It HAS to dance. May Mulgrew's soul live on through his music and those of us touched by it.

Can believe I'm just now hearing about this guy! What an AMAZING PIANIST!

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.

Your teachings and music will live on forever! RIP Mulgrew Miller!

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.

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!

" it has to dance " Shortest advice ever but sure give a damn clear picture of what 'comping should be

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.

You have great material uploaded, Thank You very much.

Brilliant!!! Thank you for posting it!!!

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.

this is precious information and documentation - thank you for sharing

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.

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!!!!!

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.

Excelente!!!!!!!!!! Muchas gracias por compartirlo!

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.

Great lesson. Great advice.

I love this guy.

Just incredible!

man that sounds good wanna learn that

The hell with feeling good....that felt GREAT!!!!!!!! like Tony the Tiger!!!!

Thanks for the lesson :)

Mulgrew's really great and he sure knows what he's talking about, he's been comping so many players....

love when he says, "it has to dance", somebody please transcribe this comping at minute 3 on, and share the link! sounds so good!!

Mulgrew's hands are massive!

these videos will never have one dislike

"it has to feel good", and boy does he make it FEEL GOOD!!!!

Right On!

Feels good to me.

Wonderful.

Great advice! I can’t do enough comping.

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.

I wish my friends would comp like Mulgrew Miller.

Damn, he's brilliant.

Now that's some hip shit, and he's just comping.

Yeah...feeling good..

Thanks.

Three thumbs up!

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!

@youkali22 He does live it. An honest, intelligent, fellow, Mr. Miller is.

yes sir

2:55 word!

what kind of voicings he used ?

I wish there was a quick piano tutorial on this comping he did. It was smooth

shit meaning good stuff!!!

@fabiosena72 he's certainly using some voicing I don't know, even if I would study 1000 years , blodly hell!

From all the background racket I'd say the Port Authority Bus Terminal

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.

Where was this filmed?

RIP

If I could comp like that I don't know that I would ever leave the piano bench

Start 2’54” Eventually I swear I could hear a rhythm section !

beautiful 3:20...

What kind of voicings is he using? Drop 2?

Of course it has depth, you can hear that ! Just listen to Wynton Kelly comping...

@pedro210556 welcome to being a jazz piano player... haha

I prefer vanilla chords myself - usually nothing greater than a 9th, and the occasional tritone sub. When I'm soloing, though...watch out! lol

Why would you leave the piano bench otherwise?

2:53 “how to sound like a big band on a piano”

@neverwrest09 naw, sounds like things aint what they used to be

Jesus

@scoggles I think he was kidding.

A master. No need for a drummer.

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.

if you like his voicings sooo bad, why don't you Transcribe! that shit!?!?!