Bill overdubs himself – not once, but twice – to create an amazing and confusing stereophonic contrapuntal experience with three Bills having nice conversations together, “triple play”. Glenn Gould also owned a copy of the Evans’ album Conversations With Myself (1963). (Twelve Tone Tune Two), based on the twelve-tone principle. Bill Evans also shared Gould’s fascination with serial composers and composed two pieces T.T.T. It was the harmonic originality of Bill Evans that inspired Gould’s comment after attending a concert in Toronto: “He’s the Scriabin of jazz” ( Issue 1999, volume 5, number 1 of the Glenn Gould Magazine). In 1977 during a radio broadcast Gould, as a host, played a part of the recording of Symbiosis by Bill Evans and Claus Ogerman. Gene Lees, a notable Canadian musician, writer and lyricist and a friend of both Bill Evans and Glenn Gould introduced the two in 1970.
Bill Evans and the celebrated Bach interpreter Glenn Gould (1932-1982) had a mutual admiration for each other. Later on during his career as a jazz pianist he remains inspired by classical composers and pianists. Subsequently he studied at the Mannes School of Music in New York composition and counterpoint. Later, as honor graduate, he played the whole concerto with the college orchestra. He graduated with a degree in piano performance and teaching. He finished solo with the first movement of the Third Piano Concerto of Beethoven. At his senior recital in 1950 at the Southeastern Louisiana University he started with Bach, Brahms and Chopin. He studies Mozart, Beethoven, Schumann, Rachmaninoff, Debussy, Ravel, Gershwin, Villa-Lobos, Milhaud. The training and repertoire of Bill Evans from the age of six to thirteen was strictly classical.
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