We Get Request by The Oscar Peterson Trio is one of recordings from the Golden Age of jazz. Recorded during three sessions – Oct 19th and 20th and Nov 19th or 20th 1964 is a breakthrough moment in jazz history. Afterwards jazz was never the same anymore. Oscar Emmanuel Peterson (Aug 15th 1925 -Dec 23rd 2007) was a Canadian jazz pianist and composer. He was called the "Maharaja of the keyboard" by Duke Ellington, "O.P." by his friends, and was a member of jazz royalty. He released over 200 recordings, won seven Grammy Awards. Died suddenly in 2007 in his house in Mississauga. We Get Request was released several times, some of those releases were quite good. Among them I could specially point out a SHM-CD version (Universal Music Japan, UCCU-9651) that I bought recently. It is worth mentioning also that it was the last record Maharaja did for Verve label during their 14 years long cooperation. He was accompanied by Ray Brown on a bass and Ed Thigpen on the drums. Winston Ma, founder of the First Impression Music, and Lasting Impression Music, that released this version points out that this is the first CD in his portfolio from the Verve catalog. Remastering was done in Tokyo, in JVC's studio with K2HD technology. This issue is a beauty, easily corresponds to other FIM issues – my only reservation – I would gladly welcome usage of the label from original, vinyl record – same goes for all reissues of Decca, Verve and Philips.

As already mentioned I acquired recently SHM-CD version. It is one of the best I've heard so far. Only so far. K2HD makes it sound like its been castrated. Sorry for the language, but it is how it sounds: classic version is deaden, quiet, and lacks dynamics. It is remarkable how K2HD reaches listeners with its message. It is accomplished with incredible resolution, dynamics, extremely good top-end and clear spacing on the stage. Should Winston Ma carry such a great job with other Verve titles out, we shall have ultimate versions comparable with the quality of vinyl record. There is a huge abyss – Mariana Trench – between any previous edition and K2HD and you can hear it in every detail. But an extreme example you can hear while listening to The Girl From Ipanema. I played K2HD first and then SHM-CD. The latter sounded ridiculously badly. You don't come across such a difference often. Japanese version sounds worm, round and lacks basic information about instruments played. FIM version on the other hand gives it all and more. I felt like listening to 45 rpm Long Play – the same energetic top-end, no harshness, the same tangible sound. You really must audition this recording and buy it right away for yourself and your friends. One remark: the sequence of of tracks on FIM's version is different from vinyl and SHM-CD versions. Why? Not a clue.