When this LP was put out in 1983, all seven selections (taken from four separate sessions) were being released for the initial time. With the emergence of CDs, these numbers are being used as "bonus tracks" to fill in the original programs that they came from, so this particular set went out-of-print. Bill Evans collectors who happen to run across the album may want to pick it up anyway for there are six fine trio numbers with bassist Eddie Gomez and either Marty Morell or Eliot Zigmund on drums. In addition one of the two versions of "Nobody Else but Me" is taken from the quintet date that Evans had with tenor saxophonist Harold Land and guitarist Kenny Burrell.
- Scott Yanow (All Music Guide)
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This collection of pieces from Bill Evans's prolific output of the 1970s contains five previously unreleased versions of studio duets with bassist Eddie Gomez. It also has four live trio recordings. Other takes of the duets with Gomez appear on CD, but Evans channeled his enormous discipline, will, concentration, and creative imagination so that in each take his improvisation was a fresh encounter with the song. As one example of Evans's different approaches to the same piece, in the originally issued take of "Gone with the Wind" he toys in his improvisation with an electric piano. Here, he stays with the Steinway. What his solo loses in sonic variety, it gains in coherence and intensity. On the other hand (literally), he uses the electric keyboard to great effect in "The Nature of Things" and "Show-Type Tune." He had long wanted to record a duo album with Gomez, in many ways the bassist who stimulated him more than any other besides Scott LaFaro, who was Gomez's role model.
Evans and Gomez were excited about the duo project and took to the recording session ideas they accumulated in their first eight years as colleagues in Evans's trio. Gomez was to stay for three more years, making his the longest service of any Evans sideman. In addition to his 1973 duo tracks with Evans, Gomez is the bassist in four trio performances recorded in clubs that Evans favored, in 1973 at Shelly's Manne-Hole in Los Angeles and in 1974 at the Village Vanguard in New York. The drummer for the club dates was Marty Morell, for six years an Evans sideman whose straight-ahead time and forcefulness triggered the pianist's rhythmic sense more than any drummer since Philly Joe Jones. Evans, in his mid-forties, was hardly in need of resuscitation, but the urgencies in the playing of these two sidemen 15 years younger gave him a creative push toward some of the best work of his final decade.