Originally Posted by
rpjazzguitar
Old thread, but good topic.
Here's what I don't like about some pianists:
1. They insist on playing a grand piano if there is one. Takes up half the stage. Keeps the musicians from being able to see each other easily. Sacrifices control over the volume. Gives one sound whereas an electronic kb has options. And, of course, it might not be in tune.
2. Most pianists have spent a good deal of time playing tunes, solo. Some do exactly the same thing even if there's a group. They fill a lot of space, play too busy, play dense chords in the frequencies that should be left for bass or soloists.
3. Many pianists, no matter how well meaning, do not leave much space for guitar. The pianist who does leave space is generally emphasizing transitions and decoration, not pounding out the beat in the middle of the bars. The pianist who does busy, random stick-and-jab comping makes it very difficult for the guitarist (well, at least me) to find a part that will enhance the band.
4. With some, I may spend extended periods laying out. That is rarely reciprocated.
5. If the pianist brings an electronic kb and amplification, many play overly loud.
Now, to talk out of the other side of my mouth, I do know some players where the guitar and piano work together effortlessly. In those cases they leave a lot of space, let the bass and drums carry the "chop" to a greater extent and don't pound out a busy rhythmic figure.
Of course, guitarists may be even worse. But I'll leave that for a different post.
If I was a singer/leader hiring a trio, I'd lean toward piano, simply because they can solo and comp at the same time. That's much more difficult on guitar.
But, I've done plenty of gigs with guitar as the only comping instrument. It works fine. The trick, to me, is to get away from the idea of playing block chords all the time. So, the "comp" ends up being a stew of chords, single notes, double stops, passing tones while holding a note on a different string, silence while the bassist does it all, in different octaves etc. I got the basic idea by listening to Ralph Sharon, Tony Bennett's long term pianist. I noticed that every time a tune reached the bridge, he didn't simply pound out the chords. Instead, he'd start playing a little melody a bar or two early that led gracefully to the bridge. I thought it was brilliant (even though it may be commonplace for pianists to do this) and tried to emulate it on guitar.
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