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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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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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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. 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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. Mastering by Kevin Gray and Steve Hoffman at Acoustech Mastering, double LP cut at 45 RPM and pressed on 180-gram vinyl at Quality Record Pressings! Plus it's housed in a Stoughton Printing Old Style Tip-On gatefold jacket with scuff-resistant matte finish.Bottom line, if your jazz collection is missing Quintessence, it's like owning a Picasso with a blank corner. This is the kind of record that sneaks up on you - not flashy, but unforgettable. Go ahead. 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