{"id":494,"date":"2015-07-13T00:35:19","date_gmt":"2015-07-13T04:35:19","guid":{"rendered":"http:\/\/blog.uvm.edu\/tgcleary\/?p=494"},"modified":"2023-12-28T01:17:07","modified_gmt":"2023-12-28T05:17:07","slug":"summer-comping-trip-a-play-by-play-analysis-of-two-great-jazz-soloist-accompanist-combinations","status":"publish","type":"post","link":"https:\/\/blog.uvm.edu\/tgcleary\/2015\/07\/13\/summer-comping-trip-a-play-by-play-analysis-of-two-great-jazz-soloist-accompanist-combinations\/","title":{"rendered":"Summer Comping Trip: a play-by-play analysis of two great jazz soloist-accompanist combinations"},"content":{"rendered":"

In hopes of shedding some light on the difficult balancing act of jazz comping, I have transcribed the work of two great jazz pianists who were also great accompanists (or \u2018compers\u2019.) Among other things, these comping parts by Sonny Clark and Oscar Peterson demonstrate how a great jazz pianist uses a chord progression like a great interviewer uses a set of questions. As I was transcribing these comping parts and the solos they accompany, and adding commentary on the interplay between soloists and accompanists to these transcriptions, I found myself awestruck by the level of split-second interplay between these great players. I was also aware how my commentary could come off like the great Peter Schickele routine where he follows Beethoven\u2019s Fifth Symphony with play-by-play sports commentary<\/a>.\u00a0\u00a0 In any case, I hope these transcriptions are helpful to players who seek to improve their responsiveness and creativity as compers or soloists.<\/p>\n

As I transcribed these choruses from \u2018Cool Struttin\u2019<\/a> (from the Sonny Clark album of the same name) and a video of a live performance by Peterson and Clark Terry of ‘Blues for Smedley<\/a>\u2019<\/a>, I was reminded of how pianists who are skilled at comping create contrasts within their own parts in a variety of ways, for example, changing from more busy comping to more sparse comping, or from comping that is more melodically static to comping which is more melodically active. In my analysis here, I call these \u2018strategy changes\u2019. In the examples shown here, Oscar Peterson and Sonny Clark change their strategy often, sometimes in response to activity in the soloist\u2019s line, and other times to break with a comping pattern before it becomes undesirably repetitive. In both tunes the piano part doesn\u2019t stay with a single comping approach for a whole chorus of the form, but rather tends to change every two to four bars.<\/p>\n

Skilled compers are also able to alternate during a single solo between echoing the soloist\u2019s ideas at some points and contrasting their ideas at other points. At a number of points in \u2018Cool Struttin\u2019 and \u2018Blues For Smedley\u2019, to my ear, both these kinds of responsive comping lead the soloist to change their strategy, either to further develop the idea being echoed in the comping (as in Art Farmer\u2019s second chorus on \u2018Cool Struttin\u2019) or to pick up the contrasting idea being introduced in the comping (as at the beginning of Clark Terry\u2019s third chorus on \u2018Blues for Smedley\u2019). This underlines how important it is for pianists to use strong ideas in comping, to either clearly echo the soloist\u2019s idea or to create clear contrast with the soloist.<\/p>\n

In the examples below, both Sonny Clark and Oscar Peterson both use what I call \u2018riff comping\u2019, which uses repeating and usually simple melodic patterns either to fill spaces in the melody (which I call answering riffs<\/strong>) or as a counterpoint to the melodic line (which I call background riffs<\/strong>). Although both the examples given here are in small group contexts, both Sonny Clark and Oscar Peterson\u2019s uses of riff comping echoes the use of horn section riffs in classic big band blues arrangements such as \u2018C Jam Blues\u2019 and \u2018Blues in Frankie\u2019s Flat\u2019. The examples here also include comping which is not connected to a repeating pattern but is rather a spontaneous response to activity in the solo line; I call these answer comping<\/strong>.\u00a0 Sonny Clark\u2019s comping during the head statement of his tune \u2018Cool Struttin\u2019 includes answer comping, and then he begins to use riff comping in the second chorus of Art Farmer\u2019s solo. Oscar Peterson begins comping behind Clark Terry\u2019s head statement on \u2018Blues for Smedley\u2019 using riffs that sound like the composed riffs in a big band arrangement, but quickly changes to an improvised background line in his right hand. Starting with the first chorus of Terry\u2019s solo, he returns to more ensemble-style riff comping.<\/p>\n

I encourage readers to listen to the recordings of the tunes while following my transcriptions and comments. I encourage you to use the comment section to add to or even disagree with my play-by-play commentary. For pianists seeking to increase the variety of their comping, I would suggest learning the transcribed comping parts and playing them along with the original recording. Keep in mind that the ultimate goal here is not to memorize the transcriptions, or even to emulate Peterson\u2019s virtuosity or Clark\u2019s harmonic sophistication, but rather to strive toward their level of variety and responsiveness. My hope is that those who read this blog post and study these transcriptions can borrow ideas from Oscar Peterson and Sonny Clark and combine them with their own ideas to work toward a personal approach to creative and responsive comping.<\/p>\n

I’d also encourage comments that answer the following question (required for my jazz piano students): Name a jazz recording involving piano and one other solo instrument and identify one or more specific moments in which chordal comping (on piano or guitar) influences the development of an improvised instrumental or vocal solo by another player (or where the development of the solo influences the comping).\u00a0 If possible, add a link to a public page (YouTube, etc.) where the recording can be heard; use timings (i.e. ‘2:35’, ‘4:17’ etc.) to identify the moments of soloist-accompanist interplay, and give a brief description of what happens.\u00a0 (Examples of chordal accompaniment to a solo instrument in other styles are acceptable as well, provided that both parts have some improvisational element to them.)<\/p>\n

Oscar Peterson Trio with Clark Terry – Blues for Smedley, live in Finland 1965<\/a><\/p>\n

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Cool Struttin’ – Sonny Clark (Art Farmer, trumpet)<\/a> \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \"\"<\/p>\n

\"\"\"\"\"\"\"\"<\/p>\n","protected":false},"excerpt":{"rendered":"

In hopes of shedding some light on the difficult balancing act of jazz comping, I have transcribed the work of two great jazz pianists who were also great accompanists (or \u2018compers\u2019.) Among other things, these comping parts by Sonny Clark … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":865,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-494","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/blog.uvm.edu\/tgcleary\/wp-json\/wp\/v2\/posts\/494","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blog.uvm.edu\/tgcleary\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blog.uvm.edu\/tgcleary\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blog.uvm.edu\/tgcleary\/wp-json\/wp\/v2\/users\/865"}],"replies":[{"embeddable":true,"href":"https:\/\/blog.uvm.edu\/tgcleary\/wp-json\/wp\/v2\/comments?post=494"}],"version-history":[{"count":16,"href":"https:\/\/blog.uvm.edu\/tgcleary\/wp-json\/wp\/v2\/posts\/494\/revisions"}],"predecessor-version":[{"id":2308,"href":"https:\/\/blog.uvm.edu\/tgcleary\/wp-json\/wp\/v2\/posts\/494\/revisions\/2308"}],"wp:attachment":[{"href":"https:\/\/blog.uvm.edu\/tgcleary\/wp-json\/wp\/v2\/media?parent=494"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.uvm.edu\/tgcleary\/wp-json\/wp\/v2\/categories?post=494"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.uvm.edu\/tgcleary\/wp-json\/wp\/v2\/tags?post=494"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}