This collection of late Evans hangs together well, despite omitting the quintet album with Tom Harrell (We Will Meet Again), which might have been considered more desirable than some of what’s here. Nevertheless, in order of recording rather than original release, there’s the last trio set with Gomez (You Must Believe In Spring) preceding the overdubbed New Conversations and then albums with Johnson on bass, consisting of the 2CD Paris Concert and the session co-led by Thielemans. To Bill’s detractors, the latter partnership could have drawn out the worst in both headliners but, since they were both so musicianly, the subtle details outweigh any sentimentality. At this stage, Evans was working on balancing the lyricism with the energy, and successfully applying the latter to his out-of-tempo playing (a long unaccompanied prelude to the live ‘Nardis’ being only the most striking example). Coming from a period that’s been exhaustively documented by unofficial albums, this representation of what Evans and his management actually wanted to have released is valuable.