Waltz for Debby

So, yeah.

I've been loving Waltz for Debbie recently a lot.

Phenomenal.

So that's just where I'm at.

[laughs] But-

It's funny you bring up Bill Evans, 'cause just, like two or three nights ago, I was listening to Waltz For Debbie, which is another one of his, his, his masterpieces.

And I-

Yeah

One of which was

called Sunday at the Village Vanguard and the other one was called Waltz for Debbie.

So both recorded on the same day.

And these two albums are... highly regarded in the jazz world, some of the best works ever made.

Um, written by Irish actor and screenwriter Mark, Mark O'Halloran, um, who was basically adapted it from a 2013 novel called Intermission by Owen Martel about, um, Bill Evans, who was this, like, incredibly famous, um, jazz pianist from the '60s in New York.

Released, like, two of the kind of biggest, uh, jazz recordings, uh, Sunday at the Village Vanguard and Waltz for Debbie in the same afternoon in 1961.

The film starts off there in a really beautiful kind of black and white performance of that.

But then we kind of, as we go on, we see that Bill Evans had quite a troubled kind of period after that, where, um, his bassist and good friend in the band, Scott LaFaro, died really tragically and quite young in a car accident.