Good question Guillaume.
2:01 is where the piano solo starts, and 2:03 is the top of the form (C-7) - we can hear Bill’s melody outlines a rootless C-9 arpeggio shape which is a good indicator of the underlying harmony.
Also listen to the drummer at 2:03 - that accent/drum roll is another cue that they are back at the top of the form.
Try to hear the ‘quality’ of the chords and improvised melody:
2:03 - 2:06 sounds ‘uplifting’ and ‘happy’ which indicates major harmony (C-7 / F7 / Bbmaj7 / Ebmaj7)
and then 2:07 to 2:11 sounds a little ‘darker’ and more dissonant which indicates minor harmony (A-7b5 / D7alt / G-7 )
These 251 progressions in Bb Major and G Minor repeat throughout the form which makes Autumn Leaves a relatively simple tune to memorise.
Timestamps for the piano solo:
Bill improvises through the form 5 times and then brings in the head at 5:08
Here’s some approx. time stamps for when the form repeats:
~2:03 - piano solo at top of form
~2:40 - form starts again
~3:18 - form starts again
~3:52 - form starts again
~4:32 - form starts again
~5:08 - head and out
It can be a nice exercise to play along with left hand voicings underneath the recording.
Some Additional Notes…
Bill Evans’ recordings of this tune are interesting because his bass players take the first solo. ‘Portrait In Jazz’ was recorded with Scott LaFaro on bass. Also see the performance video below with Eddie Gomez on bass and again we see that the bass takes the first solo.
It’s also worth noting that Bill Evans brought a new approach to the jazz trio. He gave each member of his trio the creative freedom to express improvised ideas whenever they desired, at any point in the performance.
This was a contrast to the earlier bebop era where each musician ‘took turns’ to solo over the form. As an example, for Bill’s last solo through the form at 4:32, Scott LaFaro also expresses some improvised ideas and takes another short solo before the final head at 5:08.
In this sense, Bill Evans’ approach to the jazz trio was more of a ‘dance’ or ‘fluid conversation’ between the musicians as oppose to a ‘regimented order’ in which they take a solo. This is something to be aware of when listening to his trio performances.
Here’s the other recording with Eddie Gomez on bass:
Hope this helps!