Bill Evans - Shelly Manne - Eddie Gomez – A Simple Matter Of Conviction - 1966 Jazz - Original US Stereo LP
- Bill Evans - Shelly Manne - Eddie Gomez – A Simple Matter Of Conviction - Stella By Starlight -Unless It's You.mp3
- Bill Evans - Shelly Manne - Eddie Gomez – Laura - My Melancholy Baby.mp3
- Bill Evans - Shelly Manne - Eddie Gomez – I'm Getting Sentimental Over You - Star Eyes - Only Child - These things called changes.mp3
Bill Evans, Shelly Manne, Eddie Gomez – A Simple Matter Of Conviction
Verve Records – V6-8675
Vinyl, LP, Album, Stereo, Gatefold
Record is VG+ VG++ has some light wear (listen to our copy)
Cover is VG+ VG++ has ringwear, edgewear and cornerwear in top right and bottom left corners, 3 inches of light water damage inside the gatefold, close to the open edge (See our pic)
Record comes in generic white inner sleeve
A1 A Simple Matter Of Conviction 2:55
A2 Stella By Starlight 4:05
A3 Unless It's You 3:40
A4 Laura 4:15
A5 My Melancholy Baby 5:07
B1 I'm Getting Sentimental Over You 4:10
B2 Star Eyes 4:55
B3 Only Child 4:00
B4 These Things Called Changes 3:29
Bass – Eddie Gomez
Drums – Shelly Manne
Piano – Bill Evans
Producer – Creed Taylor
Similar to (Bill Evans, Shelly Manne, Eddie Gomez - A Simple Matter Of Conviction) US Issue, but with slightly different labels (see photos). The title is laid out in two lines, not three. Production credit is spelled out as "Produced By Creed Taylor" in one line as opposed to "Prod. by Creed Taylor" in two lines. There is a slash in the catalog number "V6/8675" instead of a dash. And there is no side listing on the labels, only an "A" or a "B" after the catalog number. There are also slight differences in the layout of the track titles, durations, and credits.
Barcode and Other Identifiers
Matrix / Runout (Side 1): V6-8675 MGS 604 VAN GELDER
Matrix / Runout (Side 2): V6-8675 MGS-605 VAN GELDER
( amazon customer) " Like the first collaboration between Evans and Manne on the 1962 album titled Empathy, this album has a completely different feel from Evans' other work. Most of the album is uptempo, and while harmony is still Evans' focus, melody and rhythm are given equal attention. I am sure that much of this is due to Shelly Manne's approach to drums, which is always creative), and Eddie Gomez' bass.
The sound samples on this page convey the music far better than I can in words, so let those be your guide. I will say that if you are a drummer this is definitely an album you want to dissect. Same for bassists. Gomez is right up there with Scott LaFaro in my opinion. Not a clone, by any means, but still an excellent fit to Evans' playing (which is reinforced by future albums they would do together). Evans is legendary for giving his rhythm section space to stretch and this album is no exception. The breaks and solos by both Manne and Gomez are masterful.
This album was recorded for Verve in a single October 4, 1966 session at Rudy van Gelder's Englewood Cliffs, NJ studio. According to some sources (including the liner notes on the LP) there were multiple takes, so the session was probably a trying day. However, each track sounds like spontaneous, effortless art to my ears, so whoever did the post production must have added a lot to the album too."