How to Comp: Modern Comping and Beyond

Good news; this class is much more accessible for those less advanced or less theoretically-minded than some of Juampy's other classes like Set Theory and Dodecaphonics. Don't be afraid to jump into this one. The material is clear, well-organized without being daunting to absorb.The production values (lighting, sound, camera work & positioning) is extremely good, so that you can see and hear clearly what he does with every note. Much better background than a blank wall as well. There is a lot of material here, even in the asides, such as the difference in note sustaining between Ed Bickert and Lenny Breau when playing similar things. Only thing I would suggest is a more thorough mention of the importance of different timbres when comping, i.e., not playing way up high when comping behind a trumpet and picking near the bridge, not playing way down low when comping behind a tenor or bari, etc. Juampy mentioned this at one point in reference to staying out of the bass player's way, but there are other considerations I think could have been covered more. Aside from that, this is an excellent class, and I recommend it to all upper-level beginners, intermediates, and advanced as well.