony Scott