Before Jimmy Smith, the organ was largely considered a background instrument—churches, bars, and maybe the odd blues solo. But when the pianist heard the blues-soaked swing of Wild Bill Davis in 1954, everything changed… He disappeared into an old warehouse for a year to practice the hammond organ and emerged with a reinvented concept what it could be in jazz.
Alfred Lion, founder of Blue Note Records, heard him on a club date in Philadelphia shortly after, he immediately offered him a recording contract.
It was the final step in bringing the Hammond B-3 to centre stage and turning it into a powerful voice for modern improvisation.
Over the next few years, Smith recorded prolifically. His albums from the late fifties and sixties didn’t just showcase his playing—they reshaped what the jazz trio could sound like and set a new standard for the instrument in the genre.
In this article we’ve pulled together some of Jimmy Smith’s most essential albums—milestones in the development of the jazz organ, and a legacy of reinvention that still resonates today.
10 Essential Jimmy Smith Albums
A New Sound… A New Star…
Jimmy Smith at the Organ, Vols. 1-3, (Blue Note – 1956)
This is where it all begins. These three albums were Smith’s first for Blue Note and are now reissued together in one package.
The music is a mix of standards and originals—but what music it is. Recorded between February and June 1956, the trio featured Smith on Hammond, Thornel Schwartz on guitar, and Donald Bailey on drums.
These tracks don’t just swing—they crackle. For many listeners, this was the first time the organ really sounded like it belonged in modern jazz.
Home Cookin’
(Blue Note – 1959)
Recorded across several sessions in 1958 and 1959, this is a standout album for a couple of reasons.
First, Kenny Burrell replaces the usual guitarist, giving the music a more solid foundation. Burrell brings grit and swagger—he sounds like he was made to play alongside Smith.
Second, the addition of tenor saxophonist Percy France brings a new dimension. France is full of ideas and energy. Sonny Rollins once said France was “probably the best player around at the time.”
The Sermon
(Blue Note – 1959)
Another gem from that whirlwind run of recordings where everything seemed to click. Once again, he’s joined by Burrell and now by drummer Art Blakey.
The title track is a 20-minute tour de force—side one of the original LP. It kicks off with a strong theme before solos from Smith and Burrell. Blakey’s deep swing holds everything together.
There are standout solos from underappreciated tenor player Tina Brooks, trumpeter Lee Morgan, and altoist Lou Donaldson. Morgan also features on “Flamingo” and “J.O.S.,” with George Coleman delivering an outstanding alto solo on the latter.
Open House/Plain Talk
(Blue Note – 1960)
Smith was sometimes criticised for being formulaic in trio settings. But here, the inclusion of horn players adds variety and gives us a chance to hear Smith comping behind soloists.
This two-album release brings together sparkling sessions from 1960. With Jackie McLean and Ike Quebec on sax, and Blue Mitchell on trumpet, there’s plenty of swinging hard bop.
Surprisingly, Blue Note didn’t release either album until 1968.
Back at the Chicken Shack
(Blue Note)
Another 1960 recording, released in 1963. This is one of Smith’s classics.
The trio—Smith, Donald Bailey on drums, and Kenny Burrell on guitar—is joined by Stanley Turrentine on tenor sax. Turrentine’s big, bluesy tone stands up well alongside the organ, and his solos are bold and lyrical.
Smith responds with some of his finest playing, and the result is one of the standout albums in his catalogue.
Groovin’ At Small’s Paradise
(Blue Note – 1957)
Originally issued as two separate albums, this is now available as a 2-CD set.
Recorded live in a club, it features Smith with Donald Bailey and guitarist Eddie McFadden. Blues is baked into every track here. No filler—just gritty, gutsy playing from start to finish.
“It’s Only A Paper Moon” is a highlight—an unusual choice for Smith and a showcase for McFadden’s playing.
“Slightly Monkish” is a fine tribute to Thelonious Monk, and ballads like “My Valentine” and “Body and Soul” show Smith’s sensitive side.
Bashin’
(Verve – 1962)
Having moved from Blue Note to Verve, Smith’s first release on the label saw him in front of a big band arranged and conducted by Oliver Nelson.
From the start, it’s an exciting new sound. The opener “Walk On The Wild Side” sets the tone with bold arranging and a swinging feel that pushes Smith in his solo.
“In A Mellow Tone” gets a classy treatment, and Nelson’s integration of organ and big band is masterful. Side one ends with “Step Right Up,” which swings hard.
Sadly, only four big band tracks were recorded. Side two returns to trio format, but there’s still quality music, including a version of “I’m An Old Cowhand” popularised by Sonny Rollins.
Live! Root Down
(Verve – 1972)
A more unusual entry in Smith’s discography. Here, he’s joined by rock guitarist Arthur Adams and electric bassist Wilton Felder. Add congas and percussion, and the result is a very different sound.
The band feels tight and well-rehearsed. Smith steps up with razor-sharp solos and strong accompaniment.
Some moments feel like a jam session, but the energy is infectious. It’s a good thing this was recorded.
Rounding up – Essential Jimmy Smith
Across these albums, it’s clear that Jimmy Smith didn’t just add the organ to jazz—he changed its role entirely.
Whether playing with stripped-down trios or fronting a full big band, he proved that the Hammond B-3 could swing, shout, and soar like any horn or piano.
His influence shaped generations of musicians, and his recordings remain the blueprint for anyone exploring the sound of the jazz organ today.
Jimmy Smith didn’t just change the rules—he made everyone realise there were none. And once he lit that fuse, the organ was never going back to the background.
Looking for more? Check out round up of some of the Hammond B-3 greats through jazz history here.