0:44 Golden words right there. If you're accompanying someone, you have to make them feel COMFORTABLE. I've played with musicians, who get into their own bubble, playing their own shit, overplaying and not giving me the SPACE I need to CREATE. Moments like that just make you want to stop playing, turn to the guy and say "let me know when you're done!" )) Lose the ego people and open your ears. Let the music come out!
I'm 65 years old and I am going to go get a keyboard and teach myself to play so that I can understand everything he is talking about here by practicing. He is an under-appreciated gem in the necklace of jazz, and his passing at a young age was a great loss.
Hi I live in Wales UK...I've just started to learn this piece it's not at all difficult but rhythmically it's quite challenging but if you get a keyboard I will help you along the way ...my advice to you is to listen to the piece over and over so your brain knows e actlyhow it's played out ....wish u luck
THIS IS SOME PROFOUND ADVICE! "To practice that -- the rhythmic and time component -- is to comp by yourself, and make yourself feel good. It has to feel good. It has to feel good to you.....Then when you come into a group, everyone's feeling good and we all feel good together so no one's leaning on anyone else..." What a teacher.
Mulgrew fue no sólo un gran pianista sino también un gran profesor. Humilde, generoso y empático. Le escuché en vivo con su trí y, mucho antes, con Tony Williams. Increíble su pasión por la música y su "comping" sólo comparable al de Wynton Kelly.
Some loved musicians don't have a fresh , honest advice and teaching maybe because not all has the grace to speak music or need a more extra time. But this one that is simple is a harvarded one. It feels nice when someone welcomes you per minutes to his brain , heart and buen aliento.
Mulgrew! I heard him with Mercer Ellington’s big band back in 1977 here in Sweden. I was mesmerized by the band (16 years old). Long story short but I recognized him 5 years later with Woody Shaw’s quintet. The rest may be history but he has been so inspiring through the years!!! The years (as time does) has gone by quick but Mulgrew stays in my mind as a beatiful source of inspiration. Really unique!!!!!
Nice video of Mulgrew. Comping is definitely a very subtle skill. When you have fantastic jazz/jazz-fusion drummers like Alphonse Mouzon commenting on a youtube video, then one realises that you are in the company of extraordinarily gifted musicians. Thank you both for your contributions to jazz.
Isn't it amazing that sometimes it takes a really brilliant musician to point out what's sort of, 'obvious'. Thank you for a braw lesson, and I don't even play the piano. Mulgrew Miller is a 2 handed orchestra. Thanx from Sandy in Scotland.
+Chuck MacKinnon Agreed! This is some very deep advice, and speaks to one's musical intuition. Wish I could have taken a few classes with this man before he passed.
I've heard that Lester Young once asked a pianist to just play "plain vanilla chords". In other words, let the soloist have more freedom to choose the degree of harmonic tension. I think this is an issue with many accompanists (and with a lot of modern jazz). Upper structures that are so crowded as to induce listener fatigue.
how could i get one master class with him - am a singer and super timid improvisor but hear the way through his music and "words" - in my trio, we just do it, no words. But I need direction!
Listen to recordings of anyone and try to copy the harmonies and the rhythm. Simple and space is often what a soloist wants. The more you play the more the soloist will get frustrated and angry....be a minimalist😀
The 13th on dominant chords is pretty essential for any post-bop playing, even just behind horns. I'm pretty sure Mulgrew's first chorus here is full of them. As for "upper structures," @blueyedboymrdeath, I don't think I agree that the piano playing the upper extensions really causes conflict with the solo most of the time (obviously, work this out with your horn player if they don't dig what you're doing). What turns listeners off are iffy voicings/poor rhythmic feel.
It HAS to dance. May Mulgrew's soul live on through his music and those of us touched by it.
0:44 Golden words right there. If you're accompanying someone, you have to make them feel COMFORTABLE. I've played with musicians, who get into their own bubble, playing their own shit, overplaying and not giving me the SPACE I need to CREATE. Moments like that just make you want to stop playing, turn to the guy and say "let me know when you're done!" )) Lose the ego people and open your ears. Let the music come out!
Can believe I'm just now hearing about this guy! What an AMAZING PIANIST!
Just had the same... haha
Your teachings and music will live on forever! RIP Mulgrew Miller!
I'm 65 years old and I am going to go get a keyboard and teach myself to play so that I can understand everything he is talking about here by practicing. He is an under-appreciated gem in the necklace of jazz, and his passing at a young age was a great loss.
How’s that going then?
Hi I live in Wales UK...I've just started to learn this piece it's not at all difficult but rhythmically it's quite challenging but if you get a keyboard I will help you along the way ...my advice to you is to listen to the piece over and over so your brain knows e actlyhow it's played out ....wish u luck
" it has to dance "
Shortest advice ever but sure give a damn clear picture of what 'comping should be
THIS IS SOME PROFOUND ADVICE! "To practice that -- the rhythmic and time component -- is to comp by yourself, and make yourself feel good. It has to feel good. It has to feel good to you.....Then when you come into a group, everyone's feeling good and we all feel good together so no one's leaning on anyone else..." What a teacher.
word
it is so clear when he says it and lives it. Many many thanks for this!
Wonderful. Great advice, and great sound. Mulgrew Miller's music and ideas live on.
Mulgrew fue no sólo un gran pianista sino también un gran profesor. Humilde, generoso y empático. Le escuché en vivo con su trí y, mucho antes, con Tony Williams. Increíble su pasión por la música y su "comping" sólo comparable al de Wynton Kelly.
Some loved musicians don't have a fresh , honest advice and teaching maybe because not all has the grace to speak music or need a more extra time. But this one that is simple is a harvarded one. It feels nice when someone welcomes you per minutes to his brain , heart and buen aliento.
Brilliant!!! Thank you for posting it!!!
You have great material uploaded, Thank You very much.
Mulgrew's hands are massive!
Mulgrew! I heard him with Mercer Ellington’s big band back in 1977 here in Sweden. I was mesmerized by the band (16 years old). Long story short but I recognized him 5 years later with Woody Shaw’s quintet. The rest may be history but he has been so inspiring through the years!!!
The years (as time does) has gone by quick but Mulgrew stays in my mind as a beatiful source of inspiration. Really unique!!!!!
I love this guy.
Excelente!!!!!!!!!! Muchas gracias por compartirlo!
Just incredible!
Agreed.
Mulgrew's really great and he sure knows what he's talking about, he's been comping so many players....
The hell with feeling good....that felt GREAT!!!!!!!! like Tony the Tiger!!!!
Nice video of Mulgrew. Comping is definitely a very subtle skill. When you have fantastic jazz/jazz-fusion drummers like Alphonse Mouzon commenting on a youtube video, then one realises that you are in the company of extraordinarily gifted musicians. Thank you both for your contributions to jazz.
this is precious information and documentation - thank you for sharing
amen
Great lesson. Great advice.
Isn't it amazing that sometimes it takes a really brilliant musician to point out what's sort of, 'obvious'. Thank you for a braw lesson, and I don't even play the piano. Mulgrew Miller is a 2 handed orchestra. Thanx from Sandy in Scotland.
man that sounds good wanna learn that
these videos will never have one dislike
"it has to feel good", and boy does he make it FEEL GOOD!!!!
Thanks for the lesson :)
I wish my friends would comp like Mulgrew Miller.
Feels good to me.
love when he says, "it has to dance", somebody please transcribe this comping at minute 3 on, and share the link! sounds so good!!
+Chuck MacKinnon Agreed! This is some very deep advice, and speaks to one's musical intuition. Wish I could have taken a few classes with this man before he passed.
@@henriettaatkin1968 you have classes, they're all over youtube
I transcribed the first round, if you want it let me know!
@@pascaldool hey could you send it me? thanks
mtbham661@gmail.com
@@hamisharchibald740 Sure, sent!
I've heard that Lester Young once asked a pianist to just play "plain vanilla chords". In other words, let the soloist have more freedom to choose the degree of harmonic tension. I think this is an issue with many accompanists (and with a lot of modern jazz). Upper structures that are so crowded as to induce listener fatigue.
that's something really worth thinking about
Right On!
Wonderful.
Love the work you did with Mulgrew, Ron.
Great advice! I can’t do enough comping.
Yeah...feeling good..
Thanks.
Damn, he's brilliant.
Now that's some hip shit, and he's just comping.
@youkali22 He does live it. An honest, intelligent, fellow, Mr. Miller is.
Jazz Video Guy. I want to learn that comping mulgrew did in this video where could I find the chords?
how could i get one master class with him - am a singer and super timid improvisor but hear the way through his music and "words" - in my trio, we just do it, no words. But I need direction!
Three thumbs up!
yes sir
2:55 word!
University of Arizona, Tucson.
Agreed on the 13th, also the 9 and #9 are great in that harmonic feel. In contrast, b9 instantly kills the feel to me.
@fabiosena72 he's certainly using some voicing I don't know, even if I would study 1000 years , blodly hell!
I wish there was a quick piano tutorial on this comping he did. It was smooth
we really miss Mulgrew
ua-cam.com/video/g85oDfEzEF0/v-deo.html
there u go :)
Search Rebecca cline music mulgrew.. she has a transcription on soundslice.
From all the background racket I'd say the Port Authority Bus Terminal
beautiful 3:20...
what kind of voicings he used ?
RIP
shit meaning good stuff!!!
Of course it has depth, you can hear that ! Just listen to Wynton Kelly comping...
Where was this filmed?
I prefer vanilla chords myself - usually nothing greater than a 9th, and the occasional tritone sub. When I'm soloing, though...watch out! lol
Start 2’54” Eventually I swear I could hear a rhythm section !
@neverwrest09 naw, sounds like things aint what they used to be
@pedro210556 welcome to being a jazz piano player... haha
If I could comp like that I don't know that I would ever leave the piano bench
BentGordonsen yep i was just a tappin my feet lol
@scoggles I think he was kidding.
Jesus
A master. No need for a drummer.
What kind of voicings is he using? Drop 2?
Fábio CS at 3:55 there's some drop 2 voicings. He's using a bunch of different types- quartal voicings, 13th chords
Why would you leave the piano bench otherwise?
Listen to recordings of anyone and try to copy the harmonies and the rhythm. Simple and space is often what a soloist wants. The more you play the more the soloist will get frustrated and angry....be a minimalist😀
The 13th on dominant chords is pretty essential for any post-bop playing, even just behind horns. I'm pretty sure Mulgrew's first chorus here is full of them.
As for "upper structures," @blueyedboymrdeath, I don't think I agree that the piano playing the upper extensions really causes conflict with the solo most of the time (obviously, work this out with your horn player if they don't dig what you're doing). What turns listeners off are iffy voicings/poor rhythmic feel.
2:53 “how to sound like a big band on a piano”
yes!
if you like his voicings sooo bad, why don't you Transcribe! that shit!?!?!