“Bill Evans’ recordings almost always received good to excellent sound, and the Analogue Productions reissues are no exception. While I don’t own the original releases, the 45 rpm reissues are clearly better, even after VTA adjustments, the later OJC reissues or the earlier 33 1/3 rpm Analogue Productions releases. The 45 rpm reissues are more musical and transparent; instruments have greater three-dimensionality and frequency extremes, especially lower octaves, exhibit greater resolution and impact. Get them before they’re sold out!” — Myles Astor, Positive-Feedback Online, Issue 34, www.positive-feedback.com

Bill Evans was left reeling by the accidental death of his brilliant bassist Scott LaFaro in mid-1961 and didn’t feel ready to record with his new bassist until nearly a year later. When he did go into the studio in May and June of 1962 with Chuck Israels and drummer Paul Motian, the “second trio” produced material for two albums that were to be among Evans’s most popular.

Moonbeams includes ballad material from the sessions. The rest of the music from the sessions is in How My Heart Sings! In Moonbeams, Evans did some of his most introspective playing, his sense of loss apparent but relieved by Israels’ power and empathy. “Polka Dots and Moonbeams,” “If You Could See Me Now,” and the others represent Evans at his best, his lyricism underlaid with rhythmic firmness even in the extraordinarily slow “In Love in Vain.”