Oscar Brown

Oscar Brown's score for a hip play that he wrote (one of his many plays!) – performed by him, Sivuca, and Jean Pace. Despite the "show" quality of the material, this actually stands simply as a great Oscar Brown Jr. LP, and the production is nice and intimate, and sounds just like an ordinary studio album.

Oscar Peterson has stated that he feels his MPS recordings are his finest. That is quite a statement considering the huge amount of records that the pianist has produced through the past 50 years. This set reissues the music from six of his MPS LPs: Action, Girl Talk, The Way I Really Play, My Favorite Instrument, Mellow Mood, and Travelin' On. While some of the performances feature the 1963 trio he had with bassist Ray Brown and drummer Ed Thigpen, most of the music dates from 1967-1968 and matches Peterson with bassist Sam Jones and either Louis Hayes or Bobby Durham on drums. A special treat is Peterson's first unaccompanied solo album, which fills up the final LP. Peterson's many fans know what to expect in this set, while other listeners need to discover him to realize what all of the fuss was about. Quite simply, Oscar Peterson has long been one of the greatest pianists the world has ever known; this reissue offers plenty of proof.

Saxophonist Ben Webster is joined by legendary jazz pianist Oscar Peterson. Webster, known for his association with Duke Ellington's Jazz Orchestra playing lead tenor, frequently played with Peterson in the 1950s and are joined here by some of the best jazz musicians of the time. Ben Webster Meets Oscar Peterson was originally released in 1959, and this studio album is a compilation of seven great jazz tracks, including "How Deep is the Ocean," "In the Wee Small Hours of the Morning," and "Bye, Bye, Blackbird".

This release of cover songs from Oscar Peterson, recorded and released in 1959, features his trio of the era, Ray Brown on double bass and drummer Ed Thigpen.

This 1955 recording finds pianist Oscar Peterson delving into the Count Basie songbook, one of several albums Peterson recorded in the 1950s dedicated to specific composers. He is surrounded by a stunning line-up of talent here, namely Ray Brown on double bass, guitarist Herb Ellis and legendary drummer Buddy Rich.

This 1964 session from Oscar Peterson, bassist Ray Brown and drummer Ed Thigpen is loaded with standards and pop hits, from Barbra Streisand's signature People to The Girl From Ipanema. The set concludes with a Peterson original entitled Goodbye J.D.

On this 1959 release, one of several albums Oscar Peterson recorded in the 1950s dedicated to specific composers, the pianist performs music from Gershwin's opera Porgy And Bess in a trio configuration, backed by Ray Brown on double bass and drummer Ed Thigpen.

In the 1950s and early '60s, producer Norman Granz perfected the songbook approach to album production by having vocalist Ella Fitzgerald interpret large segments of the standard jazz repertoire. In a frankly stated effort to expand the listening audience for this great body of work, Granz also asked Canadian pianist Oscar Peterson to churn out numerous instrumental songbooks albums under his own name with various combos. By the end of the decade, these included Oscar's newly reconfigured trio with bassist Ray Brown and drummer Ed Thigpen. Like its companion albums, Peterson's Richard Rodgers Song Book was never intended as a set of exercises in soul-searching profundity. Instead what you get are simple, straightforward, well-played appreciations of great American songwriting.

We Get Requests is an album by jazz pianist Oscar Peterson and his trio, released in 1964. It was recorded at RCA Studios New York City. This album is Peterson's last of his fourteen-year work with Verve.

When Jim Davis started producing records at Verve, he changed the company's recording philosophy toward its most prolific instrumentalist. Where Norman Granz had produced countless Oscar Peterson albums dedicated to the popular song, Davis was more interested in making albums closer to how the Peterson trio sounded live. His first Peterson records were the legendary London House sessions. By the time of this album, there had been no personnel change in the trio for five years - so it is no surprise that the rapport among the musicians here is telepathic. This album is Peterson's last of his fourteen-year work with Verve.