That's great advice especially in light of what I have found
is a lot of misinformation and myths about where people place the
chords during comping.
People neednt ignore jazz information they get from others (i.e. just
being a contrarian), however they should verify everything for
themselves.
For example, people will tell you that all the "hip" players are
comping on the and of 4 and the and of 2.
While surely there are some players that were fond of doing this,
like Red Garland. If you transcribe alot of players comping,
there is no pattern other than it complements what is going on in
their right hand (say for piano players comping for themselves) or
with what other band members are doing.
Of course, I find it useful to practice certain comping patterns
because it adds structure when other musicians are not playing
along. (However, I don't like to set up left hand patterns when comping for
myself. I find it very tedious.) On a gig I just play something that goes
along with what other people are doing, whatever that may be.
I bought this comping book by Jim McNeely. I enjoy the
book very much and recommend it, but one thing I found funny was that he
had all these rules for where to rhythmically comp in the first chapter.
However there is a playalong CD and he comps for Art Farmer on the first
cut and I transribed his comping rhythms and none of the rhythmic patterns
he was discussing were being used. As soon as the band started playing he
used his ears and musicianship/creativity.
reed
Reed Kotler
reed@justjazz.com
http://www.justjazz.com