Artist: Oscar Peterson

Memories of a master modern jazz pianist., 2009-09-05
This bargain-price 2-CD set is a splendid selection of tracks from Oscar's long career in jazz. Mainly in trio format (with bass and drums) the balance of tracks embrace duos, with Dizzy Gillespie, and quartets with Joe Pass, Stephan Grappelli and Ben Webster. A must for those new to Oscar and a wonderful memento for those who may have thrown away their old LP's.

Artist: Oscar Peterson, Ben Webster

Ben Webster's tenor saxophone is one of the utterly distinctive and inimitable sounds in jazz and in 1959, when this set was recorded, it had reached its full breathy, melting ripeness. It was more than an instrumental tone; it was a voice, with all the variety of nuance that the human voice can command. He applies it here to seven classic American songs, well-known melodies which he explores with the ease and relaxation of long familiarity. Only Sinatra's own version could equal Webster's exposition of "In The Wee Small Hours Of the Morning", while Ray Noble's "The Touch Of Your Lips" was never so well served, either before or since. Most of the pieces are taken either as slow ballads or at an easy, mid-tempo lope, the one exception being "Sunday", which swings out with a will. Oscar Peterson is so celebrated as a virtuoso pianist that his virtues as an accompanist are rarely noticed, but he is one of the most supportive partners any soloist could desire. Along with Ray Brown and Ed Thigpen, his regular bass-and-drums team of the time, he provides the perfect setting for Webster. Altogether, this is a golden set from a golden era. --Dave Gelly
Caught In The Web., 2010-02-04
A great album to sit back and relax to - if that's what your hoping for. Recorded late in 1959, this is the fourth collaboration between the two legends. The quartet consists of Webster on tenor sax, Peterson on piano, Ray Brown on bass, and Ed Thigpen on drums; all combining to create that smoky club atmosphere. It is Ben Webster's seductive playing that lends it that feeling, the timbre of his sax is incredibly tender and sophisticated. Leisurely making his way through luscious tracks like: When Your Lover Has Gone, and, In The Wee, Small Hours Of The Morning. Not forgetting the rest of the ensemble (or tracks), all of which add to the silkiness that runs through the album.
The album is generally made up of slower pieces, exceptions being: Sunday, and This Cant Be Love. Other songs include: The Touch Of Your Lips, Bye-bye Blackbird, and, How Deep Is The Ocean. So do your ears a favour, indulge in the sonority of Webster's sax.

Artist: Oscar Peterson

Alternative Peterson., 2010-01-18
Don't be put off this release by some of the above comments or the fact that a 10 CD release is now available at less than a tenner. This disc consists of four albums only one of which is on the Avid box set, namely the Ellington songbook. Of the others, the Kern Songbook and the Warren & Youmans Songbooks are examples of Peterson re visiting these composers with his bass and drums trio. Ignore the given recording dates given for these two. They almost certainly come from later in the 1950s and are, in my opinion, far superior to the original piano, guitar and bass efforts. The remaining set, "The Count Basie Songbook" is a bit of a misnomer in that Basie did not write or co-write more than four of the tracks. It is, however, an enjoyable session and does not appear on the Avid release. In conclusion, I can thoroughly recommend this CD as good value for money and an ideal companion to the Avid release.

Artist: Stan Getz, The Oscar Peterson Trio, Oscar Peterson

Getz and Oscar - fabulous!, 2008-03-06
It's hard to think of anyone who has a tone quite like Stan Getz: breathy yet rich, cool yet passionate, he was unique. Famous for his wonderful bossa nova recordings, he also made some great music with other jazz masters. This album with the Oscar Peterson Trio is particularly fine. Getz's warm, lyrical tone caresses a collection of great tunes with admirable collaboration from one of the finest trios of all time. The lack of a drummer allows an intimate, relaxed feeling to the proceedings, and the results are seriously enjoyable. Highlights include a swinging "Pennies From Heaven" and beautiful ballad work on "Detour Ahead" and "I'm Glad There Is You". All Getz fans and jazz lovers should investigate this CD without delay.

Artist: Oscar Peterson

Wonderfully fantastic!, 2008-06-19
We Get Requests is a 'Diet' version of Oscar Peterson. The majority of his albums 'wow' the listener and, sometimes, they are left unconnected and overwhelmed when swamped by Oscar's furious techical ability. Not in this album, however.

If you are new to the world of Oscar Peterson, or perhaps feel as though you would like to explore a different, more sensitive side to his playing then this album is perfect for you. In all the tracks Oscar is contained. He never shifts into a high gear. He seems somewhat limited. But this is all to good effect.

The album is addictve: it is so easy to listen to. The Trio is performing as a unit to the highest of levels. Brown and Thigpen are so tight in the background that they take Peterson's piano to a new dimension. It is unusual, especially for Oscar, that he doesn't explore the piano AT ALL - his left hand provides a chordal accompaniment and his right hand remains in the upper octaves of the piano, but this only increases the 'catchiness' and lightness of the pieces.

Quiet Night of Quiet Stars* is a tremendous start to the album - I personally think Peterson is at his best with Latin/Bossa Nova pieces, and this is proved with his light, yet so effective, playing on The Girl from Ipanema. You Look Good to Me is another delicate yet poignant piece - it demonstrates the Trio's teamwork brilliantly. The album is full of delights and is applicable for all scenarios: background music, personal listening etc.

Overall this is a well crafted and sensitive album. Although Peterson is restrained throughout and rarely demonstrates his full ability he plays for the listener and provides them with a feast of musical enjoyment. An album to acquire at all costs.

*A transcription of 'Quiet Night of Quiet Stars (Corcavado)' from this album is availible in the book 'Oscar Peterson Trios' by Hal Leonard.

Artist: Oscar Peterson

Peterson plays Cole Porter, 2009-03-26
When I first looked at this CD in the store I didn't listen to any audio preview, I was sure it was a great album. My opinion was confirmed the first time I listened to it, the album opens with a superb performance of the famous "In the still of the night" and lets you start this wonderful journey. I suggest you to purchase this amazing CD and listen to 45 mins of good music!

Artist: Oscar Peterson

Music to live with, 2009-05-17
Any time any place any where this music hits the spot! Some things are timeless!

Artist: Oscar Peterson

Oscar Peterson CD, 2009-10-14
CD covers a live Oscar Peterson Concert as recorded in Tokyo. Peterson,s piano skills were exemplary.

Artist: The Oscar Peterson Trio, Clark Terry

A superb album!, 2009-06-02
This album epitomises what I love so much about the Oscar Peterson Trio, with the formidable Ray Brown on bass and the ever-so-solid Ed Thigpen on drums. The rhythm section is so tight and swings like I've never heard it before...and I've listened to alot of Oscar Peterson albums. The addition of Clark Terry is a refreshing sound and reveals a new edge to the dynamic of the trio. It is a relatively short album, but it is most certainly a joy from start to finish.

On first hearing, I can guarantee that you will love the dirty 'bluesyness' of tunes such as 'Brotherhood of Man' but will also hear the joys of the more restrained, yet still energetic, 'Mack the Knife'. Oscar Peterson is soloing at his finest on this album, and although I am not a huge fan of his rather busy 'comping' style, it works well with the rhythmic playing of Clark Terry, of whose music I was not familiar with before this album, but a musician I have now taken an interest to.

To be honest, there are very few flaws. Although if you are somebody who only considers jazz to be a display of harmonic depth and skill then I might advise you to steer slightly clear, as this album (although Peterson does offer some beautifully melodic and harmonic lines, especially in the two ballads) is primarily a display of rhythmic ability and the love of the blues between the musicians.

In addition, I am not a huge fan of Terry's 'vocals', but I am sure his humerous approach will entertain many listeners. He works well with the Oscar Peterson Trio, who cannot be faulted here as Oscar is most certainly Oscar, Ray is definitely Ray and Ed is actually a more exposed and free version of Ed on this album, which is a nice change from the rather restrained role he takes in the majority of Peterson's albums. The album cover itself is one of the most stylish I've ever come across, and the bonus that Oscar Peterson himself has written the liner notes is a nice touch.

This album is must have for the swinging, moving and grooving jazzers out there, and I can guarantee you will not stop tapping every part of your body in time to the boundless energy and excitment of the sound of the Oscar Peterson Trio + One Clark Terry. It reminds you of how music should be played - stop reading and get buying!

Artist: Oscar Peterson Trio

This 1962 recording represents Oscar Peterson at his most commercially accommodating, yet his trio with Ray Brown and Ed Thigpen never fails to swing. The program includes such familiar melodies as the title track (which began life as Duke Ellington's "Happy Go Lucky Local"), "Georgia on My Mind", and "The Honey Dripper". With the notable exception of the gospel-like original "Hymn to Freedom", most of the tracks clock in at around three minutes. This reissue contains several alternate takes that were wisely left off the original LP, including such unlikely jazz vehicles as "Volare" and "My Heart Belongs to Daddy". --Rick Mitchell
DON'T HESITATE!, 2009-08-30
This is an excellent CD. Absolutely nothing to fault about it. Buy it! Perfect for both dinner party background music or for focused listening to appreciate the musicianship and subtlety of playing.