O contra-baixista de jazz Niels-Henning Orsted Pedersen nasceu em Copenhague no 27 de maio de 1946 e tornou-se conhecido nos círculos musicais que freqüentava como NHOP.
Tocou a maior parte de sua carreira no trio do pianista Oscar Peterson desde que substituiu a Ray Brown. Suas habilidades e rapidez ao tocar (principalmente quando acompanhava Oscar) permanecem como sua marca registrada.
Nos Estados Unidos tocou com grandes nomes como Sonny Rollins, Dexter Gordon e Stan Getz, além do poeta do piano jazz Bill Evans com quem excursionou pela Europa. Niels possuía todas as importantes ferramentas que forjam um grande baixista – um som vigoroso, improviso rápido e engenhoso, destreza, alma e grande habilidade para ouvir, de forma mais explícita, como poucos.
Os diálogos que estabeleceu com o saxofonista Artie Shepp no disco “Looking at Bird”, tem momentos que parecem colocar o contra baixo acústico no centro das atenções, oportunizando a Shepp extrair a essência da música.
Tocou a maior parte de sua carreira no trio do pianista Oscar Peterson desde que substituiu a Ray Brown. Suas habilidades e rapidez ao tocar (principalmente quando acompanhava Oscar) permanecem como sua marca registrada.
Nos Estados Unidos tocou com grandes nomes como Sonny Rollins, Dexter Gordon e Stan Getz, além do poeta do piano jazz Bill Evans com quem excursionou pela Europa. Niels possuía todas as importantes ferramentas que forjam um grande baixista – um som vigoroso, improviso rápido e engenhoso, destreza, alma e grande habilidade para ouvir, de forma mais explícita, como poucos.
Os diálogos que estabeleceu com o saxofonista Artie Shepp no disco “Looking at Bird”, tem momentos que parecem colocar o contra baixo acústico no centro das atenções, oportunizando a Shepp extrair a essência da música.
Este grande músico de jazz morreu prematuramente em Abril de 2006.
The career of the Danish bassist Niels-Henning Orsted Pedersen, born o may 27th 1946 in jazz circles, he was usually referred to simply as NHOP. He was a bass virtuoso, who made his unwieldy instrument sound almost impossibly agile. Like a finger-style guitarist, he could pluck the heavy strings with all four fingers of his right hand, where most bassists relied on repeated leverage from one finger, or two at the most.
The turn of speed this gave NHOP allowed jazz's classic “walking bassline” to be played at the most frenetic tempos, and over sustained periods behind soloists. Orsted Pedersen was thus able to hold down one of the most demanding jobs in mainstream jazz, as regular bassist to Oscar Peterson, one of the fastest pianists in the business. This was a tough enough task even with other musicians around to help spread the load, but NHOP often kept Peterson company in that most unforgiving of improvising situations, the drummerless duo. When he took over the job with Peterson, his predecessor Ray Brown observed that the newcomer was the only bassist he could think of who would be quick enough to keep up with Peterson.
The Montmartre was a regular stop-off for touring American stars, and, in the house band there, the young NHOP performed with saxophone legends such as Sonny Rollins, Dexter Gordon, Rahsaan Roland Kirk and Stan Getz; and that poet of jazz piano, Bill Evans, with whom he toured in Europe in 1965.
Orsted Pedersen had all the crucial qualities of a jazz double bassist - a big, rich sound, an improviser's melodic imagination, dexterity, soul, the ability to listen - but he seemed to have them in more liberal quantities than most.
His dialogues with Shepp, on the album Lookin' At Bird (1980), sometimes even seemed to put the bassist in the ringside seat, helping direct Shepp toward the essence of the music. He was also a prolific studio musician, working on some 400 albums in the period from the mid-1960s to the mid-1980s. As well as working with Oscar Peterson, NHOP fruitfully partnered guitarist Joe Pass, notably on the startlingly virtuosic album Chops (1978). He also worked with the Catalan pianist Tete Montoliu; the power and eloquence of his bass-playing can be heard on four of their recordings in the mid-1970s, notably Catalonian Fire (1974).
Orsted Pedersen was the bassist of choice for some of American jazz's best expatriates, including Dexter Gordon and pianist Kenny Drew, but, over the past two decades, he was increasingly active with European jazz musicians.
The turn of speed this gave NHOP allowed jazz's classic “walking bassline” to be played at the most frenetic tempos, and over sustained periods behind soloists. Orsted Pedersen was thus able to hold down one of the most demanding jobs in mainstream jazz, as regular bassist to Oscar Peterson, one of the fastest pianists in the business. This was a tough enough task even with other musicians around to help spread the load, but NHOP often kept Peterson company in that most unforgiving of improvising situations, the drummerless duo. When he took over the job with Peterson, his predecessor Ray Brown observed that the newcomer was the only bassist he could think of who would be quick enough to keep up with Peterson.
The Montmartre was a regular stop-off for touring American stars, and, in the house band there, the young NHOP performed with saxophone legends such as Sonny Rollins, Dexter Gordon, Rahsaan Roland Kirk and Stan Getz; and that poet of jazz piano, Bill Evans, with whom he toured in Europe in 1965.
Orsted Pedersen had all the crucial qualities of a jazz double bassist - a big, rich sound, an improviser's melodic imagination, dexterity, soul, the ability to listen - but he seemed to have them in more liberal quantities than most.
His dialogues with Shepp, on the album Lookin' At Bird (1980), sometimes even seemed to put the bassist in the ringside seat, helping direct Shepp toward the essence of the music. He was also a prolific studio musician, working on some 400 albums in the period from the mid-1960s to the mid-1980s. As well as working with Oscar Peterson, NHOP fruitfully partnered guitarist Joe Pass, notably on the startlingly virtuosic album Chops (1978). He also worked with the Catalan pianist Tete Montoliu; the power and eloquence of his bass-playing can be heard on four of their recordings in the mid-1970s, notably Catalonian Fire (1974).
Orsted Pedersen was the bassist of choice for some of American jazz's best expatriates, including Dexter Gordon and pianist Kenny Drew, but, over the past two decades, he was increasingly active with European jazz musicians.
Niels-Henning Orsted Pedersen, died April 19th, 2005
Click to enjoy an amazing duo of Joe Pass and Niels-Henning
Reference/Fonte - European Musicians
Tradução - Humberto Amorim
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