Bill Evans – The Tokyo Concert {Fantasy}[OJC]


Review by Ken Dryden ~allmusic.com
The Bill Evans Trio’s 1973 concert in Tokyo was his first recording for Fantasy and it produced yet another Grammy nomination for the presentation. With bassist Eddie Gomez and drummer Marty Morell, this straight reissue of the original LP mixes offbeat songs with overlooked gems, familiar standards, and surprisingly, only one Evans composition, the demanding “T.T.T.T. (Twelve Tone Tune Two).” Bobbie Gentry’s “Mornin’ Glory” was an unusual choice to open the performance and seems a bit conservative for Evans. The adrenaline picks up considerably with his mid-tempo waltzing take of Jerome Kern’s “Up With the Lark” and a driving “My Romance.” Evans also revisits the twisting Scott LaFaro tune “Gloria’s Step,” which showcases both Gomez and Morell. The closer, “On Green Dolphin Street,” is given a slight bossa nova flavor and isn’t nearly as aggressive as most of the pianist’s live recordings of this popular standard. 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 discography. It seems odd that no additional music turned up for this reissue, as the concert is just under an hour long; all nine tracks are included in the boxed set The Complete Fantasy Recordings.

Tracklist:
01. Mornin’ Glory (5:48)
02. Up with the Lark (6:48)
03. Yesterday I Heard the Rain (6:33)
04. My Romance (8:43)
05. When Autumn Comes (6:05)
06. T.T.T.T. (Twelve Tone Tune Two) (6:38)
07. Hullo Bolinas (4:01)
08. Gloria’s Step (7:57)
09. On Green Dolphin Street (6:47)

Personnel:
Bill Evans – piano
Eddie Gomez – bass
Marty Morell – drums

Recorded in performance at Yubin Chokin Hall, Tokyo, Japan; January 20, 1973.
Digital mastering, 1990 – Phil De Lancie; Fantasy Studios, Berkeley.
Produced by Helen Keane.

Genre: Jazz
Style: Mainstream, Post-Bop
Label: Fantasy / OJC
Year: 1990
Time: 59:19

Quality-1: flac (tracks, eac, cue, log) + full scans
Quality-2: mp3@320 + full scans

Bill Evans with Philly Joe Jones – Green Dolphin Street {Riverside}[xrcd]


Review by Scott Yanow (allmusic.com)

This obscure Bill Evans trio set (with bassist Paul Chambers and drummer Philly Joe Jones) went unissued until the mid-’70s when the pianist decided that it was worth releasing as a fine example of bassist Chambers’ work. Very much a spontaneous set (recorded after the rhythm section made part of a record accompanying trumpeter Chet Baker), the group runs through a few standards such as “You and the Night and the Music,” “Green Dolphin Street,” and two versions of “Woody ‘N You.” 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).

Tracks:
01 – You and the Night and the Music
02 – My Heart Stood Still
03 – Green Dolphin Street
04 – How am I to Know?
05 – Woody’n You (take 1)
06 – Woody’n You (take 2)
07 – Loose Bloose

Personnel:
Bill Evans – piano
Zoot Sims – tenor sax
Jim Hall – guitar
Paul Chambers, Ron Carter – bass
Philly Joe Jones – drums

Recorded at Reeves Sound Studios, New York City; January 19, 1959 (tracks: 1-6)
Recorded at Nola Penthouse Sound Studios, New York City; August 21, 1962 (track: 7)
Style: Cool, Post-Bop, Mainstream Jazz – Year: 1999

Quality: eac, flac, cue, log, scans

{re-uploaded}

Bill Evans – The Bill Evans Album {SONY}


Review by Scott Yanow (allmusic.com)

On this CD reissue (which adds three “new” alternate takes to the original seven song-program), Bill Evans made his debut on electric piano, usually playing it in conjunction with his acoustic piano. Joined by bassist Eddie Gomez and drummer Marty Morell, Evans performs seven of his stronger originals including “Funkallero,” “The Two Lonely People,” “Re: Person I Knew,” “T.T.T.” and “Waltz for Debby.” Although not as distinctive on the electric keyboard as he was on the acoustic counterpart, Evans sounds inspired by its possibilities and is heard in top creative form throughout the date.

Tracks:
01 – Funkallero
02 – The Two Lonely People
03 – Sugar Plum
04 – Waltz for Debby
05 – T.T.T. (Twelve Tone Tune)
06 – Re: Person I Knew
07 – Comrade Conrad
08 – Waltz for Debby (alternate)
09 – Re: Person I Knew (alternate)
10 – Funkallero (alternate)

Personnel:
Bill Evans – acoustic and electric piano
Eddie Gomez – acoustic bass
Marty Morrell – drums

Recorded at Columbia Records 30th Street Studio, New York City;
on May 11, 12, 17, 19, 20 and June 9; 1971.

Quality: eac, flac, cue, log, artwork

Bill Evans with Jeremy Steig – What’s New {Verve} “Japan”


Review by “Andrew (Denver, Colorado)” (amazon.com)

Bill Evans did not record too many collaborations with other artists outside of his own trios, probably because few could hold their own in the presence of his intensely emotional improvisations. Well known are his fine recordings with Jim Hall and the album he made with Toots Tiellemans – Affinity.
Far less so is this session with Jeremy Steig, son of the more famous cartoonist William Steig. Jeremy’s main efforts were in the Jazz Fusion field which was in vogue in the late sixties and early seventies. This recording attests to his astonishing ability in the straight ahead jazz genre. More importantly, the level of his emotional expression at least puts him in Evan’s musical ball park, and Evans,in turn, seems to be inspired by Steig’s breathy and adventurous solos.
The original album was tough to find, so this reissue is very welcome, particularly with so few jazz flautists currently active. Highly recommended.

Tracks:
01 – Straight No Chaser
02 – Lover Man
03 – What’s New
04 – Autumn Leaves
05 – Time Out for Chris
06 – Spartacus Love Theme
07 – So What

Personnel:
Jeremy Steig – flute
Bill Evans – piano
Eddie Gomez – bass
Marty Morrell – drums

Recorded at Webster Hall, N.Y.C., on Jan. 30, Feb. 3, 4, 5 and March 11, 1969

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Bill Evans Trio – Moon Beams {Riverside} “Analogue Productions”


Review by Review by Thom Jurek (allmusic.com)

Moonbeams was the first recording Bill Evans made after the death of his musical right arm, bassist Scott LaFaro. Indeed, in LaFaro, Evans found a counterpart rather than a sideman, and the music they made together over four albums showed it. Bassist Chuck Israels from Cecil Taylor and Bud Powell’s bands took his place in the band with Evans and drummer Paul Motian and Evans recorded the only possible response to the loss of LaFaro — an album of ballads. The irony on this recording is that, despite material that was so natural for Evans to play, particularly with his trademark impressionistic sound collage style, is that other than as a sideman almost ten years before, he has never been more assertive than on Moonbeams. It is as if, with the death of LaFaro, Evans’ safety net was gone and he had to lead the trio alone. And he does first and foremost by abandoning the impressionism in favor of a more rhythmic and muscular approach to harmony. The set opens with an Evans original, “RE: Person I Knew,” a modal study that looks back to his days he spent with Miles Davis. There is perhaps the signature jazz rendition of “Stairway to the Stars,” with its loping yet halting melody line and solo that is heightened by Motian’s gorgeous brush accents in the bridge section. Other selections are so well paced and sequenced the record feels like a dream, with the lovely stuttering arpeggios that fall in “If You Could See Me Now,” and the cascading interplay between Evan’s chords and Israel’s punctuation in “It Might As Well Be Spring,” a tune Evans played for the rest of his life. The set concludes with a waltz in “Very Early,” that is played at that proper tempo with great taste and delicate elegance throughout, there is no temptation by the rhythm section to charge it up or to elongate the harmonic architecture by means of juggling intervals. Moonbeams was a startling return to the recording sphere and a major advancement in his development as a leader.

Tracks:
01 – Re: Person I Knew
02 – Polka Dots and Moonbeams
03 – I Fall in Love Too Easily
04 – Stairway to the Stars
05 – If You Could See Me Now
06 – It Might As Well Be Spring
07 – In Love in Vain
08 – Very Early

Personnel:
Bill Evans – piano
Chuck Israels – bass
Paul Motian – drums

Recorded in New York; June 2, 1962 (selections #2-4, 6, 7);
May 29, 1962 (#1, 8); May 17, 1962 (#5)

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Bill Evans Trio – Portrait in Jazz {Riverside}[DCC]


Review by Scott Yanow (allmusic.com)

The first of two studio albums by the Bill Evans-Scott LaFaro-Paul Motian trio (both of which preceded their famous engagement at the Village Vanguard), this Portrait in Jazz reissue contains some wondrous interplay, particularly between pianist Evans and bassist LaFaro, on the two versions of “Autumn Leaves.” Other than introducing Evans’ “Peri’s Scope,” the music is comprised of standards, but the influential interpretations were far from routine or predictable at the time. LaFaro and Motian were nearly equal partners with the pianist in the ensembles and their versions of such tunes as “Come Rain or Come Shine,” “When I Fall in Love,” and “Someday My Prince Will Come” (which preceded Miles Davis’ famous recording by a couple years) are full of subtle and surprising creativity. A gem.

Tracks:
01 – Come Rain or Come Shine
02 – Autumn Leaves
03 – Witchcraft
04 – When I Fall in Love
05 – Peri’s Scope
06 – What is this Thing Called Love?
07 – Spring is Here
08 – Someday My Prince will Come
09 – Blue in Green
10 – Autumn Leaves (alternate – monarual LP version)

Personnel:
Bill Evans – piano
Scott LaFaro – bass
Paul Motian – drums

Recorded at Plaza Sound Studios, Rockefeller Center, NY, on December 28, 1959

Quality: eac, flac, cue, log, artwork

Bill Evans – Trio ’64 {Verve} “Master Edition”


Review by Lindsay Planer (allmusic.com)

Joining Bill Evans (piano) on Trio ’64 — his initial first three-piece recording for Verve — is the compact rhythm section of Gary Peacock (bass) and Paul Motian (drums). The effort spotlights their communal and intuitive musical discourse, hinging on an uncanny ability of the musicians to simultaneously hear and respond. All the more interesting, Evans had not interacted in this setting before, having most recently worked with Chuck Israels (bass) and Larry Bunker (drums). The personable opener, “Little Lulu,” features the aggregate melodically molding individual and distinct sonic characteristics. Evans’ nimble and emphatic syncopation is not only ably supported, but framed by Peacock’s expressive runs and Motian’s acute sense of timing. “A Sleeping Bee” is one of the collection’s most endearing selections as the groove playfully scintillates surrounding some hauntingly poignant chord changes. Evans bandies back and forth with Peacock, the latter likewise providing a stellar solo. “Always” captures a similar effervescence as the instrumentalists ebb and flow in synchronicity. Since the December 18 session was held the week before Christmas 1963, they fittingly tote out “Santa Claus Is Coming to Town,” creating a minor masterpiece of post-bop from what could easily have started as a spontaneous seasonal suggestion. Noël Coward’s “I’ll See You Again” bears a brisk waltz persona, enabling the unit to fluently weave its offerings without obstructing the otherwise affective tune. Concluding Trio ’64 is Rodgers & Hart’s standard “Everything Happens to Me,” with an unhurried tempo lingering just long enough to embrace the familiar refrain. Evans sparkles, gliding around Peacock’s full-bodied basslines and Motian’s solid yet restrained beat.

Tracks:
01 – Little Lulu
02 – A Sleepin’ Bee
03 – Always
04 – Santa Claus is Coming to Town
05 – I’ll See You Again
06 – For Heaven’s Sake
07 – Dancing in the Dark
08 – Everything Happens to Me
09 – Little Lulu (bonus track #1)
10 – Little Lulu (bonus track #2)
11 – Always (bonus track)
12 – I’ll See You Again (bonus track)
13 – My Heart Stood Still (bonus track){unused title}
14 – Always (bonus){incomplete selection}
15 – I’ll See You Again (bonus){incomplete selection}
16 – My Heart Stood Still (bonus){incomplete selection}[false starts]

Personnel:
Bill Evans – piano
Gary Peacock – bass
Paul Motian – drums

Recorded December, 1963

Quality: eac, flac, cue, log, artwork

Chet Baker – Chet {Riverside}[OJC]


Review by Scott Yanow (allmusic.com)

The shifting personnel on this excellent CD find Chet Baker joined by such players as baritonist Pepper Adams, flutist Herbie Mann, pianist Bill Evans, and guitarist Kenny Burrell. This reissue of an LP adds one selection (“Early Morning Mood”) formerly only available on a sampler. Fine straight-ahead music that comes from the tail end of the West Coast jazz era.

Tracks:
01 – Alone Together
02 – How High The Moon
03 – It Never Entered My Mind
04 – ‘Tis Autumn
05 – If You Could See Me Now
06 – September Song
07 – You’d Be So Nice To Come Home To
08 – Time On My Hands (You In My Arms)
09 – You and the Night and the Music
10 – Early Morning Mood

Personnel:
Chet Baker – trumpet
Pepper Adams – baritone sax
Herbie Mann – flute
Kenny Burrell – guitar
Bill Evans – piano
Paul Chambers – bass
Connie Kay, Philly Joe Jones – drums

Recorded in New York City; December 30, 1958 and January 19, 1959

Quality: eac, flac, cue, log, artwork

Miles Davis – Kind of Blue “50th Anniversary Collector’s Edition” [2CD] {Columbia}


~wikipedia.org
Kind of Blue is a studio album by American jazz musician Miles Davis, released August 17, 1959, on Columbia Records in the United States. Recording sessions for the album took place at Columbia’s 30th Street Studio in New York City on March 2 and April 22, 1959. The sessions featured Davis’s ensemble sextet, which consisted of pianists Bill Evans and Wynton Kelly, drummer Jimmy Cobb, bassist Paul Chambers, and saxophonists John Coltrane and Julian “Cannonball” Adderley. After the inclusion of Bill Evans into his sextet, Davis followed up on the modal experimentations of Milestones (1958) and 1958 Miles (1958) by basing the album entirely on modality, in contrast to his earlier work with the hard bop style of jazz.

Though precise figures have been disputed, Kind of Blue has been cited by many music writers not only as Davis’s best-selling album, but as the best-selling jazz record of all time. On October 7, 2008, it was certified quadruple platinum in sales by the Recording Industry Association of America (RIAA). It has been regarded by many critics as the greatest jazz album of all time and Davis’s masterpiece. The album’s influence on music, including jazz, rock, and classical music, has led music writers to acknowledge it as one of the most influential albums of all time. In 2002, it was one of fifty recordings chosen that year by the Library of Congress to be added to the National Recording Registry. In 2003, the album was ranked number 12 on Rolling Stone magazine’s list of the 500 greatest albums of all time.

Review by Stephen Thomas Erlewine ~allmusic.com
Kind of Blue isn’t merely an artistic highlight for Miles Davis, it’s an album that towers above its peers, a record generally considered as the definitive jazz album, a universally acknowledged standard of excellence. Why does Kind of Blue posses such a mystique? Perhaps because this music never flaunts its genius. It lures listeners in with the slow, luxurious bassline and gentle piano chords of “So What.” From that moment on, the record never really changes pace — each tune has a similar relaxed feel, as the music flows easily. Yet Kind of Blue is more than easy listening. It’s the pinnacle of modal jazz — tonality and solos build from the overall key, not chord changes, giving the music a subtly shifting quality. All of this doesn’t quite explain why seasoned jazz fans return to this record even after they’ve memorized every nuance. They return because this is an exceptional band — Miles, Coltrane, Bill Evans, Cannonball Adderley, Paul Chambers, Jimmy Cobb — one of the greatest in history, playing at the peak of its power. As Evans said in the original liner notes for the record, the band did not play through any of these pieces prior to recording. Davis laid out the themes before the tape rolled, and then the band improvised. The end results were wondrous and still crackle with vitality. Kind of Blue works on many different levels. It can be played as background music, yet it amply rewards close listening. It is advanced music that is extraordinarily enjoyable. It may be a stretch to say that if you don’t like Kind of Blue, you don’t like jazz — but it’s hard to imagine it as anything other than a cornerstone of any jazz collection. [Legacy’s greatly expanded 50th Anniversary Collector’s Edition was issued in 2008.]

Tracklist, disc one:
01. So What (9:25)
02. Freddie Freeloader (9:49)
03. Blue in Green (5:38)
04. All Blues (11:36)
05. Flamenco Sketches (9:26)
06. Flamenco Sketches (alternate take) (9:34)
07. Freddie Freeloader – studio sequence 1 (0:53)
08. Freddie Freeloader – false start (1:28)
09. Freddie Freeloader – studio sequence 2 (1:31)
10. So What – studio sequence 1 (1:56)
11. So What – studio sequence 2 (0:14)
12. Blue in Green – studio sequence (1:59)
13. Flamenco Sketches – studio sequence 1 (0:45)
14. Flamenco Sketches – studio sequence 2 (1:12)
15. All Blues – studio sequence (0:19)

Tracklist, disc two:
01. On Green Dolphin Street (9:50)
02. Fran-Dance (5:50)
03. Stella by Starlight (4:47)
04. Love for Sale (11:49)
05. Fran-Dance (alternate take) (5:54)
06. So What (previously released in unauthorized form) (17:29)

Personnel:
Miles Davis – trumpet
Cannonball Adderley – alto saxophone
John Coltrane – tenor saxophone
Wynton Kelly, Bill Evans – piano
Paul Chambers – bass
Jimmy Cobb – drums

Recorded May 26, 1958 – Apr 9, 1960 at 30th Street Studio; New York
Produced by Teo Macero and Irving Townsend

Genre: Jazz
Style: Hard Bop, Post Bop
Label: Columbia – 50th Anniversary Collector’s Edition
Year: 2008
Time: 65:44 + 55:39

Quality-1: flac (tracks, eac, cue, log) + full artwork
Quality-2: mp3@320 + full artwork

Bill Evans Trio – I Will Say Goodbye {Fantasy}[OJC]


Review by Scott Yanow (allmusic.com)

The title refers to the Michel Legrand piece performed twice on the date, and to the fact that pianist Bill Evans was on the verge of switching labels from Fantasy to Warner Bros. For his final Fantasy album, Evans, bassist Eddie Gómez, and drummer Eliot Zigmund perform memorable renditions of such songs as Herbie Hancock’s “Dolphin Dance,” Johnny Mandel’s “Seascape,” and Burt Bacharach’s underrated “A House Is Not a Home.” The CD reissue adds two additional selections (“Nobody Else But Me” and “Orson’s Theme”) from this excellent series of sessions. Fine post-bop music from an influential piano giant.

Tracks:
01 – I Will Say Goodbye
02 – Dolphin Dance
03 – Seascape
04 – Peau Douce
05 – Nobody Else But Me
06 – I Will Say Goodbye (take 2)
07 – The Opener
08 – Quiet Light
09 – A House is Not a Home
10 – Orson’s Theme

Personnel:
Bill Evans – piano
Eddie Gomez – bass
Eliot Zigmund – drums

Quality: eac, flac, cue, log, artwork

Bill Evans – Affinity (with Toots Thielemans) {WarnerBros}


Review by Scott Yanow (allmusic.com)

Pianist Bill Evans (who doubles on electric piano on this album for the final time in the recording studio) welcomes guest harmonica player Toots Thielemans and Larry Schneider (on tenor, soprano and alto flute) to an outing with bassist Marc Johnson (making his recording debut with Evans) and drummer Eliot Zigmund. The material contains some surprises (including Paul Simon’s “I Do It for Your Love” and Michel Legrand’s “The Other Side of Tonight”) and only two jazz standards (“Body & Soul” and “Blue and Green”) with the latter being the only Evans composition. Excellent if not essential music that Evans generally uplifts.

Tracks:
01 – I Do It for Your Love
02 – Sno’ Peas
03 – This is All I Ask
04 – The Days of Wine and Roses
05 – Jesus’ Last Ballad
06 – Tomato Kiss
07 – The Other Side of Midnight (Noelle’s Theme)
08 – Blue and Green
09 – Body & Soul

Personnel:
Bill Evans – acoustic and electric piano
Toots Thielemans – harmonica
Marc Johnson – acoustic bass
Eliot zigmund – drums
Larry Schneider – tenor and soprano sax; alto flute

Recorded at Columbia Studios, 30th Street, NYC;
October 30&31; November 1&2, 1978.

Quality: eac, flac, cue, log, artwork

Bill Evans Trio – Waltz for Debby {Riverside} “Analogue Productions”


Review by Thom Jurek (allmusic.com)

Recorded at the Village Vanguard in 1961, shortly before Scott LaFaro’s death, Waltz for Debby is the second album issued from that historic session, and the final one from that legendary trio that also contained drummer Paul Motian. While the Sunday at the Village Vanguard album focused on material where LaFaro soloed prominently, this is far more a portrait of the trio on those dates. Evans chose the material here, and, possibly, in some unconscious way, revealed on these sessions — and the two following LaFaro’s death (Moonbeams and How My Heart Sings!) — a different side of his musical personality that had never been displayed on his earlier solo recordings or during his tenures with Miles Davis and George Russell: Evans was an intensely romantic player, flagrantly emotional, and that is revealed here in spades on tunes such as “My Foolish Heart” and “Detour Ahead.” There is a kind of impressionistic construction to his harmonic architecture that plays off the middle registers and goes deeper into its sonances in order to set into motion numerous melodic fragments simultaneously. The rhythmic intensity that he displayed as a sideman is evident here in “Milestones,” with its muscular shifting time signature and those large, flatted ninths with the right hand. The trio’s most impressive interplay is in “My Romance,” after Evans’ opening moments introducing the changes. Here Motian’s brushwork is delicate, flighty and elegant, and LaFaro controls the dynamic of the tune with his light as a feather pizzicato work and makes Evans’ deeply emotional statements swing effortlessly. Of the many recordings Evans issued, the two Vanguard dates and Explorations are the ultimate expressions of his legendary trio.

Tracks:
01 – My Foolish Heart
02 – Waltz for Debby
03 – Detour Ahead
04 – My Romance
05 – Some Other Time
06 – Milestones

Personnel:
Bill Evans – piano
Scott LaFaro – bass
Paul Motian – drums

Recorded live at the Village Vanguard, New York City; on June 25, 1961

Quality: eac, flac, cue, log, artwork

Tony Bennett & Bill Evans Album {Fantasy}[OJC]


Review by William Ruhlmann (allmusic.com)
Having completed his relatively brief sojourn with MGM/Verve with 1973’s Listen Easy, Tony Bennett was in the midst of forming his own label, Improv Records, when he made a deal with jazz pianist Bill Evans to cut two LPs, this one for Evans’ label, Fantasy Records, with another to follow on Improv. The singer and his collaborator (“accompanist” does not adequately describe Evans’ contribution, and in any case he received co-billing) got together in a recording studio over four days in June 1975 with no one other than the producer, Helen Keane and an engineer present, and quickly recorded one of the best albums of either’s career. For Bennett, it was a dream project; for years (decades, actually), he had been balancing the demands of commerciality with his own inclinations toward jazz and affection for the songs of Broadway masters and of the Great American Songbook. Left to himself with a jazz partner, he naturally gravitated toward both interests. There were songs here that he had already recorded, but never in so unadorned and yet fully realized a fashion. Evans was an excellent accompanist, using his steady left hand to keep his singer centered, but ready, whenever the vocals were finished, to go off into his characteristically lyrical playing. Bennett could seem a bit earthbound when he came back in (he still wasn’t really a jazz singer), but his obvious enthusiasm for the project, coupled with his mastery of phrasing in songs he understood perfectly made him an equal in the partnership. As far as the major-label record business was concerned, the 46-year-old singer might have been over the hill and indulging himself, but in fact he was in his prime and finally able to pursue his ambitions unfettered, and that would prove itself a major boost to his career over time. For the moment, he’d made an excellent jazz-pop hybrid in which both musicians were shown off to advantage. [The five alternate takes included as bonus tracks on the 2006 reissue of the album are, not surprisingly, more interesting for Evans’ different improvisations than for anything else. But they also demonstrate that he and Bennett tried different approaches to the tunes. The album’s lead-off track, “Young and Foolish,” begins with both Bennett and Evans on the refrain, but the alternate take starts with Evans alone, followed by Bennett singing the song’s introductory verse instead; the version runs a minute longer. The alternate take of “The Touch of Your Lips,” on the other hand, is at a faster tempo and a minute shorter. None of the alternate takes actually improves on the originally released ones, but they show how well considered the album was.]

Tracklist:
01 – Young and Foolish 03:54
02 – The Touch of Your Lips 03:56
03 – Some Other Time 04:42
04 – When in Rome 02:55
05 – We’ll Be Together Again 04:39
06 – My Foolish Heart 04:51
07 – Waltz for Debby 04:04
08 – But Beautiful 03:36
09 – Days of Wine and Roses 02:22

Personnel:
Tony Bennett – vocals
Bill Evans – piano

Recorded at Fantasy Studios, Berkeley, CA; June 10-13, 1975.

Label: Fantasy / OJC
Year: 1991
Genre: Jazz
Style: Vocal Jazz, Post Bop
Total Time: 34:58

Quality: eac, flac, cue, log, artwork