How to comp chords on the piano?

[V1812470]

I'm starting up a jazz quartet with some friends and one of my friends is a classical pianist/sax player. He's a great classical pianist and also has some knowledge about chords and improvisation. However, I also want to try to give him some ideas how to make comping chords more interesting. When I listen to a pro jazz pianist like Kenny Barron, I can tell that they're doing something more than just plunking down the chords for every measure. What should I try to tell him to do to make his comping more interesting?

[TMadness1013]

I used to play guitar a lot for jazz combos & in my college jazz band. One of the best lessons I had in comping was to listen to a Jamey Aebersold CD. You aren't distracted by anything playing OVER the rhythm section - it's a great resouce for someone who wants to learn how to comp w/ a stylistic approach. The Freddie Greene take is great with extreme moderation - 4 to a bar gets very old very quickly.

It's also key for someone comping to be listening to what everyone else is doing. If the soloist emphasizes a unique rhythm, the rhythm section will emulate it. Great drummers do this quite often. Or the pianist could answer back in a harmonic way. Another key thing is to not get in the way...if there's a measure w/o any melody, have them put their fills there. A good rhythm section is always patient enough to wait for their moment to shine.

[gary]

Right. And Aebersold has several books of transcriptions of the comping on several of his play-alongs. Check it out at www.jazzbooks.com.

[BlueNote]

Aebersolds are only part of it. They'll get you the basics, but most of it is your ability to listen. The point of comping is to compliment the soloist. You need to interact, respond, be in a conversation, not just punch out chords behind him/her. So many groups I've heard miss out on that. It's much more musical if the whole group is involved.

[littlemanbighorn]

Listen, listen, listen and pick things up from recordings.

[Joe Linux]

First of, the root of the chord isn't played by the piano, as it is left open for the bass player. Secondly the voicings of the chords are very important. Abersold's stuff is so so in my opinion. His materials are a start, but that's about it. I think the piano playing on the Hal Leonard play alongs is much better. I don't know if there are any transcriptions though. It may be necessary to have your classically trained friend take some private lessons from a good jazz pianist. In general your friend should try to find open voicings using the third, seventh, ninth, and 13th in the center of the piano. Big harmonic changes where there is very little finger movement between the chords sound the coolest. Voice leading from chord to chord is paramount.

[kaibau]

There is a very good book by Frank Mantooth called: Voicings For Jazz Keyboard. It is easy to understand and brings all the issues together regarding smooth chord changes as well as correct voicings.
Check it out, it only 13$ or so.

kaibau

[Doghouse Riley]

Frank Mantooth also did two books of "Best chord changes" for standards.
There's 100 tunes in each. As a keyboard player before taking up the sax, I've practically worn these books out.