Listening help (Interview clips of Bill Evans trio in Helsinki 1970)

[Bebop7]

https://www.youtube.com/watch?v=mBQTMK3lJJg
I've made a transcription and any correction would be really appreciated. Can anyone help?

(00:00 ~ 00:06) ???
(00:07) Only as far as being a student. You know. That's as far as you can go because intellectually you couldn't manipulate yourself fast enough intellectually to play.
(00:20) I mean jazz is a certain process that's not an intellectual process. You use intellect to take apart the materials and learn to understand and learn to work with them. But actually it takes years and years and years of playing to develop the facility so that you can't forget all of that. And just relax and just play.
(00:42) It has also been said that you and your playing... you are very melodic??? like Hemingway in the story?
(00:49) Does ??? intellectual process? So does it ???
(00:55) I think it's a matter of taste and just what you want to hear as an art you know as a performing because you play for yourself first of course you know. You are the primary audience for yourself. And I just don't like to hear superfluous things and I hope there aren't too many elements that are also ?? what I do you you know. Probably ?? are many but I don't like obvious embroidery so that's the reason I think.
(1:27) And I do like to state things as clearly as I can. Concisely as I can. I don't like make people work hard to understand what I am doing or myself either. If you can say (it) easy, why make it hard ?? ?
(1:41) When you start playing what extent do you know exactly what's going to do? ?? do you have...
(1:46) Only that we've agreed on a basic structural? plan? harmonically? and most of the things that we do and other than that certain things have fallen into place as you could hear. They? almost become arrangement. But sometimes we will destroy some of those things just to keep just try to keep fresh.
(2:03) And of course after the ?? is stated we don't know at all except that we know about the idiom we're going to be playing and(in) but we don't know the ideas or how they will follow each other or how we will be interplaying or anything like that.
(2:20) You challenge ??? but is your challenge? in the new composition?
(2:29) It's sort of a feeling I think a melodic feeling I just say a certain kind of a thing to try to... to maybe show somebody something through music
even show myself something because as I've discovered in myself it's been a revelation to maybe reveal something to someone else through the music
something that's good and something that they feel maybe enriches life a little bit or makes them feel better as a person or something like that. That would be the main guiding force.
(3:05) We could maybe proceed with another mood and perhaps another one that would demonstrate the stronger type of swing.
Perhaps you're familiar with the song from the picture Alfie called Alfie. We'll... this is we retreat as a ballad with a short improvised ??
section at the beginning of the second chorus.

 

[emsr2d2]

https://www.youtube.com/watch?v=mBQTMK3lJJg
I've made a transcription and any correction would be really appreciated. Can anyone help?

(00:00 ~ 00:06) Um, how far does the intellect go?
(00:07) Only as far as, er, being a student, you know. That's as far as it can go because intellectually you couldn't, um, manipulate yourself fast enough intellectually to play.
(00:20) I mean jazz is a certain process that's not an intellectual process. You use your intellect to take apart the materials and, er, learn to understand and then learn to work with them. But actually it takes years and years and years of playing to develop the facility so that you could forget all of that. And, er, just relax and just play.
(00:42) It has also been said that you, in your playing, you are very economic, er, like Hemingway in the story?
(00:49) Does this pruning down mean an intellectual process or does it come by playing andplaying?
(00:55) I think it's a matter of taste and just what you want to hear as an art ... you know, as a performer ... because you play for yourself first of course you know. You are the primary audience for yourself. And I just don't like to hear superfluous things and I hope there aren't too many elements that are superfluous in what I do, you, you know. There probably are many but I don't like obvious embroidery so that's the reason I think.
(1:27) And I do like to state things as clearly as I can, as concisely as I can. I don't like to make people work hard to understand what I'm doing or myself either. If you can say it easy, why make it hard you know so, yeah.
(1:41) When you start playing, to what extent do you know exactly what it's going to be? What do you have...
(1:46) Only that we've agreed on a basic structural plan harmonically in most of the things that we do and other than that certain things have fallen into place as you could hear. They almost become arrangements. But sometimes we'll destroy some of those things just to keep ... just try to keep fresh.
(2:03) And of course after the theme is stated we don't know at all except that we know about the idiom we're going to be playing in but we don't know the ideas or how they will follow each other or how we'll be interplaying or anything like that.
(2:20) Your challenge as in an obviously line, that sort of technical feed, what is your challenge in the new composition?
(2:29) It's sort of a feeling, I think, a melodic feeling, I just, er, to say a certain kind of a thing to try to ... to maybe show somebody something through music, even show myself something because as I've discovered in myself it's been a revelation to maybe reveal something to someone else through the music,
something that's good and something that they feel that maybe enriches their life a little bit or makes them feel better as a person or something like that. That would be the main guiding force, I think.
(3:05) We could maybe proceed with another mood and then perhaps another one that would demonstrate the stronger type of swing.
Perhaps you're familiar with the song from the picture Alfie called Alfie. We'll ... this, er, we treat as a ballad with a short improvisatory section at the beginning of the second chorus.

Above is what I heard. I can't work out what's at 2:20. I've put in red my best guess but it doesn't make much sense.

 

[teechar]

I think at 2:20 he says:

Your challenge(s) are sort ... obviously lie in that sort of technical field ...

I'm semi-guessing with the part in blue!