Oscar Peterson Trio + One Oscar Peterson

One of the first Broadway musical scores to be overtly jazz-influenced was Leonard Bernstein's "West Side Story", a tale of rival street gangs in the inner city. In 1962, pianist Oscar Peterson put his light-swing signature on the already popular score, making it, in the words of one critic, 'a delight to hear again' and earning him a Grammy nomination.

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.

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.

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 1970 session from Oscar Peterson and his trio is considered one of the high points of the pianist's career. Accompanied by Sam Jones on double bass and Bobby Durham on drums, Peterson delves into the world of bossa nova on tracks such as "Triste" by Antônio Carlos Jobim. The majority of the tunes here are standards but there is one Peterson original number entitled "Nightingale".

This 1970 Oscar Peterson session of cover songs features trio members George Mraz on double bass and Ray Price on drums. The album is Peterson's salute to the great songwriters like Cole Porter, represented here by two songs, as well as Michel Legrand, Johnny Mercer, Sammy Cahn and Rodgers and Hart.

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.