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CD20,49 Fr.

Jazz - Erschienen am 1. Januar 1964 | Verve Reissues

Auszeichnungen Qobuz' Schallplattensammlung - Qobuz Referenz
Since several of the songs here are the type that would get requested (such as "People," "The Girl from Ipanema," and "The Days of Wine and Roses") in the mid-'60s, this particular Oscar Peterson CD reissue would not seem to have much potential, but the pianist mostly uplifts the material and adds a few songs (such as his own "Goodbye, J.D." and John Lewis' "D & E") that probably no one asked for. Overall, this is a reasonably enjoyable Oscar Peterson session, featuring bassist Ray Brown and drummer Ed Thigpen. © Scott Yanow /TiVo
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HI-RES25,49 Fr.
CD17,99 Fr.

Jazz - Erschienen am 1. Januar 1959 | Verve Reissues

Hi-Res Auszeichnungen Qobuz' Schallplattensammlung
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HI-RES17,26 Fr.
CD12,95 Fr.

Jazz - Erschienen am 31. Januar 2014 | MPS

Hi-Res Auszeichnungen Qobuz' Schallplattensammlung
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CD17,99 Fr.

Jazz - Erschienen am 1. Januar 1975 | Fantasy Records

Auszeichnungen Qobuz' Schallplattensammlung
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HI-RES25,49 Fr.
CD17,99 Fr.

Jazz - Erschienen am 1. Januar 1964 | Verve Reissues

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Since several of the songs here are the type that would get requested (such as "People," "The Girl from Ipanema," and "The Days of Wine and Roses") in the mid-'60s, this particular Oscar Peterson CD reissue would not seem to have much potential, but the pianist mostly uplifts the material and adds a few songs (such as his own "Goodbye, J.D." and John Lewis' "D & E") that probably no one asked for. Overall, this is a reasonably enjoyable Oscar Peterson session, featuring bassist Ray Brown and drummer Ed Thigpen. © Scott Yanow /TiVo
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HI-RES28,99 Fr.
CD20,49 Fr.

Jazz - Erschienen am 1. Januar 1963 | Verve Reissues

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Master jazz pianist Oscar Peterson had his longest-running trio with bassist Ray Brown and drummer Ed Thigpen, and Night Train may be their finest moment. The repertoire here is comprised mostly of standards, although the choices seem deliberate. In treatments of jazz chestnuts like "C-Jam Blues" and "Georgia on My Mind," the trio works inside these well-known songs, painting over familiar colors and reworking traditional melodies while staying true to the spirit of each tune. The chemistry between Thigpen, Brown, and Peterson is unassailable. Peterson in particular is at the top of his game here, running the whole history of jazz through his dexterous, nimble fingers with an in-the-pocket ease not always apparent on his earlier recordings. Night Train was produced by Norman Granz, who had already sold Verve Records to MGM, but continued to record his favorite artists, of whom Peterson was one. The production is superb, and translates especially well via remastering. The Verve reissue features additional tracks, including alternate takes, rehearsals, full versions of "My Heart Belongs to Daddy" and "Volare," and an incomplete take of Charlie Parker's "Now's the Time." New packaging, expanded liner notes, and photographs make the 1997 CD version of Night Train a keeper. © Anthony Tognazzini /TiVo
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CD17,99 Fr.

Lounge - Erschienen am 1. Januar 1995 | Telarc

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CD17,99 Fr.

Jazz - Erschienen am 15. Februar 1960 | Verve Reissues

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CD17,99 Fr.

Jazz - Erschienen am 1. Januar 1963 | Verve

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HI-RES25,49 Fr.
CD17,99 Fr.

Jazz - Erschienen am 18. Mai 1959 | Verve Reissues

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Pianist Oscar Peterson's Frank Sinatra tribute features his trio (with bassist Ray Brown and drummer Ed Thigpen) playing easy listening jazz versions of a dozen songs associated with the singer. The renditions are all under four minutes and are highlighted by "Come Dance with Me," "Just in Time," "I Get a Kick Out of You," and "How About You?" This is not one of Oscar Peterson's most essential dates, but it is swinging and enjoyable. © Scott Yanow /TiVo
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HI-RES25,49 Fr.
CD17,99 Fr.

Jazz - Erschienen am 1. Februar 1960 | Verve

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Peterson proves adept at reworking George Gershwin. © Ron Wynn /TiVo
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CD12,95 Fr.

Jazz - Erschienen am 31. Januar 2014 | MPS

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HI-RES17,26 Fr.
CD12,95 Fr.

Jazz - Erschienen am 31. Januar 2014 | MPS

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Jazz - Erschienen am 1. Januar 1999 | Telarc

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HI-RES17,99 Fr.
CD12,99 Fr.

Jazz - Erschienen am 1. Januar 1962 | Verve

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West Side Story was a bit of an unusual session for several reasons. First, the popularity of both the Broadway musical and the film version that followed meant that there were many records being made of its music. Second, rather than woodshed on the selections prior to entering the studio, the Oscar Peterson Trio spontaneously created impressions of the musical's themes on the spot. "Something's Coming" seems like a series of vignettes, constantly shifting its mood, as if moving from one scene to the next. Ray Brown plays arco bass behind Peterson in the lovely "Somewhere," while the feeling to "Jet Song" is very hip in the trio's hands. The snappy interplay between the musicians in the brisk setting of "Tonight" turns it into a swinger. "Maria" initially has a light, dreamy quality, though it evolves into a solid groove. The romp through "I Feel Pretty" is full of humor, while the CD closes with a brief reprise of several themes from the musical to wrap the session with a flourish. © Ken Dryden /TiVo
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HI-RES17,26 Fr.
CD12,95 Fr.

Jazz - Erschienen am 31. Januar 2014 | MPS

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CD10,99 Fr.

Jazz - Erschienen am 10. Oktober 2007 | BDMUSIC

Mit seinem unerschütterlichen Swing und seiner sprühenden Virtuosität war Oscar Peterson ein außergewöhnlicher Jazz-Pianist. Bei den Aufnahmen auf diesem Doppelalbum, die aus der Zeit zwischen 1952 und 1956 stammen, wird der geniale Kanadier von seinem treuesten Bassisten, Ray Brown, und von den beiden Gitarristen, die nacheinander sein Trio bereicherten, Barney Kessel und Herb Ellis, begleitet. Im ersten Teil spielt Peterson mit der Unterstützung des Schlagzeugers Buddy Rich das Repertoire von Count Basie sowie einige der großen Standards von Gershwin, Ellington, Arlen, Berlin... Der zweite Teil enthält einige seiner beeindruckendsten Aufnahmen, die live im Trio entstanden sind - auf der Bühne war er völlig in seinem Element. Es ist faszinierend zu hören, wie er mit seiner Rhythmikgruppe verschmilzt und jeder Phrase eine zauberhafte harmonische Poesie verleiht. Selbst (und gerade) die (manchmal veralteten) Standards belebt Oscar Peterson mit einem unwiderstehlichen Swing. In dieser unverzichtbaren Kompilation kultiviert er das Erbe seiner Vorbilder – die Lyrik von Nat King Cole und die Fingerfertigkeit von Art Tatum – auf raffinierteste Art und Weise. © Marc Zisman/Qobuz
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CD12,95 Fr.

Jazz - Erschienen am 31. Januar 2014 | MPS

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Jazz - Erschienen am 1. Januar 1964 | Verve

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HI-RES25,49 Fr.
CD17,99 Fr.

Jazz - Erschienen am 1. Januar 1959 | Verve Reissues

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Jerome Kern's stage tunes -- going back to the late '20s with the acclaimed presentation Show Boat -- right up to the '40s, will forever be at the core of quintessential American popular songs that hold a dear place in the heart of all straight-ahead jazz performers. Oscar Peterson's immortal trio with bassist Ray Brown and drummer Ed Thigpen play Kern's themes expertly, with no small degree of interpretation, and a clever angle on these well-worn songs that only Peterson can self-identify with his genius mindset. The title should be more accurately "The Jerome Kern & Friends Songbook," as he always co-wrote with such notables as Oscar Hammerstein II, Otto Harbach, Ira Gershwin, and Dorothy Fields, but these are all instrumental versions of his priceless musical scores and are immediately familiar without lyrics. From the actual Show Boat set list, "Ol' Man River" has endured the longest, and here it rumbles with Thigpen's incredible drums, rambles via Peterson, then has the pianist and bassist in cross talk with space. "Can't Help Lovin' Dat Man" is a tender ballad, slowly unfolding as the chiming chords of Peterson's reflect a melodic comparison of "Stairway to the Stars." The third Show Boat revision, "Bill," is so downplayed and minimal that it is reduced to a steamy crawl. Most astute listeners will easily recognize the perky and hopped up "I Won't Dance" due to Thigpen's expert brush work, while Peterson changes up the harmonic insides of the tune and speeds along on a death-defying solo. "The Song Is You" stops and starts fearlessly then jams into fourth gear immediately, "The Way You Look Tonight" is standard, reliable fare remade in Peterson's image with no strain, and his girthy chords block out "A Fine Romance." There's always a regal side to the pianist in his ability to perceptively tone down his wilder notions; the effortless, serene, and supremely confident take of "Long Ago," a British-styled "Lovely to Look at You," and purely tender "Smoke Gets in Your Eyes" act as final answer evidence. Of the many recordings this great jazz trio made, this is one of the top three, and even though it clocks in at under thirty five minutes with no alternate takes. It remains a monument to the Peterson trio's timeless quality, and is a fitting tribute to Jerome Kern's everlasting genius as one of the true great American popular songwriters. © Michael G. Nastos /TiVo