In the summer of 1980, the last trio (with
Marc Johnson, Joe LaBarbera) was in the midst of a European tour which had them
for two weeks at the famed Ronnie Scott's in London, as well as performances in
Germany, Belgium, Norway and Italy. In mid-August, after a performance at the
Molde Jazz Festival , the pianist granted a brief interview after the concert,
filmed for Norweiegan Television. The following is a verbatim transcript by Jan
Stevens, taken directly from a videotape copy of the event.
--- Bill Evans, you gave us a marvelous
concert. B. E. (Bill Evans):Thank you.
---
And I want to test you, and this is a
blindfold test. B. E.: Oh, OK.
---
Are you ready?. B. E.: Yes. I'm
ready.
(interviewer plays a few bars on a tape machine of an Evans
recording) --- Oh sure, yeah, I remember that, "I Love You"
from the
first album. That's many years ago. B. E.: Yeah, many, many years ago
but I still enjoy that record.
---
Do you always listen to your own
records? B. E.: Well, I didn't for many, many years. But then last couple of
years I've been listening to my own records more and going all the way back,
trying to learn something. Because I did things then that I don't do now and
vice versa, and I, uh, I can hear myself now more objectively, as another person
would hear me, as I listen to my early records. So I have been listening
to myself more.
---
You did this record about 25 years ago? B. E.: That's
right, that's right. Yes.
---
At the end of the fifties, you played with
Miles Davis? B. E.: Yes.
---
And you did a record with him too. B. E.: Yes,
a couple of records, right, yes.
---
What record did you enjoy best,
playing with Miles Davis? B. E.: Well, I enjoyed both the ones with "Green
Dolphin Street", "Stella by Starlight" and "Love for Sale".
Then there was also
one they released recently that we didn't even know was being recorded.
They called it Jazz at the Plaza... it was a party. What I liked about that
recorded was it has Philly Joe Jones still in the band, whereas "Jazz Track"
with "Green Dolphin Street" and "Kind of Blue"
was with Jimmy Cobb. So this was
an indication of how the band sounded with Philly Joe and how it sounded with
Jimmy Cobb. Of course, "Kind of Blue" was the most popular of the three
albums.
--- But how was it -- I heard you made "Kind of Blue"
in one day
in studio. B. E.: Yes that's
right, very quickly.
---
Was that a special
experience for you? B. E.: Well yeah, of course anytime you play with
musicians like that it's a special experience. But I think we all just do our
professional best, and perhaps that day the chemistry was, maybe, a little
better than usual or something. Because that you can't predict. What you can
do is to be a good professional; always do a good job -- and sometimes
things come together, so that it's even a little better than
professional.
---
Do you have contact with Miles Davis these
days? B. E.: Some. I saw
him, well, now, it must be a year ago now, because
I've heard these rumors. There are so many rumors around, you know, that Miles...
somebody told me he was very sick and that they thought he was dying, and then,
hey, you know, I saw him and he looked wonderful.
---
I heard one some
days ago that he was going to studio next week. B. E.: You always hear those
rumors too. And then he might go to the studio but he doesn't record, or he
might not go into the studio, I don't know. But all I know is that when I last
saw him, he didn't seem to have any intention of coming out and playing in
public. He might record, I don't know...
---
But you had a big trio with
Scott LaFaro and Paul Motian B. E.: Yes.
---
And you always perform with
trios. B. E.: Yes.
---
And why is that? B. E.: Well, for me it's
a very
pure group. But primarily, I'm more in control of the music. I can shape the
music and I state the theme, I keep the flow going... and the way we work
for instance, there's no talking, it's all done musically: indications; an it
becomes a totally musical experience for the group and also the audience.
If I just added a horn... now, I enjoy playing with horns; I record with horns
frequently... but that's the main reason. Even if I use one horn, it changes the
whole concept, because then, the thematic statements and all are out of my
hands.
--- Yeah, um what do you think about the audience in Molde
today? B. E.: Oh, it was an excellent audience!
---
But I notice that the
audience are young people today, more than some time ago. B. E.: Yes,
everywhere it's the same, it's maybe 80% young people. You know, I think
they're discriminating young people, or they wouldn't be here.
Otherwise, they would go, with the masses and just, you
know...
--- Why do you think young people listen more to jazz these
days? B. E.: I think some young people what a deeper experience. Some
people just wanna be hit over the head and, you know. If then they (get) hit
hard enough maybe they're feel something. You know? But some people want
to get inside of something and discover, maybe, more richness. And I
think it will always be the same; they're not going to be the great percentage
of the people. A great percentage of the people don't want a challenge. They
want something to be done to them... they don't want to participate. But
there're always be, uh, maybe 15% maybe, 15%, that desire something more, and
they'll search it out... and maybe that's where art is, I
think.
--- Does the audience response mean very much to you when you
play? B. E.: Well... (pause) it's not primary. It means a lot to me, but
primarily, I know what's happening. And sometimes when I think
it's really happening, the audience... they do pick it up... but they may
not pick it up as strongly as I feel it. And sometimes, I think
nothing's happening (chuckles) and they still respond. And they're
right, because we are professional and we are experienced, and therefore, we're
able to do a certain degree, always.
---
You're got almost a new
trio. B. E.: Yes, this is almost two years now with this trio. I love this
trio; it's kind of a "Live Trio"... the music's alive with this trio.
It's a wonderful trio, maybe the best one I ever had...
---
Do you
compare the trios you've had... B. E.: Well, I..
---
Do you compare this trio
to the one you had with Scott LaFaro and Paul Motian? B. E.: Yes, I don't
compare them qualitatively so much, but in, uh .... characteristically, I think
this trio resembles the first trio more than any other trio I've had.
Definitely. This trio is related to the first trio -- in some ways, the music is
evolving and growing of itself like the first trio. But all the
trios I've had I love, and we've, ya know, I've had a special experience...
(Bill looks at his watch, and pauses) Gotta go!
---
Yes. It's been very nice talking to you. B. E.: Thank you.
---
Now you're laughing.
On the covers of your records, you're... it's always the serious... B. E.:
I
know, I know, well, that's what they picture. They picture me that way. If
there's four pictures and three are smiling and one is serious, they take the
serious one. But we have to run to catch a plane, I'm afraid.
---
Yes,
you now have to go to Italy. B. E.: Right. (gets up from the
piano)
--- And I want to thank you very much. B. E.: Thank
you.
--- [a photographer:] So do you have two seconds? B.
E.: No, I really
have to go. Didn't you have a chance during all that?
---
Yes, but we'd like
to have you by the piano... B. E.: No, its too late, Im sorry.
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