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	BILL EVANS & JIM HALL Undercurrent (1987 UK issue of the dreamy 1962 6-track stereo LP collaboration between the pianist & guitarist, housed in an alternate picture sleeve. The picture sleeve & vinyl are in excellent condition with just a fewminor signs of wear & play MOIR504) Tracklisting: My Funny Valentine I Hear A Rhapsody Dream Gypsy Romain Skating In Central Park Darn That Dream
	BILL EVANS & JEREMY STEIG What's New (Deleted 2007 Japanese exclusive limited edition 7-track LP pressed on 200gram VIRGIN VINYL, originally released in 1969, a superb collaboration between Evans at the piano and Steig on flute, superbly presented in high quality pasted card sleeve with repro Verve labels, Japanese insert + obi strip) Tracklisting: 1. Straight No Chaser 2. Lover Man 3. What's New 4. Autumn Leaves 5. Time Out for Chris 6. Sparticus Love Theme 7. So What
	BILL EVANS TRIO Trio '65 (Acoustic Sounds Verve Series limited ediiton 8-track LP mastered by Ryan K. Smith at Sterling Sound from the original analogue tapes, pressed on 180-gram vinyl at Quality Record Pressings. Evans is joined hereby bassist Chuck Israels and drummer Larry Bunker for this 1965 recording, including the heart-wrenching Who Can I Turn To? alongside If You Could See Me Now and Johnny Carisi's Israel. High quality gatefold picture replicating the original artwor Tracklisting: k, hype sticker and factory sealed. Essential)��There's scarcely a more towering figure in modern jazz � save Miles and Coltrane � than the great Bill Evans. His relaxed and emotional style at the piano would prove influential to not only his peers but to generations of pianists who would follow him. It also doesn't hurt, points out thejazzrecord.com, that he appeared on (and had great influence over the direction of) Kind Of Blue and that the two LPs from his trio's landmark stint at the Village Vanguard in 1961 (Waltz For Debby and Sunday At The Village Vanguard) are both stone-cold classics. Evans is joined here by none other than bassist Chuck Israels and drummer Larry Bunker for this 1965 recording. The album includes the heart-wrenching "Who Can I Turn To?" alongside "If You Could See Me Now" and Johnny Carisi's "Israel." "Although all eight of the selections heard on this Verve release have been recorded on other occasions by pianist Bill Evans, these renditions hold their own," writes AllMusic. Musicians: Bill Evans, piano Chuck Israels, bass Larry Bunker, drums Side A 1. Israel 2. Elsa 3. Round Midnight 4. Our Love Is Here To Stay Side B 1. How My Heart Sings 2. Who Can I Turn To? 3. Come Rain Or Come Shine 4. If You Could See Me Now ...
	BILL EVANS TRIO Portrait In Jazz (2019 US pressed Strictly Limited Edition 9-track double LP pressed on Audiophile quality 180gram Heavyweight SUPER VINYL - It's impossible to exaggerate the stature, brilliance, and splendor of Bill Evans' 1960 'Portrait in Jazz' and NOW, mastered from the original master tapes, Mobile Fidelity's opulent UD1S [UltraDisc One-Step] box set places Evans and his esteemed colleagues in your listening room. Every note, harmonic, and movement captu Tracklisting: redby the microphones are reproduced with exquisite accuracy and wowing clarity. Close your eyes and you're practically at Reeves Sound Studios in New York City in late December 1959. Both discs remain in UNPLAYED condition housed within the luxurious 12.5" x 12.5" x 1" two-piece gold-embossed boxset which is indvidually hand-numbered on the back and remains SEALED within its original shrinkwrap!)��A1. Come Rain Or Come Shine 3:17 A2. Autumn Leaves 5:22 B1. Witchcraft 4:30 B2. When I Fall In Love 4:50 B3. Peri's Scope 3:11 C1. What Is This Thing Called Love? 4:33 C2. Spring Is Here 5:01 D1. Some Day My Prince Will Come 4:48 D2. Blue In Green 5:18 Mastered from the Original Master Tapes with Mobile Fidelity's One-Step Process: The Ultimate Analog Version of Bill Evans' Studio Breakthrough Luxurious Packaging Includes Opulent Box, Foil-Stamped Jackets, MoFi SuperVinyl LPs Pressed at RTI: Strictly Limited to 6,000 Numbered Copies It's impossible to exaggerate the stature, brilliance, and splendor of Bill Evans' Portrait in Jazz. The result of Evans having collaborated just eight months prior with Miles Davis, John Coltrane, and company on the watershed Kind of Blue and soon after finding a bassist (Scott LaFaro) who suited his style and boasted world-class chops, the 1960 album established the standard that all similarly configured jazz trios continue to follow. This is the moment the bass, until then relegated to accompaniment status, gets an equal say in the compositions with the piano. That Evans, LaFaro, and drummer Paul Motian deliver each passage with resplendent soulfulness, poetic modality, and sublime empathy only adds to its charm. Not to mention Orrin Keepnews' demonstration-quality production that now sounds utterly transcendent. Mastered from the original master tapes, pressed at RTI on MoFi SuperVinyl, and strictly limited to 6,000 numbered copies, Mobile Fidelity's opulent UD1S (UltraDisc One-Step) box set provides sonic and tactile experiences that match the quality of the music within Evans' studio breakthrough. You'll enjoy deep-black backgrounds, pointillistic details, and staggering dynamics. Experienced via UD1S, Portrait in Jazz places Evans and his esteemed colleagues in your listening room. Every note, harmonic, and movement captured by the microphones are reproduced with exquisite accuracy and wowing clarity. Close your eyes at you're practically at Reeves Sound Studios in New York City in late December 1959. The lavish packaging and luxurious presentation of Mobile Fidelity's Portrait in Jazz UD1S pressing befit its extremely select status. Housed in a deluxe box, the collectible version contains special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. Aurally and visually, it exists a curatorial artifact meant to be preserved, poured over, touched, and examined. It is made for discerning listeners that prize sound quality and creativity, and who desire to fully immerse themselves in the art � and everything involved with the album, from the images to the textures and liner notes. Pored over by generations of listeners and musicians alike to grasp the group's then-revolutionary approach, high-wire interplay, and seamless chemistry, Portrait in Jazz retains a blend of timeless classicism and forward-looking modernism that makes it as revered now as it was nearly six decades ago. The three instrumentalists operate in complete unison and achieve supreme democratic balance. Expressing their intent via shared conversations, they alight on sublime pieces flush with thematic discovery, swing-based dialogue, and raw feeling. Writing for The Penguin Guide to Jazz, Richard Cook and Brian Morton attempt to put it all into context: "The bassist's melodic sensitivity and insinuating sound flowed between Evans and Motian like water...the playing of the three men is so sympathetic that it set a universal standard for the piano-bass-drums setup [that] has persisted to this day." Indeed, hearing Evans and his mates put their signature stamp on standards ("Come Rain or Come Shine," "Witchcraft," "Autumn Leaves") and originals ("Peri's Scope," "Blue in Green") is akin to witnessing new trails blazed for generations to come. Their Evans-deemed "simultaneous improvisation" teems with freshness and sensitivity, their rhythms and lines pregnant with an irresistible combination of vulnerability, confidence, energy, and elan. To even think Portrait in Jazz marked the first session with LaFaro boggles the mind. To then consider the man Evans credited as "more or less the father or the wellspring of modern players" would be dead 18 months after completing the record in the studio invokes a cascade of emotions � and lends even greater gravitas to the work's import. History only allows for so many "firsts." Portrait in Jazz claims such a designation. It meets every definition of must-have and you'll never hold or hear a better copy than Mobile Fidelity's UD1S edition.
	BILL EVANS A Simple Matter Of Conviction (1967 UK 9-track stereo LP, also featuring Eddie Gomez on bass and Shelly Manne drums, front laminated flipback picture sleeve. There is some damage to the bottom flipback of the sleeve yet the spine is perfectly legible and the vinyl looks barely played SVLP9161) Tracklisting: 1. A Simple Matter Of Conviction 2. Stella By Starlight 3. Unless It's You 4. Laura 5. My Melancholy Baby 6. I'm Getting Sentimental Over You 7. Star Eyes 8. Only Child 9. These things Called Changes
	BILL EVANS Portraits at the Penthouse: Live in Seattle (RSD Black Friday 2025 US 12-track LP, pressed on 180-gram Vinyl. Portraits at the Penthouse: Live in Seattle presents the first official release of Bill Evans'1966 performances at the Penthouse jazz club in Seattle, recorded on May 12th and 19th with bassist Eddie Gomez and drummer Joe Hunt. Includes an extensive booklet featuring rare photographs, newly commissioned liner notes by Tracklisting: Marc Myers, and reflections from Eddie Gomez, Joe Hunt and Bob James. Housed in a deluxe hand-numbered gatefold picture sleeve with hype-sticker. Limited to only 5000 copies)��Side One 1. Intro 2. How My Heart Sings 3. 'Round Midnight 4. Come Rain or Come Shine 5. Nardis 6. Elsa Side Two 1. Time Remembered 2. Who Can I Turn To? 3. Detour Ahead 4. Autumn Leaves 5. How My Heart Sings 6. I Should Care Key Features � First official release of the 1966 Penthouse recordings � Recorded live at the Penthouse jazz club, Seattle � Features Bill Evans with Eddie Gomez and Joe Hunt � Transferred from the original tapes; restored & mastered by Matthew Lutthans � 180-gram pressing at Le Vinylist (Quebec) � Includes extensive booklet with rare photos, new liner notes by Marc Myers, and interviews/testimonials

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