If you consider yourself the person who needs an introduction to Evans’ groundbreaking work at the start of the 1960s, this is a must-buy (especially at around just £15). Those who know the material backwards already can only be jealous at this bargain of combining Portrait In Jazz, Explorations, and the two LPs originally issued from the 1961 Village Vanguard date – done just days before LaFaro’s demise – together with the Spring 1960 airshots from Birdland, previously collected on the Fresh Sound label.

LaFaro’s innovatory contributions still startle, and the responsive strength of Motian’s often quite discreet playing was revolutionary for the period too. Evans’ own work defies a quick summary, but it’s worth recalling the unprecedented textural variety of his right-hand work, and this early phase of playing standards without stating the theme until the end (eg, on ‘How Deep Is The Ocean’ and ‘I Wish I Knew’).

If the broadcasts on CD3 are less well-known, you should be aware that they’re in mono, that the piano isn’t the greatest and, as well as background chatter, you have to put up with repeated announcements by disc jockey Symphony Sid. But, despite some repetition of repertoire (three versions of ‘Autumn Leaves’ and three of ‘Come Rain Or Come Shine’, plugging the newly released Portrait In Jazz), the music is great and often more exploratory than the official recordings. Added to these airshots are two short final tracks (from Tony Scott’s Sunnyside release Sung Heroes) that are by comparison a damp squib and, besides, Motian doesn’t play on them. Collectors will, of course, note the omission of the alternate takes and extra titles issued over the years, especially from the Vanguard, but for a documentation of Evans’ early trio, this could hardly be bettered.