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Best Album by Bill Evans

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    A Simple Matter of Conviction

    • Year Released: 1966
    A Simple Matter of Conviction is an album by jazz pianist Bill Evans, released in 1966 on Verve. Writing for Allmusic, music critic Bob Rusch wrote of the album: "What separated this from the average good Bill Evans date was the inclusion of Shelly Manne on drums, who inventively pushed and took unexpected chances."
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    Affinity

    • Year Released: 1979
    Affinity is an album by American jazz pianist Bill Evans, released in 1979. Bill Evans plays a Fender Rhodes electric piano on many of the tracks and it is the last time he uses the electric piano on a studio album. It is the recording debut for bassist Marc Johnson. The Allmusic review by Scott Yanow awarded the album 3 stars calling it "Excellent if not essential music that Evans generally uplifts". All songs by Bill Evans unless otherwise noted. Production notes
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    Alone

    • Year Released: 1968
    Alone is an album by jazz musician Bill Evans, recorded in late 1968 for Verve Records. The actual year of release is unknown: some sources state 1968, others 1969 or 1970. The Grammy Award-winning Alone was Bill Evans' first single piano solo album following in the footsteps of his 1963 Verve session Conversations With Myself (three pianos overdubbed) and his 1967 Further Conversations with Myself, also on Verve (two pianos overdubbed). It has been reissued in various forms with additional tracks and alternate takes from sessions on September 23, October 8 and 21st. Writing for Allmusic, music critic Scott Yanow wrote of the album "... Evans' final Verve album is one of his weaker dates... This set is therefore only recommended to Bill Evans' completists who already have 50 of his other recordings." Additional tracks on 1988 CD reissue:
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    Alone (Again)

    • Year Released: 1977
    Alone (Again) is a solo piano album by American jazz pianist Bill Evans, recorded in December 1975 but not released until 1977 on Fantasy Records. It was reissued on CD in 1994 by Original Jazz Classics. Writing for Allmusic, music critic Scott Yanow wrote of the album "... Evans plays well enough on this set of unaccompanied solos (reissued on CD), but the material is generally not worth the intense explorations that it receives."
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    Autumn Leaves

    • Year Released: 1980
    Autumn Leaves is 1980 album by Bill Evans with Eddie Gomez on bass and Marty Morell on drums. It was released by Lotus, Italy. The title track of the album Autumn Leaves is one of the most recorded song in the world. The original name of the song was Les Feuilles Mortes (Dead Leaves) composed by Joseph Kosma, and lyrics were written by a poet, Jacques Prévert in 1945, in France. Later in 1947, English lyrics were written by the Academy Award winner lyricist and the songwriter Johnny Mercer. It then became a pop and jazz standard in the world. Bill Evans which was one of the most acclaimed American jazz pianists of the 20th century, recorded this album and his interpretation of the Autumn Leaves made resonance.
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    Bill Evans at the Montreux Jazz Festival

    • Year Released: 1968
    Bill Evans at the Montreux Jazz Festival  is a 1968 (see 1968 in music) album by the American jazz pianist Bill Evans, recorded live at that year's Montreux Jazz Festival. The trio's performance on this album won them the 1969 Grammy for Best Jazz Instrumental Album, Individual or Group. The album won the 1969 Grammy for Best Jazz Instrumental Album, Individual or Group. Writing for Allmusic, music critic Scott Yanow wrote of the album "The interplay between Evans and Gomez was growing month-by-month (the bassist had been with him for almost two years at this point) and is the main reason to acquire this disc although DeJohnette does offer some stimulating support."
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    Blue in Green: The Concert in Canada

    • Year Released: 1991
    Blue in Green: The Concert in Canada is a live album by jazz pianist Bill Evans with Eddie Gomez and Marty Morell recorded in Camp Fortune, Ottawa, Canada in 1974 and released on the Milestone label in 1991. The Allmusic review by Scott Yanow awarded the album 4½ stars and states "The tight and almost telepathic musical communication between the musicians, the strong repertoire and the appreciative audience make this a fairly definitive recording by this classic unit".
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    But Beautiful

    • Year Released: 1996
    But Beautiful is a jazz album by musicians Stan Getz and Bill Evans, released in 1996. Recorded live on August 9, 1974 during the Laren International Jazz Festival at the Singer Concertzaal located in Laren, Holland and on August 16, 1974 during Jazz Middelheim held in Antwerp, Belgium, this record features pianist Bill Evans and tenor saxophonist Stan Getz. It was the second time the two musicians recorded together. Evans doesn't play on "Stan's Blues" since the piece was played off the cuff, on Getz's initiative; clearly peeved, the pianist took his hands off the keyboard after a few chords. On the other hand, during the concert held on August 16, after performing "The Peacocks", Getz wished happy birthday to Evans and played an impromptu "Happy Birthday". The duo previously released a studio album in 1964 with the members of Evans' trio (bassist Eddie Gomez and drummer Marty Morell). This second record, which consists of the Bill Evans Trio and their guest Stan Getz during a 1974 European tour, was actually kept in the vault for 22 years. The album was deemed a "vital reissue" by Billboard magazine. Indeed, Jazz Door had originally released a six-track record from the concert in
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    California Here I Come

    • Year Released: 1982
    California Here I Come is a live album by jazz pianist Bill Evans. It was recorded in 1967, but not released on Verve until 1982 as a double LP. It peaked at #12 on the Billboard Jazz Album charts in 1983 and was reissued on CD in 2004. The pieces were recorded at the legendary Village Vanguard, where Evans had previously recorded the sets appeared on the highly influential Waltz for Debby and Sunday at the Village Vanguard, both later comprised on the definitive collection The Complete Village Vanguard Recordings, 1961. 2004 reissue production notes
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    Conversations With Myself

    Conversations With Myself

    • Year Released: 1963
    Conversations with Myself is a 1963 album by American jazz musician Bill Evans. Recorded at three different studio sessions on February 6 and 9, and May 20, 1963, Evans recorded the album using the then controversial method of overdubbing three different yet corresponding piano tracks for each song. Evans used Glenn Gould's piano, CD 318. Evans followed Conversations with Myself with Further Conversations with Myself and New Conversations, both recorded in a similar vein. The album would earn Evans his first Grammy Award in 1964 for Best Jazz Instrumental Album, Individual or Group. It received a 5-star review in Down Beat in 1963. Writing for Allmusic, music critic Michael G. Nastos wrote: Certainly one of the more unusual items in the discography of an artist whose consistency is as evident as any in modern jazz, and nothing should dissuade you from purchasing this one of a kind album that in some ways set a technological standard for popular music — and jazz — to come. Jason Laipply of All About Jazz wrote: [The album] was an instant classic for the jazz community. Evans work on the ten tunes included here is truly inspired and amazing to behold... this glimpse of the artist at
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    Empathy

    • Year Released: 1962
    Empathy is a 1962 album by jazz musicians Bill Evans and Shelly Manne. It was Evans's first album for Verve Records, after he was released from his contract with Riverside Records, and the two musicians' first collaboration. The sculpture on the cover was by Sheldon Machlin.
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    Everybody Digs Bill Evans

    • Year Released: 1959
    Everybody Digs Bill Evans is a record album by jazz musician Bill Evans, released in 1958, see (1958 in music). Everybody Digs Bill Evans was the artist's second album, done two years after his first record as a leader. Even though his producer tried to encourage him to record again sooner, the highly self-critical Evans felt he had "nothing new to say" before this album. The recording captures Evans at a time when he was into playing block chords. That combined with his expert use of pedals gave him a fresh, distinctive sound that had never been heard before on the piano. It was reissued in 2007 with one bonus track. Writing for Allmusic, music critic Michael G. Nastos called the album "a landmark recording for the young pianist... Though not his very best effort overall, Evans garnered great attention, and rightfully so, from this important album of 1958." Samuel Chell of All About Jazz wrote "With its varied tempos, rhythms and programming, Everybody Digs Bill Evans sustains interest without allowing the listener for a moment to mistake the singular, inimitable voice of the leader. It's not hard to understand why many Evans followers, "casual" and otherwise, list it as their
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    From Left to Right

    • Year Released: 1970
    From Left to Right is an album by American jazz pianist Bill Evans, released in 1970 (see 1970 in music).
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    Further Conversations With Myself

    • Year Released: 1967
    Further Conversations with Myself is a 1967 album by jazz pianist Bill Evans. All the pieces are solo with piano overdubs, a method Evans used on his earlier release Conversations with Myself. It was reissued on CD by Verve in 1999. Writing for Allmusic, music critic Scott Yanow called the album "A thoughtful and (despite the overdubbing) spontaneous sounding set of melodic music."
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    Getting Sentimental

    • Year Released: 2003
    Getting Sentimental is a live album by jazz pianist Bill Evans with Michael Moore and Philly Joe Jones recorded at the Village Vanguard in 1978 but not released until 2003 on the Milestone label. The Allmusic review by Alex Henderson awarded the album 3 stars and states "Getting Sentimental isn't essential and isn't recommended to casual listeners; nonetheless, Evans' more obsessive fans will welcome this enjoyable, if imperfect, release with open arms". The All About Jazz review by Russell Moon stated "Fantasy is to be commended for releasing Getting Sentimental as an example of what Evans was doing in early 1978, but the label has many other Bill Evans offerings which are superior".
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    Half Moon Bay

    • Year Released: 1998
    Half Moon Bay is a live album by jazz pianist Bill Evans with Eddie Gomez and Marty Morell recorded at the Bach Dancing and Dynamite Society, in Half Moon Bay, California in 1973 and released on the Milestone label in 1998. The Allmusic review by Richard S. Ginell awarded the album 4 stars and called it "some of the better live work from Evans during this period of his life". The All About Jazz review by Douglas Payne stated "Well recorded and produced, Half Moon Bay is a welcome addition to the burgeoning Bill Evans catalog and presents a compelling argument for the notability of this trio, featuring bassist Eddie Gomez, as one of the pianist's three best. Recommended".
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    Homecoming

    • Year Released: 1999
    Homecoming is a live album by jazz pianist Bill Evans with Marc Johnson and Joe LaBarbera recorded at the Southeastern Louisiana University in 1979 but not released until 1999 on the Milestone label. The Allmusic review by Rick Anderson awarded the album 4 stars and states "This disc is a valuable historical document, but it's also a genuine pleasure to listen to". The All About Jazz review by Douglas Payne stated "Homecoming is a rich, instructive insight into the genius of this already over-recorded piano wonder — for hardcore devotees and the mildly interested alike... Homecoming is worth coming home to".
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    How My Heart Sings!

    • Year Released: 1964
    How My Heart Sings! is a 1962 album by jazz musician Bill Evans, recorded at the same time as Moon Beams. It was reissued in 1992 with one bonus track. Writing for Allmusic, music critic Thom Jurek wrote of the album "This is a tough recording; it flies in the face of the conventions Evans himself has set, and yet retrains the deep, nearly profound lyricism that was the pianist's trademark." Tracks 1 and 6 recorded on May 17, 1962; 5, 7 and 9 on May 29; tracks 2, 3, 4 and 8 on June 5, 1962.
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    Intermodulation

    • Year Released: 1966
    Intermodulation is a 1966 jazz album by pianist Bill Evans and jazz guitarist Jim Hall. It is a follow-up to their 1963 collaboration Undercurrent. Writing for Allmusic, music critic Michael G. Nastos wrote of the album: "A duet recording between pianist Bill Evans and guitarist Jim Hall is one that should retain high expectations to match melodic and harmonic intimacies with brilliant spontaneous musicianship. Where this recording delivers that supposition is in the details and intricacy with which Evans and Hall work, guided by simple framings of standard songs made into personal statements that include no small amounts of innovation... At only 32 and a half minutes, it's disappointing there are no bonus tracks and/or additional material for a CD-length reissue, but Intermodulation still remains a precious set of music from these two great modern jazz musicians." Tracks 3 and 6 recorded on April 7, 1966; the rest recorded on May 10, 1966.
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    Interplay

    • Year Released: 1962
    Interplay is a 1962 album by jazz musician Bill Evans. It was recorded on July and August 1962 in NYC for Riverside Records. The Interplay Sessions is a 1982 album that includes this album as well as some sessions recorded on August 21-22 of the same year for Milestone Records (also with Philly Joe Jones and Jim Hall, but with Zoot Sims [tenor saxophone] and Ron Carter replacing Percy Heath on bass). Interplay peaked at #26 on the Billboard Jazz Albums charts in 1983. The CD reissue Interplay adds another take of "I'll Never Smile Again" as a bonus track. At the Grammy Awards of 1984, Orrin Keepnews won the Grammy Award for Best Album Notes for the reissue. Writing for Allmusic, music critic Scott Yanow called the album "Excellent music."
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    Intuition

    • Year Released: 1974
    Intuition is an album by jazz pianist Bill Evans, released in 1974 (see 1974 in music). It was reissued on CD by Original Jazz Classics in 1995. The Allmusic review awarded the album 4 stars. Production notes
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    Jazz: The Smithsonian Anthology

    • Year Released: 2011
    JAZZ: The Smithsonian Anthology (catalogue SFW40820) is a box-set release by Smithsonian Folkways. The set includes 111 tracks on six discs, with representative works from New Orleans, big band, cool, swing, bebop, hard bop, free, funk, fusion, Latin and contemporary styles. An accompanying 200-page textbook includes historical essays, musical analyses, and contemporary photographs of the musicians. Incited by customer requests for an update to the late Martin Williams’ 1973 Smithsonian Collection of Classic Jazz, Smithsonian Folkways began the process of selecting music for a new Jazz anthology in late 2004. Over 50 acknowledged jazz experts reviewed a list of 2,500 potential tracks to be included within the project and agreed that the set should represent the development of jazz through the 20th century. By March 2005, Smithsonian Folkways staff had compiled a 300 page document explaining the positive and negative aspects of each potential selection. Smithsonian Folkways formed a second executive committee of five members in June of the same year. In order to keep the set at a price affordable for students, the committee established the goal of narrowing down the selections to
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    Jazzhouse

    • Year Released: 1987
    Jazzhouse is a live album by jazz pianist Bill Evans with Eddie Gomez and Marty Morell recorded at the Jazzhus Montmartre in Copenhagen in 1969 but not released until the 1980s on the Milestone label. The same concert also produced the album You're Gonna Hear From Me. The Allmusic review by Scott Yanow awarded the album 4 stars and states "Evans sounds relaxed and swinging playing his usual repertoire. All of the songs (mostly standards) have been recorded by Evans at other times but the pianist's many fans certainly will not mind hearing these "alternate" versions".
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    Living Time

    • Year Released: 1972
    Living Time is an album by the Bill Evans George Russell Orchestra recorded in 1972 and released on the Columbia label, featuring performances by Evans with an orchestra conducted by Russell. The Allmusic review by Scott Yanow awarded the album 2 stars and stated "The music on this set unfortunately is not all that interesting. Russell's lengthy and episodic work "Living Time" (which has eight "events") features crowded ensembles as played by Evans' trio plus 19 musicians (including two additional keyboardists). Despite the major names in the "backup group" the focus throughout is on Evans' acoustic and electric keyboards. The problem is that the music is rather dull and surprisingly forgettable."
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    Loose Blues

    • Year Released: 1982
    Loose Blues is an album by jazz pianist Bill Evans released on the Milestone label featuring performances by Evans with Zoot Sims, Jim Hall, Ron Carter, and Philly Joe Jones recorded in 1962. It was recorded for the Riverside label, but eventually dropped mostly because of Riverside forthcoming bankruptcy and the pressures of Verve producer Creed Taylor - he wanted Evans on his Verve label. So the project was shelved, and released posthumously only in 1982 as MCD-9200-2, after having been rediscovered in the Fantasy Records vaults. This was, in fact, believed to be a lost album since Keepnews couldn't find the master reels of the session dates, except for a take of "Loose Bloose". However, after a thorough research, he did succeed in finding the reels "stored in poorly marked tape boxes". The material was then assembled by Keepnews and Ed Michel. "Fudgesickle Built for Four" was named by Evans himself - who dug puns - and was a reference to "a bicycle built for two", a line from the popular song "Daisy Bell". Keepnews, recalling the sessions, stated that "My Bells", which is characterized by difficult tempo changes, took 25 takes to be recorded properly. The Allmusic review by
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    Montreux II

    • Year Released: 1970
    Montreux II is a live album by jazz pianist Bill Evans with Eddie Gomez and Marty Morell recorded at the Montreux Jazz Festival in Switzerland in 1970 and released on the CTI label. The album was the second of Evan's Montreux concert recordings to be released following the Grammy Award winning Bill Evans at the Montreux Jazz Festival (1968). The Allmusic review by Ken Dryden awarded the album 3½ stars and states "While this is a terrific live performance, there are sound problems, including what sounds like bleeding of the stage monitors into the mix, and there are muddy spots in the recording as well".
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    Montreux III

    • Year Released: 1975
    Montreux III is a live album by jazz pianist Bill Evans with bassist Eddie Gomez recorded at the Montreux Jazz Festival in Switzerland in 1975 and released on the Fantasy label. The album was the third of Evan's Montreux concert recordings to be released following Montreux II (1970) and the Grammy Award winning Bill Evans at the Montreux Jazz Festival (1968). The Allmusic review by Scott Yanow awarded the album 4 stars and states "the communication between the two masterful players is quite special".
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    New Conversations

    • Year Released: 1978
    New Conversations is an album by American jazz pianist Bill Evans, released in 1978. New Conversations is Evans' third and final release in which he overdubs different piano tracks with his previously played track. The first release recorded in this manner was Conversations with Myself followed by Further Conversations with Myself. A noteworthy difference in this release is that he also uses electric as well as acoustic piano. The Allmusic review by Scott Yanow awarded the album 3 stars writing "the results are less memorable than one might expect for Bill Evans seemed always at his best in trio settings.". All songs by Bill Evans unless otherwise noted. Production notes
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    New Jazz Conceptions

    • Year Released: 1956
    New Jazz Conceptions is the debut album as leader by jazz musician Bill Evans, released in 1956 on Riverside Records. Producer Orrin Keepnews of Riverside Records first determined to record Evans after hearing a tape of Evans' playing. Eleven songs were recorded in the first session, including Evans' own "Waltz for Debby" which would prove to be his most recognized and covered composition. New Jazz Conceptions was reissued in 2006 with a bonus track. Although a critical success that gained positive reviews in Down Beat and Metronome magazines, New Jazz Conceptions was initially a financial failure, selling only 800 copies the first year. Writing for Allmusic, music critic Scott Yanow called the album "Bill Evans' debut as a leader found the 27-year-old pianist already sounding much different than the usual Bud Powell-influenced keyboardists of the time... A strong start to a rather significant career." David Rickert of All About Jazz also noted the influence of Bud Powell and wrote "Even at this stage he had the chops to make this a good piano jazz album, but in the end it's not a very good Bill Evans album... There are glimpses of the later trademarks of Evans' style..."
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    On Green Dolphin Street

    • Year Released: 1975
    On Green Dolphin Street is a record album by jazz musician Bill Evans recorded in 1959 that wasn’t released until 1975. The title is taken from the 1947 MGM movie Green Dolphin Street and the film's title song, by Bronislau Kaper and Ned Washington, which has become a jazz standard. The CD edition catalogued as MCD-9235-2 has a different track listing; moreover, it does not include "Loose Bloose" but contains a rare first take of "All of You" from the Village Vanguard engagement by the 1961 Evans Trio with bassist Scott LaFaro and drummer Paul Motian. Writing for Allmusic, music critic Scott Yanow wrote of the album: "Although lacking the magic of Evans' regular bands, this CD reissue has its strong moments and the pianist's fans will be interested in getting the early sampling of his work. A special bonus is the rare first take of "All of You" from the legendary Village Vanguard engagement by the 1961 Evans Trio (with bassist Scott LaFaro and drummer Paul Motian)." Track 7 recorded on January 25, 1961 at the Village Vanguard, New York City.
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    Piano Player

    • Year Released: 1998
    Piano Player is a compilation of recordings featuring jazz pianist Bill Evans released in 1998 on the Columbia label. The Allmusic review by Scott Yanow awarded the album 4 stars stating "The pianist's fans will definitely want this consistently enjoyable CD". The All About Jazz review by Douglas Payne states "As a whole, Piano Player jumps from time periods and groupings more erratically than a typical Bill Evans listener would expect or appreciate. But eight of these songs offer required - and rewarding — listening for fans of the pianist. The remaining three selections are not readily available elsewhere either. Therefore, for now, Piano Player makes for essential Bill Evans listening"
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    Plays the Theme from The V.I.P.s and Other Great Songs

    • Year Released: 1963
    Plays the Theme from The V.I.P.s and Other Great Songs is an album of theme music by jazz pianist Bill Evans with an orchestra conducted by Claus Ogerman recorded in 1963 for the MGM label. The album was an intentionallly commercial production and the tracks were omitted from the 18-CD collection The Complete Bill Evans on Verve as they were deemed to have negligible artistic merit. The Allmusic review awarded the album 3½ stars.
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    Quiet Now

    • Year Released: 1970
    Quiet Now is an album by jazz pianist Bill Evans, released in 1969. In 1999, Polygram issued a compilation titled Quiet Now: Never Let Me Go which, aside from the title track, has a completely different track listing.
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    Quintessence

    • Year Released: 1976
    Quintessence is an album by American jazz pianist Bill Evans, released in 1976. Writing for Allmusic, music critic Scott Yanow called the album "a nice change of pace." Reissue bonus track:
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    Re: Person I Knew

    • Year Released: 1981
    Re: Person I Knew is a live album by jazz pianist Bill Evans with Eddie Gomez and Marty Morell recorded at the Village Vanguard in New York City in 1974 and released on the Fantasy label in 1981. Additional recordings from Evans' 1974 Village Vanguard performances were also issued on the album Since We Met (1974). The name of the album (and its title-track) is an anagram on the name of Orrin Keepnews, who produced for Bill while he was signed with Riverside Records, and who was one of his earliest champions. The Allmusic review by Scott Yanow awarded the album 3 stars and states "even though the results fall short of classic, they should interest Bill Evans collectors".
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    Stan Getz & Bill Evans

    • Year Released: 1973
    Stan Getz & Bill Evans is an album by jazz saxophonist Stan Getz and pianist Bill Evans recorded in 1964 for the Verve label but not released until the 1970s. The Allmusic review by Ken Dryden awarded the album 4 stars and states "It is peculiar that Verve shelved the results for over a decade before issuing any of the music, though it may have been felt that Getz and Evans hadn't had enough time to achieve the desired chemistry, though there are memorable moments".
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    Symbiosis

    • Year Released: 1974
    Symbiosis is an album by jazz pianist Bill Evans with an orchestra arranged and conducted by Claus Ogerman recorded in 1974 and released on the MPS label. It was the third orchestral album by Evans and Ogerman following Plays the Theme from the VIPs and Other Great Songs and Bill Evans Trio with Symphony Orchestra (1965). The Allmusic review awarded the album 3 stars.
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    The Bill Evans Album

    • Year Released: 1971
    The Bill Evans Album is an album by jazz pianist Bill Evans, released in 1971. At the Grammy Awards of 1972, The Bill Evans Album won the Grammy Award for Best Jazz Instrumental Solo and the Best Jazz Performance by a Group awards. The Bill Evans Memorial Library states it is the first recording in which Evans used a Fender Rhodes piano. The Bill Evans Album was reissued with three bonus alternate tracks by Sony in 2005. All songs by Bill Evans unless otherwise noted. Production notes
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    The Complete Live at the Village Vanguard 1961

    • Year Released: 2005
    The Complete Village Vanguard Recordings, 1961, a three-CD box set released in 2005, marks the first time the entire Bill Evans Trio's complete sets at the Village Vanguard on June 25, 1961 have been released in their entirety (outside of the twelve-disc set containing Evans' complete Riverside recordings). It also marks the first US release of the first take of "Gloria's Step," which is incomplete due to a power failure. These sets, from which the classic LPs Sunday at the Village Vanguard and Waltz for Debby were drawn, were the trio's final live recordings. Bassist Scott LaFaro would die in an automobile accident on July 6. The album was deemed by the Library of Congress to be "culturally, historically, or aesthetically important" and added to the United States National Recording Registry for the year 2009. Tracks marked with [S] were originally released on Sunday at the Village Vanguard. The original running order was: In addition, tracks marked with [Sb] were bonus tracks on the CD reissue. Tracks marked with [W] were originally released on Waltz for Debby. The original running order was: In addition, tracks marked with [Wb] were bonus tracks on the CD reissue.
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    The Complete Tony Bennett/Bill Evans Recordings

    • Year Released: 2009
    The Complete Tony Bennett/Bill Evans Recordings is a two-CD box set released in 2009 compiling the two recording sessions by singer Tony Bennett and pianist Bill Evans which produced The Tony Bennett/Bill Evans Album in 1975 and Together Again in 1976, including twenty alternate takes and two bonus tracks not released on the original albums.
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    The Gary McFarland Orchestra

    • Year Released: 1963
    The Gary McFarland Orchestra is an album by Gary McFarland's Orchestra with guest soloist jazz pianist Bill Evans recorded in 1963 for the Verve label. The Allmusic review by Douglas Payne states "The album is like a soundtrack celebrating the excitement of a big urban wonderland. The compositions are first-rate, McFarland's occasional vibes playing is simple and perfect. Bill Evans buoys the event with his graceful, individual style".
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    The Ivory Hunters

    • Year Released: 1959
    The Ivory Hunters is an album by jazz pianists Bill Evans and Bob Brookmeyer originally released on the United Artists label featuring performances by Evans and Brookmeyer with Percy Heath, and Connie Kay recorded in 1959. The Allmusic review by Michael G. Nastos states "Pairing a rising superstar of modern jazz with a gentleman known for playing valve trombone and arranging charts might have been deemed by some as a daunting task. Fortunately for the keyboardists, this was a good idea and a marvelous concept, where the two could use the concept of counterpoint and improvisation to an enjoyable means, much like a great chess match. For the listener, you are easily able to hear the difference between ostensible leader Evans in the right channel of the stereo separation, and the accompanist Brookmeyer in the left... Some have called this an effort based more on gimmick and showmanship, but if you agree to listen closely, the depth and substance of Evans and Brookmeyer reveals a lot of soul, invention, and musicians simply having a real good time".
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    87
    The Paris Concert, Edition One

    The Paris Concert, Edition One

    • Year Released: 1980
    The Paris Concert: Edition One is a live album by jazz pianist Bill Evans with Marc Johnson and Joe LaBarbera recorded in Paris, France in 1979 and originally released on the Elektra Musician label. Additional recordings from this concert were released as The Paris Concert: Edition Two (1980). The Allmusic review by Scott Yanow awarded the album 4½ stars and states "Evans had one of the strongest trios of his career".
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    88
    The Paris Concert: Edition Two

    The Paris Concert: Edition Two

    • Year Released: 1980
    The Paris Concert: Edition Two is a live album by jazz pianist Bill Evans with Marc Johnson and Joe LaBarbera recorded in Paris, France in 1979 and originally released on the Elektra Musician label. Additional recordings from this concert were released as The Paris Concert: Edition One (1980). The Allmusic review by Scott Yanow awarded the album 4½ stars and states "The music is sensitive and subtly exciting... and serves as evidence that, rather than declining, he was showing a renewed vitality and enthusiasm in his last year".
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    89

    The Second Trio

    The Second Trio is a double album by American jazz pianist Bill Evans. It was originally recorded in 1962 but re-mastered and reissued in 1977. It was originally issued as the two albums, one slow Moonbeams and one fast How My Heart Sings!. The bassist is Chuck Israels and the drummer is Paul Motian. These tracks were in a different order on the original two albums.
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    90
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    91
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    92

    The Solo Sessions, Vol. 1

    • Year Released: 1989
    The Solo Sessions, Vol. 1 is an album by jazz pianist Bill Evans, released in 1989. Evans recorded The Solo Sessions, Vol. 1 and Vol. 2 at the same session, on January 10, 1963. The Bill Evans Memorial Library states these sessions were never intended for release.
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    93

    The Solo Sessions, Vol. 2

    • Year Released: 1992
    The Solo Sessions, Vol. 2 is an album by jazz pianist Bill Evans, released in 1989. Evans recorded The Solo Sessions, Vol. 1 and Vol. 2 at the same session, on January 10, 1963. The Bill Evans Memorial Library states these sessions were never intended for release.
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    94
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    95

    The Tokyo Concert

    • Year Released: 1973
    The Tokyo Concert is a live album by jazz pianist Bill Evans with Eddie Gomez and Marty Morell recorded at the Yubin Chokin Hall in Tokyo, Japan in 1973 and released on the Fantasy label. The album was Evan's first release for Fantasy Records. Jazz critic Kiyoshi Koyama found that Evans' playing was different, more fresh and colourful. He - and his aficionados - also noted a change in Evans' clothes: black tuxedo, bright pink shirt; "[r]eportedly, this was the first time he had ever chosen such bold colors." The album includes "Hullo Bolinas," named after a town in California, which is one of the few Evans' piano solos; Eddie Gomez "brought the tune to Bill's attention just before the trio left for Japan." After the trio played it during a public performance, "Morell expressed the opinion that the number would have greater impact without bass and drums." Evans was convinced by Morell, so he played it alone. This piece was Evans' only piano solo of the whole Japanese tour. The Allmusic review by Ken Dryden awarded the album 4 stars and states "Although this CD doesn't rank among the Top Five live dates recorded by Bill Evans, it should be considered an essential part of his
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    96

    The Tony Bennett/Bill Evans Album

    • Year Released: 1975
    The Tony Bennett Bill Evans Album is a 1975 studio album by singer Tony Bennett, accompanied by pianist Bill Evans. Their second album together, Together Again was released in 1977. Both albums plus alternate takes and additional tracks were released on The Complete Tony Bennett/Bill Evans Recordings by Fantasy in 2009.
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    97
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    98

    Together Again

    • Year Released: 1977
    Together Again is a 1977 studio album by singer Tony Bennett, accompanied by jazz pianist Bill Evans. It was originally issued on Bennett's own Improv Records label, which went out of business later that year, but was subsequently reissued on Concord. Their first album together, The Tony Bennett/Bill Evans Album, was released by Fantasy Records in 1975. Both albums plus alternate takes and additional tracks were released on The Complete Tony Bennett/Bill Evans Recordings by Fantasy in 2009. The Allmusic review by William Ruhlman awarded the album 3 stars writing "If anything, Evans dominates this encounter more than he did the first, but it's still a good showcase for Bennett, too." Bonus tracks on CD reissue:
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    99
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    100

    Trio 64

    • Year Released: 1964
    Trio 64 is an album by American jazz musician Bill Evans, released in 1964. All the tracks can be found on the 18-volume The Complete Bill Evans on Verve box set. Writing for Allmusic, music critic Lindsay Palmer wrote of the album: "The effort spotlights their communal and intuitive musical discourse, hinging on an uncanny ability of the musicians to simultaneously hear and respond." Bonus tracks on 1997 CD reissue: Production notes:
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    101
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    102

    Undercurrent

    • Year Released: 1962
    Undercurrent is a 1962 album by jazz pianist Bill Evans and jazz guitarist Jim Hall. They would collaborate again in 1966 for the follow-up album Intermodulation. The front cover image is Toni Frissell's photograph Weeki Wachee Spring, Florida. The album was originally released on United Artists, then reissued by Solid State in 1968. More recently, the album was reissued on EMI/Blue Note (in fact, both Blue Note and United Artists Records have been owned for a long time by EMI). Original LP Bonus tracks on 2002 Blue Note CD reissue: Recorded on April 24 (#2, 7, 8) and May 14 (all others), 1962.
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    103
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    104
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    105

    Waltz for Debby

    • Year Released: 1964
    Waltz for Debby is a 1964 album by jazz musician Bill Evans and Swedish singer Monica Zetterlund. It was reissued by Verve Records in 2006. Writing for Allmusic, music critic Thom Jurek wrote of the album: "The match is seemingly perfect. Evans' lyricism is well suited to a breezy, sophisticated songstress like Monica Zetterlund. There is an iciness on this recording, but it is difficult to decipher if it is in the performance or in the engineering where she seems to be way out in front of the band, when she was really in the middle of all the musicians in the studio... The Swedish version of "Waltz for Debbie" is a true delight because Zetterlund's voice becomes another instrument, soloing over the top of Evans' stunning selection of comping chords. In all this is an odd but special item, one that is necessary — for at least one listen — by any serious fan of the pianist and composer."
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    106

    We Will Meet Again

    • Year Released: 1979
    We Will Meet Again is an album by jazz pianist Bill Evans made for Warner Bros. Records in 1979. It is notable in that it is Evans' last studio recording. At the Grammy Awards of 1981, I Will Say Goodbye won the Grammy Award for Best Jazz Instrumental Solo and We Will Meet Again won the Best Instrumental Jazz Performance, Group awards. The Allmusic review awarded the album 4 stars. All songs by Bill Evans unless otherwise noted.
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    107
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    108

    What's New

    • Year Released: 1969
    What's New is an album by jazz pianist Bill Evans, released in 1969.
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    109
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    110

    You Must Believe in Spring

    • Year Released: 1981
    You Must Believe in Spring is the title of an album by jazz pianist Bill Evans, recorded by Evans, bassist Eddie Gomez, and drummer Eliot Zigmund in August 1977 and released after Evans' death in September 1980. It was Evans's last recording sessions done with Gomez on bass, who left after eleven years with Evans to pursue other musical projects. Evans also recorded the title song as a duet with jazz vocalist Tony Bennett on their second album of duets titled Together Again (1977). Rhino reissued You Must Believe in Spring on CD in 2003 with three new Bonus Tracks added:
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    111

    You're Gonna Hear From Me

    • Year Released: 1988
    You're Gonna Hear From Me is a live album by jazz pianist Bill Evans with Eddie Gomez and Marty Morell recorded at the Jazzhus Montmartre in Copenhagen in 1969 but not released until the 1980's on the Milestone label. The same concert also produced the album Jazzhouse. The Allmusic review by Scott Yanow awarded the album 4 stars and states "Evans' regular trio of the time is in exuberant form performing before an enthusiastic crowd... An excellent all-around set".
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