Cd1
01.Young and Foolish 03:55
02.The Touch of Your Lips 03:57
03.Some Other Times 04:42
04.When in Rome 02:55
05.We Ll Be Together Again 04:39
06.Mmy Foolish Heart 04:51
07.Waltz for Debby 04:05
08.But Beautiful 03:37
09.The Days of Wine and Roses 02:24
10.The Bad and the Beautiful 02:18
11.Licky to Be Me 03:45
12.Make Someone Happy 03:53
13.You Re Nearer 02:23
14.A Child is Born 03:17
15.The Two Lonely People 04:27
16.You Dont Know What Love is 03:28
17.Maybe September 03:55
18.Lonely Girls 02:50
19.You Must Believe in Spring 05:52
20.Who Can I Turn to 02:28
21.Dream Dancing 03:46
Cd2
01.Young and Foolish Take 4 04:46
02.The Touch of Your Lips Take 1 02:55
03.Some Other Time Take 7 04:56
04.When in Rome Take 11 02:57
05.Waltz for Debby Take 8 03:50
06.The Bad and the Beautiful Take 1 02:13
07.The Bad and the Beautiful Take 2 02:10
08.Make Someone Happy Take 5 03:54
09.Your Nearer Take 9 02:58
10.A Child is Born Take 2 03:27
11.A Child is Born Take 7 03:12
12.The Two Lonely People Take 5 04:44
13.You Dont Know What Love is Take 16 03:33
14.You Dont Know What Love is Take 18 03:37
15.Maybe September Take 5 04:38
16.Maybe September Take 8 04:32
17.Lonely Girl Take 1 02:58
18.You Must Believe in Spring Take 1 06:02
19.You Must Believe in Spring Take 4 05:36
20.Who Can I Turn to Take 6 02:30
The trio with Johnson and LaBarbera evolved rapidly. Bill was satisfied and proud of the extremely fast progress his two partners were making, and of how in tune they were with his musical world. But he was beginning to have serious problems with his health. For some time now, and probably increasingly so following his brother's tragic death, he had been using cocaine, and this was having repercussions on his way of playing, among which a strong tendency to rush the tempo (something of which he was completely aware, according to what he once said to LaBarbera).
The version he played in Paris, and which appears on the The Paris Concert Edition Two is a remarkable one. The long piano solo he improvises on the structure of this piece, whose Eastern flavor has always held a special attraction for him, becomes an amazing recapitulation of all the elements that have contributed to his piano style, of everything that he has ever loved in music. Shades of classical music (Khachaturian, Rachmaninoff, his favorite Russian composers), harmonic derivations from Tristano an entire piano tradition ranging from Romanticism to the 20th century and jazz are fused in this Nardis, something which has no antecedents in either jazz or in the classical music tradition.
The collaboration of the highest caliber offered him by Johnson and LaBarbera was never routine and brought him back that tension and passion for the musical quest with which he had peaked twenty years earlier at the time of his unparalleled collaboration with Motian and LaFaro: “This trio is very much connected to the first trio ... I feel that the trio I have now is karmic.” Having previously been heavily involved in Zen, and also due to his Russian Orthodox background which had given him a natural aptitude and sensitivity for the metaphysical and spiritual, he felt that having these two young musicians alongside him was a sign of destiny, of the "circularity' of things and their inexplicable propensity for moving according to a script already written.
Ttt
Part of this lexicon had already penetrated jazz, thanks to some arrangers of the late 1940s (the Gil Evans of Birth Of The Cool, for example, or some scores by Gerry Mulligan and George Russell) but, outside of big-band jazz, there was a sort of lag in appropriating and using that enormous patrimony. Bill Evans filled the gap.
An artist such as Evans, who had placed at the center of his enterprise a feeling for the keyboard that will allow you to transfer any emotional utterance into it, could not be very interested in "prefabricated" sounds which had little possibility to be "molded" according to one's psychic/emotional dynamic.
There were two important consequences of all this: the first was that Evans had to literally "shift" his center of action towards the upper register of the keyboard; the other was his growing desire to play duets and leave out the drummer. When interviewed by Francois Postif of Jazz Hot after a concert in February 1972 at the 
TTT(Twelve Tone Tune) on The Bill Evans Album is a clear demonstration of his technical mastery. As the title itself suggests, this piece uses the principles of serial music which requires the choice of a twelve-note row, none of which can recur until they are all used up: Evan presents his row three times in three sections of four bars each leaving, however, the relative harmonization to follow a tonal logic. Some interesting scribbles of his allow us to follow the gradual developing of his compositional idea and the process by which he arrived at the final score. Evans worked like a patient bricklayer who, after choosing his materials, little by little builds the piece. This procedure is surely much closer to the practice of classical music than to the instinctive immediacy usually associated with a jazz tune. The piece TTTT (Twelve Tone Tune Two) recorded for the first time in early 1973 and included in the live album 
The lyrics of the song appear to have been a shocking omen of the future: a few years after its composition, in fact, Ellaine, threw herself in front of a subway train after hearing from Bill that he was leaving her for another woman. Brian Hennessey, an Englishman and mutual friend of the couple, would rightly comment on this tragedy saying "artists who show genius in one field often display ignorance in others." Recognition notwithstanding (he was voted best pianist by Down Beat in 1968, and his 1970 album 
The live album shows an Israels clearly evolved, compared with the shy bass player of "
