Ah, now you're sliding into a unique subset of musical coordination made possible by the production of the venerable Hammond B-3 organ. This allowed for the possibility of playing true bass lines with your feet while freeing your hands to explore previously unrealized possibilities. Jimmy Smith was the grand daddy of this school that has since all but disappeared as the popularity of Jazz and the B3 waxed and waned. Some of his bass lines were quite good owing to the fact that he played some bass. This set up lead to a coordination challenge that was unique in its demands.
I remember reading an interview with a practitioner of this style whose name now escapes me and he related a conversation he had while on break with a patron who said he didn't think he was actually playing those bass lines with his feet. He invited the guy to place his fingers under his bass pedals when he got off break and then tell him whether he was playing with his feet or not.
Though cathedral organs had used bass pedals as drone tones for centuries they weren't really exploited to their potential until some time later. The musical needs of the time being what they were no doubt contributed to this. I'm sure it wasn't anticipated that centuries later Zappa's then keyboard player, Don Preston, would scale Royal Albert Hall to gain access to its organ to play the signature riff of "Louis Louis" for their guitar player who feigned ignorance of it.
Check this out about a minute and 50 seconds in:
https://www.youtube.com/watch?v=oTLhR8hrYHI
