In addition, the technique had been extensively used by guitarist Les Paul, and Rosemary Clooney had overdubbed vocals to prerecorded big-band tracks made by Duke Ellington for the album Blue Rose (1956), among other examples.

The title of the piece is an anagram based on Clark's name,[9] and its "B" section alludes to Igor Stravinsky's The Firebird, "which tells a story of death and transfiguration.

"[10] The program is rounded out by a complex elaboration of the love theme composed by Alex North for the 1960 Stanley Kubrick film Spartacus, which Evans had seen at a drive-in with his friend the pianist Warren Bernhardt.

Writing for AllMusic, music critic Michael G. Nastos said: Certainly one of the more unusual items in the discography of an artist whose consistency is as evident as any in modern jazz, and nothing should dissuade you from purchasing this one of a kind album that in some ways set a technological standard for popular music—and jazz—to come.

Evans' work on the ten tunes included here is truly inspired and amazing to behold .... [T]his glimpse of the artist at a heightened level of expression is very rewarding indeed.

"[18] Shadwick observes that Evans accorded "each recorded piano part a rhythmic, harmonic and melodic role in direct parallel to his own trio's work.

The minimalist composer Terry Riley, who wrote highly of Evans on several occasions[22] and placed him in his "Pantheon" of "teachers and heroes,"[23] used overdubbing with various types of keyboards for his 1969 album A Rainbow in Curved Air.

Glenn Gould, whose piano, as noted above, was used by Evans for Conversations with Myself, later employed overdubbing himself for some of his transcriptions of the complex music of Richard Wagner, which he recorded in 1973.

[25] Hersch writes in the liner notes that he was "intimately acquainted with [the] wonderful triple-tracked album, Conversations with Myself" by "legendary pianist Bill Evans.