American jazz bop composer and pianist.
Born 27 September 1924 in Harlem, New York City, New York, USA.
Died 31 July 1966 (of pneumonia) in New York City, New York, USA (aged 41).

专辑介绍:
Oscar Peterson 1925年生于加拿大Montreal，六岁开始学习钢琴，十四岁时就已担任当地电台节目的音乐班底，1949年他在美国卡内基音乐厅的初次登场，获得美国爵士乐爱好者的热烈回响，也开始了他的录音生涯。
他早期的钢琴作品受Nat King Cloe的启发，后来则受现代爵士乐钢琴风格的影响，基本上他并不限于任一种演奏风格，在体裁方面，凡民谣，蓝调，放克或Bebop等等，他一律接纳，无论任何情形下，他所创造出的音符，总是生动和富变化，就像他擅长的和声变化，极具剌激性，非常的摇摆。他所有作品本质，始终依附在轻松且节拍灵活自由的摇摆乐上，虽然有时常充斥着反复的乐节，或一再地弹着同一音符，却使得曲子更具节奏的张力，由旋律的观点而言，有时虽有点散乱，却无损音乐的完整性，流畅性，反而塑造出他的特殊风格，爵士乐界的钢琴手，表少有人能像他将现与传统爵士乐，作极精湛的结合，他可说是爵士乐界最佳的伴奏者之一。当代杰出的爵士人多曾经与他合作过，从Louis Armstrong, Ella Fitzgrald, Billie Holiday, 他早期与Ray Brown贝斯手组了二重奏，从来以Nat King Cole的规制，加入了吉他手形成著名的三重奏，1970年后，他的演奏规制，不固定二重奏或三重奏或独奏，他的合作对象也不固定，唯一不变的是他仍持续地灌录唱片，他仍活力十足地为爵士乐留下不析的资产，同时他也是爵士乐界灌录唱片最多的乐师之一。这是他与堪称单簧管之父的Buddy DeFranco合作的一张专辑.

Oscar Emmanuel Peterson, CC CQ OOnt was a Canadian virtuoso jazz pianist and composer. He released over 200 recordings, won seven Grammy Awards, as well as a lifetime achievement award from the Recording Academy, and received numerous other awards and honours.

JULIAN "CANNONBALL" ADDERLEY - alto saxophone
BILL EVANS - piano
PERCY HEATH - bass
CONNIE kAY- drums

Daniel Barenboim’s first solo recording on the remarkable new concert grand Barenboim-Maene which he developed in collaboration with instrument maker Chris Maene
Barenboim has selected works by four keyboard masters to display his piano’s timbral and tonal capabilities: “I’ve fallen in love with my new piano”, he exclaims, “and want to spend as much time with it as possible.”
Conceived and commissioned by Barenboim himself, the new piano was developed and built by esteemed Belgian instrument maker Chris Maene, with support from Steinway & Sons.
Barenboim was inspired to create a new piano after playing Franz Liszt’s restored grand piano during a trip to Siena in September 2011. Struck by the vital differences in sound of an instrument constructed with straight, parallel strings rather than the diagonal crossed ones of a contemporary instrument, he set out to create a brand new instrument that combines the best of the old and the new and offers a real alternative for pianists and music-lovers in the 21st century.
Barenboim says:
"The transparency and tonal characteristics of the traditional straight-strung instruments is so different from the homogenous tone produced by the modern piano across its entire range. The clearly distinguishable voices and color across its registers of Liszt's piano inspired me to explore the possibility of combining these qualities with the power, looks, evenness of touch, stability of tuning and other technical advantages of the modern Steinway…"

大师绝对的名盘之一，是他经典中最为璀璨夺目的。在我看来，李赫特的拉二是完美的。虽然很多乐友说不喜欢他手中的拉二，原因是认为他弹得拖沓而自以为是，过于刻板，尤其是第一乐章的开头部分。但是每次聆听这段，我都会感觉像是阳光穿过碧蓝的海水一般，呼吸凝重、大气广博，深得俄罗斯广袤大地之精髓。如果要是推荐拉二的版本的话，大师的这段演绎在我心目中必在前列。

Two of Karajan's bestselling recordings with great soloists. Karajan's rare collaborations with Soviet musicians in the 1960s resulted in exceptional recordings that have become classics - including the ones presented here: "a performance of astonishing intimacy and refinement" from Richter in Tchaikovsky's First Piano Concerto (October 1962), and "a deft and stylish account" of the Rococo Variations with Rostropovich (September 1968) Citations from R. Osborne, Herbert von Karajan: A Life in Music (London, 1998)

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1962年發行的這張專輯收錄的曲目以Duke Ellington的經典為主，演奏雖以Coltrane的四除奏擔綱，但節奏部分則以Duke Ellington慣常合作的貝斯手Aaron Bell、鼓手Sam Woodyard擔任，聆聽者可由Coltrane的主奏風格中聽到Duke Ellington作品的另一優秀的詮釋，如"In A Sentimental Mood"的高潮迭起，或是"Take A Coltrane"、"Big Nick"與"My Little Brown Book"等讓人記憶深刻的演奏，都值得推薦聆賞。 　 鋼琴手Don Shirley說「雖然Duke Ellington不是上帝，但已不遠矣！」說明了Duke Ellington在爵士樂壇的重要地位，身兼作曲、編曲者及樂隊領班，以無限的才華寫下無數的經典，並創下樂隊50年的榮景。而Coltrane則是以優雅充滿靈性的薩克斯風聲響，不斷超越自我並以豐富的作品建構成音樂版圖的爵士樂巨人，一舉改變人們對爵士演奏的人認知。

An ensemble of maestros offers four legendary interpretations from a golden age of chamber music playing.
Performances that display “richness, warmth and vitality” (American Record Guide).
Original “Westminster” couplings.
David Oistrakh remarked that chamber music “gives great joy not only to the listeners, but first of all to the performers themselves”. For 17 years after the Second World War, these three great soloists carried on a warm-hearted musical conversation and formed one of the finest chamber ensembles in the world.
Here are four of their legendary interpretations, praised by The American Record Guide at the time for their ”richness, warmth, and vitality” (Chopin and Ravel) and for their “well-integrated performances” (Dvoøák and Smetana). (Review quotes from The American Record Guide, 1957).