Herb Pedersen Sandman

Niels Pedersen became one of the most heralded jazz bassists of his generation, playing with Bud Powell and Sonny Rollins while gaining international acclaim for his many recordings with Oscar Peterson. But the phenomenal bassist, whose sound is readily identifiable with a note or two, especially shined as a leader. This live CD documents a pair of concerts with guitarist Ulf Wakenius (who also worked with Peterson) and drummer Jonas Johansen, the first five tracks from 1999 and the last six from Pedersen's final recorded concert in March 2005, just a few weeks before his sudden death from a heart attack…

By the time the 71-year-old Stephane Grappelli made this live trio recording with guitarist Joe Pass and bassist Niels-Henning Orsted Pedersen, his legacy as the greatest of all jazz violinists was firmly in place. Granted, that made him first in a fairly short line of colleagues - other than Joe Venuti and Stuff Smith, who else was there to consider? (Jean-Luc Ponty doesn't count.) But it's hard to imagine another player, regardless of virtuosity, ever conveying the same sense of swing and simple joie de vivre that Grappelli does with virtually every note. Nor does it hurt that his accompanists on this album are among the finest in their fields; Orsted Pedersen plays with a solidity and rhythmic power that are enough to make you forget the absence of a drummer, while Pass slides effortlessly between unobtrusive chordal backup and bravura soloing…

Niels-Henning Ørsted Pedersen was quite comfortable in extending an invitation to Sam Jones for this unusual recording date, which features the two bassists, along with guitarist Philip Catherine (who sticks to playing acoustic) and drummer Billy Higgins, with Albert "Tootie" Heath's tambourine added on two tracks. Both bassists had played with the formidable pianist Oscar Peterson, so they not only knew something about playing rhythm but were very potent soloists to boot. Pedersen's singing tone contrasts with the darker sound of Jones, though the players nimbly shift roles throughout the sessions. Among the highlights is a bright, breezy setting of John Coltrane's "Giant Steps," Jones' lush ballad "Miss Morgan," and a dramatic take of "Yesterdays." This fun date was evidently the only time Niels-Henning Ørsted Pedersen and Sam Jones had the opportunity to work together, but they made the most of it.

December is a time of anticipation. We wait and we hope - veni, come! The songs on this album encompass many nuances and moods - from joy and jubilant celebration to deep melancholy and longing. They move between folk tunes, English carols and traditional Christmas songs from different times and parts of the world, between Bach and Ives, Bulgaria and Norway. Several of the songs refer to the passing of the year, the cycle of nature and rhythms of daily life: lullabies for peace of mind and comfort, and songs about surrendering ourselves to the unfathomable and unknowable in the midst of our everyday concerns: the stars will always shine in the sky - and dawn will come.

A talented bop-based pianist (whose son has been one of the brightest pianists of the 1990s), Kenny Drew was somewhat underrated due to his decision to permanently move to Copenhagen in 1964. He made his recording debut in 1949 with Howard McGhee and in the 1950s was featured on sessions with a who's who of jazz, including Charlie Parker, Coleman Hawkins, Lester Young, Milt Jackson, Buddy DeFranco's quartet, Dinah Washington, and Buddy Rich (1958). Drew led sessions for Blue Note, Norgran, Pacific Jazz, Riverside, and the obscure Judson label during 1953-1960; most of the sessions are available on CD. He moved to Paris in 1961 and relocated to Copenhagen in 1964 where he was co-owner of the Matrix label. He formed a duo with Niels-Henning Orsted Pederson and worked regularly at the Montmartre. Drew recorded many dates for SteepleChase in the 1970s and remained active up until his death…