vic
Thanks Singe. Love it... ?
A few comments/observations..
-the bassist is not bad hey..? wow
-I wonder how repeatable that piece of music is...if he had to redo it, would he get all those notes/same notes again ? ( I guess not but who cares...)
-epiphone ?...those were the days when it was still a favourite with jazzers..
-all so basic...just music...no need for smoke machines and the likes... ?
brilliant guitarist !
singemonkey
Yeah. Bass player is phenomenal. Clearly well known, but I don't know what that acronym stands for.
It might be fairly repeatable, I'm thinking. They both seem to have such a perfect command of their instruments that I'm sure they could have pulled it off again close to note fore note - not that I think they'd want to. I'm sure a lot of the choices were based on how they were feeling that night.
Epiphone USA were a pretty hot company. I think those guitars - what are they called again? Imperials or something? - were pretty damn spanky in their day. Actually, a buddy of mine used to have an Epiphone Coronet a while back. I think that was their budget guitar from before the Gibson take-over, but I'm not too sure.
Yeah. Keeping people hypnotised with the sheer beauty of the playing. Wish I could do that ☹
Vic, I'm surprised you can put your new guitar down long enough to type a response ?
Keira-WitherKay
the double bassist is none other than Niels-Henning Ørsted Pedersen
heres the bassists biography , he's a legend amongst double bassists....
Niels-Henning Ørsted Pedersen (Danish pronunciation: [nilsˈhɛneŋ ˈɶɐ̥sd̥əð̥ ˈpʰɛð̥ɐ̥sn], May 27, 1946 April 19, 2005) was a Danish jazz bassist known for his impressive technique and an approach that could be considered an extension of the innovative work of Scott LaFaro. Born in Osted, near Roskilde, on the Danish island of Zealand, Pedersen was known as The Great Dane with the never-ending name[1], or more simply as NHØP.[2]
Contents [hide]
1 Biography
2 Discography
3 References
4 External links
[edit] Biography
As a child, Pedersen played piano. As a teenager, he started learning to play contrabass and at the age of 14, he began his professional jazz career in Denmark with his first band, Jazzkvintet 60, while studying. Later on, he was engaged as the regular bassist at Copenhagen's Jazzhus Montmartre. At 17, he had already turned down an offer to join the Count Basie orchestra, mainly because he was too young to get legal permission to live and work as a musician in America.
During the 1960s, Pedersen played with several important American jazzmen who were touring or resident in Denmark, including Ben Webster,[3] Bill Evans, Brew Moore, Bud Powell, Count Basie, Roy Eldridge, Dexter Gordon, Dizzy Gillespie, Jackie McLean, Roland Kirk, Sonny Rollins, and vocalist Ella Fitzgerald; he also played with Jean-Luc Ponty. He became the bassist of choice whenever a big-name musician was touring Copenhagen.
Preferring to remain in his native Denmark, Pedersen turned down an offer to become the regular bassist in The Oscar Peterson Trio following Ray Brown's departure. During visits to the United States, he also contributed to several critically panned avant-garde recordings with Anthony Braxton, Albert Ayler, and Archie Shepp.
He was awarded Best Bass Player Of The Year by Downbeat Critics' Poll in 1981.[4]
Pedersen worked in duo and trio arrangements with pianist Kenny Drew, recording over 50 albums together. He also worked with Stéphane Grappelli and Joe Pass and recorded extensively as a leader. His best known songs are My Little Anna, Jaywalkin', and The Puzzle, as well as jazz arrangements of traditional Danish folk songs. He was awarded the Nordic Council Music Prize in 1991.
Pedersen died of heart failure in 2005 at the age of 58 in Copenhagen, Denmark. Oscar Peterson wrote:
"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. 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. "
“”Oscar Peterson, writing in Jazztimes.[
