This unique 1958 recording is a collaboration between Coleman Hawkins and the Oscar Peterson Trio. Hawkins's voluminous, supple tenor sax sound, which had a great influence on the styles of musicians ranging from Dexter Gordon and Sonny Rollins up to Joe Lovano, is best heard on Honey Flower.

This 1959 release features pianist Oscar Peterson's interpretations of some of Cole Porter's best known and most popular songs, one of several albums Peterson recorded in the 1950s dedicated to specific composers. The pianist is backed by bassist Ray Brown and drummer Ed Thigpen.

Illinois Jacquet was "foremost of the WWII-era "Texas tenor titans", an influential figure in both jazz and R&B saxophone. "Swing’s The Thing" is one of his first recordings. Recorded in Los Angeles in 1956, it features Illinois Jacquet on tenor sax, Roy Eldridge on trumpet, Jimmy Jones on piano, Herb Ellis on guitar, Ray Brown on bass, and Jo Jones on drums. These magical performances capture the genius that was Jacquet's playing, backed by a stellar ensemble.

On this 1959 release, one of several albums Oscar Peterson recorded in the 1950s dedicated to specific composers, the pianist performs music from Gershwin's opera Porgy And Bess in a trio configuration, backed by Ray Brown on double bass and drummer Ed Thigpen.

This 1959 release from pianist Oscar Peterson is one of several albums he recorded in the 1950s dedicated to specific composers. Peterson revisits many of the same songs he included on an earlier Gershwin album, backed on these sessions by Ray Brown on double bass and drummer Ed Thigpen.

This recording features 2 musical giants, the late Ray Brown & the late Gene Harris. Ray Brown leaves us in no doubt why he was always regarded as the jazz world’s No.1 bass player. Gene Harris demonstrates his ability to bring the ‘blues’ feel that is the very essence of jazz, to his performance of any tune on the album. Groove Note Records owner Ying Tan produced the SACD edition of the album with the SACD mastering credits going to David Glasser at Airshow Mastering in Boulder, Colorado.

Its members were guitarist Laurindo Almeida, saxophonist and flutist Bud Shank, bassist Ray Brown, and drummer Shelly Manne, replaced by Jeff Hamilton after 1977. They performed a mixture of straight-ahead jazz on the "cool" side, influenced by European Classical music, and bossa nova and samba (Almeida was born in Brazil). They recorded ten albums before disbanding. Chuck Flores was the group's original drummer but did not record with them.

This 1955 recording finds pianist Oscar Peterson delving into the Count Basie songbook, one of several albums Peterson recorded in the 1950s dedicated to specific composers. He is surrounded by a stunning line-up of talent here, namely Ray Brown on double bass, guitarist Herb Ellis and legendary drummer Buddy Rich.

When Jim Davis started producing records at Verve, he changed the company's recording philosophy toward its most prolific instrumentalist. Where Norman Granz had produced countless Oscar Peterson albums dedicated to the popular song, Davis was more interested in making albums closer to how the Peterson trio sounded live. His first Peterson records were the legendary London House sessions. By the time of this album, there had been no personnel change in the trio for five years - so it is no surprise that the rapport among the musicians here is telepathic.

Most of the songs on this session were originally released on 10-inch vinyl in 1952 under the title "Billie Holiday Sings"; four additional tunes were added to this 1956 LP version, now renamed "Solitude". Holiday is backed by some impressive musicians including Oscar Peterson on piano, Ray Brown on double bass, Barney Kessel on guitar and drummer Alvin Stoller on these standards, among them "Blue Moon" and "I Only Have Eyes For You".

Recorded and released in 1957, this groundbreaking jazz-country album features Sonny Rollins accompanied by Ray Brown on bass and drummer Shelly Manne, with no pianist. Rollins chose cover songs and wrote originals that captured his love of the Western movies he grew up watching, with their themes of independence and self-sufficiency.

Two of the most influential and popular voices in modern music, Ella Fitzgerald and Louis Armstrong form a jazz dream team on "Ella and Louis". A once-in-a-lifetime masterpiece, their distinctive vocals meld seamlessly together along with Armstrong's exceptional trumpet playing. This recording has become the touchstone and template for jazz vocal duets.

Recorded in 1957, „Ella And Louis Again“ re-teams Ella Fitzgerald and Louis Armstrong after the success of their first album and a popular series of concerts at the Hollywood Bowl the previous year. This is not a mere retread, however, and if anything, „Ella And Louis Again“ is the stronger of the two records. Fitzgerald shines particularly brightly, singing with sassy confidence throughout, as if goosed by Pops' infectious good humor. The backing quartet, led by the great Oscar Peterson on piano and featuring guitarist Herb Ellis, bassist Ray Brown, and drummer Louis Bellson, is up to the challenge of playing with these two magnificent singers.

Guitarist Herb Ellis is joined by rhythm guitarist Freddie Green, pianist Ross Tompkins, bassist Ray Brown and drummer Jake Hanna for this lightly swinging but uneventful program which has been reissued on CD. Since Green as usual does not solo, his contribution is purely as a background player. Ellis, Tompkins and Brown are the lead voices on a variety of swing tunes; best are "It Had To Be You," "A Smooth One" and "When My Dream Boat Comes Home".

Smokey-voiced jazz vocalist Jerri Winter sang with Stan Kenton's orchestra before she ventured out on her own short-lived recording career. With only three albums to her credit, her legacy leans towards quality rather than than quantity. On this 1957 session, only her second solo album, she is backed up by the Al Belletto Sextet.