quête:fool

Produced by J Lloyd (Jungle 12M MLs) and James Skelly, What Can I Say After I'm Sorry? ushers in the start of the band's 5th album campaign. The album titled Gary is named after a 8 foot fibre glass gorilla was stolen from a Lanarkshire Garden Centre in early 2023, and since then there has been a campaign to locate him, his rear end was recently found, but his frontage is still missing! Cameo from Everton Football Manager Sean Dyche…



The band's 5th album comes after four top 5 albums in the UK. Blossoms’ 2016 debut topped the album charts for two consecutive weeks and went on to earn the band BRIT Award and Mercury Prize nominations, while 2018’s Cool Like You charted at Number 4 in the UK album chart, spawning the anthemic singles I Can’t Stand It, There’s A Reason Why (I Never Returned Your Calls) and How Long Will This Last? Their third studio album, 2020’s Foolish Loving Spaces was the band’s second UK Number 1 album and following the release of In Isolation/Live From The Plaza Theatre, Stockport in 2020

8/10 REVIEW IN METAL HAMMER : ‘’YOU GET THE FULL ON THRASH AND SLAYER-ESQUE SQUALLS OF FIRING SQUAD ALONGSIDE THE AWESOME CRUNCH OF AND GROOVE OF EXECUTIONER’S TAX (SWING OF THE AXE). IT SOUNDS IMMENSE’’

A razor sharp recording that effectively proves how lethal this band was in the flesh. As the title states this album was recorded live in Seattle at Neumos 5/28/18.

The set list is a brutal selection of cuts from the Nightmare Logic & Manifest Decimation albums + a deep cut/fan favourite: “Suffer No Fool" . 11 killer thrashing tracks full of all the fire and venom that only this band can deliver.

8/10 REVIEW IN METAL HAMMER : ‘’YOU GET THE FULL ON THRASH AND SLAYER-ESQUE SQUALLS OF FIRING SQUAD ALONGSIDE THE AWESOME CRUNCH OF AND GROOVE OF EXECUTIONER’S TAX (SWING OF THE AXE). IT SOUNDS IMMENSE’’

A razor sharp recording that effectively proves how lethal this band was in the flesh. As the title states this album was recorded live in Seattle at Neumos 5/28/18.

The set list is a brutal selection of cuts from the Nightmare Logic & Manifest Decimation albums + a deep cut/fan favourite: “Suffer No Fool" . 11 killer thrashing tracks full of all the fire and venom that only this band can deliver.

8/10 REVIEW IN METAL HAMMER : ‘’YOU GET THE FULL ON THRASH AND SLAYER-ESQUE SQUALLS OF FIRING SQUAD ALONGSIDE THE AWESOME CRUNCH OF AND GROOVE OF EXECUTIONER’S TAX (SWING OF THE AXE). IT SOUNDS IMMENSE’’

A razor sharp recording that effectively proves how lethal this band was in the flesh. As the title states this album was recorded live in Seattle at Neumos 5/28/18.

The set list is a brutal selection of cuts from the Nightmare Logic & Manifest Decimation albums + a deep cut/fan favourite: “Suffer No Fool" . 11 killer thrashing tracks full of all the fire and venom that only this band can deliver.

Everything is out of control / from melting pots to melting poles - das aktuelle Album der Grazer Alternative-Bande The Base lässt unsere Welt abgeranzt und hässlich glänzen. So beginnt es gleich wie ein dunkler, erdiger field holler. Bei einem field holler rufen sich Sklaven, Gefangene oder Zwangsarbeiter Worte und Sätze zu, die durch ihre Wiederholung den Rhythmus zum Arbeiten angeben - und zum Überleben. Sing or die! Everything falls apart / and everyone is acting smart. Norbert Wally und seine beiden Spießgesellen starten ihre torture de force im tiefen Süden, in der Ursuppe des Rock`n`Roll, im tiefen Sumpfland des Delta-Blues. Aber The Base sind weit davon entfernt, eine Bluesplatte aus dem Schlamm und Dreck auszugraben. Bei "It's all Going South" stehen eher Bands wie Fun Lovin' Criminals, The Clash oder Pixies Pate. The Base verstehen Blues als Brandbeschleuniger: Die Stories, die Statements, die Visionen - kaum je waren Norbert Wally (Voice/Guitars), Albrecht Klinger (Bass) und Karlheinz Miklin Jr. (Drums) so politisch, so sozialkritisch, so wütend. Und nie waren sie so sarkastisch wie 2024. Blues, das heißt Tanzen auf dem Vulkan. Lachen beim eigenen Begräbnis. Und die Fäuste ballen, wenn miese Abzocker das Gute und Schöne beflecken um aus der Wahrheit eine Ware zu machen. Der Opener "High Time For Panicking" ist ein Meisterwerk für sich: Innerhalb von eineinhalb Minuten schießt er uns vom Pre-War Blues alter Lomax-Shellacs in den lärmigen Groove einer New Wave Combo, die um ihr Leben spielt. Der Titeltrack "It's All Going South" flimmert der Ferne wie ein Wüstenkaktus in, der gerade von Mr. Tarantino in einem 1967er Chevrolet Impala Sport Sedan niedergewalzt wird: dünenweise Hall auf der massiv geforderten Gitarre, die in Slow-Mo durch die Story wandert. Ein Bass, der vor Clint Eastwood den Hut zieht. Die Atmosphäre: Calexico deluxe. "Alles geht den Bach runter" so Wird die titelgebende Redewendung ins Deutsche übertragen. "Chemically Speaking Alcohol Is Still A Solution" könnte als Antwort auf alle gutgemeinten Versuche gehört werden, eine Welt voller Diktatoren, Kriegsgerät und Wahnsinn mit Vinyasa-Yoga und Lactobacillus bulgaricus im Joghurt zu retten. Waren die vorhergehenden Alben betont reduziert und puristisch, so gönnen sich The Base auf "It's All Going South" Backgroundchöre, fetten Vintagesound und lassen ausgiebige Studioeffekte. Das sitzt jedoch alles wie angegossen und zeigt die Qualität der Songs, denen knapp anliegende Taucheranzüge ebenso gut stehen wie schillernd verbrämte Kostüme. Niemand zieht aus dem Wort "happy" so viel Melancholie wie Norbert Wally und folgerichtig ist auch die Single-Auskoppelung "Waiting for June" ein Liebeslied, das gar keines ist. Aber der zwingendste Grund das Album anzuhören heißt "No One's Safe". Ein Song der sich wie ein Drillbohrer durch das Innenohr zur Großhirnrinde vorarbeitet. Soundcollagen, Voice-Over, eigenartiger Noise - immer tiefer bohrt sich der Song, bis er den Erdkern erreicht. Norbert Wally zeigt in seiner Stimme eine elegante Verletzlichkeit, die an einen David Bowie der 70er-Jahre erinnert. Die Intensität von OK Computer drängt sich auf. Niemand ist sicher. Game over! "It's All Going South" ist die bisher schmerzhafteste, politischste Platte von The Base. Wie schade, wir werden alle untergehen - und das kann zumindest verdammt sexy klingen.

Debut album from Los Angeles duo Los Yesterdays - Sweet Soul music meets Mexican Folklorico

"Sweet soul music - also known as lowrider oldies on the West Coast, rolas and souldies - are typically early 60s-style tunes that emphasize vocal harmonies. Most songs are slow-to-midtempo, many are ballads, and the sub-genre is generally stripped down compared to the highly produced Motown hits of the time....there is a generations-long appreciation for sweet soul music among California’s Latino communities. Eastern Los Angeles teens.... helped foster a love of sweet soul in the early 60s by covering soulful ballads by artists like James Brown... Those sounds....were kept alive by record collectors and people who spent evenings cruising along East Los boulevards." - Los Yesterdays are a Chicano soul band from Los Angeles based around the creative collaboration between Gabriel Rowland and Victor Benavides. They began working together when Rowland - a drummer by trade, then creaky and exhausted from waking up at dawn to work construction - decided to channel those struggles into song. He contacted Benavides, a former bandmate of Rowland’s deceased brother, to record the soul ballads that Southland Chicanos call “oldies.” Los Yesterdays filter love-struck R&B crooning through guitar-strumming Mexican balladeering; the result is something that sounds like the Los Angeles of yesterday and today - the indelible, immovable Los Angeles of cruising Whittier Boulevard, of cold drinks on the porch on blazing summer nights, of watching a blue-orange toxic sunset and wondering if they are thinking about you. Los Angeles changes; Los Angeles stays the same. Los Yesterdays have changed, outgrown their childhood barrios and the bands of their early 20s and their private garage hermitude; Los Yesterdays are Frozen In Time.

The Petersons’ were a vocal trio from Waycross, GA, their performing name came from their founder, lead vocalist and drummer Kenneth Peterson, along with Keyboard player Salem Chatman and vocalist/bassist Johnny Members. The trio regularly performed shows along America’s East Coast, and it was while working in Philadelphia during early 1973 that the group answered an advertisement in Billboard Magazine quote “Masters Turned Down? We Are Looking for New Acts to Sign, Contact Omega Sound Productions, Philadelphia, PA”.

Omega Sound was a fledgling independent Recording Company formed by Frank Fioravanti a budding songwriter and former Encyclopedia Britannica Salesman for the initial purpose of find some extra work for the musicians of The Philadelphia Orchestra who were looking to earn some side money. As a result of answering the Billboard advertisement ‘The Petersons’ found themselves booked into Frank Virtue’s recording studio to record two Fioravanti and the late Alan Felder penned songs, the up-tempo “What’s It Gonna Be” backed by the melodic “Just What I’ve Been Looking For” Mel Omega (1833). With the release failing to make much noise, The Petersons returned to their native Georgia where they continuing to perform and record but under the group name of ‘Toll Darkness’. Fast forward circa 30 years and a couple of copies of this obscure Mel Omega 45 was introduced into the UK by Soul Bowl’s John Anderson where they gained belated recognition initially at the Soul Essence Weekenders through resident DJ Steve Guarnori with “Just What I’ve Been Looking For” being his chosen side. These initial copies had a paper sticker on them crediting the Artist as ‘Toll Darkness’ but the subsequent find of further copies with no sticker coverings, revealed the real artist to be ‘The Petersons’, intriguing? The reason behind the differing artist names is reputedly assumed to be that Ken Peterson took some copies of the Mel Omega 45 back to Georgia and pasted the ‘Toll Darkness’ group name stickers over the Petersons label credits to enable him to sell them at shows with his other ‘Toll Darkness’ 45 “Party/Love Makes Me Do Foolish Things on Alpha Records. The up-tempo backing track of The Peterson’s “What’s It Gonna Be” was a Frank Virtue arrangement that he had great faith in, hence it’s usage on plethora of other Philly artists recordings, i.e. Fred Mark, Liza Mae, Michael Christian, Cody Michaels etc over different record labels, Melomega, Concept, Fox Century Plaza and Merben.

Frank Fioravanti also founded the Sound Gems label which brought us the timeless classic “Your My Main Squeeze” recorded on the New Beford, MA group ‘Crystal Motion’. Omega Sound’s most notable achievement would be William DeVaughn’s 1974 hit “Be Thankful For What You Got”.

The brand new album "Pacific Voyage" by Nautilus from Tokyo is a breezy summertime soundtrack which combines sunny Yacht Rock with a touch of cool 80s City Pop.

The Japanese Jazzfusion trio reinterpretates stone cold classics from this era in their typical signature way of playing.

Songs like the heavy sampled "What You Won't Do For Love" by Bobby Caldwell and Toto's "Georgy Porgy" get a completely new coat of paint and fresh interpretation translated into now and tomorrow.
Followed by a who's who of tracks from Donald Fagen, Michael McDonald, Shuggie Otis, Nohelani Cypriano and Toshiki Kadomatsu to name a few.
Guest appearances on this album are from UK soul singer John Turrell (Smoove & Turrell), German rap legend Toni-L (Advanced Chemistry with Torch) and Japanese soul singer Ryuto Kasahara who worked with Grooveman Spot and DJ Mitsu The Beats so far.

Enjoy this pacific voyage.

Shadows and Light is the second live album by Canadian musician Joni Mitchell. It was released in September 1980 through Asylum Records, her last release for the label. It was recorded in September 1979 at the Santa Barbara Bowl in Santa Barbara, California.3

For the album, Mitchell was backed by a band of acclaimed jazz and fusion musicians consisting of guitarist Pat Metheny, bassist Jaco Pastorius, drummer Don Alias, keyboardist Lyle Mays, and saxophonist Michael Brecker. Additionally, vocal group the Persuasions appear on the title track and a cover of Frankie Lymon & the Teenagers' "Why Do Fools Fall in Love".


[a] a1. INTRODUCTION [1:51]
[b] a2. IN FRANCE THEY KISS ON MAIN STREET [4:14]
[c] a3. EDITH AND THE KINGPIN [4:10]
[d] a4. COYOTE [4:58]
[e] a5. GOODBYE PORK PIE HAT [6:02]
[f] b1. THE DRY CLEANER FROM DES MOINES [4:37]
[g] b2. AMELIA [6:40]
[h] b3. PAT’S SOLO [3:09]
[i] b4. HEJIRA [7:42]
[j] c1. BLACK CROW [3:52]
[k] c2. DON’S SOLO [4:04]
[l] c3. DREAMLAND [4:40]
[m] c4. FREE MAN IN PARIS [3:23]
[n] c5. BAND INTRODUCTION [0:52]
[o] c6. FURRY SINGS THE BLUES [5:14]
[p] d1. WHY DO FOOLS FALL IN LOVE [2:53]
[q] d2. SHADOWS AND LIGHT [5:23]
[r] d3. GOD MUST BE A BOOGIE MAN [5:02]
[s] d4. WOODSTOCK [5:08]

New one-off pressing coloured vinyl 18th anniversary edition of the long-out-of-print Studio One Soul 2, the long-awaited second volume of one of the largest selling Soul Jazz Records’ Studio One collections.

Studio One Soul 2 takes us deep into Jamaica’s long-standing fascination with American Soul and Funk music.

Featuring a host of seminal Reggae artists who all first established their careers at Studio One before finding worldwide success. Featured artists include Horace Andy, The Heptones, Cornell Campbell, Ken Boothe, Jackie Mittoo, Jacob Miller and many more A-Class Studio One legends interpreting both classic and littleknown American Soul and Funk tunes by the likes of Curtis Mayfield, Bill Withers, The Five Stairsteps, Marvin Gaye, The Stylistics, Lee Dorsey, Al Green, Syl Johnson and more.

Curtis Mayfield is without a doubt the main soul influence for many reggae groups in the 1960s and 70s. Cornell Campbell’s ‘Ten to One’ featured here is a stunning recut of the original Studio One single by The Mad Lads who first covered this Curtis-penned hit for the Impressions. Another great Curtis Mayfield production, The Five Stairsteps and Cubie’s ‘Don’t Change’, is interpreted by Studio One soul man Winston Francis. Similarly, Devon Russell’s superb ‘Make Me Believe in You’ is, if anything, superior to Curtis Mayfield’s ground-breaking original.

While American Soul and Funk remain a constant source of inspiration on this album, classic DJs such as Prince Jazzbo and Little Joe also used these rhythms to ride vocal toasts over to serious effect. This selection features a mixture of classics, super-rare and unreleased tracks from Studio One all lovingly digitally re-mastered for this release. The vinyl edition also comes on super-loud double vinyl housed in gatefold sleeve and with download code. The new CD edition comes as digipack plus booklet. Another essential Studio One release.

Nach der zurückgenommenen, intimen Atmosphäre des Vorgängers Darling Arythmetic (2015), auf dem sich die zeitlosen Singles 'Courage' und 'Everythung I Am Is Yours' befanden, verfolgt das neue Album ein vielschichtigeres, facettenreicheres Konzept, wie man es schon von Conor O’Briens Debütalbum 'Becoming A Jackal' (2010) und dessen Nachfolger 'Awayland' (2013) kennt. 'The Art Of Pretending To Swim' wurde ursprünglich im September 2018 releast.

- Format: Purple Vinyl inkl. Downloadkarte

Limited Opaque Green Vinyl. Anthony "Ant" Davis is a distinguished hip-hop producer, one-half of the renowned duo Atmosphere, and a founding member of independent record label Rhymesayers Entertainment. His decades-long career of beat-making has also included works for MF DOOM, Brother Ali, Murs, Rav, Sage Francis and a dozen others. Raised in a military family, his nomadic upbringing exposed him to many diverse influences and, coupled with his father's love for collecting records, laid the groundwork for his deep appreciation for all sorts of music. Ant's latest endeavor, Collection of Sounds, is a four-volume series of instrumental works showcasing the breadth and depth of his musical expertise. The Collection of Sounds series offers a window into Ant's creative journey, reflecting his evolution as an artist over the years. Drawing from a vast vault of unreleased material, he's exhumed cross sections of his catalog with surgical precision, organizing songs by sound rather than mere chronology. Volume 1 is at times so intimate as to border on claustrophobia, like the creeping "Bar One" or the haunted twinkling of "I Was Always A Collector" while other tracks are expansive enough to fill entire venues, like the forebodingly airy "4-Track Beyond Beat 1996." Many of the beats on Collection of Sounds: Volume 1 have pockets that are practically begging for rappers to explore. When he first pondered releasing an instrumental series, Ant figured he might want to make the songs more intricate than the ones gave to his rapper collaborators, filling up the space in the mix that would normally be given over to their vocals. "But then it would be jazz, right?" he says with a loud laugh. "And I'm not that." Fitting, as Collection of Sounds is not about forgetting who you are-it's about remembering, reconfiguring and reimagining, all at once; a testament to Ant's artistic integrity.

Originally released in November 1984, Limahl’s debut solo album ‘Don’t Suppose’ is to be reissued on recycled lavender vinyl to celebrate its 40th anniversary. The album is probably best known for the aforementioned ‘Neverending Story’. As well as featuring in the film of the same name (which is being revived for the big screen once more), it more recently found a whole army of new fans when it appeared in the final episode of the third season of Stranger Things. Set in 1985, the song is sung by Dustin (Gaten Matarazzo) and his long-distance girlfriend Suzie (Gabriella Pizzolo) as a way to reconnect after not seeing each other for some time. Following the season's release on July 4, 2019, interest in the track surged; viewership of the original music video had increased by 800% within a few days according to YouTube, while Spotify reported an 825% increase in stream requests for the song.

Further reflecting on the album Limahl goes on… “I can’t believe it’s been 40 years, yet sometimes it feels like yesterday! Looking back now, it's surreal to think that at just 24 years old, being born and raised on a Wigan council estate with no family connections in the music business, I was thrust into a whirlwind of travel and appearances to promote my music worldwide via TV, radio, and press—long before the internet.

“I’m excited to imagine where and how the song will continue its journey. It’s amazing that it still feels relevant 40 years on. I’m not too shy to say how immensely proud I am of its achievements.”

The world is a firework of overstimulation - and Future Palace have dedicated an album to this feeling of overwhelm. On the new record "Distortion", the Berlin post-hardcore trio deals with an almost oppressing mass of mental illnesses and problems. In doing so they create music that - appropriate to this topic - hits more hooks than ever before from one moment to the next, from the quietest depths to the loftiest heights. While the band had already leaned more towards musical extremes on their previous album, "Run", "Distortion" is the ultimate culmination of all the tones that Future Palace have absorbed on their Europe-wide journey as one of the most exciting acts in alternative guitar music: the most powerful metalcore breakdowns meet trembling darkwave beats, anthemic emocore refrains a la Bad Omens are contrasted with sacred choirs, the coldness of industrial encounters the powerful emotionality of Sleep Token. An album like a manifesto.

The world is a firework of overstimulation - and Future Palace have dedicated an album to this feeling of overwhelm. On the new record "Distortion", the Berlin post-hardcore trio deals with an almost oppressing mass of mental illnesses and problems. In doing so they create music that - appropriate to this topic - hits more hooks than ever before from one moment to the next, from the quietest depths to the loftiest heights. While the band had already leaned more towards musical extremes on their previous album, "Run", "Distortion" is the ultimate culmination of all the tones that Future Palace have absorbed on their Europe-wide journey as one of the most exciting acts in alternative guitar music: the most powerful metalcore breakdowns meet trembling darkwave beats, anthemic emocore refrains a la Bad Omens are contrasted with sacred choirs, the coldness of industrial encounters the powerful emotionality of Sleep Token. An album like a manifesto.

Dam Swindle return to Heist in excellent form with a 4-track EP in their signature style.

The iconic Amsterdam duo returned to the studio after their much-lauded ‘Minor Fools’ EP, where the lead track ‘That’s Right’ became one of the most heartwarming tracks 2023. Their recent contribution to the Phonica 20-year compilation -‘Allright (just a tribute)’- is turning into one of the biggest hits of this year with big plays on pretty much every festival around, whether it’s Glastonbury or Dekmantel. The guys are known for their ability to bend different styles into something very much their own and their newest addition to the Heist catalog is no different. The ‘Touch Me Again’ EP sees them go from sample-heavy house to classic 90’s piano-driven tracks with a touch of acid and it’s one you don’t want to miss.

The record starts with ‘Touch Me Again’, a house jam with chopped vocals, energetic synth stabs and a big breakdown. Add to that a touch of acid and you’ve got a follow-up to their Phonica hit of 2023.

‘Hang On’ takes you back into classic Swindle territory, with their signature sampling style and knack for finding those lush vocals. The synth chops and bassline give the track its upbeat energy and the distant filtered pads move in an ever so subtle way, that there’s always something new happening while keeping the attention on that catchy main hook.

On the flip, we see the guys take things a bit deeper with emotive vocals and introverted keys layered over a steady groove on their track ‘The Joy of Melancholy’. Fast-forward to the drop and all that energy comes free with a huge piano break, which propels the track into a blissful ‘hands-in-the-air’ dancefloor moment.

The EP closes with ‘Forever and Ever’, a gospel-inspired Deep house tune full of organ hits and off-kilter sample chops. This 4-track EP gives you jam upon jam upon jam and sees Dam Swindle solidify their position as the go-to artist in the house scene and keeps them at the forefront of electronic music.

Grab this record while you can and share the love,

Heist Recordings.

An All-Time Jazz Audiophile Masterpiece - Now on UHQR!
200-gram 45 RPM 2LP release limited to 5,000 copies
Mastered by Kevin Gray at Cohearent Audio from the original analogue tapes
Set includes 8-page booklet with liner notes by renowned jazz critic Bob Blumenthal
Pressed on Clarity Vinyl at Quality Record Pressings
Purest 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!

The fourth and final album by one of the most influential groups in jazz history, the Bill Evans Trio album Waltz For Debby was originally released in 1962 as a companion to Sunday At The Village Vanguard. 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 centrepiece 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 its 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 paid 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 its timeless beauty and the lasting impact it has had on the genre.

The complete iconic Bill Evans LP Sunday at the Village Vanguard, featuring Scott LaFaro on bass, and Paul Motian on drums. LaFaro would die in a car accident shortly after this LP was recorded. Contains perennial versions of "Solar," "Gloria's Step," and "Alice in Wonderland." This edition also offers an exclusive collector's item consisting of a replica of the very rare Japanese 7" disc Riverside single SR-3033, containing Evans' readings of "My Foolish Heart" and "Polka Dots and Moonbeams."

THE COMPLETE LP + 1 BONUS TRACK - PLUS 7" BONUS SINGLE ON COLORED VINYL INCLUDED INSIDE - 180-GRAM VIRGIN VINYL - LIMITED EDITION