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A meagre result when one considers the numerous concerts that the new trio undertook between 1969 and 1974. Together with Eddie Gomez, a phenomenon on the bass, and drummer Marty Mortell, the three established a firm – and ever better – trio. Evans became interested in the possibilities offered by the Fender Rhodes piano and used it for the first time in “The Bill Evans Album”.\u003c\/p\u003e\n\u003cp\u003eThe LP is remarkable in that only Evans’s own compositions were recorded – three previously recorded pieces and four brand-new works. Of particular note is the melancholy “Two Lonely People”, Evans’s musical interpretation of a poem by Carol Hall. “Sugar Plum” and “T.T.T.” were to remain in his repertoire right up until his very last recordings. Unusual but very commendable because it begins with an ad hoc introductory improvisation is the electric piano version of Evans’s most well-known composition – “Waltz For Debby”.\u003c\/p\u003e\n\u003cp\u003eThe excellent technical facilities at the Columbia Studio were used to the full by Bill Evans, even though they were only recording a small ensemble. And that is why the seven numbers sound far better than most of the trio’s live recordings. 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It captures the mesmerizing and intimate live performances of Evans and his trio at the Village Vanguard in New York City. The album showcases Evans' unique approach to jazz piano, characterized by delicate touch, introspective improvisation, and profound musicality.The title track, 'Waltz for Debby,' serves as the centerpiece of the album. It is a hauntingly beautiful composition penned by Evans himself as a tribute to his niece, Debby. The waltz unfolds with a graceful and melancholic melody, carried by Evans' masterful piano playing.Throughout the album, Evans and his trio venture into other classic jazz standards, including 'My Foolish Heart,' 'Detour Ahead,' and 'Milestones.' With each performance, they delve deep into the heart of the music, exploring it's nuances and improvising with a profound sense of lyricism. Evans' introspective style shines through, as he delicately navigates the harmonies, unveiling layers of emotion and introspection.The beauty of 'Waltz for Debby' lies not only in the musicianship but also in the intimate atmosphere it creates. The live recording captures the ambiance of the Village Vanguard, with the audience's presence adding an extra dimension to the music. The subtle clinks of glasses, the occasional applause, and the hushed whispers become a part of the experience, enhancing the authenticity and charm of the album.Now Analogue Productions, the audiophile in-house reissue label of Acoustic Sounds, Inc., together with Quality Record Pressings, is creating the definitive Waltz For Debby reissue: the Ultra High Quality Record (UHQR) pressed on Clarity Vinyl with attention paid to every single detail of this one-of-a-kind reissue.Four glorious sides of 200-gram Clarity Vinyl from QRP, the world's best pressing plant. Cut at 45 RPM to reduce distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately. UHQRs from Analogue Productions are the gold-standard in premium vinyl releases, with attention paied to every single detail. The proprietary vinyl compound enhances the sound quality, offering improved dynamics, detail, and tonal accuracy. The heavier vinyl minimizes resonance and warping, providing a stable and flat playing surface. And great care is taken to eliminate any surface noise or imperfections throughout the manufacturing process.Overall, UHQR Clarity Vinyl from Analogue Productions is a sought-after format among audiophiles and collectors who value the highest possible audio fidelity from their vinyl records.Waltz for Debby stands as a testament to Bill Evans' genius as a pianist and composer. It is a profound and evocative exploration of melody, harmony, and improvisation, revealing the depths of emotion and the artistry that Evans brought to his music. The album remains a beloved gem in the jazz canon, cherished by fans and musicians alike for it's timeless beauty and the lasting impact it has had on the genre.An All-Time Jazz Audiophile Masterpiece - Now on UHQR!200-gram 45 RPM 2LP release limited to 5,000 copiesMastered by Kevin Gray at Cohearent Audio from the original analog tapesSet includes 8-page booklet with liner notes by renowned jazz critic Bob BlumenthalPressed on Clarity Vinyl at Quality Record PressingsPurest possible pressing and most visually stunning presentation and packaging!One of the most classic jazz albums and live recordings, a regular on most best-of jazz lists!Tracks:Side 11. My Foolish Heart (4:56)2. Waltz For Debby (6:54)Side 21. Detour Ahead (7:35)Side 31. My Romance (7:11)Side 41. Some Other Time (5:02)2. 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Evans' use of impressionist harmony, inventive interpretation of traditional jazz repertoire, block chords, and trademark rhythmically independent, \"singing\" melodic lines continue to resonate today. Born in Plainfield, New Jersey on 16 August 1929, Evans was classically trained and studied at Southeastern Louisiana University. In 1955 he moved to New York, where he worked with bandleader and theorist George Russell. In 1958, Evans joined Miles Davis' sextet, where he was to have a profound influence. In 1959, the band, then immersed in modal jazz, recorded Kind of Blue, the best-selling jazz album of all time. In late 1959, Evans left the Miles Davis band and began his career as a leader with Scott LaFaro and Paul Motian, a group now regarded as a seminal modern jazz trio. In 1961, ten days after recording the highly acclaimed Sunday at the Village Vanguard and Waltz for Debby, LaFaro died in a car accident. After months of seclusion, Evans re-emerged with a new trio, featuring bassist Chuck Israels. Despite his success, Evans suffered personal loss and struggled with drug abuse. Both his girlfriend Elaine and his brother Harry committed suicide, and he was a long time user of heroin. Many of his compositions have become standards and have been played and recorded by many artists. Evans was honored with 31 Grammy nominations and seven awards, and was inducted in the Down Beat Jazz Hall of Fame. This compilation contains Evans' first 12 albums as leader covering the years 1956 - when he recorded and released his debut record New Jazz Conceptions featuring the original version of his most covered track 'Waltz For Debby' - through to his seminal Empathy album in 1962. 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This is Resonance's 8th official release in cooperation with the Bill Evans Estate and was originally recorded by DJ Jim Wilke for KING-FM radio. 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The place acoustics played a big role: the small, triangular basement club naturally produced a warm, close-up sound. They were used portable Ampex tape machines with relatively few microphones - one near the piano, one for bass, one for drums, plus a room mic to capture the club's natural ambiance. This minimalist setup is part of why the recording still sounds intimate and natural. Bill Evans (that had a two-week engagement at the Village Vanguard with his trio) and producer Orrin Keepnews (Riverside Records co-founder) decided to capture a single Sunday of live performances in afternoon and evening sets. Result was high-quality material for two albums: \"Sunday at the Village Vanguard\" released first, 1961 and \"Waltz for Debby\" released the next year, 1962. The title track is a gentle, lyrical waltz Evans originally composed in 1956 as a musical portrait of his young niece, Debby. All compositions included feels Evans transforms them into deeply personal statements, with the the title track serving as the emotional centerpiece. A fantastic trio's telepathic communication, especially between Evans and bassist Scott LaFaro that tragically died in a car accident just 10 days after the recording at age 25. 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Classically trained from an early age, Evans initially made a name for himself working with other famous figures of the jazz genre, including George Russell, Cannonball Adderley, Chet Baker and Miles Davis, and his playing was a key feature on the latter s legendary Kind Of Blue (Columbia, 1959). By the early 1960s, Bill Evans began focussing on leading his own groups, primarily trios. Over the rest of his career, he put out a staggering body of work, including the classic albums Sunday At The Village Vanguard and Waltz For Debby (both Riverside, 1961). He received 31 Grammy nominations during his lifetime, taking away nine awards in total, and earned himself a place in the Down Beat Jazz Hall Of Fame. However, despite all his achievements, there are still many criminally overlooked albums on which Evans playing rivals some of his best known work; the aim of this collection is to bring back into focus some of these records, and to provide the listener a chance to review just what fine recordings are often underappreciated. Despite his premature passing on 15th September 1980, after years of substance abuse, Bill Evans is as highly regarded today as ever he was and remains an icon of jazz for millions. 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The recordings were captured during Evans' final performances at the Keystone Korner in San Francisco between August 31 and September 7, 1980. Consecration 1 showcases Evans' signature introspective style, blending lyrical phrasing with intricate harmonic progressions.\u003c\/strong\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eThe album features Evans alongside bassist Marc Johnson and drummer Joe LaBarbera, forming a trio that delivered deeply expressive interpretations of jazz standards and original compositions. 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This exclusive vinyl release captures the essence of his live performance, showcasing his exceptional artistry and improvisational skills. 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The music is frighteningly vivid - like being seated at a table on stage amid the musicians.' - Wall Street Journal.Tracklist:Side AAlfieTurn Out The StarsSide BAutumn LeavesYesterdays - Take 2Side CIn A Sentimental Mood'Round Midnight - Take 2Side DCalifornia Here I ComeGone With The Wind\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 762765868874\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e 2xhd\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 4.5.24\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vinyl\u003c\/p\u003e\u003c\/div\u003e","brand":"Bill Evans","offers":[{"title":"Default Title","offer_id":45561690226886,"sku":"294407","price":112.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/4329357-3143796.jpg?v=1771965642"},{"product_id":"sunday-at-the-village-vanguard-tgv-lp","title":"Sunday At The Village Vanguard (Tgv) [LP]","description":"\u003cp\u003eWidely regarded as one of the greatest live jazz recordings of all time, Sunday At The Village Vanguard from the Bill Evans Trio, captures a remarkable performance by pianist Bill Evans, bassist Scott LaFaro, and drummer Paul Motian at the Village Vanguard jazz club in New York City on June 25, 1961.The album features a selection of jazz standards and original compositions, showcasing the exceptional musicianship and improvisational prowess of the trio. The interplay between Evans, LaFaro, and Motian is extraordinary, with each musician seamlessly complementing and responding to one another.The record showed how Evans had refined an approach to solo improvisation in which the pulse was not as obvious as it had been in swing and bop approaches. And his extraordinarily high standards required that each improvised melodic idea be extensively developed, resulting in more continuity and pacing than was common to any previous modern style.Now Analogue Productions, the audiophile in-house reissue label of Acoustic Sounds, Inc., together with Quality Record Pressings, is putting Sunday At The Village Vanguard where it belongs: the Ultra High Quality Record (UHQR) pressed on Clarity Vinyl with attention paid to every single detail of this one-of-a-kind reissue.Four glorious sides of 200-gram Clarity Vinyl from QRP, the world's best pressing plant. Cut at 45 RPM to reduce distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately. UHQRs from Analogue Productions are the gold-standard in premium vinyl releases, with attention paied to every single detail. The proprietary vinyl compound enhances the sound quality, offering improved dynamics, detail, and tonal accuracy. The heavier vinyl minimizes resonance and warping, providing a stable and flat playing surface. And great care is taken to eliminate any surface noise or imperfections throughout the manufacturing process.Overall, UHQR Clarity Vinyl from Analogue Productions is a sought-after format among audiophiles and collectors who value the highest possible audio fidelity from their vinyl records.One of the standout tracks on this album is the rendition of the jazz standard 'Gloria's Step.' Evans' delicate touch and lyrical piano playing shine through, while LaFaro's inventive and melodic bass lines add depth and richness to the sound. The trio's chemistry is evident as they navigate through intricate musical passages and engage in spontaneous musical conversations.Another notable track is 'Alice in Wonderland, ' an original composition by Evans. It highlights his unique approach to harmony and melody, characterized by introspection, elegance, and a delicate touch. The trio's interpretation of this piece is enchanting and showcases their ability to create a magical atmosphere through their collective musical expression.Sunday at the Village Vanguard is celebrated not only for it's exceptional music but also for it's exceptional sound quality. The recording captures the intimate ambiance of the Vanguard, allowing listeners to experience the energy and intimacy of a live jazz performance.The Bill Evans Trio's Sunday At The Village Vanguard on Analogue Productions' UHQR, the pinnacle of high-quality vinyl!The definitive version of one of the most classic jazz recordings of all time and a regular on most best-of jazz lists!200-gram 45 RPM 2LP release limited to 5, 000 copiesMastered by Kevin Gray at Cohearent Audio from the original analog tapesSet includes 8-page booklet with liner notes by renowned jazz critic Bob BlumenthalPressed on Clarity Vinyl at Quality Record PressingsPurest possible pressing and most visually stunning presentation and packaging!Tracks:Side 11. Gloria's Step (6:05)2. My Man's Gone Now (6:21)Side 21. Solar (8:51)Side 31. Alice In Wonderland (8:32)Side 41. All Of You (8:20)2. 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Released in 1977, Bill Evans - Quintessence, has the maestro diving headfirst into a lush, melodic hornscape - an elegant, smoky surprise.Let's start with the man himself. By 1977, Bill Evans was less of a pianist and more of a philosopher with 88 keys. His technique? Still gentle, still whispery, still capable of melting diamonds. But here, he brings his lyrical poetry into a new context: a quintet. That's right - not just his beloved trio format, but a quintet, people.No safety net. No piano bench to hide behind. Just sheer harmonic magic.The Evans dream team of supporting players was a stellar lineup. Starting with Harold Land (tenor sax) - The West Coast legend whose tone is so smooth it could pass as jazz-flavored gelato. Warm, reflective, and the perfect foil to Evans' crystalline touch. Next, there's Kenny Burrell (guitar). Playing with such subtlety you'd swear he was painting chords with a sable brush. Never flashy, always perfect. On bass, Ray Brown - The anchor of jazz itself. You want groove? He'll give you groove. You want soul? He's got that in spades too. And on drums, Philly Joe Jones. Because if you're gonna swing, you call the guy who made Miles Davis' band sweat.Together, they form a unit so tight it's basically a telepathic jazz circle. They're not just supporting Bill - they're expanding him!What's On the Menu?'Sweet Dulcinea' - A tune that proves you don't need to play fast to say something profound.'Bass Face' - Ray Brown gets the spotlight, and boy does he shine.'Martina' - A waltz so beautiful it should come with a warning label: may cause reflective gazing into middle distance.'Second Time Around' - A standard for an album that's all about elegance, subtle swing, and refined musicianship.'A Child Is Born' - The kind of rendition that makes you think maybe the world isn't so bad after all.So why add Quintessence to your collection?Because this is Bill Evans unplugged from the trio comfort zone, letting his lush harmonic sensibilities dance with top-tier horn players and rhythm gods. This album is meditative but never sleepy, introspective but never self-indulgent. It's rich, warm, and brimming with the quiet confidence of a master stretching his wings just because he can.This reissue brims with superior quality. 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Adding trumpet and guitar to create an unusual quintet alignment, concentrating on the standard tunes, and with brighter tempos than are generally associated with his playing, it is a uniquely valuable addition to the catalog of perhaps the most important pianist in modern jazz. 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