"We Get Requests" was recorded by The Oscar Peterson Trio—featuring Oscar Peterson on piano, Ray Brown on bass, and Ed Thigpen on drums—on October 19 and 20, 1964, at Universal Recording Studios in Chicago. The album was produced by Ray Brown for Verve Records, with engineering handled by Val Valentin and Ray Hall. The recording employed Verve's characteristic high-fidelity stereo techniques of the period, capturing the intimate interplay of the trio in a straightforward, minimal-overdub approach that emphasized the natural acoustic balance and dynamics of the ensemble. The album became one of the trio's best-selling records and is widely regarded as an audiophile-quality recording, showcasing clean separation of instruments and a warm, detailed sound. It was released in 1964 during the final chapter of Peterson's celebrated tenure on Verve Records before his move to the MPS label, and its repertoire of popular standards reflected listener requests, giving the album its title.
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13 cataloged · sorted by audiophile score
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Analogue Productions — CVRJ 8606 SA
Widely considered the definitive digital reissue on SHF; the Analogue Productions SACD mastered by Kevin Gray from the original tapes is praised as superb, with excellent dynamics and warmth.
Verve — V/V6-8606
The original US pressing is highly sought after on SHF; early deep-groove stereo copies with the Van Gelder stamp are considered reference-quality with outstanding presence and warmth.
First Impression Music — LIM K2HD 032
The FIM K2HD mastering by Winston Ma is well-regarded on SHF for its transparency and natural sound; considered one of the better CD-format options alongside the AP SACD.
Verve — UCGU-9011
Japanese SHM-SACD pressing with premium materials; sonically excellent and frequently compared favorably to the AP SACD, though opinions are split on which is definitively better.
Verve — UCGQ-9038
Japanese SHM-SACD pressing appreciated for its high-quality materials and mastering; collectors value it though some feel the AP SACD remains the reference.
Verve Music Group — UCGU-7032
Regarded as a decent Japanese SACD reissue with good sonics, though later Analogue Productions SACD is generally preferred.
Verve — UCCU-9407
Japanese SHM-CD edition appreciated for the SHM manufacturing quality; sound is considered a noticeable improvement over standard CDs by some, though differences are debated.
Verve — V6-8606
Japanese vinyl pressing known for quiet surfaces and clean sound; a respectable reissue though not as revered as the original US stereo pressing.
Verve — UCCU-5556
Later Japanese SHM-CD reissue; well-made but largely similar in mastering to the earlier SHM-CD, considered a safe buy for CD collectors.
Verve — 810 047-2
Early West German CD pressing from the first generation of digital releases; valued by some collectors for its early digital mastering character, though later remasters are generally considered superior.
Verve Records, Inc. — UCCU-46001
Japanese HQCD release; too new for extensive SHF discussion but the HQCD format is generally seen as a marginal improvement over standard CD, with the mastering being more important than the disc material.
Verve — 0602498840429
Standard European reissue CD; functional but not particularly sought after by audiophiles.
Jazz Heritage — 514246T
Budget reissue on the Jazz Heritage label; rarely discussed on audiophile forums and generally considered inferior to the Verve Master Edition and later reissues.