#nhop

[projazznet]

Paul Bley & Niels Henning Orsted Pedersen – PB & NHOP

Paul Bley/NHØP is a jazz duet album by Paul Bley and Niels-Henning Ørsted Pedersen, released on SteepleChase Records in 1973.

Paul Bley – piano Niels-Henning Ørsted Pedersen – bass

[f0point5]

Can confirm that IHOP does sell some bomb omelettes 🤣.

They're usually known for omelettes and pancakes but, they have dinner foods now too. Just not what people usually would go to IHOP for

I mean really they should be NHOP anyway because they are not international I have never seen an ihop in Europe

[tinydancery4053]

Koreanische lockere Pullover mit geometrischem Muster

Hi there! It looks like you're asking for a microblogging post for Tumblr, promoting a Korean loose sweater with a geometric pattern for your Kawaii Fashion Shop. Here is a cute and engaging post idea for you to use with a call to action and emojis:\n\n🌟✨ WelpTokoreanische Cuteness Alert! 😍😍\nHop in on the Kawaii wave with our newest Korean loose sweater featuring a geometric pattern. Fluffiness and trendiness all in one! 🎀🧶\nGet yours now and snuggle into stylish coziness: \n🏷️🛒 Kawaii Buy: https://kawaiibuy.co/h453n 😘✨

❤10% OFF Coupon: kawaii10off

📦Free worldwide shipping📦

[jpbjazz]

LÉGENDES DU JAZZ

APPELEZ-MOI NHOP

“Niels Pedersen is the type of player whose talents on his instrument are such that he is almost unaware of what he does. His virtuosity on the bass surpasses anyone else that I have known. His melodic sense is impeccable, his choice of harmonic sequences is a pure delight to play with, and his time is flawless.... He is now arguably the most inventive bassist in jazz.”

- Oscar Peterson

Niels Henning Orsted-Pedersen est né le 27 mai 1946 à Osted, près de Roskilde, sur l’île de Zélande, au Danemark. Pedersen a grandi dans une famille musicale: sa mère jouait de l’orgue à l’église. Pedersen a appris a jouer du piano durant son enfance avant de passer à la contrebasse à l’âge de treize ans. L’année suivante, Pederson avait amorcé sa carrière de musicien de jazz professionnel avec son premier groupe, le Jazzkvintet 60.

DÉBUTS DE CARRIÈRE

Pedersen était si talentueux qu’à l’âge de quinze ans, il avait commencé à accompagner les plus grands musiciens de jazz dans les clubs, notamment au Jazzhus Montmartre de Copenhague, où il avait fait ses débuts la veille du Jour de l’an de 1961. Véritable surdoué, à l’âge de seulement dix-sept ans, Pedersen avait reçu une offre pour se joindre à l’orchestre de Count Basie, mais il avait dû décliner la proposition, car il n’avait pu obtenir un contrat de travail aux États-Unis en raison de son jeune âge.

Le Jazzhus Montmartre de Copenhague étant très fréquenté par les plus grands musiciens de jazz américains, Pedersen était devenu le contrebassiste de prédilection de saxophonistes comme Booker Ervin, Sonny Rollins, Dexter Gordon, Rahsaan Roland Kirk et Stan Getz, ainsi que du pianiste Bill Evans, avec qui il avait fait une tournée en Europe en 1965. Durant les années 1960, Pederson avait aussi joué avec plusieurs autres musiciens de jazz américains qui étaient en tournée ou vivaient en exil au Danemark, dont Ben Webster, Brew Moore, Bud Powell (avec qui il avait enregistré), Count Basie, Roy Eldridge, Quincy Jones, Johnny Griffin, Dizzy Gillespie, Milt Jackson, Jackie McLean et Ella Fitzgerald. Par la suite, Pederson s’était également produit avec Chet Baker, Miles Davis et Dizzy Gillespie. Musicien polyvalent, Pedersen, qui serait bientôt connu sous l’acronyme de NHOP, jouait même de la basse électrique à l'Underground Railroad.

Au cours de cette période, Pedersen avait aussi formé des groupes pariculièrement innovateurs avec deux trompettistes de Copenhague, Palle Mikkelborg et Allan Botschinsky. Pedersen avait également travaillé avec la chanteuse portugaise Maria Joao. De la fin des années 1960 jusqu’au milieu des années 1970, Pederson avait retrouvé le saxophoniste Dexter Gordon, avec qui il avait développé une longue collaboration au cours des années suivantes.

C’est après avoir travaillé avec Gordon que NHOP avait été contacté par le pianiste Oscar Peterson, avec qui il était demeuré de 1973 à 1987. Lors d’une tournée en Europe, le contrebassiste de Peterson, George Mraz, un tchèque qui avait fui le Bloc de l’Est au milieu de la Guerre froide, avait soudainement réalisé qu’il ne pourrait se rendre de l’autre côté du Rideau de fer sans devoir rendre des comptes aux autorités communistes. Forcé de se trouver un contrebassiste de toute urgence, Peterson avait consulté son ancien partenaire Ray Brown, qui lui avait proposé la candidature de NHOP. Faisant référence à la rapidité d’exécution de son ancien patron, Brown avait déclaré: “He’s the only one that I know who might keep up with you.”

Dans le cadre d’un article publié dans le magazine Jazz Times, Oscar Peterson avait décrit ainsi sa collaboration avec le contrebassiste danois:

‘’After hearing this phenomenal talent on bass, I realized that somehow, someday we should meet, thereby giving me the opportunity to also play with him. This vision and thought took place in the early 1970s, when I was fortunate enough to be able to invite him to join my then trio. {...} He had the most phenomenal technique, coupled with impeccable time. {...} Almost from that evening on, we became very close friends, not just musically but most certainly personally, for I developed a great admiration for the depth of Niels’ political, geographical and personal understandings. He was a man who had an almost unbelievable wealth of historic cognizance pertaining to European history. He also had a very kindred spirit as a human being, always able to easily make good friends, should he care to do so.’’

Lorsque Peterson avait repris sa carrière à la fin des années 1990 après avoir été victime d’une grave attaque cardiaque, NHOP s’était assuré que le retour du pianiste connaisse un grand succès. Comme Peterson l’avait reconnu dans son autobiographie intitulée “A Jazz Odyssey: The Life of Oscar Peterson” publiée en 2002, “Niels Pedersen is the type of player whose talents on his instrument are such that he is almost unaware of what he does. His virtuosity on the bass surpasses anyone else that I have known. His melodic sense is impeccable, his choice of harmonic sequences is a pure delight to play with, and his time is flawless.... He is now arguably the most inventive bassist in jazz.”

Commentant les débuts de sa collaboration avec NHOP, Peterson avait ajouté:

“From the first night that my dear friend Audrey Genovese of Chicago played a Dexter Gordon record that featured Niels Pedersen on bass, I realized that this musical giant and I might someday have the pleasure and occasion of not just meeting but also playing together. This vision and thought took place in the early 1970s when I was fortunate enough to be able to invite him to join my then trio. I vividly remember Niels stepping in without any fanfare (or rehearsal) for the first concert. This turned out to be a totally impromptu performance. I selected tunes that I had obtained an OK from Niels about, and believe it or not, we managed to have a wonderful performance that evening, filled with exciting spontaneity and musical searching into each other’s jazz thinking.’

After the concert, I immediately thanked Niels and told him how much I enjoyed playing with him, even considering the unexpected spontaneity that we had to work through. The audience seemed to have really enjoyed the evening. The following day I called Norman Granz and apparently was overly excited about the immediate cohesion that took place between Niels and myself the evening before. With his usual ad lib and spontaneous reaction, Norman said, “If it was that good to play with him, why don’t you use him as your regular bassist?” Needless to say, I am happy that this took place, and Niels has remained in my group until his recent unfortunate passing.’’

Parallèlement à son travail avec le trio d’Oscar Peterson, NHOP a aussi enregistré en 1978 avec le guitariste Joe Pass l’album ‘’Chops’’. Pedersen a également travaillé avec le pianiste catalan Tete Montoliu et le batteur Albert ‘’Tootie’’ Heath, avec qui il avait enregistré quatre albums au milieu des années 1970, dont ‘’Catalonian Fire’’ en 1974. Au cours de cette période, Pedersen est aussi devenu le contrebassiste attitré des disques Pablo de Norman Granz.

En 1980, Pedersen avait également enregistré avec le saxophoniste Archie Shepp un album-hommage à Charlie Parker intitulé ‘’Lookin' At Bird.’’ De 1964 à 1982, Pedersen avait également été membre du Danish Radio Big Band, un groupe de réputation internationale avec qui il avait enregistré l’album ‘’Ambiance’’ en 1993.

DERNIÈRES ANNÉES

Outre sa collaboration avec Peterson, NHOP a aussi longtemps travaillé en duo et en trio avec le pianiste Kenny Drew, avec qui il a enregistré plus de cinquante albums. Pedersen a également collaboré avec Stéphane Grappelli et Joe Pass. Il a aussi enregistré comme leader de ses propres formations à quelques reprises. Parmi les compositions les plus connues de Pedersen, on remarquait "My Little Anna", "Jaywalkin'", "The Puzzle". Pedersen a également écrit des arrangements jazz de chansons traditionnelles danoises. Une performance en duo de Pedersen avec Rune Gustafsson dans le cadre du Vossajazz 1980 avait conduit à l’enregistrement six mois plus tard de l’album ‘’Just The Way You Are’’. L’album s’était mérité le Nordic Council Music Prize en 1991.

Particulièrement habile dans l’interprétation de chansons folkloriques danoises, Pedersen s’est souvent produit dans le cadre de trios mettant en vedette le trompettiste Palle Mikkelborg et le claviériste Kenneth Knudsen. Pedersen s’est aussi produit comme leader de ses propres groupes, habituellement avec des guitaristes comme Philip Catherine et Ulf Wakenius. En 1999, Pedersen a aussi co-dirigé un duo avec le pianiste Mulgrew Miller, avec qui il a fait une tournée en Europe, au Japon, en Australie et en Corée. Le duo s’était éventuellement transformé en trio avec l’ajout du batteur Alvin Queen. Le trio avait poursuivi ses activités jusqu’à la mort de Pedersen.

Niels Henning Ørsted Pedersen est mort d’une crise cardiaque le 19 avril 2005 à sa résidence d’Ishoj, au sud de Copenhague. Il était âgé de cinquante-huit ans. Les causes exactes de sa mort n’ont pas été précisées. Pedersen laissait dans le deuil son épouse Solveig et ses trois enfants.

Reconnu comme un des instrumentistes danois les plus connus sur la planète, Pedersen a remporté de nombreux honneurs au cours de sa carrière, dont un prix Grammy pour son album en trio avec Oscar Peterson et Joe Pass en 1974. En 1981, Pedersen a également été élu contrebassiste de l’année dans le cadre d’un sondage des critiques du magazine Down Beat.

D’abord essentiellement utilisée comme instrument rythmique, la contrebasse avait vu son rôle être considérablement accru entre les années 1930 et 1960. Doté d’une technique impressionnante, Pedersen était si habile qu’il pouvait frapper les cordes de son instrument avec les quatre doigts de sa main droite, alors que la plupart des contrebassistes se servaient habituellement que d’un ou deux doigts. C’est d’ailleurs la rapidité de NHOP qui lui avait permis de prendre la relève de Ray Brown avec le trio d’Oscar Peterson. Reconnu pour ses talents d’innovateur, NHOP possédait d’ailleurs toutes les qualités qu’on exigeait d’un contrebassiste moderne: en plus d’avoir un son riche, Pedersen avait une grande imagination pour improviser ainsi que d’excellentes qualités d’écoute et un important sens du soul.

Même si Pedersen avait surtout été associé à un jazz plutôt traditionnel, il s’était également produit avec des légendes du free jazz comme Archie Shepp et Albert Ayler. Il avait également collaboré avec les pianistes Michel Petrucciani et Kenneth Knudsen. Pederson, qui a aussi entrepris une carrière d’enseignant, a été professeur au Rytmiske Musikkonservatorium (Conservatoire rythmique) de Copenhague.

Également musicien de studio prolifique, Pedersen a enregistré plus de 400 albums entre le milieu des années 1960 et le milieu des années 1980. Même s’il avait enregistré des centaines d’albums, Pedersen a très peu enregistré comme leader de ses propres formations. L’un de ses derniers albums sous son nom, intitulé “Friends Forever” (1997), lui a mérité les éloges du critique du New York Times, Don Heckman. Dans sa critique, Heckman avait commenté que l’album avait donné ‘’plenty of opportunities for Orsted Pedersen to stretch out with his solos. And he makes the most of them.” Heckman avait ajouté: “Less obvious than his soloing, but in some respects even more impressive, are his accompaniments. Over and over, his choice of notes enriches the harmonies of his songs, and the placement of his lines -- always done with meticulous precision -- brings an almost Baroque-like contrapuntal quality to the music. Subtle, understated but masterful, it is the work of a jazzman whose talent is unbounded.”

Très apprécié des autres musiciens, Pederson avait inspiré le commentaire suivant au batteur Aldo Romano: "C'était un monstre de l'harmonie. Il passait les harmonies comme un pianiste". Romano ne croyait sans doute pas si bien dire, puisque Pedersen excellait également au piano. Comme l’avait reconnu Oscar Peterson dans son autobiographie:

‘’One point that I must make here that perhaps is not known by many people, is that Niels could also play the piano (many times sitting in for me in the pre-concert sound checks). I know he had a great love for the piano, which we saw when, on a visit to the Bosendorfer piano showroom, he was lovingly impressed with the Bosendorfer grand that I eventually picked out as my own choice. Over time, I dubbed him (and announced him as) the Viking. He seemed to enjoy this title, and for some reason, it stuck to him. Niels-Henning was a player of unbelievable talent and dexterity, but selfishly speaking, personally, he became my closest friend and brother, and I shall never forget him or his talent. God bless you, Niels, and may you brighten up the musical world in Heaven as you have done on this earth.”

©-2024, tous droits réservés, Les Productions de l’Imaginaire historique

SOURCES:

FORDHAM, John. ‘’Niels-Henning Orsted Pederson.’’ The Guardian, 21 mai 2005.

‘’Niels Henning, Orsted-Pedersen.’’ Wikipedia, 2023.

‘’Niels Henning, Orsted-Pedersen.’’ All About Jazz, 2023.

[theloniousbach]

NEW ARCHIVAL RECORDINGS FROM PIANO HEROES VIA JAZZ WAX

OSCAR PETERSON, ON A CLEAR DAY, LIVE IN ZURICH 1971

AHMAD JAMAL, EMERALD CITY NIGHTS: LIVE AT THE PENTHOUSE (SEATTLE), 1963-1964 and 1965-1966

BILL EVANS, SOUNDCHECK IN PARIS, 1979

I subscribe to a daily Jazz Wax email from Marc Myers which is chock full of more musical suggestions than I can follow through with. But, noting this pattern emerging, I gladly indulged with these formative players—OSCAR PETERSON (the powerhouse whom I saw at age 8 or 9), AHMAD JAMAL (who was Miles Davis’ favorite pianist), and BILL EVANS (who was on Kind of Blue and his own Village Vanguard dates).

Power, minimalism, and open chords respectively, right? Well, only sort of.

Peterson, with Niels Henning Orsted Pederson and Louis Hayes, can tear up a keyboard with lots of fills and the thunderous ghost of Art Tatum. But of course there’s always been great invention, taste, and touch and his title cut is a latter day show tune with more modern (1960s) conventions. The tunes are deeper cuts from the Great American Song Book and the most familiar one, Mack the Knife, only emerges after an extended exploration. The band is strong and can go toe to toe with their leader. But, having recently seen NHOP on a 1965 tour with Lee Konitz’s band which brought Evans out for a couple of tunes a concert, I think it’s a shame that Evans and NHOP didn’t collaborate more.

We don’t hear much of Evans’ last great bass player Marc Johnson as this sound check is the pianist playing for himself, experimenting and exploring (evidently Walter Bishop Jr is there and they talk mostly inaudibly) a really sumptuous piano as much as letting the sound crew adjust their levels. This late, alas pretty coked up, Bill Evans, so things are just as lushly harmonic as ever but also busier. Rather like with Thelonious Monk’s Chordially where that mast explores harmonic possibilities, his own Well Tempered Clavier, it is a treat to hear the ideas spool forth. It’s not a concert, the purpose isn’t to see the final choices but instead all options. So this isn’t the usual Evans.

Jamal the minimalist has a busy, filigreed introduction that resolves into I Didn’t Know What Time It Was. He swings hard with his own power. There’s a Poinciana that is suitably lush and true to form. I know enough to go back to the Pershing set and this new collection adds to the Jamal live recordings, but, as with Peterson (in his case Canadiana Suite is an exception), I don’t know of particular albums. In both cases, I just figure it will be good and do these particular tunes appeal.

Three masters adding to their legacies. Thanks to Jazz Wax, I have this chance to listen to them in relation to one another.

[i12bent]

Danish double bass player extraordinaire, Niels-Henning Ørsted Pedersen (NHØP) was born May 27, 1946. He died before the age of 60 of a heart attack, probably from the effect of constant touring since he was a teen.

As a young man he played with all the international stars who came through Copenhagen, usually at Jazz-House Montmartre. He also recorded with many of them, such as Dexter Gordon, a long-term resident of Denmark, on 25+ albums. Later he toured for several years with Oscar Peterson. His favorite recording partner was ex-pat pianist Kenny Drew, with whom he recorded more than 50 sessions.

[green-t-ea]

me:

Draws nho

Draws nho

Draws nho

Draws pause?

NHOP content coming soon to a nhop near you

[lvdesign]

Oscar Peterson: The Master Class | Oscar Peterson Legacy

De la musique avant toutes choses…

[waltb31]

A little Saturday night jazz: Sonny Rollins Trio. “There Will Never Be Another You”. Anyone you’d like to dedicate this song to? Tag them! #BAM #JazzRoyalty #Icons #Jazz #Blues #Repost @elitemusicmentor ・・・ Sonny Rollins on “There Will Never Be Another You”🎷🔥 #nhop 🎻 #alandawson 🥁 #jazz #therewillneverbeanotheryou #sonnyrollins #jazzsaxophonist #elitemusicmentor #learnfromthebest #onlinelearning #onlinelessons #learning #masterclass https://www.instagram.com/p/Br_wlPOlT0H/?utm_source=ig_tumblr_share&igshid=18hv5kisdaa2v

[ova5555]

Joe Pass & NHOP

Donna Lee

[polyrhythmicbw]

Sonny Rollins live 65' 68' - Jazz Icons DVD

1965年の方の映像は、ドラムが元バークリー音大の教授でドラム版のバークリー・メソッドの基礎を作ったAlan Dawson、ベースは当時弱冠19歳のNiels-Henning Ørsted Pedersen。

[rjt4]

Charles Mingus, Yusef Lateef, Kenny Drew and Niels-Henning Orsted Pedersen in Pescara, Italy, 1972.

[lesondesmusicales]

Sonny Rollins - There Will Never Be Another You (Live - Denmark 1965)

(via https://www.youtube.com/watch?v=TGcsIaErFFw)

[ethoslab]

the NHO... but as beetles..... nheetles.....

[theloniousbach]

TIME MACHINE COUCH TOUR: LEE KONITZ AND BILL EVANS with Nils Hennig Orsted Pederson and Alan Dawson, EUROPE 1965

Since Bill Charlap’s solo shows from Mezzrow’s are not streaming/being archived, I had to find some comparable music. Marc Myers’ JazzWax newsletter called attention to a 12 minute clip from Denmark from this tour which led to the fuller Paris set from these two heroes who occupy such formative sonic space in my head.

Perhaps I have seen these clips and even written about them before. No matter, I learned new things this time.

BILL EVANS after George Russell and his stint with Miles Davis didn’t play outside of trios that much. There is though an album with LEE KONITZ from around this time and it makes sense that they would tour. It’s a limited collaboration though and not really a band with Evans a featured guest.

In Denmark, they play How Deep Is The Ocean as a quartet before Konitz leaves for a short and forceful Beautiful Love which is a reminder that Evans was a force.

In Paris, it is clear that it’s Konitz’s show as he plays What’s New and a wonderfully fractal All The Things You Are with Nils Henning Orsted Pederson and a very tasteful Alan Dawson. It is Motion like, though NHOP is Konitz’s foil from the bass, not Elvin Jones as on the record. This is not to say Dawson doesn’t matter, because he very much does, but NHOP is a force well suited to the trio format. He has a big tone and lots of ideas to challenge and spur the leaders.

Konitz is so melodic and fluent that he and NHOP dance brilliantly. I am even more surprised that he didn’t play with Evans, unless he was too painfully like Scott LaFaro for the pianist to revisit those memories. But they are a match too with their Detour Ahead in Paris the stunner.

That set closed with My Melancholy Baby. It is an odd collaboration though as Evans comps the chorus and then lays out, turning it into another trio tune. When he does return the only plays right handed joining Konitz as if another horn exploring melody.

But then, though they take us to similar thoughtful, “cool” places, for Konitz it is by sheer melodic invention (All The Things You Are explores and anticipates the actual melody so that you begin to guess the tune only slightly before it comes together in the last chorus) whereas it is Evans’ open suggestive chord voicing, however spare they often are.

But these latter day heroes were sufficient solace for not seeing a current one, Bill Charlap, who also in his third way gets amazing things out of the Great American Song Book

[tenfluenza]

walked into the club in six inch heels like nobodys business

and the thrilling conclusion