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Niels-Henning Ørsted Pedersen, (May 27, 1946 – April 19, 2005) was a Danish jazz double 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, or sometimes simply as NHØP. As a child, Pedersen played piano. As a teenager he started learning to play double-bass and at the age of 14, while studying, he began his professional jazz career in Denmark with his first band, Jazzkvintet 60 (Danish for ‘Jazz Quintet 60′). 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,

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Niels Henning Ørsted Pedersen, NHOP, passed away in 2005. With that passing the jazz world, and indeed the wider music world, was deprived of one of the greatest players of the double bass who ever lived. That last statement is not hyperbole, it's just a simple statement of fact. NHOP played the instrument at a technical level that has perhaps never been equalled. His intonation, finesse, speed, lightness of touch, sound - all were of the very highest level. In addition to that he had fantastic time, harmonic knowledge and could swing as hard as anyone. Yet these days, among the younger generation of jazz musicians in particular, he's often a forgotten man. How could it be that such a giant of the instrument, who performed at the very highest level with some of the greatest jazz musicians of all time, have so soon become almost a marginal figure?

Niels was born in Denmark in 1946 and became that rare thing in jazz - a child prodigy. He began playing and studying the bass at the age of thirteen, but only two years later, at the age of fifteen, was already playing profes

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Niels-Henning Orsted Pedersen

Home » Jazz Musicians » Niels-Henning Orsted Pedersen

The double bass came a long way in jazz between the 1930s and the 1960s, from plodding marker of the beat and the chord change to fully-fledged countermelodic, and sometimes even frontline instrument. The career of the Danish bassist Niels-Henning Orsted Pedersen, who has died aged 58, was a product of that evolution and a significant contribution to it. 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