The absolute classics in this batch are combined on the Jazz Images reissue, not only the advertised Waltz For Debby but virtually all of Evans's first recording under his own name, New Jazz Conceptions. I've lost count of how many times these items have been reissued and reviewed, but nothing diminishes their radiance or relevance. Nearly five years separates them, with the earlier programme showing Bill in much more outgoing form (with clear hints of Powell, Tristano and even Horace Silver), but that dynamism was directed by 1961 to the dialogue between Evans and LaFaro. Here, apart from ‘Milestones’ and one chorus of ‘My Romance’, Motian restricts himself to brushes throughout, but his energetic discretion liberates the piano-and-bass interchange that was soon to be extinguished by LaFaro's fatal accident.

The Birdland broadcasts of that same trio first appeared complete in 2005 (Fresh Sound FSR-CD390, of which this is a direct transfer with the addition of a descriptive note). Despite the airshot quality, they're fascinating and, including a couple of tunes from Evans's debut LP and a couple not studio-recorded till the following year (on Explorations), they show the developments of the Waltz For Debby period already well under way. Coming from four separate occasions, there's repeated repertoire (three Autumn Leaves' and three ‘Come Rain Or Come Shine’, indirectly plugging the group's current release Portrait In Jazz). But the details are so different, the ‘duplication’ hardly matters.

Not much room remains to praise the Resonance set, consisting of three long tracks each from the four albums of unknown Evans they've discovered in recent years. From the Top Of The Gate to Ronnie's, plus the two continental sessions by the trio with DeJohnette, there's a wealth of cherishable music, of which the Black Forest version of ‘My Funny Valentine’ obviously inspired the compilation title.