Sunday, April 14, 2002
A Tribute to Ray by Niels, and Vice-Versa
n Chapter IX of My Favorite Musical Moments I recalled an exciting evening of challenge by two men that I consider to be the two best bass players in Jazz: Niels-Henning Orsted Pedersen and Ray Brown. I spoke of the instigation on Norman Granz's part that brought us to this performance at Montreux where I virtually took on the two bassists, musically speaking. I refer to this evening for the simple and sad reason that Ray Brown has just passed away and I have just received a telephone call from Niels in Copenhagen.
Having been decimated mentally and physically since the news of Ray's demise, it was a welcome relief to receive the call from Niels. He spent the better part of our conversation recalling his various meetings with Ray throughout the years, and I think I gained an insight into Niels' feelings and thoughts about Ray Brown that I had never had before.
Ray was the bass player in my group for approximately sixteen years. Then, after several others occupied that chair over a period of time, I was fortunate enough to have been able to call on the services of Niels. Obviously the comparisons started right away, and the questions by critics and listeners alike about which of the two men, in my opinion, was the greatest bass player in Jazz. I have never responded to any of these queries, having decided that it would be unfair to either person to make this kind of public assessment, regardless of what my feelings may have been. But the fact is, over time both Niels and Ray made the comparisons for me. It was apparent there was considerable respect and mutual admiration between these two giants whenever they met, not unlike two lions meeting on a common ground and surveying each other. But I believe there was more - an unspoken love of what each other was doing. Niels would occasionally speak of Ray's wonderful gift of time, and his excellent note choice and depth of sound while walking behind soloists. Ray, on the other hand, referred to Niels glowingly as the complete bassist, praising his brilliant tone and seemingly total command of the instrument.
I still at this time refuse to make the choice, for I feel that both men brought something very special, and something unattainable by most bass players, to the Jazz scene.
It was not until this morning during the phone conversation with Niels that their admiration for each other really seemed to come out in words. During this conversation, mention was made of one of our performances in Seattle, and I recall Niels saying that he felt Ray's time and note choices were impeccable and unchallenged. He also recalled something that took place on stage during the shootout between the bassists and myself at Montreux (see Chapter IX ) that I was unaware of, and I would like to now close this segment with Niels' recollection of this particular happening. Apparently during the melee and excitement of the musical battle that night in Montreux, Niels' amp somehow became unplugged by a stagehand. Niels hesitated, somewhat unsure of what to do about it. Seeing Niels' predicament, Ray handed him his own bass to solo on. I think that Niels' recollection of Ray's comment during his solo answers it all. While Niels was busy executing his ideas, Ray leaned over and whispered in his ear, "Man, please don't do that to my bass!!"
Having been decimated mentally and physically since the news of Ray's demise, it was a welcome relief to receive the call from Niels. He spent the better part of our conversation recalling his various meetings with Ray throughout the years, and I think I gained an insight into Niels' feelings and thoughts about Ray Brown that I had never had before.
Ray was the bass player in my group for approximately sixteen years. Then, after several others occupied that chair over a period of time, I was fortunate enough to have been able to call on the services of Niels. Obviously the comparisons started right away, and the questions by critics and listeners alike about which of the two men, in my opinion, was the greatest bass player in Jazz. I have never responded to any of these queries, having decided that it would be unfair to either person to make this kind of public assessment, regardless of what my feelings may have been. But the fact is, over time both Niels and Ray made the comparisons for me. It was apparent there was considerable respect and mutual admiration between these two giants whenever they met, not unlike two lions meeting on a common ground and surveying each other. But I believe there was more - an unspoken love of what each other was doing. Niels would occasionally speak of Ray's wonderful gift of time, and his excellent note choice and depth of sound while walking behind soloists. Ray, on the other hand, referred to Niels glowingly as the complete bassist, praising his brilliant tone and seemingly total command of the instrument.
I still at this time refuse to make the choice, for I feel that both men brought something very special, and something unattainable by most bass players, to the Jazz scene.
It was not until this morning during the phone conversation with Niels that their admiration for each other really seemed to come out in words. During this conversation, mention was made of one of our performances in Seattle, and I recall Niels saying that he felt Ray's time and note choices were impeccable and unchallenged. He also recalled something that took place on stage during the shootout between the bassists and myself at Montreux (see Chapter IX ) that I was unaware of, and I would like to now close this segment with Niels' recollection of this particular happening. Apparently during the melee and excitement of the musical battle that night in Montreux, Niels' amp somehow became unplugged by a stagehand. Niels hesitated, somewhat unsure of what to do about it. Seeing Niels' predicament, Ray handed him his own bass to solo on. I think that Niels' recollection of Ray's comment during his solo answers it all. While Niels was busy executing his ideas, Ray leaned over and whispered in his ear, "Man, please don't do that to my bass!!"
