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I thought I heard a Boston accent, but am surprised to learn that she hails from Slough, in England. This reminds me of a story about Bill. When he was playing Ronnie Scott's he was staying outside London and refused the offer of a car to take him to the gigs, instead preferring to take the bus, from Slough.

Bills delicate solo in Flamenco Sketches I think is so great.

I have a sneaking suspicion that Bill wrote Nardis

I remember hearing this when it was first broadcast. As I listened to Reflections in D I remember imagining Duke and Ravel and Debussy all listening.

I know this is a bit off topic, but I LOVE their accents!

This guy is a national treasure And he is so humble, alll about the music

Play timeline 0:01 4:29 12:00 21:05 30:30 37:45 44:15

Sat afternoon NPR Radio on a Los Angeles afternoon for me eons ago ' Now....... 'Love!!!!!! Thank you!!!

Thank you for sharing this timeless interview!

36:01 Real wisdom about trying to tackle jazz here.

Great interview. Amazing playing the both of them! www.youtube.com/@jonnreyna1

This is great! It's so wonderful to hear Bill in any interview, not only because he is incredibly articulate, but also because he never has a bad word to say about any other musicians he knew or worked with. People always describe him as gentle and kind. It seems that is true. Confidence mixed with humility is an awesome combination in a person.

Please subtitle

Man, cats today (myself included) wish they could be as cool as these two!

Such a beautiful version of Waltz for Debby, the phrasing, articulation, coloration. His appreciation and affection for Marion are clear. 👏 👏 👏 👏 👏 👏

My old friend was a great classical player who had never listened to jazz, so he asked me to buy him some top piano jazz records, from Art Tatum, to Dave Brubeck, to Thelonious Monk, to Bill Evans. I asked him to critique all of them. He said he was "blown away" by Tatum's technique, and enjoyed Erroll Garner, but asked me, "What is that funny sound in the background??" When I told him it was Erroll actually humming along as he played, he didn't quite know what to think about it. But he immediately seemed to gravitate to Evan's playing the most. When I asked him to comment on Bill's playing he answered, "All I can say is that he's so far ahead of everyone else that he's on a whole other level. I can't exactly explain it." He didn't realize that he just did.

Absolutely wonderful.

Two of my favourite people - and artists, uncommonly together making music. Thanks for this rare find!

There is so much more to Bill's music than just great musicianship. It's wonderful stories, beautifully told, and THAT SOUND, what a maestro !!!!

Bill Evans sounds like an orchestra.

Bill's use of modal chords, soft touch, and phrasings, remain the high standard for classically trained jazz pianists yesterday and today. That distinction is what Miles focused on in giving Bill the Kind of Blue nod over Wynton Kelly. Although Wynton played on Freddie Freeloader it was his composition so it stood to reason, he'd be included. Bill only worked with Miles for a very brief stint. But his contributions during that time created a wealth of music from arguably one of the greatest jazz ensemble ever recorded. Great interview!

I am a drummer and drumming instructor. I play a little xylophone too (not well); so drums is my main instrument...NOT piano. And yet, ever since I was a teenager, no musician was able to put me into "orbit" the way that Bill Evans could! It's his approach, like a ballerina or a fencer, that astonishes me, and I'm sure so many of you! Marian McPartland is genuinely in awe of Bill here! She is NOT fawning or gushing over him in an obsequious way. She just can't help herself, and I love her for it! Marian was a tremendous musician, composer, and piano historian herself! She heard and understood the nuances of Bill's performance better than anyone. A great friend and bandmate of mine, Jan Stevens runs the B.E. website and is an expert on Bill. Years ago Jan performed with Marian, Dick Hyman, Bill Charlap, Jack Reilly, and Fred Hersch at the 92nd Street Y in a special memorial tribute to Bill. I got to ask Ms. McPartland about Bill at the rehearsal and she told me about this very interview. She knew that I was a student of one of her own favorite drummers Joe Morello, and she was so effusive in her admiration of Bill to me. It is so, so thrilling and pleasing to hear here how much she loved Bill. This spectacular interview sounds like it was done around 1978, just two years before the music world would lose this immortal man. Thank you for presenting this audio "oil painting."

The world is a much better place because of these two.

Just unreal.

Excellent sound

Bill Evans' rhythmic displacements always jumps right out at you and may be the most distinguishing characteristic of his playing, imo.

How many ways and in how many keys can I express, I love this!

21:02

27:45 do you play in any key?

Bill and Marian🎉 great humans!

What a light and inspiration Bill Evans was and will always be! Amazing soul, depth and musical talent!

This man is a great force of nature! One of outstanding genius of all time! Thanks, Bill!!

I just love Marian McPartland's interviews. She has a way to get the musicians to talk about their art so that we can all get to know the artists. I always looked forward to her show Piano Jazz and was so happy when these recordings started to show up on CDs and TH-cam. What a treat!

Recorded 11/6/1978

Geez o Pete, I’m a dozen or so years into true maid Marion standom and this the first time hearing her with so high a regard of a guest. So very cool to hear her pleased with the level of playing and conversation. She’s low key a GOAT, mad deep knowledge, skill, and sensitivity. Could and did keep up with literally anybody for decades First time hearing Evans talk at all, and he seems wonderfully grounded and aware without more ego of your average successful 50’s-60’s dude lol

😃🌱🥀💛

When Marian asks Bill if he's playing a certain style at 20:18 on the time bar, then Bill describes it as an 'abstract' approach and begins to play it starting with a C major chord at 20:34 then he elaborates the structure and explains to bringing in an E major chord, at 21:50 or there about, [I have to go back and check the time bar numbers to indicate exactly where you hear this change-up in chords, as Marian then compliments Bill and says that's quite advanced for a new student as to what he just played. Bill then offers a great line of wisdom by saying - "Intuition has to lead knowledge but it can't be out there on its own. If it's on its own it's going to flounder."] They talk for quite a while longer and I know she's going to work up to mentioning certain keys, and I'm so pleased to hear that she brings up the key of D, and asks Bill to play Duke Ellington's Reflections in D, at 31:20 on the time bar. As I've been sitting at the piano lately trying to find these changes, and play them but I'm not an experienced piano player. I'm just self-taught, [as an accomplished and published technical visual artist and astronomy scientist,] so I can see now that this takes a tremendous amount of practice of hundreds of hours to attain this genius level of playing that Bill Evans accomplishes. I don't know if others know this but I've studied this for 20 years about left-handed people, and if you don't know, Bill Evans was a born left hander, as many of the history books show that the geniuses in art and music and science are a higher percentage of left-handed people - Bach, Mozart, and Beethoven, we're all born left-handed, as was Rachmaninoff, the famous classical pianist and child prodigy, Glenn Gould, and other great jazz pianists such as Erroll Garner, [who could not read a note on a sheet of music, as Garner played entirely by ear. Erroll Garner was also heavily criticized by his recording label supervisors, due to his general character but in those days in the 1950s it was not understood that his left handedness probably caused a common condition in left-handers as we are known to be a higher percentage of diagnosis of Asperger's, dyslexia, autism, and bipolar. Although I'm not diagnosed with any of those conditions, but it is now believed in new medical journals today that Asperger's is no longer classified as a disorder - it's redefined as a trait of left-handed people, ie; Bill Gates and Paul Allen of Microsoft, Steve Jobs of Apple, the famous actor Tom Cruise, and the famous comedic actor director Woody Allen, and so many more untold natural born left-handers, as all these famous and genius left-handed people are diagnosed with Asperger's or other similar spectrum diagnosis.] Great left-handed artists are also known to suffer as left-handers diagnosed with Asperger's, such as Glenn Gould was diagnosed with severe Asperger's, and other famous left-handers such as The Rock guitarist and genius performer David Byrne, talks in interviews about his Asperger's as a left-hander.] Oscar Peterson is another one of the genius pianists, but I'm just rambling here now about famous left-handers, as genius pianists. There are probably many more I can't think of at the moment. But back to those timestamp numbers I listed above, if you listen to the changeup he makes from the C chord to the E major, this is classic Bill Evans signature style that everyone wishes they could imitate and there are many great imitators now with tutorials on TH-cam to show you how to play some of these change-up styles or abstracts that we all hear, as Bill Evans great accomplishments of genius on the piano. Just an aside, and somewhat out of context here, I should also add there's an amazing recording coming up to be released in June of 2021 next month. It's a rare find of audio tapes in the Abbey Road studios in England that Paul McCartney of The Beatles, during the recording of the White Album in July 1968, rang up Bill Evans and asked him to come over and play as Evans and his Trio of Eddie Gomez and Jack DeJonette, played for a session of an hour or so with McCartney and they performed several of both their numbers such as McCartney sings his famous Yesterday with Bill Evans on piano and other Jazz standards such as Summertime. You can look this up, as there's only one article release so far about it in a site titled - All About Jazz . com ... which I wrote not in hyperlink form here so it doesn't cause you to jump to the wrong location. But also search this new album titled by its name which the site mentions and the rundown of the track listings and the atmosphere as others were just recently called up and spoke briefly about remembering this session such as the recording engineer at Abbey Road and some few words from Paul McCartney so far. The article indicates they gave a pre copy of the recorded session with Paul McCartney and Bill and his Trio, to Ringo and he's been listening to it for the past 6 months and totally enthralled with it, as Ringo says he listens to it everyday. The new album is titled - Bill Evans: Hey Bill It's Paul From Abbey Road [Sorry for my rambling about too many things. I'm also a born left hander and accomplished in the Arts and Sciences world more so as a semi-professional astronomer and astronomy artist published by NASA many times over the past 10 years.] At 67 years now I've been giving up somewhat on acoustic guitar jazz, if only just to concentrate more lately on doodling with piano for the past 10 years but listening to a lot of Bill Evans and other pianists, so I hope to practice more and maybe get up to just barely performance level to imitating Evan's style a little, when I sit at a piano, [if only to entertain my friends, now and then.]

What a gal...what a guy...we are lucky!!!

woo hoo...thanx for this...legendary.....

What an incredible interview. Bill Evans was always my guiding light when it came to honesty and sheer intellectual heft about music in general. He seems like the kind of person who'd share a cup of coffee with anyone and talk about music. When I was a music student in college in the early 60s my classmates introduced me to Evans and his music. He left us way too soon.

I was a mailman in the 80's. Marion's house was on my route. Just around the corner from Eric Boom's (Blue Oyster Cult) house.

Bill Evans is an piano saint.

The greatest artist of the 20th century..

Bill on the importance of knowing a tune well before playing it well..."Intuition has to lead knowledge, but it can't be out there on it's own." This statement pretty much sums Bill Evans up in my opinion and is just pure, simple, genius!!

Exquisite.....BEYOND Category. RESPECT!

This astounding episode was just before Bill's last trio of Marc Johnson and Joe LaBarbera and his exhausting but productive world tour, ending with an 8 night stay in San Francisco with an amazing 16 CDs (in "Consecration" and "Last Waltz." My fav Evans, even more than the '61 Vanguard sessions.) I was disappointed in a recent interview of Joe, who gives the standard line on Bill, dating back to the LaFaro trio. But his last trio was different--the fullest expression of Bill's own music and its vision.

I was fortunate enough to spend 3 hours one-on-one at Bill’s motel north of the Capitol Records Bldg. when Bill did his second stint at Shelley’s Manne Hole. Chuck Israels came to the door and said, “Who the hell are YOU?!” And then he began to slam the door in my face! Then Bill loomed over Chuck’s left shoulder said, “Let him in; I invited him.” Thus began the most meaningful event in my life at that time. Bill and I talked about all kinds of things, most of which is hazy after 58 years, but I most remember because of the kind of playing I did, what I should be aware of. He told me to work especially hard on touch. Being an introspective player, I found that advice some of the most valuable I’ve ever received. Because I’m basically a harmonic player and utilize a lot of counterpoint in my left hand, I found that, for me, touch was an essential part of bringing out inner voice lines. Bill also let me copy changes; this was before fake books. Interestingly, Bill didn’t have a book per say at the time. Everything was on menus, matchbook covers, and napkins! As I was leaving, I asked, “Bill, did you write BOTH “Blue In Green” and “Flamenco Sketches”? In those days, we weren’t sure. Bill’s one-word answer was, “Yes”. Bill died in September of 1980; I wrote him a piece that has become the fourth of my “Four Elegiac Songs”. I wish he could have heard it. Addendum: 10-16-21…. The “Four Elegiac Songs In Time Of Covid”, of which the Bill Evans tribute was the fourth, tied for 3rd prize in the massive American Prize competition’s Pop/Light Music division of composers! It was just a couple of months ago!

He likes E and A, Jim Hall was a big influence.

This is such a great episode.

Our Chopin, near the end. Inspires and breaks my heart.