This impressive array of pianistic talent was selected by Oscar Peterson's widow Kelly to create a kind of musical festschrift, their performances spread over three discs, with a side dedication to Norman Granz, OP's long-time manager. She named the label Two Lions in honour of them both. Each disc has its own pocket in the well-made perfect-bound book, 22cm x 18cm in size, which accompanies the recordings, with Mrs Peterson, the album's producer, providing a page for each participant to reflect on OP's influence and inspiration. The cast was invited to Peterson's private studio in Mississauga, Ontario, one by one, to record on his personal Bösendorfer Imperial piano from October 2014 through to September 2015. Most recorded solo, though Alexander and Jones opted to have bassist Young accompany them, while Rosnes and Charlap recorded as a duo as well as separately. Young also performed a solo version of ‘Goodbye Old Friend’, written by Peterson as tribute to his former bassist, NHØP. The majority played compositions authored by Peterson, some never previously recorded, though Corea wrote and performed his own ‘One For Oscar’ for his sole appearance; others like Ozone, Jones, Botos and Hiromi marked their secondary recordings on this three-disc sequence with similar Peterson dedications of their own. In addition, Basie trumpeter Scotty Barnhart contributed a lengthy overview of the project and there are further observations from Kelly, Celine, OP's daughter, and the various specialists associated with the recordings, plus Oscar's own comments regarding the piano itself. Put quite simply, there's a whole lot of piano here. Thirty-nine varied performances involving most of the premier jazz pianists of our day. What's not to like, as they say. Disc one opens with Ozone playing ‘The Contessa’, a lyrical, almost elegiac piece. Later he ripples through ‘A Little Jazz Exercise’, this stride-style opus calling for something of Peterson's towering facility. Terrific. The Hungarian-born but Canada-based Botos, a new name to me and a protégé of OP's, plays ‘Blues for Smedley’ (the Peterson dog) in pleasingly complex fashion. I liked Green's ‘Cool Walk’ with its swingy strut and the Rosnes-Charlap duet on ‘Sushi’ is a delight. Clayton does well with ‘Morning’ and the soulful ‘Hymn to Freedom’, while Barron's version of ‘The Smudge’ is a humdinger, though Hiromi runs him close with her ‘Oscar's New Camera'. The overall mood is, unsurprisingly, largely reverential: often reflective, sometimes rhapsodic (Legrand, Lewis), the harmonies and keyboard touch always impeccable, the swing mostly implied rather than overt. There are no tear-ups, little or no reference to bebop, and no attempts to replicate the Peterson drive and power, though bluesman Anderson gets near with his ‘OP's Boogie'. That said, there are no dud tracks and, overall, this compendium is a thing of sonic and graphic beauty. A quite exceptional tribute to the late grand-master of piano jazz.