The Cat is a 1964 album by Jimmy Smith. It features the sound of Smith's Hammond B-3 organ with big band arrangements by composer Lalo Schifrin. The album reached number 12 on the Billboard 200 chart. The track "The Cat" has been sampled by Pizzicato 5 "Twiggy Twiggy" and The Orb "Perpetual Dawn (Ultrabass 2)".

The Composer of Desafinado, Plays is Antonio Carlos Jobim's debut album originally released in 1963. The Brazilian musician and composer was known as one of the primary influences behind the creation of the bossa nova musical style. The record features all original compositions, including "The Girl from Ipanema" one of the most widely recorded songs of all time.

For well over 50 years, bebop pianist Barry Harris has been preaching the gospel of Bird, Bud and Monk. On this 1975 release, Harris is joined by bassist George Duvivier and drummer Leroy Williams, veterans of New York City's music wars who worked and recorded with most of the greats of the post bop generation. The trio performs six Harris compositions, two bop classics and one standard.

Oliver Nelson meets Eric Dolphy on this frequently exciting sextet session with trumpeter Richard Williams, pianist Richard Wyands, bassist George Duvivier, and drummer Roy Haynes. Although Dolphy is too unique and skilled to be overshadowed in a setting such as this, Nelson holds his own. He contributed five of the six compositions (including "Screamin' the Blues," "The Meetin'," and "Alto-Itis") and effectively matches wits and creative ideas with Dolphy. This edition is a part of the ultimate audiophile Prestige Stereo reissues from Analogue Productions - 25 of the most collectible, rarest, most audiophile-sounding Rudy Van Gelder recordings ever made.

When Stan Getz and Luiz Bonfa surprised the Americans with their first samba recording they did not imagine that this was to be their biggest success together. With such titles such as "Desafinado" and "One Note Samba", Brazilian pop music stormed the borders. So popular was the music that voices cried for more - and the VERVE producers satisfied the fans with "Jazz Samba Encore".

In his years with Verve, Jimmy Smith and his jaunty jazz organ made four appearances on Billboard's hit-singles charts with his recordings of contemporary movie themes. This album, arranged by Lalo Schifrin, features selections from two film scores (including "The Cat", for which composer Schifrin won a Grammy), some big-band style orchestrations, and plenty of blues. In 1964 this release defied the boundaries of idiom, appealing to a huge audience of jazz, r&b, and pop fans. Screaming film noir horns frame Smith's jaw-dropping organ runs that practically sweat emotion.

The original "four tenors" - tenor saxophonists, that is. Eddie "Lockjaw" Davis invited three titan tenor sax players to join him and his quartet in the studio for Very Saxy for what amounted to a jam session. The Penguin Guide to Jazz included "Very Saxy" on its list of suggestions for a core collection of essential jazz albums.

Another one of Stan Getz's early 60s forays into the world of Brazilian music, recorded only days after his legendary sessions with João Gilberto. His special guest on this 1963 recording is virtuoso guitarist Laurindo Almeida who was famous for fusing jazz and classical guitar with traditional Brazilian genres. Almeida had done countless session gigs and was well-known to jazz fans for his work with Stan Kenton's big band in the late 1940s. The rhythm section on this album is a swinging blend of American sidemen, including Steve Kuhn on piano and George Duvivier on bass, and Brazilian percussionists.

This was Etta Jones' first album for Prestige Records when it was originally released in 1960 (having been recorded in a single session), and although Jones had been releasing records since 1944, she was treated as an overnight sensation when the title tune from the album went gold, hitting the Top 40 on the pop charts and reaching number five on the R&B charts. The album was inducted in the Grammy Hall of Fame in 2008.

Tenorman Eddie "Lockjaw" Davis and organist Shirley Scott co-led a popular combo during 1956-60, recording many albums and helping to popularize the idiom. This album, recorded in 1958 for the Prestige label, finds the quartet (with bassist George Duvivier and drummer Arthur Edgehill) interpreting eight swing standards, alternating ballads with romps. It's a fine all-around showcase for the accessible group.

"Jaws in Orbit" is an album by saxophonist Eddie "Lockjaw" Davis with organist Shirley Scott recorded in 1959 for the Prestige label. The Allmusic review by Scott Yanow states, "The group that Eddie "Lockjaw" Davis led with organist Shirley Scott during the latter half of the 1950s was quite accessible and did a great deal to popularize the organ band in jazz".

One of the great tenor and organ dates cut for RCA in the 60's by the team of Johnny Hodges and Wild Bill Davis featuring performances recorded in 1965. The title is a play on words based on the term "console organ", a term used by the Hammond organ company to describe the type of organs favored by Davis.

Wild Bill Davis was the stage name of American jazz pianist, organist, and arranger William Strethen Davis. With the dynamic, swirling sounds of his Hammond B-3 organ, Wild Bill Davis provided a bridge from the big band swing of the 1930s and '40s to the organ-driven R&B of the 1950s and early '60s.

Posterity remembers Oliver Nelson primarily as an arranger/conductor. When he first began to attract attention with a series of albums for Prestige and its subsidiaries, however, Nelson was hailed as a versatile leader of small groups and a composer/instrumentalist who could refresh the music’s traditional verities while also looking ahead. There is no better showcase for these skills among his initial sessions than "Screamin’ the Blues", a rousing set of funky modernism interpreted by a sextet of players who shared Nelson’s allegiance to both virtuosity and vision.

Together with Gil Evans and Miles Davis, the 20 year old Gerry Mulligan conceived the revolutionary nonet music for Birth of the Cool. In Stuttgart, at age 50, he was already looking back on a career spanning almost thirty years and was much in demand. The fact that he wrote fascinating film scores and won Grammys for them in the ‘70s, not to mention his burgeoning interest in jazz-rock fusions, once again highlighted this extraordinary musician’s exceptional openness and creative potential. These recordings were previously released as "Liederhalle Stuttgart November 22, 1977".