Comping under a melody - how to avoid clashes

[Bobby Timmons]

Thanks for pointing that out, I only looked at the description. Yes, I'm looking for a course with examples demonstrated against a melody.

Well, the examples in Fareed's course were very useful in the sense that I got to hear and play actual comping examples, where these concepts were used. But if there is no melody, it's a kind of an "anything goes" situation, almost every concept "works". Ideally, I'd be interested in a course, where the teacher says:
- here's the melody
- here's the original progression
- here's how I apply this concept (e.g. a tritone sub) to create some variation,
- here's what I'm thinkig about while doing that, here are the mistakes and pitfalls to avoid
- and here's the end result

I realise it's a tall order, that's why I said "ideally". Still, it doesn't hurt to ask. After all I came across Fareed's course on this forum, and I do find it useful at my stage.

Also thanks for pointing out the problem with copyright, it didn't occur to me.

I realise that a lot of work is required on my part and a lot of trial and error, but I believe good instruction and demonstration can be extremely helpful.

I play Hammond where I have the bass on the bottom, chords in the middle, and melody on top. So I've had to adapt what you're talking about. My 1st post holds true. There are only 2 things to learn: what notes are in the chord and the intervals between them. This goes for the notes you play and for the notes spread across the group. You must internalize a system where you can predict the effect your jazzy chords will have. This comes from practice. Practice including all the notes in your guitar chord, the bass, the chord, and the melody note. This way you can hear first hand what the effect is. You don't need separate musicians to execute this. Or if this is too much to grab on guitar, plunk it out on a keyboard.

Here's a demonstration on how a lot of it is intuitive and contextual. OP plays about every note on the piano, yet it fits with the melody because he uses it well.