Somewhere on the 88-key continuum between the frenetic intensity of Art Tatum and the artful emotion of Bill Evans lies the perfect jazz pianist. The thing is, that musician does not and probably cannot exist.

But there is Oscar Peterson.

If you're a Peterson neophyte, this remaster/compilation is a great place to start. One disc from Peterson's earlier Pablo years and another from his Telarc recordings, and you've got a fair summation of Peterson's phenomenal talent. You'll be treated to duos, trios, quartets, quintets, sextets, a string ensemble and of course, some solo work.

It's difficult for me to pick a favorite as the level of play is so stunning that it's hard to focus. A safe bet is the classic Oscar Peterson trio, with Herb Ellis on guitar and Ray Brown on bass. But then it's had to overlook the trio with Joe Pass (guitar) and Niels-Henning Orsted Pedersen (bass), especially when that drummerless trio was augmented by Mickey Roker (drums) and the great Stephane Grappelli on violin for a blistering take on Django Reinhardt's "Nuages."

To take a look at the opposite ends of what Frank Zappa referred to as musical "statistical density," lets visit "Morning In Newfoundland" from the Telarc disc vs. the Peterson/Dizzy Gillespie duo on the Pablo "Caravan." In the former we find Peterson weaving his piano into the orchestration of Michel Legrand. Very soulful and pensive. For the latter, it's the man at the piano and Dizzy on his trumpet. It has been said that Peterson has the ability to swing at any speed. "Caravan" is proof, with the song structure being laid out at a breakneck pace before Gillespie comes along to drive things over the top. When the two men start trading fours? Forget it!

James Isaacs ends his superb liner notes with a quote from Herb Ellis: "You see, most piano players end where he starts." That is exactly right.