Bill EvansLive At Ronnie Scott's

Label:Resonance Records – HLP-9046
2 x Vinyl, LP, Deluxe Edition, Limited Edition, Numbered, Mono, 180g, Gatefold
Country:USA, Canada & Europe
Style:Modal, Post Bop


A1A Sleeping Bee
Written-ByH. Arlen*, T. Capote*
A2You're Gonna Hear From Me (Version 1)
Written-ByA. Previn*, D. Previn*
Written-ByJ. Kern*, O. Harbach*
A4Turn Out The Stars
Written-ByB. Evans*
A5My Man's Gone Now5:54
B1Emily (Version 1)
Written-ByJ. Mandel*
B2Spring Is Here
Written-ByR. Rodgers*
B3Embraceable You
Written-ByG. - I. Gershwin*
B4For Heaven’s Sake
Written-ByD. Meyer*, E. Bretton*, S. Edwards*
B5Someday My Prince Will Come
Written-ByF. Churchill*
C1Quiet Now
Written-ByD. Zeitlin*
C2Round Midnight
Written-ByT- Monk*
C3Stella By Starlight
Written-ByV. Young*
Written-ByB. Bacharach*
C5You're Gonna Hear From Me (Version 2)
Written-ByA. Previn*, D. Previn*
D1Very Early
Written-ByB. Evans*
D2Emily (Version 2)
Written-ByJ. Mandel*
D3Waltz For Debby
Written-ByB. Evans*
D4Autumn Leaves
Written-ByJ. Kosma*
Written-ByM. Davis*

Companies, etc.



Limited edition 7000 copies
Recorded July 1968

Differs from Live At Ronnie Scott's - country of release. Includes 11 page black & white insert.

Runouts are etched.

Barcode and Other Identifiers

  • Barcode (Text): 7 12758 04051 0
  • Barcode (Scanned): 712758040510
  • Other (Catalog # on labels): HLP-9046
  • Matrix / Runout (Side A runout): BG HLP-9046-A 35745-1(3)
  • Matrix / Runout (Side B runout): BG HLP-9046-B 35745-2(3)
  • Matrix / Runout (Side C runout): BG HLP-9046-C 35745-3(3)
  • Matrix / Runout (Side D runout): BG HLP-9046-D 35745-4(3)

Other Versions (3)

View All
Title (Format)LabelCat#CountryYear
New Submission
Live At Ronnie Scott's (2×LP, Limited Edition, Mono, 180g)Resonance Records, Resonance RecordsKKJ-10001, HLP-9046Japan2020
Recently Edited
Live At Ronnie Scott's (2×CD, Album, Digipak)Resonance RecordsHCD-2046USA, Canada & Europe2020
New Submission
Live At Ronnie Scott's (20×File, FLAC, Album, 24bit 96kHz)Resonance Recordsnone2020
  • Harrison_Bergeron's avatar
    Edited 3 months ago
    The whingeing below is so laughably cringe. Yikes!

    First, it’s important to know how this performance was recorded and the immense challenges Bernie Grundman had to overcome in mastering this: drummer DeJohnette literally recorded this via placing a cheap tape recorder inside of Bill’s piano!

    Is this an audiophile experience? Of course not, but I’d much rather have this revelatory archival recording with which Resonance and BG did their utmost to restore, than have nothing.

    Getting the opportunity to listen to any new Bill Evans Trio performance is worth the price of entry—especially this particular trio which only lasted six months. The cost is commensurate with the amount of work exhibited on Resonance’s part. Period.

    I guess this bears repeating, but Resonance's raison d'être has always been to find, polish and release previously unknown audio artifacts—not to provide aural fodder to entitled hi-fi fetishists to salivate over.

    For the those of us that enjoy newly-unearthed material by jazz giants like Evans, and with legendary Bernie Grundman at the helm mastering—it’s a great time to be an (actual) jazz vinyl fan.

    Another winner, Resonance! ??
    • communique1's avatar
      I played the LP before searching to see if I was the only one who thought this is a horrible recording! Glad to see I'm not alone before I began dissecting my system looking for problems!
      • parmigiani0000's avatar
        I’m in doubt if I should Even give it one star. Total garbage. Another example of companies trying to capitalize on vinyl hype. Unlistenable
        • Debney12's avatar
          Resonance Records should be ashamed of themselves for putting this title out. It's a total disservice to the legacy of Bill Evans. Really surprised the Bill Evans Estate agreed to have this abomination released.
          • crichton's avatar
            What Resonance is doing here, and with some of their other releases, is just like converting MP3 to WAV. What's the point in 192/24 files when the actual recording is of much poorer quality? Point is that many of their buyers don't even listen to the release but rather buy for a resale. This is lame practice, I really hope they start doing quality over quantity because right now I've no idea how to separate the wheat from the chaff with this label.
            • fellini99's avatar
              Edited one year ago
              I got two of those, on the first day, on pre order. lesson learned, this one obliterated everything positive Resonance has done before (well, Evans in England was actually even worse thanks to Mr.Morell). just throw your money away in the dark, that‘ll be more fun than listening to this.
              • coredjskno's avatar
                Where Is The Album Cover??? Vinyl Shipped With NO Info Automatic Red Flag!!
                • glaferri's avatar
                  Edited one year ago
                  What a shame for Resonance Records to put on the market such a bad vinyl release. The sound is totally awful like it was recorded on a $30 cassette machine with a Mickey Mouse microphone, full of distorsion. In fact it's one of the baddest recording of my collection of 4300 vinyls. I don't even know if the music is good because after 2 sides I stopped listening to it. Good for the garbage. I bought this record on Resonance reputation for quality releases. Well, next time I will read the comments before buying.
                  • zdkaiser's avatar
                    Edited one year ago
                    Honestly, I was expecting this to sound like complete garbage based on the reviews here, but it's actually not that bad. There is some tape hiss here and there, that's for sure, and I wouldn't recommend listening through analytic highend headphones. But for an album to throw on with dinner, it definitely provides. The playing is excellent, and the sound is actually pretty decent for the time period and the means by which it was recorded. Granted, I've spent much of my youth listening to recordings from the taper sections for bands like the Grateful Dead, Phish, MMW, Les Claypool, etc. So I've heard much worse, i.e., boomy, muddy sound. This has none of that. Overall, I was prepared to be disappointed with this release given the price tag relative to the Discogs reviews here, and I have to say, I'm pleasantly suprised. Obviously, not the most audiophile release from the label, but glad to have it in my collection nonetheless.
                    • streetmouse's avatar
                      Recorded back in 1968, smack dab in the middle of the psychedelic 60’s Live At Ronnie Scotts was derived from the personal recordings of drummer Jack DeJohnette, where they’ve been in storage for over fifty years, with over two hours of music has been remastered for this outing.

                      The late 50’s and nearly all of the 60’s saw some simply brilliant jazz being laid down, those years also saw some extreme and unimagined changes as well, where cool cats and kittens were blown away with the stunning jazz conversations that were being held on stage, where lucky for so many, a good number of those have surfaced over the years, redefining and re-envisioning those wayward nights. Here Bill Evans is backed by his trio, and I use the word ‘backed’ loosely, as these gents swing together like no one’s business, where we find Eddie Gomez and Jack DeJohnette simply setting the stage on fire in their low-keyed and at times demandingly emancipated matter, one that never ceases to please these ears.

                      Not on this outing, though on the tapes, you get to hear Jack DeJohnette taking with Chick Corea about this show and these recordings, where perhaps one day we’ll be privy to that as well. As I’ve said, this collection is drawn from Jack DeJohnette’s personal archives, where Live at Ronnie Scott’s comprises twenty scintillating tracks captured during the Bill Evans Trio’s month long 1968 residency at the eponymous saxophonist impresario’s Soho club. This is Resonance’s second live Evans album to emanate from that venue, along with Evans in England, derived from a 1969 stand at Scott’s and featuring Eddie Gomez and drummer Marty Morell.

                      Saying that the music is creative would be an understatement, it’s a high water mark for Evans, where he became a hero for a new jazz generation, complex in its understated and in understandable manner, things come off as simply flowing, where it’s all quite beautiful. Yet with that in mind, expect to be crushed by crashing symbols and a whopping snare drum that may sound initially oppressive, though I assure you, you’ll slide into the grove and never look back.

                      Others have said that the overall result is a somewhat lackluster performance by Evans. Either due to percussive agitation or tour boredom, he tears through songs with little in the way of grace or tenderness. Still, on the other hand (and we do have two hands), there are plenty of bright spots. Gomez delivers sublime solos and is showcased extensively on several tracks, while on a number of songs DeJohnette produces lovely support, whisking Evans's temperament into a froth. In those cases, songs turn out sunny side up and are not to be forgotten.

                      *** The Fun Facts: Illustrator David Stone Martin has created a one of a kind lithograph to grace the over, a continuation of the work he’s done since the 1940’s, with the 180 gram double vinyl set being mastered and cut at 33 1/3 rpm by none other than Bernie Grundman, pressed by RTI and limited to seven thousand hand numbered copies world wide.

                      Review by Jenell Kesler



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