I transcribed this from an old Coleman Hawkins record featuring Oscar Pettiford on bass. I sometimes show it to students of mine because it’s a nice example of how to compose an effective walking bassline. Oscar uses a few simple ideas to give motion and color to the harmony, and his timing is impeccable. The bass solo shows off Oscar’s dexterity and motivic development, as well as presaging the solo style of the next generation of greats like Paul Chambers. Soon I’ll add a new page to this site that digs deeper into some instructive playing by important bassists, so stay tuned for that.
I heard this song on the radio while driving home from a gig last month, and since then I sometimes find myself absent-mindedly humming the melody. It reminds me a little of 1970s Keith Jarrett, in his happier moods.
Lately I’ve been listening to Jack McDuff’s Moon Rappin’ album while driving around. It’s fun and funky, thanks in no small part to the spirited drumming of Joe Dukes. This tune finds Joe taking a long, energetic solo while keeping the groove locked tight.
Here’s a Tadd Dameron tune written over the changes to “Out of Nowhere”, one of only a few of these contrafacts I know (the others being Fats Navarro’s “Nostalgia”, Ornette Coleman’s “Jayne”, and Lennie Tristano’s “317 East 32nd Street”). Can you think of others based on this chord progression?
From Jan Garbarek’s Wayfarer album.
Lately I’ve been enjoying the music of Oscar Pettiford in my free time. He was a master of the early bebop style, and an accomplished composer as well as bassist, cellist and bandleader.
This version of Caravan can be found on Taylor Eigsti’s album Let It Come To You. I love his energetic interplay with drummer Eric Harland, and the use of digital delay and harmonizer effects by Taylor and guitarist Julian Lage give the song a flavor not usually heard on jazz records.