I envision singing melody with left hand piano and right hand stabs, arps, or something.

... By what you say, this is not an exact science anyway.
Thanks
Bernie

I agree, Kansas City and The Wanderer are my first two as they fit a reply type response with a sax interlude. I appreciate everyone's help.

Thanks for posting that Donny- that’s exactly what I was talking about by filling in the holes. You did so very tastefully!

Donny and Jerryghr just opened my mind and ears. Both wonderful examples which I shall keep and refer to. Many have offered excellent advice, but to hear what you all are talking about opens a whole new world. In Donny's rendition, I can see playing off the blues scale. I often ad lib the melody staying in the structure of the scale, this isn't any different, just applied in another way.

It's funny how I have heard comping for 50 years but wasn't listening, because I wasn't trying to do it.

I once was blind and now I see(sort of).

Thanks all

Hi Bernie,

I used to play along with the melody with the singing. Then I started comping and with a little practice it becomes easier to do and a lot less work while playing. Now I let the singer and the style do all the work while I throw in a few fills.

Here is an example with me noodling around (filling in the
holes) with Tyros sax.


https://www.dropbox.com/s/8r3ojeswxa50obt/September%20in%20The%20Rain.wav?dl=0

Regards,

Jerryghr

Hi Bernie,

I thought about your question when I saw this video. Hope it’s helpful

https://m.youtube.com/watch?v=PvKL-NZ9Gp8

Hi Bernie,

I used to play along with the melody with the singing. Then I started comping and with a little practice it becomes easier to do and a lot less work while playing. Now I let the singer and the style do all the work while I throw in a few fills.

Here is an example with me noodling around (filling in the
holes) with Tyros sax.

Nice rendition of a classic. Thanks for Sharing Jerry.
https://www.dropbox.com/s/8r3ojeswxa50obt/September%20in%20The%20Rain.wav?dl=0



Added file as MP3

https://www.dropbox.com/s/mku5he0w8q0hod9/September%20in%20The%20Rain.mp3?dl=0

Regards,

Jerryghr

Not sure if this is the right thread for this, or not. (please tell me, and I'll move it)
Lots has been said about individual playing styles, keyboard preferences, chord shapes, and much more. Here is my take on how I do what I do, and why.
It's important to state that I'm a singer first, and a keyboard/guitar player second ... tied very closely with my role as entertainer/emcee. With THAT said, let's begin.

Whether I'm sitting at a grand piano, or an arranger keyboard, my priorities are the same:
1) vocals
2)bass
3)rhythm
*)everything else (I call this fluff, or color)

My 2 hands generally split the duties of bass and chords, even on an acoustic piano. When playing full chordal accompaniment on a piano, I often rely on a heavy LH octave, or I-V-I to add depth to the chord structure. When playing an arranger, I go between triggering patterns, or playing live manual bass all night. Either way - I ALWAYS play the full chords with my RH, even if the arranger is set to automatic. This personalizes my styles so each one is always song specific. Playing manual bass is my preferred method with standards, and swing tunes, because it enables me to "kick" the rhythm section for emphasis. I can accent phrases, and lines with both hands acting together .... something that's often difficult, while relying on pre programmed styles. I have always believed that bass is the most important element to a rhythm section. Far more important than drums. It sets the key, fills out the fundamental, moves the air, so your gut can feel it, and provides the oooomph to make people (not me) dance. My user styles have been thinned out to remove the piano, and guitar sounds when they are playing most of the chords in a style. This frees up polyphony, and un-clutteres the accompaniment. Remember - I'm spotlighting the melody always. (in my case, my voice)

A typical, or signature sound for me is a simple trio style with a drum pattern, LH bass, RH Rhodes (sometimes layered), and voice on top with added harmonies to suit the style or genre I'm aiming for. Comping behind my vocals is easy in this config, because I'm usually surrounding the melody with the chords, so I can trigger my "freshman-esq" harmonies at will. Some songs get simple 3rd up harmony, some benefit form more complex structure, like Four Seasons, MIlls Bros etc.

For me, I'm happiest when the vocals shine, the bass is solid, the Rhodes is ringing like a bell (sorry Johnny B), and the rest of the band is sitting tightly in the pocket of the groove I'm laying down. This makes my sound less automated, less manufacturer specific, and frankly .... more interesting. (I hope)

The Korg PA series really makes life simple with the button controls on top. The ability to turn on slash bass chords, manual bass, chord sequencing, and turn acc parts on/off in a flash is vital to a fresh sound, for me. Happy to answer any questions about my approach, but I mainly just wanted to share a few thoughts with the gang. Enjoy, all.

Do you use any auto accompaniment at all (besides drums) when doing LH bass?