Comping

Part 8: Chord Progression and Comping back to contents

Strategies

• Communicate to Coordinate Parts

• Summarizing the “Comper”
• Multiple Chording Instruments
• Keeping Time Parts
• Isolate by Pitch
• Isolate by Time
• Jazz Piano and Guitar Commentary
Charlie Christian, Oscar Moore, Barney Kessel, Herb Ellis, Joe Pass,
Wes Montgomery, Pat Martino, George Benson, Russell Malone,
Ron Eschete, Jim Hall, Pat Metheny, Frank Vignola, Bireli Lagrene,
Bill Frissel, John McLaughlin

©2014 Jim Gleason. All Rights Reserved.

page 2 Comping Strategies Part 8: Chord Progression and Comping back to contents

COMMUNICATE TO COORDINATE PARTS

Awareness is everything. It really helps to talk to the other musicians about the game plan to make all
of the parts audible and to bring out the important parts for the listener.

Clearly State Your Intention with Your Part

If the other chording instrument doesn’t give you part of the bar or a range of pitch, try harder to clearly
state your part. Repeat the part you intend, like playing on beats two and four, over and over. Use eye
contact, body language, or verbal language (if you have the opportunity). Do your best to communicate
and make it happen. Sometimes, you just have to revert to just keeping time or lay out (don’t play) on
a section and talk about it later.

SUMMARIZING THE COMPER

Summarize the Comper (Other Accompaniment Player)
If you can summarize what another comper is playing with a set of rules like the EXAMPLE below
(listen for patterns in two bar segments):
starts every two bars on one
most commonly pushes three
never plays on two
Once you have summarized the comper’s part, you should be able to duplicate the part, elaborate on it
or play in spaces between it to make an ensemble part (ensemble parts are usually hard to make work).

If You Cannot Summarize

If you cannot summarize, play a keeping time part or play at a different rhythmic level if there is enough
room in the arrangement for your added. Like verbal conversation, it hard to understand more than
two or three significant voices (or parts) at once. Likewise in music, don’t try to add another significant
part if two or three are already going on.

©2014 Jim Gleason. All Rights Reserved.

back to contents Part 8: Chord Progression and Comping Comping Strategies page 3

Anticipate The Soloist as You Do Another Comper

The process is very similar in this communication mode. With another comper, you tend to duplicate
or make ensemble parts, rarely making more than one significant statement together. Comping with
a soloist, you find fewer points of common accent. You’ll typically find yourself duplicating accents on
more like a quarter or less of the soloists points of emphasis, as opposed to over half of these played by
another comper.

Use a Looper Pedal

The best accompaniment to practice with is other musicians. Other musicians are not always available
to back you up while you practice. The second best accompaniment to practice with is a looped pedal.

looper pedals with quantizing

Most looper pedals, like the Boss RC series (RC-1. RC-3, RC30, etc.) have quanitizing, where they
anticipate your tempo and cause the loop to repeat at the nearest beat. The longer the loop is, the
more difficult you will find it to tap the pedal and make a seamless loop. For longer loops, listen to a
metronome which you record the loop.
I like the idea of not saving loops, but demanding yourself to keep playing the accompaniment each
time. Good practice.

looper pedals without quantizing

The TC Electronics Ditto looper is a great looper. It has no quantizing, so your loop may seem perfect.
However, you may have slightly rushed or dragged the tempo and not noticed it.

get both
If you can afford it, get an RC-1 and a Ditto. The RC-1 will make it more clear when you have not
retained your tempo. Then you can apply that skill to using the Ditto and have the very slight discrep-
ancies recorded into the loop, so it has a human feel.

©2014 Jim Gleason. All Rights Reserved.

page 4 Comping Strategies Part 8: Chord Progression and Comping back to contents

Five Common Steps With Software Players

These software applications play or generate comping rhythms. They are all different, and there is a
preferred order in which to use them for our purposes. The software players are generally good to train
yourself to play with a regular tempo, but you should regularly move on to using a looper or playing
with another musician.

Chops and Impro-visor

Chops (Mac only) and Impro-visor (cross-platform) are not random. They the same comping rhythm
over and over. Chops 1.2 (no new release available as of March, 2014) has fifteen styles and is $4.99
for Mac. Impro-visor (v 5.16) has 131 styles and is free! On a Mac, you must (at your own risk) open
system preferences/Security & Privacy, unlock (lower left) and temporarily make the setting”Allow
applications downloaded from: Anywhere (you can change it back after installation).

Band In A Box
Band In A Box (midi versions) generates different parts for each section, but every time you play the
section, it plays the part the same. It has hundreds (800?) midi styles. I don’t like the idea of their audio
loops, and only use the midi version, so I can discretely edit the midi.

Ireal Pro
Ireal Pro has a random generator, but follows a style. It is available for Mac, IOS (iPad and iPhone) and
Android, but not PC (there are emulators, but that gets complicated). The random generator is a great
test of your skills in the later part of your comping development. Use the five-se

which software in which order

So, if you had all of these programs, the best order of use would be Chops, Impro-visor, Band In A Box
(midi versions), then Ireal Pro. At least use the free Impro-visor and learn to change the styles.

five steps to comping

1. Summarize a few bars of the comper from a recording. The predictabily ranges from Chops
(easiest) to Ireal Pro (most difficult). Play back the recording and see if you were right, repeat
if necessary.
2. Play with the recording. Try to anticipate and play the same parts of the bar as the comper.
Start with “keeping time”, like just quarter notes (play on each beat). Where you can, play
what you expect the “comper” to play. If the comper part is really easy to anticipate, play it
with slight elaborations, like some “keeping time”.

©2014 Jim Gleason. All Rights Reserved.

back to contents Part 8: Chord Progression and Comping Comping Strategies page 5

When anticipating is not working, play a keeping time part, like all quarter notes. Try
cautiously to go back to anticipating a little at a time, as you can.
Going back and forth from keeping time to anticipating is very effective.
3. Sample a larger region of the tune, like twelve or sixteen bars and make a general summary.
Usually there is so much more information in summarizing a larger section (12 bars instead
of four) that you need to generalize. If the part was not random-generated (Ireal Pro only)
and you can listen to it again, listen and see if you were right. If you are using Ireal Pro, try to
record it, so you can play it back to see if you were right,
When you change a style in any of these programs the summary rules change, like playing
with a different person.
4. Now play along with the longer section (step 4). Like with the smaller sampling, but more
cautiously, play and combine anticipating, keeping time and elaborating on the other comp-
ing part. Of the software mentioned here, Ireal Pro is the best one to use before playing with
another musician. Like people, Ireal has a random generator and plays differently every time,
but within a style.
5. Play with an actual human being-the ultimate musical experience.

MULTIPLE CHORDING INSTRUMENTS

The Keyboardist
A piano has a range of seven octaves, roughly the same as an entire orchestra! Comping guitar is roughly
the middle two octaves. A wise keyboard player will listen to the comping guitarist and be aware of the
range in which the guitar is sounding, visualizing it on the keyboard and either avoiding that range or
careful building ensemble parts with the guitar.
Likewise, a comping guitarist can visualize what part of the keyboard range they are playing in and watch
the keyboardist to coordinate range and rhythm so the guitar and keyboard can both be heard. Middle
“C” is the second string, first fret, equilvalent to the third string, fifth fret or the fourth string, tenth fret.

The Other Guitarist Or Other Chording Instrument

Hopefully, you use at most two guitars. Three is really challenging. Any chording instrument needs
consideration in coordinating parts, including keyboards, chording string instruments like banjo,
accordion, melodica, harmonica and so on.
Like with a keyboard, two or more chording instruments should be aware of one anothers range of
pitch and placement in the bar rhythmically.
©2014 Jim Gleason. All Rights Reserved.
page 6 Comping Strategies Part 8: Chord Progression and Comping back to contents

“KEEPING TIME” PARTS

Staccato Quarter Note Chords
Keep time by playing chords of the same value like all quarter notes In the common time signatures
like 4/4 and 3/4, quarter notes are one beat. In larger bands or orchestras of over four instruments, it
is typical that the guitar plays staccato quarter notes (about half their duration, like an eighth note and
an eighth note rest).

rhythmic feel with two or more instruments “keeping time”

When two or more instruments just keep time (with all quarter notes, for example), each chord usually
takes a slightly long period of time to sound than it would on one of the instruments. If you listen to
Charllie Christian with Benny Goodman, for example, he often doubles staccato quarter notes with his
chords as the bass player is playing a staccato walking bass (or other quarter note bass). Probably due to
the resonance of the bass (an its longer wave length as my friend Larry Frick suggested), the bass notes
linger long that the guitar chord. The event starts with both of them (often including a snare also), but
the bass continues a few milliseconds after the guitar has died out. The bass player and guitar player can
work with this rhythmic dynamic and make the bass linger more or less and create different rhythmic
feels.
One of the instruments can intentionally “slice” the beat and play ever so slightly before or after the beat.
Before sounding aggressive and anxious, after sounding relaxed.

Other Durations of “Keeping Time” Parts

half or whole notes
If the mood directs less activity (in a ballad, for example), longer durations are appropriate. They are
also useful in making your part audible with other parts when there is a lot of chordal activity. If the
piano is playing fast syncopated eighth chords, you can duplicate or be different. By playing half or
whole note chords, you are at a different rhythmic level and can be heard. To make your part “hipper”
you may want to “push” the beat at the beginning of the chord and play on the “and” of the beat before
the chord starts on the chart (or conceptually).

eighth or sixteenth notes

Similarly to using chords of longer duration, you can play eighth, eighth triplet or sixteenth (sixteenths
are rare) in duplicating the snare or other chording instrument (piano or guitar). Of course, you can
use them also if the drummer and other chording instrumentalist is playing long durations against you.

©2014 Jim Gleason. All Rights Reserved.

back to contents Part 8: Chord Progression and Comping Comping Strategies page 7

Thematic “Keeping Time” Parts

“Keeping time” parts don’t have to be uniform, such as all quarter note or eighth note chords. They can
also be short and repetitive rhythmic themes. As Charlie Christian, Barney Kessel and Herb Ellis have
illustrated, they also can be single note themes, single notes mixed with chords or top voiced chords.

Start With Common Tone Voicing

Learn to play the cadences for each chord in the 7362514 sequence that is the backbone of chord root
movement with any particular tone of the parent major scale as the highest note (1, 2, 3, 4, 5, 6 or 7).
Play through a jazz blues doing this, for example.
Here are the chords for Charlie Parker’s Au Privave or Now’s The Time (same chords) with common
tone “1”.

Now’s tZhe Time or Au Privave (each cell is one bar)

F13 VI Bb9 V F13 VI F13 VI

Bb7 VI Bdim7 VI F13 VI A7#5 V D7#9 IV

G7 IV C7sus4 III F13 VI D7#9 IV Gm7 III C7sus4 III

See Voice Leading/Jazz Blues/Common Tone for more.

©2014 Jim Gleason. All Rights Reserved.

page 8 Comping Strategies Part 8: Chord Progression and Comping back to contents

Learn Top Voice Leading

The process in voicing chords for comping over a melody requires an extensive knowledge of top voice
leading. Joe Pass, Barney Kessel and Herb Ellis were leading experts. You need to be able to voice any
cadence with any possible top voices and not conflict with the melody. Even when comping during an
improvised section on the same chord progression as the head, it is good practice to know how to not
conflict with the melody.

You need to conceive the important melody notes on each of the beats or “pushes”. Quarter note melody
is clear, one note per beat. With an eighth note melody, the important notes are on the beat. With
syncopated eighths, the important notes are those on the beat and those that “push” the beat (are on the
“and” before the beat without a note on the beat the note precedes).

You need to thoroughly study the important cadences to songs with consideration of their top voice-
leading relationship to the melody.

First Voice Existing Cadences

To be progressive (and to make sure you get started), begin with common tone voicing on existing
cadences in songs. There’s plenty of work to do in that category before enhancing the progression with
added cadences .
Once you have a handle on playing the basic changes to a song with common tone voice leading you can
begin scalar voice leading (see Most Usable Voice Leading).

Next, Superimpose Cadences

Like with the basic changes on a tune, start superimposing cadences to target chords with common tone
voice leading.
Listen to the other chording instruments and try to match the mood of the scale type, generally using
major (see II-V-I and I-VI-II-V), chromatic, harmonic minor or melodic minor cadences with like
kind. As you practice each type, you will become able to recognize its sound when others play it.
Thoroughly study Melodically Superimposed Cadences.

©2014 Jim Gleason. All Rights Reserved.

back to contents Part 8: Chord Progression and Comping Comping Strategies page 9

ISOLATE BY PITCH
Three note chords, can more easily “claim a range”. Even if you use four-note chords, work with the
piano player to each play in separate ranges of pitch.

ISOLATE BY TIME
Playing Diffent Parts of the Bar
Create an ensemble part with the piano, where you play part of the bar, and they play another part. For
example, while they play on beats one and three in 4/4, you play on beats two and four.

Play at a Different Rhythmic Levels

If the piano is playing at the quarter note level, play at the eighth, half or whole level. If the piano is a
the eighth level, play at the sixteenth, quarter or half level.

“Keeping Time” Ensemble Parts

Keeping time parts can be a composite of two or more instruments, each playing on a different part of
the bar. Tower of Power does a superb job with this, as do most Afro Latin and Afro Latin ensembles
and big bands in general.

©2014 Jim Gleason. All Rights Reserved.

page 10 Comping Strategies Part 8: Chord Progression and Comping back to contents

JAZZ GUITAR AND PIANO COMMENTARY

These recordings are available on subscription sites like rdio.com, http://www.rhapsody.com/ and
other subscription sites. Or, you can buy them at amazon.com or itunes.com (or itunes store accessed
from your device).

Charlie Christian
title album comments
Flying Home Charlie Christian/Genius Moderato tempo. Staccato quarter notes accented on two and four with bass (see
of rhe Electric Guitar or below). Two and four is called the “back beat” (one and three being the primary metric
The Essential Benny accents). Due to the resonance of the bass, the bass lingers slightly longer on each note
Goodman or Benny than the guitar chord.
Goodman’s Greatest Hits
Π. Π. . .
or Benny Goodman/ guitar Œ Œ
Benny Goodman Sextet
&4 V
4 V V V V
V V V V V V V
. . . . . . . .
bass

title album comments

Star Dust Charlie Christian/Genius Slow tempo. “Tuba” style root and fifth bass on one and three with staccato quarter
of the Electric Guitar or notes on all four beats. This reverses the rhythmic levels as compared to “Flying Home”.
Benny Goodman/Benny
Goodman Sextet guitar . . . . . . . .
&4 V
4 V
Œ
V V
Œ
V V
Œ
V V
Œ
V
V V V
. . . .
bass

title album comments

Rose Room Charlie Christian/Genius Moderate tempo. “Tuba” style root and fifth bass on one and three with staccato quarter
of rhe Electric Guitar or notes on all four beats (same as “Star Dust”, above).
Benny Goodman/Benny
Goodman Sextet

title album comments

Seven Come Charlie Christian/Genius Fast tempo. Charlie repeats a single note theme during the vibes solo and staccato quar-
Eleven of the Electric Guitar or ter notes with the bass during the clarinet solo. Now, the guitar and bass have identical
Benny Goodman/Benny rhythms.
Goodman Sextet
guitar . . . . . . . .
&4 V
4 V V V V V V V V
V V V V V V V
. . . . . . . .
bass

©2014 Jim Gleason. All Rights Reserved.

back to contents Part 8: Chord Progression and Comping Comping Strategies page 11

title album comments

Gone with Charlie Christian/Genius Fast tempo. Staccato quarter note chords with the bass, like “Seven Come Eleven”, above.
“What” Wind of rhe Electric Guitar or
Benny Goodman Sextet/
Vintage Jazz

title album comments

Grand Slam Charlie Christian/Genius Fast tempo. Lay out during clarinet solo. Muted staccato quarter note chords with the
(Boy Meets Goy) of the Electric Guitar or bass during the vibe solo (like “Seven Come Eleven”, above).
Benny Goodman Sextet/
Charlie Christian & Benny
Goodman

title album comments

Air Mail Special Charlie Christian/Genius Fast tempo. Staccato quarter note chords with the bass. Single note enesemble themes
of rhe Electric Guitar or during head.
The Essential Benny
Goodman

title album comments

Six Appeal Charlie Christian/Genius Moderate tempo. Staccato quarter note chords on all four beats with bass on one and
of the Electric Guitar or three (like Star Dust, but a faster tempo). Single note enesemble themes during head.
Benny Goodman/Benny Offbeat hits with vibes and piano starting at 1:53.
Goodman Sextet

Oscar Moore (with Nat King Cole)

title album comments
Beautiful Moons Nat King Cole/100 Moderaly staccaato quarter notes, heavily ahead of the beat (not on the “and”, just a small
Unforgetable Hits or fraction before the beat). Doesn’t push the beat (play on the “and” before the beat, then
The Complete Capital not on the beat) when the piano does.
Recordings

title album comments

Don’t Blame Me Nat King Cole/100 Moderaly staccaato quarter note chords, heavily ahead of the beat (not on the “and”, just
Unforgetable Hits or a small fraction before the beat). Some single note connection of chords. Secondary
The Complete Capital melody ensembled with the piano during the verses. Arpeggiated chords just before the
Recordings bridge (especially at 2:54). Sounds worked-out, like Russell Malone’s parts often do.

title album comments

I’m in the Mood Nat King Cole/100 Moderaly staccaato quarter note chords, heavily ahead of the beat (not on the “and”, just a
for Love Unforgetable Hits or small fraction before the beat). Apart from Nat pushing beats on the “and”. He some-
The Complete Capital times “slices” before it with Oscar. Scalar top voice leading. Some single note connection
Recordings of chords. Sounds worked-out.

©2014 Jim Gleason. All Rights Reserved.

page 12 Comping Strategies Part 8: Chord Progression and Comping back to contents

title album comments

I’m Lost Nat King Cole/100 Moderaly staccaato quarter note chords, heavily slicing before the beat (not on the “and”,
Unforgetable Hits or just a small fraction before the beat). Scalar top voice leading. Some single note connec-
The Complete Capital tion of chords. Sounds worked-out.
Recordings

title album comments

Straighten up Nat King Cole/100 Staccaato quarter note chords, slicing before the beat. Scalar top voice leading.
and Fly Right Unforgetable Hits or
The Complete Capital
Recordings

Barney Kessel
title album comments
Jeepers Creepers Barney Kessel/Kessel Ensemble rhythm combines guitar and piano with quarter note chords and syncopated
Plays Standards eighths during the tenor sax solo, starting at 1:40. At 2:14, ensemble rhythm combines
guitar and the left hand of the piano during the piano solo, using lots of offbeat chords
played nicely together.

title album comments

Prelude to a Kiss Barney Kessel/Kessel Secondary melody in top voice leading during the oboe head melodies.
Plays Standards

title album comments

I Didn’t Know Barney Kessel/Kessel Secondary melody in top voice leading during the oboe head melodies.
What Time It Plays Standards
Was

title album comments

64 Bars on Barney Kessel/Kessel Ensemble rhythm combines guitar and piano with quarter note chords and syncopated
Wilshire Avenue Plays Standards eighths during the piano and sax solos. Seems to be carefully softer dusring the piano
solo as Barney follows the pianists left hand.

title album comments

Seven Come Oscar Peterson/The Too bad. Really awful guitar tone. Good performance otherwise. Staccato quarter note
Eleven Essential Oscar Peterson chords during the piano solo. Sometimes the time is a little out. It must have been really
difficult at the fast rate Oscar P. was playing. Still... a man’s got to know his limitations.

title album comments

I’m Glad There Barney Kessel/Plays for Melds nicely with the piano with legato quarter note chords, some half notes, some
is You Lovers eighths during the vibe and piano solos.

©2014 Jim Gleason. All Rights Reserved.

back to contents Part 8: Chord Progression and Comping Comping Strategies page 13

title album comments

My Funny Barney Kessel/Plays for Arpeggiated chords, “bass-mid-top” comping during flute head. Arpeggiated thirds at
Valentine Lovers 2:04. Top voice-lead secondary melody at 2:17 (end of head, before solo).

title album comments

Just in Time Barney Kessel/Let’s Cook! Rhythmic comping based on style of pianist left hand during piano and vibe solos.
Elaborates on piano comping by sustaining at the end of the bar.

title album comments

Contemporary Barney Kessel/To Swing Consistent staccato quarter note chords during the sax and piano solos. During the
Blues or not to Swing trumpet solo, Barney combines staccato quarter notes with mirroring of the solists
rhythmic themes.

title album comments

Indiana Barney Kessel/To Swing Consistent staccato quarter note chords during the sax, trumpet and piano solos.
or not to Swing

title album comments

On a Slow Boat Barney Kessel/Kessel Pairs with the piano making syncopated eighth comping rhythms during the piano and
to China Plays Standards tenor sax solos.

title album comments

I’ve Told Ev’ry Sonny Rollins Pairs with the piano making syncopated eighth comping rhythms during the tenor sax
Little Star solos. Elaborates on the piano with sustain pushes.

title album comments

Yardbird Suite Hampton Hawes!!! with Consistent, soft staccato quarter note chords during piano solo. Sustains in cadences.
Barney Kessel, Shelly Syncopated hits with Oscar’s left hand in the “B” section of the head at 5:43. Sliding
Mann & Red Mitchell arpeggio tones cadencing out of the “B” section at 5”48.

title album comments

Watch What Peterson, Kessel, Niels- Barney was sitting between the bassist and Oscar so they could watch Oscar’s left hand.
Happens Henning Orsted Pederson Secondary melody with top voice leading in the “A” section of the head (dursing to sus-
at Ronnie Scotts 1974 tained melody notes). Note the offbeat response with Barney’s chords to each of the last
four notes of the “A” section (0:40). Staccato quarter note chords in the “B” section.
Swing eighth chords during piano solo, muting on the upbeat/upstroke, except sustain-
ing chords in cadences at the end of the section. Ending cadences with piano left hand.

©2014 Jim Gleason. All Rights Reserved.

page 14 Comping Strategies Part 8: Chord Progression and Comping back to contents

title album comments

Wes’ Tune Oscar Peterson/History Intro: hits on the “and after two”. Backbeat (two and four) staccato quarter notes in
Of An Artist the “A” section. Evil Ways (Santana)/Night Train (Wes Montgomery) rhythmic accent
during the “B” section (0:57-1:01).

title album comments

Cheek To Cheek Oscar Peterson/85 Essen- Consistent staccato quarter note chords during head (that’s a good boy, Bernard).
tial Tracks

title album comments

Take The “A” Oscar Peterson/Plays Consistent staccato quarter note chords except three- chord offbeat hits at 1:40. Offbeat
Train Duke Ellington hits start the “B” section at 2:05.

Herb Ellis
title album comments
But Not For Me Monty Alexander, Ray Ther head is a half time feel as if slow 4/4 with staccato eighth note chords, but writ-
Brown, Herb Ellis/Triple ten as 4/4. Staccato quarter note chords in the piano solo with chromatic voice leading.
Scoop During the bass solo, the left hand of the piano and the guitar merge with the guitar
occasionally pushing one (playing on the “and after four” and not on one). Full-band
accents at 0:55 and 4:40 on the “and after two” and on four. End with full band pushes to
beats 2, 3, 4 and 1.

title album comments

When Lights Monty Alexander, Ray Moderate tempo. Guitar plays moderately staccato quarter note chords along with the
Are Low Brown, Herb Ellis/Triple bass during the head, with the bass playing half notes at the end (0:52). During the
Scoop piano and solos, Herb uses moderately staccato quarter note chords with chromatic pro-
gression employing ascending diiminished and flat five substitutes descending chords.

title album comments

Have You Met Herb Ellis/Ellis in Won- Moderate tempo. Moderately staccato quarter note chords. Chromatic progression
Miss Jones? derland employing ascending diiminished and flat five substitutes descending chords.

title album comments

Naptown Blues Oscar Peterson/Hello Herb uses up-tempo swing-style top-voiced chord licks to comp. Hard to come up with
Herbie anything with Oscar’s intensity. Not much room left. He’s got the attention. But at 3:00,
after Oscar just fired off his nuclear arsenal of cool harmonized licks, Herb finds a second-
ary melody style and starts responding. At 3:20 Herb plays a repetitive reflection. He
could have done better, if he would sat back and listen to Oscar, summarizing his melody
and reflecting themes back. Summarize and reflect. Keep a simple elegant core. Okay at
3:30, he’s getting it. Great! Ride the wave! You got it man!

©2014 Jim Gleason. All Rights Reserved.

back to contents Part 8: Chord Progression and Comping Comping Strategies page 15

title album comments

Seven Come Oscar Peterson/Hello Nice chromatic secondary melody comping starting at 2:30. Ascend diminished chromatic
Eleven Herbie diminished, descend chromatic flat five substitutes. More. Come on Herb, I can hear it.
You can do it.

title album comments

My Romance Ron Carter Trio/ In the waltz beginning of the head, Herb makes an ensemble part with Ron, where the
Something Else (with bass note begins the figure, then two offbeat chords (“and after one” and the “and after
Kenny Barron) two”) and on three. The waltz is followed by a moderate swing, walking bass 4/4, where
the guitar softly supports Kenny Barron’s left hand, mostly duplicating it. Back to the
waltz at 0:26. 4/4 supporting piano left hand again at 0:40. I would have liked the
guitar mixed up a little louder in the piano solo starting at 0:54, where Herb supports
the piano left hand again. Can’t hear it? Listen again, the guitar is in there, around 2:10,
for example.

title album comments

Summertime Ron Carter Trio/Jazz, My Nice, supportive mildly staccato quarter note chords through the beginning of the head.
Romance Then, at 1:03, Herb vamps with a swing I IV I7 (like All Blues), followed by staccato
quarter note chords as if with a walking bassline, against Ron’s bass solo. This walking
part is paralled by the piano left hand. After a decending chromatic chordal figure in the
piano against a pedal bass figure, the piano solo is accompanied with walking bass and
mildly staccato quarter note chords to parallel it and add harmony.

title album comments

Sweet Lorraine Ron Carter Trio/ Mildly staccato quarter note chords, chromaticized mostly with descending flat five
Something Else (with substitutes.
Kenny Barron)

title album comments

All The Things Herb Ellis/The Jazz Guitar and left hand piano largely duplicating, with typical jazz piano rest pushes (play-
You Are Masters or Jazz Guitar ing on the “ands”). The guitar adds nice color. At 2:49, the guitar starts to add some
Legends (Ray Brown-bass, more consecutive eighth syncopation, thematically.
Serge Ermoll-piano)

title album comments

Au Privave Herb Ellis/The Jazz Guitar and left hand piano largely duplicating, with typical jazz piano rest pushes. At
Masters or Jazz Guitar 1:04, Herb adds a little secondary melody in octaves. Mildly staccato quarter notes
Legends (Ray Brown-bass, during the bass solo that follows, with ascending diminished and descending flat five
Serge Ermoll-piano) substitiutes. Thematic swing-style licks in octaves during the piano solo, like Charlie
Christian style played by Wes.

title album comments

Autumn Leaves Herb Ellis/The Jazz At 2:48, Herb uses a staccato “Charleston” theme for his comping, with main accents on
Masters or Jazz Guitar one and the “and after two”.
Legends (Ray Brown-bass,
Serge Ermoll-piano)

©2014 Jim Gleason. All Rights Reserved.

page 16 Comping Strategies Part 8: Chord Progression and Comping back to contents

title album comments

I Love You Herb Ellis/The Jazz The tempo is fairly fast, about 210 BPM. Ray Brown begins the head with this bass figure,
Masters or Jazz Guitar rhythmically duplicated in chords by the guitar and piano. The piano makes an exception
Legends (Ray Brown-bass, to “cap off ” the phrase in the fourth bar, shown with stems up:
Serge Ermoll-piano)
4 V +
&4 V ™ VJ V ™ VJ V ™ VJ V ™ VJ V ™ VJ V ™ VJ V ™ VJ +

At 0:21, the bass starts fast walking bass. Against it, the piano and guitar setup this
four-bar theme:

4
&4 + ™ + + +
V V V V V
In the piano solo, the left hand piano and guitar feature offbeat accents. In the beginning
of the sax solo, lay out, letting the bass and drums carry it. As the sax solo continues,
build the piano and left hand team gradually resume the intensity of their offbeat accents.

title album comments

Triste Herb Ellis/The Jazz Ray Brown sets up a two-bar bass theme (stems down) and Herb slyly counters with a
Masters or Jazz Guitar pairs of eighth note chords (stems up) using an upward chromatic slur.
Legends (Ray Brown-bass,
Œ Œ
Serge Ermoll-piano)
4 V V Œ Œ
‰
V V V V V V
&4 V V V V VJ VJ V VJ VJ V™

The idea is abstracted a little.

Many tunes have big open spaces, begging for an obligato response. About one of every
three or four songs have this. These include Autumn Leaves, All the Things You Are,
Black Orpheus, Blue Bossa, Cantelope Island, Caravan, Footprints, Golden Lady, Groovin’
High, Have You Met Miss Jones?, How High The Moon, Meditation, Misty, Road Song,
Song for My Father, Summertime, The Way You Look Tonight and You Are the Sunshine
of My Life.
With tunes like Triste, Autumn Leaves, Caravan, In a Mellow Tone, you may wonder if
the composer intended improvisation in the open spaces. With others like How Insensi-
tive, you would want to be careful not to clutter.
So......Herb took advantage of the space and played a secondary melody in the open spaces.
This could have been chordal. If it was Barney Kessel or Oscar Peterson in that role, it
probably would have been a top-voiced chordal secondary melody.
In the piano and flute solos, Herb reflects off the sidestick snare and plays a samba
rhythmic theme. During the flute solo, the left hand of the piano, the sidestick snare and
the guitar work together and are largely the same. If it was Oscar Peterson on piano, I
doubt he would have laid out with his left hand during the piano solo. I like it both ways.
I can enjoy Oscar’s domination or Serge’s team playing, either way.

Joe Pass
title album comments
Joy Spring Joy Spring or Joe Pass/ Starting at 4:42, guitar and piano just comp together. Was that the plan. They’re playing
Capitol Vaults Jazz Series well together, but was that the plan? It’s pretty uneventful until the piano solo. During
the piano solo at 5:25 Joe cops hits with the piano players left hand.

©2014 Jim Gleason. All Rights Reserved.

back to contents Part 8: Chord Progression and Comping Comping Strategies page 17

title album comments

Jive At Five Count Basie/Kansas City Staccato quarter notes with some pushes (especially to “1’), sometimes accenting the
Five backbeat (two and four).

title album comments

One o’ Clock Count Basie/Kansas City Staccato quarter notes with some pushes (especially to “1’ and “3”), sometimes accenting
Jump Five the backbeat (two and four). Duplicating alot of Count Basie’s (pano) left hand during
the Milt Jackson (vibes).

title album comments

Cakewalk Oscar Peterson/The Staccato quarter notes with some pushes (especially to “1’), sometimes accenting the
Quartet Live, featuring Joe backbeat (two and four). In the “B” section at 0:40, Oscar uses alot of eighth rest-pushes
Pass (playing on the “and “ before the beat, then not on the beat). Here’s a typical example:

4
& ™™4 ‰ Œ ‰ Œ ‰ ‰ ‰ Œ
VJ VJ VJ VJ VJ

After a minute (at 1:41) Joe joins in and mimics.

title album comments

Caravan Oscar Peterson, Joe Pass, During the piano solo, Joe comps at 360 BPM staccato quarter note chords briefly, then
Ray Brown/The Giants plays little flurries of eighths with down-up strumming. Couarageous!

title album comments

I’m Getting Oscar Peterson, Joe Pass, Moderately staccato quarter note chords during the piano solos. Some chromatic down-
Sentimental over Ray Brown/The Giants ward flat five substitutes, but mostly straight-forward voice leading with a single chord
You every two or four beats.

title album comments

Who Cares Oscar Peterson, Joe Pass, Syncopated eighth comping during the piano solo with some downward chrmoatic flat
Ray Brown/The Giants five substitutes (especially bII on beat four to target on beat one). Piano and guitar
(mostly just guitar)play double whole note chords and whole note chords together
during the bass solo.

Wes Montgomery
title album comments
Au Privave Au Privave*guitar+piano- Wes locks tightly to duplicating the snare rhythms during the first alto sax solos (1:05-
Wes Montgomery, 1:50) with seventh and ninth chords, employing chromatic descending flat five subsitutes.
Cannonball Adderley During the bass solo, he uses two and three note chords with conservative voice leading.
(alto), Ray Brown. Victor In the piano solo, he used an ostinato (repeating), pair of eighth note octaves as a pedal
Feldman (piano/vibes), point followed by basic chords.
Louis Hayes (drms)

©2014 Jim Gleason. All Rights Reserved.

page 18 Comping Strategies Part 8: Chord Progression and Comping back to contents

title album comments

Billie’s Bounce The Best of Wes Mont- Can’t hear Wes. He appears to have laid out. It would have be awesome if he had copied
gomery the left hand piano and added occasional harmonies.

title album comments

Baubles, Bangles The Best of Wes Mont- During the piano and vibes solos (1:06-2:02), syncopated, staccato eighths, about three
And Beads gomery or four chords to the bar, mirroring the left hand piano. Alone with the vibes at 2:28,
using whole note chords. The piano joins in for the ending turnaound. No bass nor
drums durig the ending vibe solo.

title album comments

Hymn for Carl The Best of Wes Mont- Wes starts comping during the tenor sax solo at 0:57 with accents on the “and after one”
gomery and on three, along with the left hand of the piano. Then he plays whole note chords
pushing one (on the “and after four”), while the piano left hand plays more busy synco-
pated eighths. At 1:24, he resumes a couple of offbeats per bar, then back to whole note
chords (1:29), this pattern repeats with the chord progression.

title album comments

Full House Full House (live at Tsubo Beginning at 3:56 and through the sax and piano solos, Wes syncopates the fast waltz
in Berkeley, California) with chords on the upbeats, relecting on the left hand piano and snare. Sections end
with sustasined dotted half note chords.

title album comments

Sundown Wes Montgomery/ At 2:47, Wes mimics the left and piano with syncopated eighth note chords. At 3:12,
Impressions-The Verve he uses common tone flat three on top. At 4:47, he uses upward chromatic diminished
Jazz Sides voice leading to harmonize with the horn section.

title album comments

Unit 7 Wes Montgomery/ To comp solos, Wes composed an accompaniment, rather than improvising. He used
Impressions-The Verve m7 to m6 in eighth note chords on one and the “and after two”, with a single eighth note
Jazz Sides fifth-of-chord pickup on the “and after four”. He made a 12 bar blues variation with m7
to m6 as follows:
Gm, Gm, Gm, Gm (four bars so far), Cm, Cm, Gm, Bbm (that’s four more bars)
Ab (ma7 to 6), Abm, Bm7b5 to C7 (unique), Dm. On “and four and”, he cadenced back
in with Am7 Abm7 Gm7. Then he pushes one (on the “and after four”) with six whole-
note chords for most of his bridge (Gm7, C9, Fma7, A7b9, Dm7, G7), until ending with
a four-chord cadence using the “and after one” and on three for Bb7, A7, Ab7, G7.
Then on to a colorful modern swing blues in C, using a swing-sounding sixth lick on the
I and IV chords with a IIm9 bII7#9 cadence. Each chord is played on “1”, followed by
the lick.
This is innovative, but also predictable and not so much improvised comping.

©2014 Jim Gleason. All Rights Reserved.

back to contents Part 8: Chord Progression and Comping Comping Strategies page 19

title album comments

Four on Six Wes Montgomery/ At 2:30, the piano solo starts with no guitar comping until 3:02, when he comes in with
Impressions-The Verve a few staccato hits on offbeats (starting with the Charleston “one” and the “and after two”)
Jazz Sides and pairs of chords with flat five substitutes during the cadences.
At 4:40 he plays fast pairs of chords with lower chromatic embellishment (coming in from
a half step below) and various versions of the chord to provide top voice leading (root on
top, flat third on top, etc.). At 4:47, he ends with a fast flurry of triplets, most of which is
just octaves.

title album comments

Four on Six (live) Wes Montgomery/ Starting about 3:20 on this live recording, you can hear Wes again combining octaves
Impressions-The Verve with top voice-lead chords to play fast flurries. This is more of a solo, but its elements
Jazz Sides can be used in comping.

title album comments

No Blues Wes Montgomery/ Around 6:40-7:18, Wes comps the piano solo with staccato common tone chords.
Smokin’ at the Half Hote

title album comments

Oh, You Crazy Wes Montgomery/ Tremolo (amp effect) chords! Wes uses sustained, mostly half note chords (2:36) during
Moon Smokin’ at the Half Hote the piano solo. Note the arpeggiated cadences at 3:15.

title album comments

One for My The Montgomery Quarter and half note sustained chords during the piano solos on the B section (first at
Baby Brothers/Groove Yard or 2:16). He plays more staccato stabs with offbeat chords during the piano solo at 5:54.
So Much Guitar!

title album comments

Cariba Full House (live at Tsubo During the piano and sax solos (starting at 1:38), Wes plays offbeat, staccato chords
in Berkeley, California) reflecting on the drummer’s sidestick rhythm. At 4:06, during the sax solo, he reflects
upon the piano left hand as well as the sidestick for rhythm.

title album comments

Freddie Portrait of Wes Organ, not piano (more sustain than a piano). During the organ solo, Wes pairs with the
Freeloader snare for rhythm. Most of his chords are staccato, but he occasionally ends cadences with
a sustained chord (nice effect).

title album comments

Here’s that Rainy from Jazz Casuals, Ralph During the piano solo, Wes pairs with the snare for rhythm with staccato chords.
Day Gleason TV show

©2014 Jim Gleason. All Rights Reserved.

page 20 Comping Strategies Part 8: Chord Progression and Comping back to contents

Pat Martino
title album comments
Blue in Green Pat Martino/Mission Pat comps with staccato quarter note chords, generally duplicating the left hand piano,
Accomplished sometimes laying out, sometimes continuing when the piano sustains. I would have liked
more duplication of the piano left hand on the guitar.

title album comments

Sugar 70’s Jazz Pioneers Pat comps with staccato quarter note chords, generally duplicating the left hand organ.

title album comments

Sunny Pat Martino/Live! During the piano solo (5:50), Pat comps generally with quarter and eighth note chords,
based on the typical rhythmic theme for the song:

4
rhythmic theme 1 rhythmic theme 2
& ™™4 V ™ V V V V V ™ V ™™ ™™ V V V V V V V V V V
J VJ + ™™

Starting at 6:54, the piano soloist used the one-bar “rhythmic theme 1” (below) four times,
then the two-bar “rhythmic theme 2” a couple of times. Pat played along cautiously, doing
a good job of duplicating. During “rhythmic theme 2”, Pat was probably not sure where
the accents were going to be placed, so went to playing continuous eighth note chords, also
serving to build momentum to the end of the phrase.

4
rhythmic theme 1 rhythmic theme 2
& ™™4 V ™ V V V V V ™ V ™™ ™™ V V V V V V V V V V
J VJ + ™™

George Benson
title album comments
Hipping the from Absolutely Live video Awesome comping with Joe Sample’s piano solo at 2:12. Joe is playing two or three
Hop chords a bar and George is elaborating with colorful chords and some octaves, like Wes.

title album comments

All Blues George Benson/ At 6:30 George comps responsively to the snare and left hand piano: pushing two (on
Witchcraft the “and after one”) with the snare and piano, reflects triplets from the piano at 7:30 and
7:53.

©2014 Jim Gleason. All Rights Reserved.

back to contents Part 8: Chord Progression and Comping Comping Strategies page 21

title album comments

Love for Sale George Benson/ George tends to use rhythmic themes in his comping. His comping with piano solo
Witchcraft starts at 6:58 with this four-bar phrase:

4
&4 Ó Œ ‰ VJ ™™ + Ó VJ ‰ V V ‰ VJ ‰ VJ Ó Œ V‰ VV‰ V
J J
Starting at 7:28. this two-bar phrase:

4
&4 Ó Œ V V ™™ + V V Œ VJ ‰ ‰ VJ Œ V V ™™ + Ó

title album comments

Oleo George Benson/Jazz on Yeah, you’ll need butter, this is blistering.! Since this tune is played at 350 BPM, George
A Sunday Afternoon, vol. comps (starting at 4:05) at the half note level, playing chords mainly on beats one and three,
2 (Cafe Caribe 1973) or occasionally on all four beats. The chord changes four two-bar sets of “rhythm changes” (I
George Benson Quartet VI IIm V), except the third set of two bars is Vm7 I7 IVm7 bVII9 (or IVm6). The piano
Live at Casa Caribe Club player is generally doing a simpler version of the same thing. They create syncopation by
briefly sustaining on beats two or four. George adds occasional licks.

title album comments

There Will George Benson/Jazz on During the piano solo at about four through six minutes, George comps with a lot of
Never be A Sunday Afternoon, vol. attention to the pianists left hand. Here is a typical rhythm:
Another You 2 (Cafe Caribe 1973) or
4
&4 + ‰ ‰
George Benson Quartet V V VJ V™ VJ V™
Live at Casa Caribe Club
Listen for cool upward chromatic passages.

title album comments

Witchcraft George Benson/Jazz on George improvises a funky comp style, closely following the pianists left hand and the
A Sunday Afternoon, vol. snare. Nice top-voice leading and chord colors. Here is a typical four-bar example:
2 (Cafe Caribe 1973) or
4
& 4 V V ≈ VR ‰ V
George Benson Quartet V V V V V V ≈ VR V V ≈ VR ‰ V V V V V
Live at Casa Caribe Club

©2014 Jim Gleason. All Rights Reserved.

page 22 Comping Strategies Part 8: Chord Progression and Comping back to contents

title album comments

All the Things George Benson/Jazz on The piano solo starts at four minutes. George comes in around 4:50. Genrally the guitar
You Are A Sunday Afternoon, vol. and left hand piano are played well together, but just after George starts around 5:00, a
2 (Cafe Caribe 1973) or funny thing happens (its during the last eight bars of the chord progression). George and
George Benson Quartet the pianist are pushing different beats (see below). To me, the result is a little muddled.
Live at Casa Caribe Club Shortly afterward, they get back in sync.
guitar j j Ó ‰ j‰ j + ‰ j ‰ j +
V +™ V ‰ ‰ Vj ‰ Vj V ™ Vj V ™ Vj
4
&4 ‰ ‰ V ™+ ‰V ™ +
V V
‰ V ™+
V V
‰ VV V Œ ‰ VV V Œ
J J
piano

title album comments

The Cooker The George Benson Though this cut uses organ, not piano, the organ chords are generally short and similar in
Cookbook duration to those on piano. During the sax solo (starts at 2:43, the organ and guitar play
funky sixteenth syncopations that are similar enough to work:

j Œ ‰ V V Ó r≈ r≈
guitar ‰ V V V ‰
4 ≈ ‰ ‰ ‰ ≈ ‰ ‰ VR ‰ VJ
V V V V
&4 V V V VJ VR VR VJ V V V VJ VR
organ
. .

title album comments

Take Five Bad Benson (Philip Like a Wes Montgomery comping part, this Philip Upchurch comping is very regular
Upchurch, rhythm guitar) and guaranteed to fit, but not improvised. It may be a little monotonous, but who’s
listening to Philip?

5
& 4 VR ≈ VR ≈ ≈ ≈ VR ≈ VR ≈ ≈ ≈ V V V ≈ V V V ≈
1 e + a 2 e + a 3 e + a 4 e + a 5 e + a

Russell Malone
title album comments
Jingles live at Umbria Jazz 1999 Russell lays out through Benny’s piano solo. Sometimes that’s best.
with Benny Green (piano),
Christian McBride (bass)

title album comments

I Can’t Get Ron Carter Trio/I Can’t During the head, the piano plays the melody and Russell arpeggiates chords. In the long
Started Get Started bass solo (hey, it’s Ron Carter!) that follows he continues arpeggiating for a while, then
goes to legato quarter note chords (about 3/4 of a beat each) with common tone, scalar
and chromatic top voice leading.

©2014 Jim Gleason. All Rights Reserved.

back to contents Part 8: Chord Progression and Comping Comping Strategies page 23

title album comments

Autumn Leaves Ron Carter Trio-youtube After playing the “A” section of the head with Ron, Russell plays staccato quarter note
chords with scalar top voice leading through the “B” section. Back to melody and runs
to begin the recap of the “A” section, followed by whole note chords in a newly composed
section the trio added to the song.
The piano solo follows the head with Russell playing quarter notes staccato chords. He
uses alot of chromatic voice leading here, caused by flat five substitutes. A guitar solo
follows, then a bass solo where Russell lays out. Russell plays melody in the ending head,
rather than comping.

title album comments

There Will Billy Taylor Trio (Billy The piano player is leaving it wide open for Russell by playing predominantly whole-note
Never be Taylor piano)-youtube chords. This example of bars 17-20 of the piano solo show Russell’s rhythmic themes
Another You allowed by all the space.

j Œ
V ‰ V V Ó ∑
guitar
4
+ +
‰ V V Ó
V V
&4 + + + VJ
piano

Ron Eschete (“Esh-tay”)

title album comments
This Can’t be Gene Harris Quartet/ Ron comes in section “B” of the head (bars 9-12, at 0:12) with a complex rhythm, but plays
Love Listen Here! it tightly against the piano (below). The rhythms he uses smartly predict the rhythms
played with the piano in bars 5-8 of section “B”:

r r r r r r r r
‰ V ≈ V V ™V ‰ V ≈ ‰ V ≈ VV ≈ V V ‰ ™ ‰ Vj ≈ V ‰ V ≈V ‰ V ≈ V ‰ V VV ‰ V
guitar
4
&4 + ≈ V ‰ V ≈V ‰ V ≈ V ‰ V VV ‰ V
R R R
+ +
piano
Ron ends the head with a bomba/cha cha combination, played against a quarter-note
piano part.

r
‰ Vr Vr ≈ Vr ≈ Vr ‰ Vr Vr ≈ Vr ≈ ‰ V ≈ Vr ‰ Vr Vr ≈ Vr ≈ Vr ‰ ™ V V V V Vr ‰ ™ Œ Ó
guitar ™
4
&4 V V V V V V V V V V V V VR ‰ ™ Œ Ó
piano
Ron generally uses half note chords in comping the piano solo. He’s wise to play it safe by
making “three” his first choice for pushes (the “and after two”). Like a good drummer on
his snare, Ron is very attentive and echoes back most repeated phrases that Gene plays by
repeating Gene’s rhythmic theme. Ron has probably worked out main ideas of the scalar
and chromatic voice leading he is using.

title album comments

This Masquerade Gene Harris Quartet/ Standard staccato quarters during the head. Ron slices just before the bass player’s notes
Listen Here! on the beat, playing early by only 5-10%. Listen ot the “B” section, starting at 1:19. Just
that slice is worth the price of admission.

©2014 Jim Gleason. All Rights Reserved.

page 24 Comping Strategies Part 8: Chord Progression and Comping back to contents

title album comments

Blue Bossa Gene Harris Quartet/ Check out the guitar and left hand piano action on the first nine bars of the head (start-
Black and Blue ing at 0:25):

guitar Œ ‰ Vj Œ ‰ Vj Œ Ó Œ ‰ j Œ ‰ j‰ j
4 ÆVJ
+ V V V V V
Œ™ Œ V V V ‰ V +™
V V
&4 + VJ + J V V
piano

Πj j j
V Œ V™ V +
guitar
+™ VV V VVVV V V +
& +™ ‰ V™ V™ V + ‰
VV + J
+
piano
This seems like an effective compromise between pre-composed comping parts like
Wes Montgomery’s popular recordings and improvised comping. I suspect Ron worked
out ideas in a sketch manner and wisely left much of it to improvisation for a “live feel”.
Effective approach.

title album comments

I Remember You Gene Harris Quartet/
Brotherhood

title album comments

For Once in My Gene Harris Quartet/
Life Brotherhood

title album comments

I Told You So Gene Harris Quartet/
Brotherhood

title album comments

This Little Light Gene Harris Quartet/
of Mine Brotherhood

title album comments

Take the “A” Gene Harris Quartet/A
Train Little Piece Of Heaven

title album comments

How Long Has Gene Harris Quartet/A
This Been Going Little Piece Of Heaven
On?

©2014 Jim Gleason. All Rights Reserved.

back to contents Part 8: Chord Progression and Comping Comping Strategies page 25

title album comments

Scotch and Soda Gene Harris Quartet/A
Little Piece of Heaven

title album comments

My Little Suede Gene Harris Quartet/A
Shoes Little Piece of Heaven

Jim Hall
title album comments
Abstract & Jim Hall and Bill Evans/
Dreams Live at Town Hall

title album comments

Darn that Jim Hall and Bill Evans/
Dream Undercurrent

title album comments

I Hear a Jim Hall and Bill Evans/
Rhapsody Undercurrent

title album comments

Loose Bloose Loose Bloose
(take 3)

title album comments

My Funny Jim Hall and Bill Evans/
Valentine Undercurrent

title album comments

Romaine Jim Hall and Bill Evans/
Undercurrent

title album comments

Skating In Cen- Jim Hall And Bill Evans/
tral Park Undercurrent

©2014 Jim Gleason. All Rights Reserved.

page 26 Comping Strategies Part 8: Chord Progression and Comping back to contents

title album comments

Stairway to the Jim Hall and Bill Evans/
Stars Undercurrent

title album comments

I’ve Got You Jim Hall and Bill Evans/
under My Skin Cole Porter Songbook or
Intermodulation

title album comments

My Man’s Gone Jim Hall and Bill Evans/
Now Intermodulation

title album comments

Turn out the Jim Hall and Bill Evans/
Stars Intermodulation

title album comments

Angel Face Jim Hall and Bill Evans/
Intermodulation

title album comments

Jazz Samba Jim Hall and Bill Evans/
Intermodulation

title album comments

All Across the Jim Hall and Bill Evans/
City Intermodulation

Pat Metheny
title album comments
Canteloupe Pat Metheny, Herbie
Island Hancock, Dave Holland,
Jack DeJohnette-youtube

title album comments

Solar Pat Metheny, Herbie
Hancock, Dave Holland,
Jack DeJohnette-youtube

©2014 Jim Gleason. All Rights Reserved.

back to contents Part 8: Chord Progression and Comping Comping Strategies page 27

Frank Vignola
title album comments
Just in Time Joey DeFrancesco Trio-
youtube

title album comments

Fly Me to the Joey DeFrancesco Trio-
Moon youtube

title album comments

Speak Softly Joey DeFrancesco Trio-
Love (Godfa- youtube
ther)

Bireli Lagrene
title album comments
Straight No Elvin Jones, Joey
Chaser DeFrancesco, Bireli
Lagrene-youtube

title album comments

Body And Soul Bireli Lagrene - Elvin
Jones - Joey De Francesco
(title not in header)-
youtube

title album comments

Night in Tunisia Elvin Jones Trio with
Joey DeFrancesco, Bireli
Lagrene-youtube

Bill Frissel
title album comments
It Could Happen Chick Corea & Bill
to You Friasel-youtube

title album comments

Wave Fred Hersch & Bill Frissel
-youtube

©2014 Jim Gleason. All Rights Reserved.

page 28 Comping Strategies Part 8: Chord Progression and Comping back to contents

title album comments

Someday My Fred Hersch & Bill Frissel
Prince Will -youtube
Come

title album comments

It Might as Well Fred Hersch & Bill Frissel
be Spring -youtube

title album comments

Someday My Fred Hersch & Bill Frissel
Prince Will
Come

title album comments

Blue Monk Fred Hersch & Bill Frissel
-youtube -youtube

title album comments

My One and Fred Hersch & Bill Frissel
Only Love -youtube

title album comments

My Little Suede Fred Hersch & Bill Frissel
Shoes -youtube

John McLaughlin
title album comments
Sing Me Softly John McLaughlin, Dennis
of the Blues Chambers, Joey DeFran-
cesco-youtube

title album comments

My Favorite John McLaughlin,
Things Dennis Chambers, Joey
DeFrancesco-youtube

©2014 Jim Gleason. All Rights Reserved.

back to contents Part 8: Chord Progression and Comping Comping Strategies page 29

title album comments

Naima John McLaughlin, Elvin
Jones, Joey DeFrancesco-
youtube

title album comments

Turn Around John McLaughlin, Chick
Corea-youtube

title album comments

Someday My John McLaughlin, Chick
Price Will Come Corea-youtube

title album comments

My Romance John McLaughlin, Chick
Corea-youtube

©2014 Jim Gleason. All Rights Reserved.

page 30 Comping Strategies Part 8: Chord Progression and Comping back to contents

©2014 Jim Gleason. All Rights Reserved.