"A Night in Tunisia" is a musical composition written by Dizzy Gillespie in 1942 while he was playing with the Earl Hines Band. It has become a jazz standard.

It is also known as "Interlude", under which title it was recorded (with lyrics) by Sarah Vaughan and Anita O'Day. Gillespie himself called the tune "Night in Tunisia". Although the song is sometimes titled “A Night in Tunisia”, the proper title is “Night in Tunisia.” The song appears as the title track of 30 CDs and is included in over 500 currently available CDs. In January 2004, The Recording Academy added the Dizzy Gillespie & His Sextet’s 1946 Victor recording of “Night in Tunisia” to its Grammy Hall of Fame.

"Night in Tunisia" was one of the signature pieces of Gillespie's bebop big band, and he also played it with his small groups.

The complex bass line in the "A section" is notable for avoiding the standard walking bass pattern of straight quarter notes, and the use of oscillating half-step-up/half-step-down chord changes (using the Sub V) gives the song a unique, mysterious feeling. The B section is notable for having a unresolved minor II-V, as the V chord leads back into the Sub V of the A section. Like many of Gillespie's tunes, it features a short written introduction and a brief interlude that occurs between solo sections — in this case, a twelve-bar sequence leading into a four-bar break for the next soloist.

Tunisia (US ⁱ/tuːˈniːʒə/ two-NEE-zhə or UK /tjuːˈnɪziə/ tew-NIZ-iə; Arabic: تونس‎ Tūnis pronounced [ˈtuːnɪs]), officially the Republic of Tunisia (Arabic: الجمهورية التونسية‎ al-Jumhūriyyah at-Tūnisiyyah), is the northernmost country in Africa. It is an Arab Maghreb country and is bordered by Algeria to the west, Libya to the southeast, and the Mediterranean Sea to the north and east. Its area is almost 165,000 square kilometres (64,000 sq mi), with an estimated population of just under 10.7 million. Its name is derived from the capital Tunis located in the northeast.

Tunisia is the smallest country in North Africa. The south of the country is composed of the Sahara desert, with much of the remainder consisting of particularly fertile soil and 1,300 kilometres (810 mi) of coastline.

Tunisia has relations with both the European Union—with whom it has an association agreement—and the Arab world. Tunisia is also a member of the Arab Maghreb Union, the Arab League, and the African Union. Tunisia has established close relations with France in particular, through economic cooperation, industrial modernization, and privatisation programs.

John Birks "Dizzy" Gillespie ( /ɡɨˈlɛspi/; October 21, 1917 – January 6, 1993) was an American jazz trumpeter, bandleader, composer and, occasionally, singer.

Allmusic's Scott Yanow wrote, "Dizzy Gillespie's contributions to jazz were huge. One of the greatest jazz trumpeters of all time (some would say the best), Gillespie was such a complex player that his contemporaries ended up copying Miles Davis and Fats Navarro instead, and it was not until Jon Faddis's emergence in the 1970s that Dizzy's style was successfully recreated . . . Arguably Gillespie is remembered, by both critics and fans alike, as one of the greatest jazz trumpeters of all time."

Gillespie was a trumpet virtuoso and improviser, building on the virtuoso style of Roy Eldridge but adding layers of harmonic complexity previously unknown in jazz. His beret and horn-rimmed spectacles, his scat singing, his bent horn, pouched cheeks and his light-hearted personality were essential in popularizing bebop.

In the 1940s Gillespie, together with Charlie Parker, became a major figure in the development of bebop and modern jazz. He taught and influenced many other musicians, including trumpeters Miles Davis, Fats Navarro, Clifford Brown, Arturo Sandoval, Lee Morgan, Jon Faddis and Chuck Mangione.

Miles Dewey Davis III (May 26, 1926 – September 28, 1991) was an American jazz musician, trumpeter, bandleader, and composer. Widely considered one of the most influential musicians of the 20th century, Miles Davis was, with his musical groups, at the forefront of several major developments in jazz music, including bebop, cool jazz, hard bop, modal jazz, and jazz fusion.

Miles Dewey Davis was born on May 26, 1926, to an affluent African American family in Alton, Illinois. His father, Dr. Miles Henry Davis, was a dentist. In 1927 the family moved to East St. Louis, Illinois. They also owned a substantial ranch in northern Arkansas, where Davis learned to ride horses as a boy.

Davis' mother, Cleota Mae (Henry) Davis, wanted her son to learn the piano; she was a capable blues pianist but kept this fact hidden from her son. His musical studies began at 13, when his father gave him a trumpet and arranged lessons with local musician Elwood Buchanan. Davis later suggested that his father's instrument choice was made largely to irk his wife, who disliked the trumpet's sound. Against the fashion of the time, Buchanan stressed the importance of playing without vibrato; he was reported to have slapped Davis' knuckles every time he started using heavy vibrato. Davis would carry his clear signature tone throughout his career. He once remarked on its importance to him, saying, "I prefer a round sound with no attitude in it, like a round voice with not too much tremolo and not too much bass. Just right in the middle. If I can’t get that sound I can’t play anything."Clark Terry was another important early influence.^{[citation needed]}

Charles Parker, Jr. (August 29, 1920 – March 12, 1955), also known as Yardbird and Bird, was an American jazz saxophonist and composer.

Parker acquired the nickname "Yardbird" early in his career and the shortened form, "Bird", which continued to be used for the rest of his life, inspiring the titles of a number of Parker compositions, such as "Yardbird Suite", "Ornithology", "Bird Gets the Worm", and "Bird of Paradise."

Parker was a highly influential jazz soloist and a leading figure in the development of bebop, a form of jazz characterized by fast tempos, virtuosic technique, and improvisation. Parker introduced revolutionary harmonic ideas, including rapidly passing chords, new variants of altered chords, and chord substitutions. His tone ranged from clean and penetrating to sweet and somber. Many Parker recordings demonstrate virtuosic technique and complex melodic lines, combining jazz with other musical genres, including blues, Latin, and classical.

Parker was an icon for the hipster subculture and later the Beat Generation, personifying the jazz musician as an uncompromising artist and intellectual, rather than an entertainer.