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Actual appearance may vary slightly from mockup
Condition: New & Sealed
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Packing is top notch! I'm 3 deliveries in and I've never seen a retailer pack their shipments so securely.
I've placed multiple online orders with Comeback and it's been an easy experience every time. Selection has been excellent, communication and shipment have been prompt, and items are well packaged.
All I can say is this is a family run business that truly cares for each and every customer.
These guys are the best! Everything is packed professionally, their prices are fair and their customer service is top notch.
Their customer service is incredible.
Super fast shipping and very sturdy packing.
It’s great to support a local record store when they are in it for the customers. You got a customer for life.
Just a damn good vinyl shop.
Great online selection, fair prices, fast shipping, and my order was packed securely/safely.
Items are shipped quickly and packaged nicely to avoid damage from those not so nice handlers.
Your order will always be packed in a top-of-line box specifically designed to ship vinyl records—made from high quality cardboard built to prevent seam splits & corner bends.
Everything inside your shipment will be bubble wrapped for added bump & drop protection, with as much extra filler material needed for a snug, safe ride to you.
As an additional free service, your records can be opened to have their discs shipped behind the jacket to prevent seam splits. Just tick the box below the add to bag button.
Tracklist & audio may vary from the vinyl version
Waltz for Debby is an album by American jazz pianist Bill Evans and his Trio consisting of Evans, bassist Scott LaFaro, and drummer Paul Motian, originally released in 1961. This was Bill Evans' first trio. The album was the fourth and final effort from the unit-LaFaro died in a car accident just ten days after the live date at the Village Vanguard from which Waltz for Debby and it's predecessor, Sunday at the Village Vanguard were taken. The loss of LaFaro hit Evans hard, and he went into a brief seclusion. When Evans returned to the trio format later in 1962, it was with Motian and noted bassist Chuck Israels. The title track, a musical portrait of Evans' niece, became a staple of his live repertoire in later years. It originally appeared as a solo piano piece on Evans' debut album, New Jazz Conceptions. It remains what is likely Evans' most well-known song, one that he would play throughout his career. This album is widely considered to be one of the best in the Evans canon, and the type of emotive interplay between the musicians that at some points seemed almost deconstructed has served as a model for piano trio play.