Another fine Webster release on Verve that sees the tenor great once again backed by the deluxe Oscar Peterson Trio. In keeping with the high standard of their Soulville collaboration of two years prior, Webster and the trio – Peterson is joined by bassist Ray Brown and drummer Ed Thigpen – use this 1959 date to conduct a clinic in ballad playing. And while Soulville certainly ranks as one of the tenor saxophonist's best discs, the Ben Webster Meets Oscar Peterson set gets even higher marks for its almost transcendent marriage of after-hours elegance and effortless mid-tempo swing – none of Webster's boogie-woogie piano work to break up the mood here.

Some guest soloists get overshadowed by Oscar Peterson's technical prowess, while others meet him halfway with fireworks of their own; trumpeter Clark Terry lands in the latter camp on this fine 1964 session. With drummer Ed Thigpen and bassist Ray Brown providing solid support, the two soloists come off as intimate friends over the course of the album's ten ballad and blues numbers. And while Peterson shows myriad moods, from Ellington's impressionism on slow cuts like "They Didn't Believe Me" to fleet, single-line madness on his own "Squeaky's Blues," Terry goes in for blues and the blowzy on originals like "Mumbles" and "Incoherent Blues"; the trumpeter even airs out some of his singularly rambling and wonderful scat singing in the process…

This 1959 album is the second of Oscar Petersons two 50's Duke Ellington Songbook recordings and the first one in stereo. On this album the line-up is Oscar Peterson (Piano), Ray Brown (Double Bass) and Ed Thigpen (Drums). The first Ellington songbook album by Peterson and his trio, the 1952 album Oscar Peterson Plays Duke Ellington was a mono recording. Both albums were digitally remastered and compiled on one CD for the Verve Master Edition re-release series in 1999.

Oscar Peterson was one of the greatest piano players of all time. A pianist with phenomenal technique on the level of his idol, Art Tatum, Peterson's speed, dexterity, and ability to swing at any tempo were amazing. Very effective in small groups, jam sessions, and in accompanying singers, O.P. was at his absolute best when performing unaccompanied solos. His original style did not fall into any specific idiom. Like Erroll Garner and George Shearing, Peterson's distinctive playing formed during the mid- to late '40s and fell somewhere between swing and bop. Peterson was criticized through the years because he used so many notes, didn't evolve much since the 1950s, and recorded a remarkable number of albums.

This LP comprises the Oscar Peterson Trio's interpretations of a very well-known score, My Fair Lady. The performances of the seven songs (at least three of which are now considered standards) is the one recording done by Peterson and bassist Ray Brown with drummer Gene Gammage, a transitional member of the Trio between the long stints with guitarist Herb Ellis and drummer Ed Thigpen. Overall the music is consistently enjoyable.

This album is quite unusual. Recorded shortly after Nat King Cole's death, pianist Oscar Peterson takes vocals on all but one of the dozen selections, sounding almost exactly like Cole. Peterson, who rarely ever sang, is very effective on the well-rounded program, whether being backed by a big band (arranged by Manny Albam) on half of the selections or re-creating both the spirit of the Nat King Cole Trio and his own group of the late '50s during a reunion with guitarist Herb Ellis and bassist Ray Brown.

Vol. 1. One of the nice things about jazz is the cross-pollination of different players in multiple settings. No one would've thought of pairing swing violinist Stéphane Grappelli and bop pianist Oscar Peterson, for instance, but the match works very well. The pair have expanded into a quartet on this reissue with the aid of double bassist Niels-Henning Ørsted Pedersen and drummer Kenny Clarke. The set, recorded in 1973 in Paris, includes a handful of standards, from Pinkard/Tracey/Tauber's "Them There Eyes" to Rodgers & Hart's "Thou Swell." As one might guess, Grappelli is in his own element on upbeat, swinging pieces like "Makin' Whoopee" and "Walkin' My Baby Back Home." Peterson likewise joins in the spirit of these pieces, making them the most interesting interpretations on the album. Other material, like the lingering "Flamingo" and "My One and Only Love," are also enjoyable, but seem rather tepid in comparison…

When pianist Oscar Peterson and violin player Stephane Grappelli stepped on-stage or into the studio together they really did make magic. Both performers were pioneers on their respective instruments, and both had a real French connection, with Peterson hailing from Montreal, and Grappelli of course, having been born in Paris.

Ne-o-clas-si-cism: A revival of classical aesthetics and forms, especially, characterized by a regard for the classical ideals of reason, form, and restraint, by order, symmetry, and simplicity of style. Neo-classicism and Roy Hargrove have become synonymous in jazz circles. His style and focus are now completely his own. Roy possesses a hard driving spirit to excel. Volumes have been written about the virtuosity of Oscar Peterson, his competitive spirit and drive. Together you have the makings of an exciting jam session that's well worth the price of admission. In this case the cost of the CD, that finds these two jazz poets working with a strong cast of players including Peterson's long time associate, Neils-Henning Ørsted Pedersen on bass. This quintet setting gives all the players ample room to stretch and have fun. This CD is highly recommended listening pleasure.

This double album matches and mixes together four masterful musicians: pianist Oscar Peterson, guitarist Joe Pass, bassist Niels Pedersen and harmonica great Toots Thielemans. Together they perform O.P.'s "City Lights" and ten veteran standards with creativity, wit and solid swing. There are a few miraculous moments as one would expect from musicians of this caliber and the results are generally quite memorable.

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.