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Background -

William John Evans (August 16, 1929 – September 15, 1980) was an American jazz pianist and composer who mostly worked in a trio setting. Evans' use of impressionist harmony, inventive interpretation of traditional jazz repertoire, block chords, and trademark rhythmically independent, "singing" melodic lines continue to influence jazz pianists today.

Born in Plainfield, New Jersey, in 1929, he was classically trained, and studied at Southeastern Louisiana University and the Mannes School of Music,  where he majored in composition and received the Artist Diploma. In 1955, he moved to New York City, where he worked with bandleader and theorist George Russell. In 1958, Evans joined Miles Davis's sextet, where he was to have a profound influence. In 1959, the band, then immersed in modal jazz, recorded Kind of Blue, the best-selling jazz album of all time.

In late 1959, Evans left the Miles Davis band and began his career as a leader with Scott LaFaro and Paul Motian, a group now regarded as a seminal modern jazz trio. In 1961, ten days after recording the highly acclaimed Sunday at the Village Vanguard and Waltz for Debby, LaFaro died in a car accident. After months of seclusion, Evans re-emerged with a new trio, featuring bassist Chuck Israels.

In 1963, Evans recorded Conversations with Myself, an innovative solo album using the unconventional (in jazz solo recordings) technique of overdubbing over himself. In 1966, he met bassist Eddie Gómez, with whom he would work for eleven years. Several successful albums followed, such as Bill Evans at the Montreux Jazz Festival, Alone and The Bill Evans Album, among others.

Many of his compositions, such as "Waltz for Debby", have become standards and have been played and recorded by many artists. Evans was honored with 31 Grammy nominations and seven awards, and was inducted into the Down Beat Jazz Hall of Fame.

Sunday at the Village Vanguard is a 1961 album by jazz pianist and composer Bill Evans. The album is routinely ranked as one of the best live jazz recordings of all time. Sunday at the Village Vanguard was recorded live on June 25, 1961 at the Village Vanguard in New York City over five recorded sessions (2 matinee and 3 soiree). It is well remembered as the final performance by the Evans trio of the time, which included bassist Scott LaFaro and drummer Paul Motian. LaFaro was killed in a car accident ten days after the recording.

Evans and producer Orrin Keepnews reportedly selected the tracks for Sunday at the Village Vanguard to best feature LaFaro's masterly performance on bass, beginning and ending with two tracks ("Gloria's Step" and "Jade Visions") written by LaFaro himself, and with all the others featuring solos by him. This album is routinely ranked as one of the best live jazz recordings of all time.

Additional material from the same day's performance was released in a second album Waltz for Debby (also 1961), as was other material in another LP Bill Evans — More From the Vanguard. The entire day's recordings were released in 2005 as The Complete Village Vanguard Recordings, 1961.

Writing for Allmusic, music critic Thom Jurek wrote of the album: "This trio is still widely regarded as his finest, largely because of the symbiotic interplay between its members. This is a great place to begin with Evans." Samuel Chell of All About Jazz wrote "Along with bassist wunderkind Scott LaFaro and drummer Paul Motian, Evans perfected his democratic vision of trio cooperation, where all members performed with perfect empathy and telepathy... It is these performances, currently available as Sunday at the Village Vanguard and Waltz for Debby that comprise the number one best jazz live recording in this present series."

The album was included in Robert Dimery's 1001 Albums You Must Hear Before You Die.

Mastered from the Original Master Tapes With Mobile Fidelity's One-Step Process: Sunday at the Village Vanguard UD1S 45RPM Box Set the Ultimate Analog Version of Bill Evans' 1961 Jazz Staple
Deluxe Packaging Includes Opulent Box, Special Jackets and Unique Bonus Artwork: No Expense Spared, Strictly Limited to 3000 Numbered Copies

Gorgeous Romanticism, Seamless Chemistry, Group Interplay, and Symbiotic Trio Performances Forever Changed Jazz: Evans' Live Masterwork Boasts Brilliant Sound, Lyrical Pianism, Magical Feel

The gorgeous romanticism of Bill Evans' Sunday at the Village Vanguard cannot be overstated. Neither can the iconic record's place in history – nor what it signifies to generations upon generations of listeners hypnotized by the consummate playing, resplendent compositions, and seamless chemistry. Originally released in1961, the live set remains the gold standard for symbiotic trio performance, empathy, and communication. Because of Orrin Keepnews' brilliant recording, it also survives as one of the best-sounding jazz albums extant – a fact confirmed by its appearance on multiple reissues over the past few decades. But it's never sounded better than this.

Evans' masterwork reaches three-dimensional sonic and emotional heights never before attained by analog recordings on this opulent Mobile Fidelity UD1S box set complete with special jackets and a unique insert. Strictly numbered to 3000 copies, this ultra-hi-fi audiophile edition literally and figuratively brings you closer to the music of this Riverside staple that, along with the complementary Waltz for Debby, transformed Evans into a legend and became a blueprint for how jazz trios should work together. You'll enjoy deep-black backgrounds, pointillistic details, and staggering dynamics. Experienced via UD1S, Sunday at the Village Vanguard places Evans and his esteemed colleagues in your listening room. Every note, breath, and movement captured by the microphones are reproduced with exquisite accuracy and wowing clarity.

The deluxe packaging and gorgeous presentation of this Sunday at the Village Vanguard pressing befit its extremely select status. Housed in an opulent box, this UD1S edition contains special jackets and unique bonus artwork that further illuminate the splendor of the recording. No expense has been spared. Aurally and visually, this Sunday at the Village Vanguard is a curatorial artifact meant to be preserved, poured over, touched, and examined. It is made for discerning listeners that prize sound and creativity, and who desire to fully immerse themselves in the music – and everything involved with the album, from the graphics to the textures.

Recorded just ten days before bassist Scott LaFaro perished in a car accident, Sunday at the Village Vanguard changed the way jazz trios were perceived by audiences and musicians alike. Up until Evans, LaFaro, and drummer Paul Motian proved otherwise, a trio configuration meant two sidemen served as rhythmic support to spotlight the virtuosity of a headline performer or primary soloist. Here, 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, improvisational dialog, and raw feeling.

A quest for discovery informs the music as well as the playing. Evans' lyrical pianism met at every turn by LaFaro's chorded responses and harmonic counterpoints. Indeed, Sunday at the Village Vanguard remains LaFaro's standout moment, his soloing helping shape the melodies and striking a keen equilibrium between modality and traditionalism. Joining poignant renditions of Miles Davis, Cole Porter, and Gershwin numbers, two LaFaro originals – "Jade Visions" and the opening "Gloria's Step" – further demonstrate his genius. They furnish the album a supernatural aura that matches the jovial mood of the musicians. It's impossible to think this album could be improved in any way. Particularly now that this UD1S pressing brings the Village Vanguard into your room. Prepare to witness history. Again and again.

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior:
Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert." Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings  guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.

Bassist Scott LaFaro's death in a Geneva, New York car accident ten days after the Sunday, June 25th, 1961 recording of this Village Vanguard set did more than add a tragic luster to the story. It upended what might have been a very different track order here and on Waltz For Debby, the second record sourced using tracks recorded that day by engineer David Jones on a modified Ampex 350 using Scotch 111 tape.

The trio of Bill Evans, LaFaro and drummer Paul Motian had been together for almost two years when this, the group's fourth Riverside release and Evan's first live record, was documented. LaFaro's playing—unusual for its melodic improvisations at a time when most bassists limited themselves to time-keeping—thrived in the company of Motian and Evans. By the time of these live performances, beginning with a Sunday matinee, the group had achieved an ethereal, almost otherworldly back and forth and give and take that produced "lift off" almost from the first note.

After La Faro's passing, Evans became deeply involved in the record, determined to turn it from a collection of the day's best tracks into one that paid tribute to the bassist. Thus it opens with La Faro's "Gloria's Step" and closes with his "Jade Vision" which was the evening's closer and the final time the trio played together.

In between were the "standards" "My Man is Gone", "All of You" and the buoyant "Alice in Wonderland" plus Miles Davis's "Solar", which wasn't then but today might be considered a "standard".

The sparse applause heard on some tracks was not because those afficienados in attendance weren't impressed, but rather because the matinee audience was probably small.

This justifiably legendary recording both for music and sound has been issued and reissued numerous times. I don't have an original Riverside pressing of this but I've got many original Riversides bought at the Cornell Campus store in 1964 when the label folded, and they are not what I'd considering "audiophile quality".

I've got a 1977 Japanese reissue of this (SMJ 6201), plus the German alto High Fidelity '90's edition (Alto-edition AE004 cut by Nick Webb, probably at Abbey Road) and the double 45 edition cut by Kevin Gray for Analogue Productions' original box set reissue and none of these can compare to this Mobile Fidelity Ultradisc "One Step" Ultradisc 45rpm reissue. By comparison all sound, to varying degrees, soft and muted, yet this "one step" reissue does not sound "hyped up" or oddly "EQ'd". It just sounds more open and transparent.

I've heard stories that the tape was "on its last legs" but apparently not ! The transparency and detail resolution here are absolutely spectacular. Astonishing, really, especially in terms of natural instrumental attack. This is after all a rhythmic power trio. No other version I've heard comes close to expressing the speed and precision of La Faro's playing—the clarity and finesse with which he attacks the strings. The same is true of how the mastering and one-step plating capture Evans'and Motian's playing.

Assuming your system can do it, anyone who has been to the small basement venue that is The Village Vanguard will feel as if they are traveling through time and seeing into the space. Yes of course that's hyperbole, but if you know this record well from the previous versions, that's how you're likely to feel.

Even those who find Mo-Fi's almost funereal black packaging "memorial-like", will find it appropriate here as a fitting La Faro tribute. Mo-Fi includes two superb 8x10 black and white photos sourced from original session photographer Steve Schapiro—one of Evans and one of the group seated around a small table (Motian smoked Kools).

Pressing quality is key on a generally quiet recording with a great deal of empty space between the notes and here RTI knocks it out of the park. Backgrounds on my sealed pressing were drop dead quiet throughout. Not a pop or click on all four sides.

Sadly the box sold out quickly and though Mo-Fi and Music Direct has done its best to limit the number of copies any one person can buy there's no way to stop speculators from enlisting their friends and neighbors so if you do want this, you'll have to hit the auction sites. - Michael Fremer

This is a BRAND NEW & FACTORY SEALED 2-LP box set issued by the famous audiophile label, "MFSL / MOFI - Mobile Fidelity Sound Lab" in 2017 - a super RARE audiophile title, already out of print and limited to 3,000 copies worldwide! 

The 2-LP boxed set was made by MFSL - this is a highly collectible title from their catalog - a superb JAZZ title featuring the music of the - 

Bill Evans Trio

Performers -

• Bill Evans – Piano
• Scott LaFaro – Bass
• Paul Motian – Drums
• Orrin Keepnews – Producer
• Dave Jones – Recording engineer

Title and tracks -

Sunday At The Village Vanguard

Track Listing -

• "Gloria's Step" (take 2) (Scott LaFaro) – 6:05
• "My Man's Gone Now" (George Gershwin) – 6:25
• "Solar" (Miles Davis) – 8:57
• "Alice in Wonderland" (take 2) (Sammy Fain) – 8:37
• "All of You" (take 2) (Cole Porter) – 8:20
• "Jade Visions" (take 2) (Scott LaFaro) – 3:46

The title is from the ultra-rare MFSL series of audiophile LPs.

MFSL / MOFI RECORDS LPs made in the USA  Pressings are in STEREO Made with 200-gram vinyl, comes in a luxurious boxed set
Record vintage = limited and numbered edition, made in 2017
LP catalog # UD1S 2-002

 CONDITION Details:

The BOX SET is in Mint condition. Everything is factory sealed and perfect.

A Short Note About LP GRADING -

Mint {M} = Only used for sealed items. Near Mint {NM} = Virtually flawless in every way. Near Mint Minus {NM-} = Item has some minor imperfections, some audible. Excellent {EXC} = Item obviously played and enjoyed with some noise. Very Good Plus {VG+} = Many more imperfections which are noticeable and obtrusive.

For best results, always properly clean your LPs before playing them (even for brand new LPs).

The LP is an audiophile quality pressing (any collector of fine MFSL, half speeds, direct to discs, Japanese/UK pressings etc., can attest to the difference a quality pressing can make to an audio system).

Don't let this rarity slip by!!!