Sadly, and perhaps like a lot of people born prior to the last quarter of the twentieth century, I sold off most of my record collection in the 1990s, not long after the compact disc became the standard currency of recorded music. Happily, I had enough good sense to hold onto a select few treasures; some because they hadn't yet made it onto the new digital format at the time, some merely because I'd grown too attached to them to part ways. Nevertheless, my lovingly maintained, mostly mint collection was depleted by some seventy-five to eighty percent before the turn of the millennium. A decade or so later, in part because of a wistful yearning for the look and feel of an album cover in my hands while its companion 12-inch vinyl disc rotated on a nearby turntable in the comfort of my home, I began re- buy ing a few lost gems now and then at flea markets, secondhand shops, used record stores, and online auction sites. Along the way I also picked up some classics - as well as a few quirk-satisfying oddities - that I hadn't gotten around to acquiring the first time around. Additionally, w hen we moved my mother to an assisted living community in 2009, I adopted her and my late father's modest but diverse (and long dormant) record collection (there was no room for their circa 1968 hi-fi console in her new apartment - I now wish I'd adopted that, too), which included artists ranging from Glen Campbell to Herb Alpert & the Tijuana Brass to the Lemon Pipers.

Bill Evans Portrait In Jazz Rar Zip For Mac Torrent

Mom did her best to stay hip. On display below is a cross-section of my collection as it exists today. There are no new 180 gram LPs, the kind associated with the hipster-generated vinyl quasi- renaissance. In fact, nothing you see here was released post-19 90.

All are first or early pressings in their original incarnations (rare exceptions are noted) and, no less importantly, with their original covers. No longer a mere sampling of past glory, the collection is again robust and healthy. Enough to evoke memories of how much these things can be a pain to store.

Pianist Bill Evans (who doubles on electric piano on this album for the final time in the recording studio) welcomes guest harmonica player Toots Thielemans and Larry Schneider (on tenor, soprano and alto flute) to an outing with bassist Marc Johnson (making his recording debut with Evans) and drummer Eliot Zigmund. The material contains some surprises (including Paul Simon's 'I Do It for Your Love' and Michel Legrand's 'The Other Side of Tonight') and only two jazz standards ('Body & Soul' and 'Blue and Green') with the latter being the only Evans composition. Excellent if not essential music that Evans generally uplifts. Scott Yanow.