Evans is long gone and Hall much more recently but thankfully they made this iconic recording and wrapped it in a timeless vacuum that transcends all those years since its brilliant creation. Throughout its history, Mobile Fidelity has remained true to this goal, pioneering state-of-the-art technologies and setting audiophile standards that remain in place today. I was chilling to this disc the other day, nodding my head to this oh-so-natural music and wishing I had half of Evans' talent.

Later, the album was reissued on the Blue Note label; both Blue Note and United Artists Records have been part of the same catalog for many decades. These cookies are strictly necessary for the operation of the site, you can disable them by changing the settings of your browser but you will not be able to use the site normally. I am not generally a fan of Bill Evans (wash your mouth out with soap and water) but have always admired Jim Hall. In tackling standards such as Rodgers and Hart's ' My Funny Valentine ' and the Broadway classic ' Darn That Dream ' as well as the Hall original ' Romain ', the pair traverses complex harmonies with the astute elegance of a figure skater.

The record is noise free, but does an impressive job of capturing musical nuance and delivering a deep emotional experience. For me it's up there with the Hall, Baker, Desmond recordings, my all time favourite before Undercurrent. I assume that there are shortcomings in the original recording, but I can't help but feel that more could be gotten out of this record. I was fortunate to find a VG copy of this early pressing which cleaned up beautifully, no crackles nor surface noise of any kind.

I Hear a Rhapsody is an extraordinary exercise in leisurely poise, forming a seamless musical statement. LondonJazz is a not-for profit venture, but may occasionally take on work as a paid publicist and/or sell advertising packages. On Skating in Central Park that chiming guitar sound becomes a dominant feature and, set against it, Evans is wittily wistful and melancholy, each piano note precise and clear cut until he smoothly recedes into the background and lets Hall take centre stage. I have only recently discovered this album which is true masterpiece of duet playing, of two highly skilled jazz musicians listening to each other with intensity.

To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average. This reissue does an outstanding job of reducing noise from the master tapes — now well over fifty years old — without sacrificing musical detail. Here, as elsewhere on the album, it is often difficult to believe there are only two musicians at work. Whether it owes to the intimate pairing, he and Halls' brotherly chemistry, or the exquisite selection of program material, the results consistently come across as the equivalent of a private meditation, such is the level of introspective depth and quietly shaded interplay throughout.