Comping (jazz)

[3] In a standard jazz combo, the pianist or guitarist typically comps during the horn and double bass solos by improvising chords and countermelodies.

The two compers may make different, clashing interpretations of the same chord (e.g., the pianist may add a flat 13th, while the guitarist plays a natural 13th), or the texture may become overly cluttered.

Top soloists playing with the most advanced comping musicians may simply call out the name of jazz standards, and the sidemen will be expected to know the chord progression.

For example, the soloist may request "Autumn Leaves" without providing the compers with a chord chart or sheet music.

Alternatively, the pianist (and possibly the bassist and/or guitarist or organist) sometimes comps, often using a predictable pattern of rhythmically played chords called "hits".

A well-known example is the second half of "Take Five", with Dave Brubeck's piano vamp comping for Joe Morello's drum solo.

As well, they must have a melodic sense based on a knowledge of a huge repertoire of different scales and scalar patterns, to be able to improvise countermelodies to supplement the soloist's melodies and fill in empty spaces.

They take the soloist's improvised solos and melodies and add harmonies (as a bass player does) and rhythms (as a drummer does).

In a tune, if a soloist starts playing in a jazz-rock fusion style, the comping musicians may adapt and shift into a rock-influenced groove.

A keyboardist playing Fender Rhodes electric piano or Hammond organ may turn up his preamplifier to produce a natural tube overdrive tone for his sound.

In all but the largest big bands, the comping sidemen in a jazz show are often called upon by the bandleader to improvise a solo.

For 1920s Dixieland and some Swing era jazz, the comper may embellish the melody line and improvise by ear during his solo.