Oscar Peterson Trio we Get

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.

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.

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.

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.

This 1964 studio session features the Peterson trio with bassist Ray Brown and Ed Thigpen, a group that had been together for five years by then and performed like a well-oiled machine.

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.

This 1959 release from pianist Oscar Peterson is one of several albums he recorded in the 1950s dedicated to specific composers. Peterson revisits many of the same songs he included on an earlier Gershwin album, backed on these sessions by Ray Brown on double bass and drummer Ed Thigpen.

This 1959 release from pianist Oscar Peterson is one of several albums he recorded in the 1950s dedicated to specific composers. Peterson revisits many of the same songs he included on an earlier Gershwin album, backed on these sessions by Ray Brown on double bass and drummer Ed Thigpen.

This 1959 release from pianist Oscar Peterson is one of several albums he recorded in the 1950s dedicated to specific composers. Peterson revisits many of the same songs he included on an earlier Gershwin album, backed on these sessions by Ray Brown on double bass and drummer Ed Thigpen.

Oscar Peterson’s trio with Ray Brown and Ed Thigpen is widely regarded as Peterson’s “classic trio,” considered by fans as the most popular and in-demand of his long and storied career (featured on releases such as 1963’s Night Train and 1964’s We Get Requests). Recorded during their creative peak in 1964 (5 years into their collaboration), this previously unheard and unreleased live performance is destined to become a fan favorite from the Oscar Peterson vaults. In his memoir Peterson reflects on the dedication that Ray and Ed brought to the group: