Waltz for Debby—Bill Evans Trio/Analogue Productions UHQR 45 RPM vinyl reissue

After many reprints of both vinyl and CD (and streaming) and three very high-quality, all-analogue vinyl reissues, we arrive at the pinnacle of analogue, original tape vinyl reissues for what many consider the greatest jazz album of all time, Waltz for Debby with the Bill Evans Trio (usually number one or two vying with Miles Davis’ Kind of Blue for top spot). Along with the same-day sessions for another Bill Evans Trio seminal album, Sunday at the Village Vanguard, Waltz for Debby was recorded live at New York City's Village Vanguard in 1962 for Riverside. Evans’ trio consisted of Evans, piano, Scott LaFaro, bass and Paul Motian, drums. Many consider this iteration of Evans’ famous trio the best. Sadly bassist Scott LaFaro died in a car crash a few weeks after these sessions. He was 25 years old.

Coincidentally, I had just posted a video about the best Waltz for Debby pressings in the Audiophilia Dream List, Best of the Best Series on the @AudiophiliaChannel just after this UHQR was shipping. My favourite pressing of the record was the 1992 Analogue Productions Doug Sax remastering. I love it for its warmth and detail. There was a famous audiophile 45 RPM pressing by Kevin Gray and Steve Hoffman for Analogue Productions’ Bill Evans Riverside box set from 2010. I have not heard it. Kevin Gray’s superb Craft/OJC reissue from 2023 was in a shoot-out chez nous and several of us thought Sax’s pipped it at the post. As the Sax is so good, I didn’t see the need to spend USD 150 on the new UHQR—and like the Craft/OJC, remastered by Kevin Gray. Famous last words!

Well, if you’ve read, watched or know me, of course I succumbed. Damnit! Amazon.ca had it for CAD 300, I guess to cover the exchange, duty, taxes, etc. One of my Audiophilia Channel viewers suggested the new UHQR was superior and by far the best he’s heard. Others, too. So I pressed buy. At least if it was defective in any way, I could get a refund or exchange. As there are 5000 copies pressed on the initial run, I’m sure there’ll be replacements available. Happily, the pressings were flawless. The Clarity clear vinyl was flat and silent, the spindle holes correct and the labels centred. Along with the matte gatefold included in the UHQR box (with great photos) and good notes, it all makes for a quality product.

There have been more words written about every note of this album than most, so if you need a refresher about the tracks, there’s lots to enjoy on the web or please do watch my video. It has a lot of information about the best pressings and the performances (with sheet music examples).

So, let’s focus on the sound and why you can go ahead and buy it if you’re a Waltz for Debby fan. If you have a resolving system and already own one of the wonderful pressings, you’re pretty much set to go. But if you love this album as much as I do (I’ve loved the album since my father played me the mono version in 1967), then you’ll want to invest in this world-class set of 45 RPM LPs. I really don’t know how the tapes could sound any better on vinyl.

As I was listening for the fourth or fifth time straight through (time kinda stood still, it’s that brilliant and immersive), my notes read:

Bass solidity on the root of the chord, more of Bill’s touch, especially a more forceful down pressure on upper voiced chords, inner voiced drum sounds including the most delicate cymbal strike (swish) and Motian’s placement, which now seems perfect. More presence from the trio, LaFaro’s slides, plucking technique, and Motian’s brushwork as more attack on the snare adding rhythmic zest. He’s much more of an integral part of the soundstage here.

This is from the first 16 bars of “My Foolish Heart”!

The Clarity vinyl pressings have so much transparency and delicacy, that the sound is almost tactile. How did Gray get even more out of those damned tapes? Remarkable, especially as many Bill Evans tapes do not do well with time added on.

LaFaro’s famous solos sound as miraculous as ever—his “Waltz for Debby” or” Detour Ahead” solo turns are a masterclass for bass tone, recording of that tone and Gray’s mastery with these tapes.

The over-modulation of inner grooves at 45 RPM is a no-show. The sound is glorious from beginning to end of the sides. So the soundboard reaction to Bill’s hammer strikes is very clear. In fact, Bill’s treble tone seems almost clarion-like compared to other recordings which sometimes suffer from frequency shouts. None of that here. It’s all clear-toned and clear skies.

A final audiophile touch, clapping. Notoriously challenging to capture appropriately by the mic, long a test for the BBC and Peter Walker at Quad, and done well on the previous quality reissues. Here, they are superbly life-like. As a funny reminder, check out the single patron’s clap at the end of “Detour Ahead”. Audiophile weeds for sure, but… you know.

Finally, I’ve never heard the complex rhythmic interplay of “Milestones”’ intro sound so free and detailed, yet rhapsodic. It’s a final audiophile stop along the way that tells me this is going to be as good as it ever gets and a wonderful artistic and technical achievement for the Analogue Productions team. Bravo! Buy!

A masterpiece of performance and musical inspiration, Dave Jones’ original recording and Orrin Keepnews’ production uplifted to its sound zenith by Kevin Gray. Very highly recommended.

200-gram 45 RPM 2LP release limited to 5,000 copies

Mastered by Kevin Gray at Cohearent Audio from the original analog tapes

The set includes an 8-page booklet with liner notes by renowned jazz critic Bob Blumenthal

Pressed on Clarity Vinyl at Quality Record Pressings