Showing posts with label Niels-Henning Ørsted Pedersen. Show all posts
Showing posts with label Niels-Henning Ørsted Pedersen. Show all posts

Wednesday, September 7, 2022

Claudio Fasoli - Lido (1983)

"What is particularly pleasurable about this session is the clarity of it all, the lines, the time, the collective and solo improvisatory direction.  And out in front is a leader of fire and delicacy, directness and intimacy-- Claudio Fasoli." ~ Nat Hentoff, Liner Notes. 

Excellent vigorous lyrical mainstream post-bop from this quartet of Fasoli on tenor and soprano sax, Kenny Drew on piano, Niels-Henning Ørsted Pedersen on bass, and Barry Altschul on drums playing six of Fasoli's tunes. ~ SadRoger, rateyourmusic.com. 

Soul Note, 121071-2, 1983
Recorded 22nd & 24th February, 1983 at Barigozzi Studio, Milano, Italy 

Musicians:
Claudio Fasoli - Tenor & Soprano Saxophones
Kenny Drew - Piano
Niels-Henning Ørsted Pedersen - Bass
Barry Altschul - Drums 

Tracks:
1. Snob (7:21)
2. Lyrical Touch (3:26)
3. Etna (8:42)
4. Lido (6:44)
5. Map (7:21)
6. Jazz Job (5:42) 

All Compositions by Claudio Fasoli 

Total Time: 39:26 

Credits:
Producer - Giovanni Bonandrini
Recording Engineer - Giancarlo Barigozzi
Mastering Engineer - Gennaro Carone
Cover Design - Pick Up Studios
Cover Painting - Claudio Rebaudo
Photography [Cover] - Mirko R. Boscolo
Liner Notes [English] - Nat Hentoff 

Etna

Tuesday, June 22, 2021

Klaus Suonsaari, NHØP, Niels Lan Doky - The Music Of Tom Harrell (1989)

Klaus Suonsaari is one musician for whom swing is a basic criterion for any musical project. Klaus and Tom Harrell started working together in 1985. Tom appears on Klaus’ 1988 debut album for Storyville Records "Reflecting Times" which also showcases Suonsaari's composing and arranging talents. This recording of Tom Harrell composition came about through Klaus' continued exposure to Tom's music. ~ StoryvilleRecords.com. 

An interesting concept. A trio of ace European musicians led by Klaus Suonsaari plays songs composed by trumpeter Tom Harrell, not among the better-known jazz writers but a fine contemporary player. Suonsaari teams with bassist Niels-Henning Ørsted Pedersen and pianist Niels Lan Doky to give Harrell unexpected exposure as a composer. ~ by Ron Wynn, AMG. 

Anaïs Records, 3ACD004, 1990
The Jazz Alliance, TJA-100 10, 1992
Storyville Records, STCD 8303, 2000
Recorded 30th July, 1989 at MTV Music Studios, Helsinki, Finland 

Musicians:
Klaus Suonsaari - Drums
Niels-Henning Ørsted Pedersen - Acoustic Bass
Niels Lan Doky - Piano

Tracks:
1. Journey To The Centre {Tom Harrell} (4:01)
2. Buffalo Wings {Tom Harrell} (5:08)
3. Songflower {Tom Harrell} (6:54)
4. Terrestris {Tom Harrell} (6:13)
5. Water's Edge {Tom Harrell} (4:27)
6. Bell {Tom Harrell} (6:43)
7. Bright {Tom Harrell} (3:01)
8. Serenity {Klaus Suonsaari} (5:21)
9. Camera In A Bag {Ray Drummond} (4:56) 

Total Time: 46:48 

Credits:
Producer - Klaus Suonsaari
Executive Producer - Edouard Detmer
Recording Engineer - Harri Sutinen
Mastering Engineer - Jan Erik Kongshaug
Liner Notes - Ray Drummond

Monday, February 18, 2019

Niels-Henning Ørsted Pedersen Trio - Friends Forever (1995)

Niels Pedersen made many rewarding recordings over several decades as a sideman with the late pianist Kenny Drew, so his making of a CD in tribute to him shouldn't come as a surprise. Joined by pianist Renee Rosnes and drummer Jonas Johansen, Friends Forever: In Memory of Kenny Drew primarily include selections which Drew loved to play. The Danish folk lullaby "Hushaby" is a bit unusual, as it includes a drum solo, as well as Rosnes' dirge-like piano. Pedersen's pulsing bass helps to disguise the introduction to "Someday My Prince Will Come," a lovely waltz recorded by numerous jazz greats. A lively post-bop workout of "Lullaby of the Leaves" swings like mad; while an initially funky introduction to "The Shadow of Your Smile" quickly gives way to a more traditional samba treatment. Pedersen's originals also merit attention. The medley "Future Child-Friends Forever" begins with the leader's intricate pizzicato solo, then adds his partners for the second song, which spotlights Pedersen's flawless arco bass. His special tribute "Kenny" reflects Pedersen's sense of loss without getting overly maudlin. This brilliant date adds to the already considerable recorded accomplishments of Niels Pedersen. ~ by Ken Dryden, AMG.

Milestone Records, MCD 9269-2, 1997
Recorded 27th-28th August, 1995 At East Sound Recording Studio, Copenhagen, Denmark

Musicians:
Niels-Henning Ørsted Pedersen - Bass
Renee Rosnes - Piano
Jonas Johansen - Drums

Tracks:
1. Hushbaby {Traditional} (8:22)
2. Kenny {Niels-Henning Ørsted Pedersen} (6:26)
3. Someday My Prince Will Come {Frank Churchill, Larry Morey} (4:01)
4. Theme From Elvira Madigan {Wolfgang Amadeus Mozart} (3:59)
5. Lullaby Of The Leaves {Bernice Petkere, Joe Young} (4:15)
6. The Shadow Of Your Smile {Johnny Mandel, Paul Francis Webster} (5:37)
7. Sometime Ago {Sergio Mihanovich} (5:20)
8. Days Of Wine And Roses {Henry Mancini, Johnny Mercer} (5:45)
9. Future Child -- Friends Forever {Niels-Henning Ørsted Pedersen} (9:20)

Credits:
Producer - Makoto Kimata
Recording & Mixing Engineer - Henrik Lund
Mastering - Phil De Lancie, 1997 (Fantasy Studios, Berkeley)
Design - Gilles Margerin
Art Direction - Jamie Putnam
Photography - Kirsten Malone
Liner Notes - Fred Bouchard

Wednesday, September 9, 2015

Dexter Gordon Quintet - Ladybird (1965)

The latest offering from the seemingly bottomless Danmarks Radio Archive, this disc presents another air shot of Gordon’s lengthy mid-1960s Cafe Montmarte stint. Dex’s sizable cachet as an expatriate jazz icon prompted a nightly spooling of the tape machines. The resulting cache, so far doled out one set at a time, documents a particularly fertile time for the saxophonist. Shortly after arriving on European shores he teamed with pianist Kenny Drew and a topflight pair of locals in the persons of Pedersen and Riel, set up shop and enjoyed a more relaxed lifestyle than the scuffling of his earlier Big Apple years. This package is a bit different from the previous ones in that it presents trumpeter Donald Byrd, a fellow NYC emigre, sitting in with the working group.

The top-heavy program revolves around extended readings of two standards: the Tad Dameron-penned title track and a blue-chip modal number from the best-selling jazz album of all-time. After a brief ensemble stroll through theme Gordon essays a hungry, if slightly boilerplate solo that swallows up a healthy string of choruses. Byrd follows, cooler in cast and surfing across Riel’s frothy snare and cymbal-driven fills with a succession of slightly smeared runs. Pithy Drew and Pedersen statements follow. Riel lends steady hi-hat and sharp, textured brushwork to the latter’s deft pizzicato exposition and the two wear their advanced postbop pedigrees proudly. The piece winds up with a short spate of robust exchanges between Riel and the rest. These closing minutes are marred by a recurring and intrusive tape warble that ends up sounding oddly like a third remedial horn.

So What” receives a comparably elongated reading with Pedersen paying homage to and capaciously expanding on Paul Chambers’ original epochal role. After the familiar bass invocation and riffing theme Gordon breaks away and spools out a sultry solo flanked briefly by just Pedersen and Riel at a brisk, but effervescent tempo. As on the previous cut, Drew delivers deft complementary chords that push the action without prodding it. Byrd’s improvisation unfolds in the leader’s wake, displaying a bit of the gelid clarity that was the composer’s calling card. Pedersen brings up the rear with another compact colloquium on killer contrabass technique. The horns wisely abstain from reentry and let it stand as the denouement.

Byrd sits out on a luxurious “Who Can I Turn To?”, but the band returns to full-size for the closer, another Miles Davis’ tune, “Blues By Five.” The trumpeter’s presence and the high degree of rapport shared by the rhythm section make this date one of note. Coupled with a tune choice that strays dexterously in more challenging directions than the band’s usual diet of bop standards it’s a welcome program that finds Gordon in a limber and exploratory mode. Foibles in fidelity aside, Dex aficionados will be sold on the disc’s face value. But casual listeners will probably also be pleasingly surprised by the caliber of this classic conclave. ~ Bagatellen.com

SteepleChase Records, SCCD 36035, 2005
Recorded 19th August, 1965 Live at "Jazzhus Montmartre", Copenhagen, Denmark

Personnel:
Dexter Gordon - Tenor Saxophone
Donald Byrd - Trumpet (#1,2,4)
Kenny Drew - Piano
Niels-Henning Ørsted Pedersen- Bass
Alex Riel - Drums

Track Listing:
1. Ladybird {Tadd Dameron} (19:59)
2. So What? {Miles Davis} (18:00)
3. Who Can I Turn To [When Nobody Needs Me] {Leslie Bricusse, Anthony Newley} (5:25)
4. Blues By Five [Inc.] {Miles Davis} (4:12)

Credits:
Producer, Restoration - Nils Winther
Photography - Kirsten Malone

Monday, August 10, 2015

Dexter Gordon - Stella By Starlight (1966)

Historically speaking, radio’s been both friend and foe to jazz listener sensibilities. Broadcasts from innumerable venues brought the music into countless homes and establishments. A large chunk of archival recordings are sourced from these classic concert documents. Where a complication lies is in the vagaries of the production customs that sometimes governed these broadcasts. Announcers intrude with regularity over the music (the insufferable Symphony Sid, anyone?). Station breaks edit solos and sets into commercial-friendly morsels. Coupled with the technological limitations of reel-to-reel tape the results can be checkered and sometimes downright vexing when it comes to what’s omitted or lost.

Witness the recent release of Coltrane’s Half Note Recordings from the spring of ’65. What’s there is incredible. But a pang of regret is practically inevitable when the purchaser realizes that nearly 35 minutes of the monumental title cut went unrecorded and the version of “Afro Blue” only survived in fragmentary form (a gaff repeated on Live in Seattle from months later, what’s with the reverse-kismet when it comes to Coltrane’s readings of Mongo Santamaria’s most famous tune?). The same sort of situation colors the music on Stella By Starlight, the latest and purportedly final installment in Steeplechase’s series of vintage Dexter Gordon broadcasts made by Danmarks Radio from the Montmarte Jazzhus, Copenhagen.

This sixth entry differs from the previous ones in a few notable respects. Firstly, there’s the presence of altoist Pony Poindexter in a second horn slot. Poindexter was on European tour at the start of 1966 and found time to sit in with Gordon’s working combo. Neither man was a stranger to two horn team-ups, Gordon locking congenial saxes with the likes of Wardell Gray, Gene Ammons and James Moody among a host of others over the course of his career. Mark Gardner’s exceptionally readable liners also make mention of an earlier meeting between the two in ’62 that included Billy Mitchell, Phil Woods, Gene Quill and Pepper Adams. Man, sign me up for a copy that one!

The program here focuses on three loquacious readings of standards. Solos are routinely lengthy and there are lots of them. Pianist Kenny Drew and bassist Niels-Henning Ørsted Pedersen, Gordon’s regular Montmarte confreres make up the rhythm section along with guest drummer Makaya Ntshoko, pinch hitting for Alex Riel who apparently had the night off. The title track commences in media res with the front men finishing the tail end of the theme statement. Gordon takes the floor early, holding forth with a robust extended foray as Drew comps somewhat reticently beneath him. Poindexter’s solo suffers from a somewhat shrill tonality in spots. But he surprises with a lively scat-sung rejoinder as follow-up. Drew and Pedersen have their respective says in succession next as Ntshoko keeps competent, if garden-variety time. A string of loose sax exchanges and final return to theme predictably signs the action off.

Occupying just over a third of an hour “Satin Doll” follows the same general template with minor deviations and includes another priceless Pedersen improvisation. “Round About Midnight” finds the band starting to gel in earnest and contains the finest playing by Poindexter of the date as he adjusts to the smoky ballad tempo of the piece. The tempered work of the rest of the band is gorgeously on target too, Ntshoko whose minimalist brushes add just the right amount of diaphanous texture. Gordon’s sensuous baritone inaugurates all but the title number with sultry spoken prefaces to further seduce the crowd. “Sonnymoon For Two” is present only as a maddeningly abbreviated half-minute taste, those misguided Danmarks engineers possibly fading out for what might have been station identification. Then again, beggars can’t be choosers as they say. And when it comes to recorded work Gordon’s certainly falls under the header “Finite Supply”. ~ Derek Taylor.

SteepleChase Records, SCCD 36036, 2005
Recorded 6th January, 1966 Live at "Montmartre Jazzhus", Copenhagen, Denmark

Personnel:
Dexter Gordon - Tenor & Soprano Saxophones
Pony Poindexter - Alto Saxophone, Vocals
Kenny Drew - Piano
Niels-Henning Ørsted Pedersen - Bass
Makaya Ntshoko - Drums

Tracks:
1. Stella By Starlight {Victor Young} (16:51)
2. Introduction (0:10)
3. Satin Doll {Duke Ellington} (20:05)
4. Introduction (0:15)
5. 'Round About Midnight {Thelonious Monk} (10:23)
6. Introduction (0:16)
7. Sonnymoon For Two [Fade-out] {Sonny Rollins} (0:30)

Credits:
Recording - Danmarks Radio
Sound Restoration - Nils Winther
Liner Notes - Mark Gardner
Producer - Nils Winther

Friday, April 3, 2015

Archie Shepp, Lars Gullin Quartet - The House I Live In (1963)

This is a fascinating release. Tenor-saxophonist Archie Shepp would not burst upon the U.S. avant-garde scene until 1964-65 but here he is featured at a Danish concert with the great coolbop baritonist Lars Gullin and a top-notch straightahead rhythm section (pianist Tete Montoliu, bassist Niels Pedersen and drummer Alex Riel). The quintet stretches out on four lengthy standards (including "Sweet Georgia Brown" and a 19-minute rendition of "You Stepped out of a Dream") and it is particularly interesting to hear the reactions of the other musicians to Shepp's rather free flights; at a couple of points Gullin tries to copy him; an important historical release. ~ by Scott Yanow, AMG.

Nearly four decades have passed since this nightclub date in Copenhagen was recorded, and I still haven’t caught up with Archie Shepp. Perhaps I never will. Shepp, who never met a squeak, squawk, grunt or growl he didn’t like, is paired with Sweden’s Lars Gullin, one of the most restrained and lyrical baritone saxophonists of his era. How they ever got together is a mystery to me. Talk about your odd couples! On the one hand we have Gullin, struggling to stay somewhere in the neighborhood of a recognizable theme; on the other, Shepp, as determined to abandon any such constraints in favor of his own free–thinking approach to improvising. While it’s obvious that Shepp has extraordinary technique, his solos are (in my opinion) full of sound and fury but signifying very little. As with most “free Jazz,” I find listening to his dissonant and, yes, repetitious ad–libs a rather painful experience (but not as painful as I once did, which could be a step forward or backward; I’ve not yet resolved that). It’s said that Shepp incorporates elements of many players into his unorthodox style, from Webster, Hawkins and Lucky Thompson on through to his contemporaries. If what we hear on this recording is the result of that fusion, give me Zoot Sims or Stan Getz any day. Even Gullin (who performs with Shepp on only the first and last of the four extended numbers) is drawn into Shepp’s vortex, playing more stridently than is his custom and even screeching a few times, almost as if he were trying to earn Shepp’s stamp of approval. We admired him more when he was easygoing and ultra–cool. Lars has the first solo on “You Stepped Out of a Dream” and is featured all the way on “I Should Care,” as is Shepp on “The House I Live In” before the two are reunited for the finale, “Sweet Georgia Brown.” The topnotch rhythm section is composed of the late Catalonian pianist Tete Montoliu and a pair of “young lions,” Swedish drummer Alex Riel and Danish bassist Niels–Henning Ørsted Pedersen, seventeen years old when the recording was made. Montoliu’s swinging; straight–on solos are a breath of fresh air. In an interview with Coda magazine shortly before this concert in November ’63, the usually articulate Shepp makes a sweeping statement about Jazz that is not only totally unsupported but reveals far more about his personal agenda than the music itself. Jazz, he says, is “the one music that has not been mastered by white people.” Sorry, Archie; I can’t buy that, nor can most of the white people who have been mastering Jazz since its earliest days and continue doing so today. Like any music, Jazz has nothing to do with color and everything to do with artistry, which isn’t limited to any race or creed. Now that I’ve gotten that off my chest, back to the album. As its running time is only 49:44, there seems no excuse for the fadeout on “Sweet Georgia Brown” unless the engineer simply ran out of tape. That’s only an observation, not a complaint, as there’s nothing here that would have caused me to look forward to hearing more. ~ by Jack Bowers, 1st June, 2001, allaboutjazz.com

SteepleChase Records, SCCD 36013, 1993
Recorded 21st November, 1963 'Live' at Montmatre Jazzhus, Copenhagen, Denmark

Personnel:
Archie Shepp - Tenor Saxophone
Lars Gullin - Baritone Saxophone
Tete Montoliu - Piano   
Niels-Henning Ørsted Pedersen - Bass
Alex Riel - Drums

Track Listing:
1. You Stepped Out Of A Dream {Nacio Herb Brown, Gus Kahn} (18:50)
2. I Should Care {Sammy Cahn, Axel Stordahl, Paul Weston} (8:50)
3. The House I Live In {Earl Robinson} (9:01)
4. Sweet Georgia Brown {Ben Bernie, Kenneth Casey, Maceo Pinkard} (11:19)

Credits:
Producer, Mixing - Nils Winther
Artwork - Per Grunnet
Photography - Jan Persson

Note:
These tracks are from previously unissued recordings by the Danish radio. The quality of the captured tracks suffered from a discreet hum throughout and a couple of minor glitches. Also as the reviewer complains the last track is inadvertently faded out. The hum was sensitively filtered along with the removal of unnecessary extended applause and futile announcements, leaving the listener to enjoy the essence of the music.

Sunday, May 19, 2013

Ben Webster - There Is No Greater Love (1965)



On this rare studio session of Webster playing with a trio he usually worked with live at the Montmarte Jazzhus in Copenhagen, we hear Webster and his cohorts in a set comprised mostly of ballads. Typically, Webster sounds superb on these standard tunes. Readings of "I Got It Bad [And That Ain't Good]," "Yesterdays," "There is No Greater Love," and "Autumn Leaves" are particularly inspired. Webster's airy, yet thick tone is one that many saxophonists have tried to copy for generations. However, while many of his imitators can offer decent versions of his style, there is no one who can truly evoke meaning from a melody like Webster. One of the great instrumental balladeers in history, Webster, even in 1965, played with a passion for music that was truly remarkable. Not all jazzbos can boast such a high level of musicianship late in their career. ~ CDUniverse.com

Black Lion, BLCD-760151, 1987
Recorded 5th September, 1965 at Metronome Studios, Copenhagen, Denmark

Personnel:
Ben Webster - Tenor Saxophone
Kenny Drew - Piano
Niels-Henning Ørsted Pedersen - Bass
Alex Riel - Drums

Track Listing:
1. Easy To Love {Cole Porter} (4:23)
2. Stardust {Hoagy Carmichael, Mitchell Parish} (3:49)
3. There Is No Greater Love {Isham Jones, Marty Symes} (4:39)
4. Close Your Eyes {Bernice Petkere} (5:03)
5. What's New? {Johnny Burke, Bob Haggart} (4:29)
6. I Got It Bad [And That Ain't Good] {Duke Ellington, Paul Francis Webster} (4:57)
7. Yesterdays {Otto Harbach, Jerome Kern} (5:51)
8. Autumn Leaves {Joseph Kosma, Johnny Mercer} (5:19)

Credits:
Producer - Alan Bates
Engineer - Birger Svan
Liner Notes - Alun Morgan

Note:
Like many Black Lion releases the sound quality is not always desirable. I have ripped, cleaned and optimized maintaining integrity.