In 1966, Evans discovered the young Puerto Rican bassist Eddie Gómez.
In what turned out to be an eleven-year stay, Gómez sparked new developments in Evans's trio conception.
One of the most significant releases during this period is Bill Evans at the Montreux Jazz Festival (1968), which won him his second Grammy award.
It has remained a critical favorite, and is one of two albums Evans made with drummer Jack DeJohnette.

Other highlights from this period include "Solo – In Memory of His Father" from Bill Evans at Town Hall (1966), which also introduced "Turn Out the Stars"; a second pairing with guitarist Jim Hall, Intermodulation (1966); and the solo album Alone (1968, featuring a 14-minute version of "Never Let Me Go"), that won his third Grammy award.

In 1968, drummer Marty Morell joined the trio and remained until 1975, when he retired to family life.
This was Evans's most stable, longest-lasting group.
Evans had overcome his heroin habit and was entering a period of personal stability.

Between 1969 and 1970 Evans recorded From Left to Right, featuring his first use of electric piano.

Between May and June 1971 Evans recorded The Bill Evans Album, which won two Grammy awards.
This all-originals album (4 new), also featured alternation between acoustic and electric piano.
One of these was "Comrade Conrad", a tune that had originated as a Crest toothpaste jingle and had later been reelaborated and dedicated to Conrad Mendenhall, a friend who had died in a car accident.

Other albums included The Tokyo Concert (1973); Since We Met (1974); and But Beautiful (1974; released in 1996), featuring the trio plus saxophonist Stan Getz in live performances from the Netherlands and Belgium.
Morell was an energetic, straight-ahead drummer, unlike many of the trio's former percussionists, and many critics feel that this was a period of little growth for Evans.
After Morell left, Evans and Gómez recorded two duo albums, Intuition and Montreux III.

In the early 1970s, Evans was caught at New York's JFK airport with a suitcase containing heroin.
Although the police put him in jail for the night he was not charged.
But both he and Ellaine had to begin methadone treatment.

In 1973, while working in Redondo Beach, California, Evans met and fell in love with Nenette Zazzara, despite his long-term relationship with Ellaine.
When Evans broke the news to Ellaine, she pretended to understand, but then committed suicide by throwing herself under a subway train.
Evans's relatives believe that Ellaine's infertility, coupled with Bill's desire to have a son, may have influenced those events.
As a result, Evans went back on heroin for a while, then got into a methadone treatment program.
In August 1973, Evans married Nenette, and, in 1975, they had a child, Evan.
The new family, which also included Evans's stepdaughter Maxine, lived in a large house in Closter, New Jersey.
 Both remained very close until his death.
Nenette and Bill remained married until Bill's death in 1980.

In 1974, Bill Evans recorded a multimovement jazz concerto written for him by Claus Ogerman entitled Symbiosis.
The 1970s also saw Evans collaborate with the singer Tony Bennett on 1975s The Tony Bennett/Bill Evans Album and 1977s Together Again.

In 1975, Morell was replaced by drummer Eliot Zigmund.
Several collaborations followed, and it was not until 1977 that the trio was able to record an album together.
Both I Will Say Goodbye (Evans's last album for Fantasy Records) and You Must Believe in Spring (for Warner Bros.) highlighted changes that would become significant in the last stage of Evans's life.
A greater emphasis was placed on group improvisation and interaction, and new harmonic experiments were attempted.

Gómez and Zigmund left Evans in 1978.
Evans then asked Philly Joe Jones, the drummer he considered his "all-time favorite drummer", to fill in.
Several bassists were tried, with Michael Moore staying the longest.
Evans finally settled on Marc Johnson on bass and Joe LaBarbera on drums.
This trio would be Evans's last.
In 1966, Evans discovered the young Puerto Rican bassist Eddie Gómez. In what turned out to be an eleven-year stay, Gómez sparked new developments in Evans's trio conception. One of the most significant releases during this period is Bill Evans at the Montreux Jazz Festival (1968), which won him his second Grammy award. It has remained a critical favorite, and is one of two albums Evans made with drummer Jack DeJohnette.
Other highlights from this period include "Solo – In Memory of His Father" from Bill Evans at Town Hall (1966), which also introduced "Turn Out the Stars"; a second pairing with guitarist Jim Hall, Intermodulation (1966); and the solo album Alone (1968, featuring a 14-minute version of "Never Let Me Go"), that won his third Grammy award.
In 1968, drummer Marty Morell joined the trio and remained until 1975, when he retired to family life. This was Evans's most stable, longest-lasting group. Evans had overcome his heroin habit and was entering a period of personal stability.
Between 1969 and 1970 Evans recorded From Left to Right, featuring his first use of electric piano.
Between May and June 1971 Evans recorded The Bill Evans Album, which won two Grammy awards. This all-originals album (4 new), also featured alternation between acoustic and electric piano. One of these was "Comrade Conrad", a tune that had originated as a Crest toothpaste jingle and had later been reelaborated and dedicated to Conrad Mendenhall, a friend who had died in a car accident.
Other albums included The Tokyo Concert (1973); Since We Met (1974); and But Beautiful (1974; released in 1996), featuring the trio plus saxophonist Stan Getz in live performances from the Netherlands and Belgium. Morell was an energetic, straight-ahead drummer, unlike many of the trio's former percussionists, and many critics feel that this was a period of little growth for Evans. After Morell left, Evans and Gómez recorded two duo albums, Intuition and Montreux III.
In the early 1970s, Evans was caught at New York's JFK airport with a suitcase containing heroin. Although the police put him in jail for the night he was not charged. But both he and Ellaine had to begin methadone treatment.
In 1973, while working in Redondo Beach, California, Evans met and fell in love with Nenette Zazzara, despite his long-term relationship with Ellaine. When Evans broke the news to Ellaine, she pretended to understand, but then committed suicide by throwing herself under a subway train. Evans's relatives believe that Ellaine's infertility, coupled with Bill's desire to have a son, may have influenced those events. As a result, Evans went back on heroin for a while, then got into a methadone treatment program. In August 1973, Evans married Nenette, and, in 1975, they had a child, Evan. The new family, which also included Evans's stepdaughter Maxine, lived in a large house in Closter, New Jersey.  Both remained very close until his death. Nenette and Bill remained married until Bill's death in 1980.
In 1974, Bill Evans recorded a multimovement jazz concerto written for him by Claus Ogerman entitled Symbiosis. The 1970s also saw Evans collaborate with the singer Tony Bennett on 1975s The Tony Bennett/Bill Evans Album and 1977s Together Again.
In 1975, Morell was replaced by drummer Eliot Zigmund. Several collaborations followed, and it was not until 1977 that the trio was able to record an album together. Both I Will Say Goodbye (Evans's last album for Fantasy Records) and You Must Believe in Spring (for Warner Bros.) highlighted changes that would become significant in the last stage of Evans's life. A greater emphasis was placed on group improvisation and interaction, and new harmonic experiments were attempted.
Gómez and Zigmund left Evans in 1978. Evans then asked Philly Joe Jones, the drummer he considered his "all-time favorite drummer", to fill in. Several bassists were tried, with Michael Moore staying the longest. Evans finally settled on Marc Johnson on bass and Joe LaBarbera on drums. This trio would be Evans's last.
Bill Evans