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Oscar Peterson was one of the most brilliant and distinctive modern jazz pianists to come to the fore in the post-war era. Initially making his mark in his native Canada, he made his first records for RCA in Montreal, but soon captured the attention of jazz impresario Norman Granz and within a few years was recording under his auspices for Clef/Mercury in New York. This 47-track compilation addresses those early years, and comprises studio recordings in trio, quartet and duo settings with a variety of line-ups, performing well-known Great American Songbook standards which were the staple repertoire of jazz improvisers in that era along with original compositions. REVIEWS These early relatively simple tuneful, reflectively rhythmic recordings may win doubters over. - Andrew Liddle (Jazz Rag Issue 164) There are many highlights, including a sensitive version of Jerome Kern's They Didn't Believe Me and an original titled Nameless, on this double CD of work by a brilliant and distinctive jazz pianist. - Neville Dickie (Just Jazz Issue 274) This double disc set takes the listener back to the very start of Peterson's long and illustrious career and as such is a valuable archive, especially as the early part of this period does not seem to have been given much exposure over the years. - Gerry Stonestreet (In Tune Issue 346) Spread over two discs the re-issue encompasses ten sessions comprising 47 tracks, the majority in trio format culminating in two duo dates from 1950, marking his transition to the Clef label under the tutelage of jazz impresario Norman Granz who was to launch his American and ultimately international career... Like all Acrobat releases the sound quality is excellent as is the booklet essay which tells the listener everything they need to know about the music and its context. In short this is a highly recommended, not to be missed album from a company whose reputation as a curator and purveyor of archive material grows with every re-issue. - Euan Dixon (Jazzviews February 2021) Not even the most ardent Petersonian would argue that these early recordings are the equal of those dating from the early 1950s. But some of these performances reveal a gradual maturation and refinement of his style and technique… Not, perhaps, essential, but if purchased will provide some rewarding and instructive listening. - John White (Jazz Journal February 2021)
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