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Evans' use of impressionist harmony, inventive interpretation of traditional jazz repertoire, block chords, and trademark rhythmically independent, \"singing\" melodic lines continue to resonate today. Born in Plainfield, New Jersey on 16 August 1929, Evans was classically trained and studied at Southeastern Louisiana University. In 1955 he moved to New York, where he worked with bandleader and theorist George Russell. In 1958, Evans joined Miles Davis' sextet, where he was to have a profound influence. In 1959, the band, then immersed in modal jazz, recorded Kind of Blue, the best-selling jazz album of all time. In late 1959, Evans left the Miles Davis band and began his career as a leader with Scott LaFaro and Paul Motian, a group now regarded as a seminal modern jazz trio. In 1961, ten days after recording the highly acclaimed Sunday at the Village Vanguard and Waltz for Debby, LaFaro died in a car accident. 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Recordings by an historic and important jazz artist, at a storied venue, at a time when the artist was making some of their most essential work. In this case, catching Pepper on tape at The Cellar in 1959 finds him in the midst of creating and straddling landmark releases like, Art Pepper Meets The Rhythm Section (1957), Modern Art (1957), Art Pepper + Eleven (1959) and Gettin' Together (1960). Though Pepper was going through a down time, Vancouver, Canada's jazz club, The Cellar was in full swing and in the middle of its seven-year run (1956-1963).\u003c\/p\u003e\u003cp\u003eDave Quarin, a saxophone player himself, managed The Cellar at the time, \"The Cellar years were a good time for us,\" Quarin states. \"There were a half a million or so people in Vancouver then. We had CBC radio in the late 1950s, and they did live shows from Vancouver. We were very in-touch with American news, so I knew about the good musicians.\" It was Quarin who captured Art on tape. 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Restoration and mastering engineer Michael Graves, restored and unified the existing audio to welcome you into The Cellar environment despite microphone placement changes within the club with nearly every change of tape.\u003c\/p\u003e\u003cp\u003eAlbum notes by Kirk Silsbee include interviews with Laurie Pepper and Dave Quarin who also provided archival photos from the era, and the album art is built around the linocut that used to hang above the bar at The Cellar, a stunning piece called The Trio by Harry J. 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What began as a holiday residency at Chicago's Plugged Nickel Café became the crucible where the Second Great Quintet forged it's identity. Miles, Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams delivered a masterclass in risk and invention, dismantling familiar tunes and rebuilding them on the fly. Producer Teo Macero captured every note across seven sets on December 22 and 23, 1965. Portions trickled out in the '70s and '80s, but only in the early '90s did Legacy reveal the full scope across seven and half hours of revelatory music-instantly hailed as one of the greatest live jazz recordings ever and earning the Penguin Jazz Guide's coveted \"Crown.\" Now, 30 years later and six decades after the shows themselves, veteran fans finally get the reissue they've demanded, and new fans get a chance to own one of the most mythologized live engagements in jazz history. This new 8CD edition mirrors the original sequence. 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