[Dixielandjazz] stride vs. comp

[David W. Littlefield]

Whatever rhythm instrument one plays, one should do what's appropriate to
the music genre, the basic style of the band, and what the others are
playing. This requires knowing what the leader wants and constant listening
to the sound of the *whole* band. A relevant factor when playing in public
is what has entertainment value to the particular audience; relevant also
when making records. 

In OKOM, there's a basic hierarchy: Horns are at the top, piano, then
banjo/guitar in the middle, bass below them, and drums at the bottom.
Rhythm players have to understand that they are there to support the horns,
to provide a *floor* so the horns play better and the dancers can
sure-footedly groove the roof. This is true whether the band play a 2-beat
or 4-beat style. 

Piano is the prime fill maker, and constitutionally has the freedom to add
some touches of syncopation, etc., at other times. But piano must be
prepared to play straight rhythm, ie boom-chuck, or comp simply, instantly.
For example, the second he hears one or more horns playing syncops or
riffs, he should boom-chuck, because square 4/4 will propel the syncops
into the stratosphere; the other rhythm cats should do the same. The bass
player may not like it, but 2-handed piano is part of the old music, and
boom-chucking gives the rhythm a lot more "whack". Piano should try to
sense whether the rhytmists want a little space to do fills. The other
night guitar and I felt the bass want to fill the 7th-8th bars, so we let
up and gave him the space, last half of tune just stopped at those
measures; by then he knew we were giving him the floor, so he doubled his
efforts; we did this for a couple of choruses, and it really lifted the
whole performance. From an OKOM listener's perspective, the active 2-fisted
piano adds to the entertainment value.

Banjo/guitar are adjuncts to the percussion. Chunk, chunk, chunk! Listen
for when piano gives some space. The extent of their freedom depends on
whether the bass and drums are perfoming their proper roles! They try to
learn what support each horn soloist prefers. They should consider that a
constant hard 4 rhythm needs to be relieved regularly or it comes to have a
pounding effect. So: some off-beats, held notes, some syncops, glisses, as
a change-up. Chunk-a chunk-a chunk-a style generally sucks, except that in
an out chorus it's one very useful changeup for enhancing the intensity of
the climax. I played/subbed on banjo with a couple of no-piano bands where
the leader wanted straight 4/4; that was ok, except that whenever I
listened to both bands off the bandstand, I found the unrelieved 4/4 to be
colorless, boring, and give that pounding effect. So when I played with
them, I put in a bit of relief. The drummer of one band used off-beats now
and again, and standard fills; I usually played right along with him, and
it was very effective, loads of fun to interact with him, and the
hornpersons usually were delighted. But basically straight rhythm is
required, and the main satisfaction for a string player must be to make the
band sound and feel better. Of course, the mindful leader will give
stringplayer some solo space. String (especially banjo) fills and solos
have decided entertainment value for the general public.

Sorry bass and drums, but your role is basically straight rhythm. KISS. A
few small changeups are cool, as is an *occasional* break, sometimes even a
solo--perhaps a couple per set. Your main creativity must be in supporting
the rest of the band; of course, the drummer has more tools to work with,
and that can have significant impact on the sound and feel of the band.
Bass creativity has little basic entertainment value, can screw up the band
very easily. 

--Sheik


At 08:57 AM 1/22/2003 -0600, Pat Cooke wrote:
>      IMHO, stride is for solo piano....when you have a bass player, leave
>the bass notes for the bass to play.  I find a comping style much easier to
>play bass with.
>      Also, a piano and a banjo(or guitar) in the same band is not a good
>idea, unless they have played together long enough to know what chords the
>other will be using and when to make the changes.
>      I've played with a number of groups where the piano and banjo are
>playing different chords at the same time.....Maddening!
>    Pat Cooke
>
>
>
>----- Original Message -----
>From: "Charlie Hull" <Charlie at easysounds.com>
>To: "Charlie Hooks" <charliehooks at earthlink.net>; "DJML"
><dixielandjazz at ml.islandnet.com>
>Sent: Wednesday, January 22, 2003 8:51 AM
>Subject: Re: [Dixielandjazz] Solos vs. Banjo Styles
>
>
>> IMHO banjo can be compared to piano in a band.  Some pianists can't let go
>> of striding or playing every beat even tho they can be set free by letting
>> the bass and drums carry the rhythm.  Ditto with banjoists -- many insist
>on
>> playing a chord for every beat, while others -- epitomized by Bill
>Dendle --
>> 'comp' like a good pianist, doing off-beat sparks and tasty fillins.
>> Depends on the band's makeup, too.  If you have both piano and banjo, you
>> don't want them both comping and filling at the same time.
>>
>> I agree whole-heartedly with Charlie Hooks.  A plink-plink-plink,
>> chord-on-every-beat banjo or piano can really box in a soloist's ability
>to
>> flow and use passing chords.  To me, it inhibits the imagination and
>> creative juices.
>>
>> But we are each unique, thank the Diety.  Viva la difference!
>>
>> Charlie Hull
>>
>>
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