Martin Short couldn’t help but throw another barb at Steve Martin during a recent joint conversation with GO! Magazine.

Short and Martin were discussing how they met during the casting process for the 1986 film “¡Three Amigos!” Martin had just finished praising Short’s early work on Canadian sketch comedy show “Second City Television,” and it sounded like Short was about to return the favor.

“Well, I remember going to Steve’s house to pick up a script for ‘¡Three Amigos!’” Short said. “I had had dinner the night before with Lorne Michaels and he told me about this movie, and I went to Steve’s house. I had never met him, and beautiful house. And the first thing I said to him was — because I was looking around the house and I’m seeing Picassos and beautiful art — I said, ‘How did you get this rich? Because I’ve seen the work.’”

It felt like he had more to say, but there was nothing but silence. Even over the phone, you could practically see the impish grin spreading across Short’s face as the insult slowly dawned on the somewhat slow-on-the-uptake guy doing the interview.

“I instantly liked him and wanted to be friends with him,” Martin said after a chuckle. “I’m the nice half of this thing. I’m the good cop, and he’s the bad cop.”

That may be. But their variety show “An Evening You Will Forget for the Rest of Your Life” — filmed for a recently released Netflix special and headed to Les Schwab Amphitheater on Friday — is brimming with insults and slights from both comedians.

It begins right away in the special: As Martin gives a lengthy introduction, Short continually pops up from behind a curtain, anticipating his name, only for Martin to instead welcome “Jimmy Kimmel Live!” pianist Jeff Babko to the stage. This goes on for more than 70 minutes, with the duo peppering each other with put-downs in between musical interludes featuring Babko and longtime Martin collaborators The Steep Canyon Rangers, stand-up routines and some disturbing costume changes (mostly on Short’s part).

“And by the way,” Martin said, “that’s very much how we talk in real life.”

This is to be expected from two men who practically wrote the book on absurdist comedy. To scratch the surface of their mile-long resumes: Martin started out as a writer on “The Smothers Brothers Comedy Hour,” progressed to stand-up in the ’70s, exploded into film with comedy classics such as “The Jerk,” “Planes, Trains and Automobiles” and “Father of the Bride” and most recently reinvented himself as a Grammy-winning bluegrass musician. Short was a cast member on “SCTV” and “Saturday Night Live,” debuted in film in “¡Three Amigos!,” won a Tony Award starring in the 1999 Broadway revival of “Little Me” and created surreal characters such as celebrity commentator Jiminy Glick and hyperactive manchild Ed Grimley.

“An Evening You Will Forget for the Rest of Your Life” is just the latest collaboration between the two comics, who also starred together in “Father of the Bride” and its sequel. It began as a simple joint appearance in 2011 at Montreal’s Just For Laughs comedy festival.

“But then, we didn’t do it for a year, and then, we tried it again,” Short said. “We started off just interviewing each other, and then, it slowly evolved into a show. Then we took a couple years off — I would say five years.”

They recorded the Netflix special in March, but don’t expect a carbon-copy in Bend. Martin said the duo have worked up “30, 40 minutes” of new material to sub into the show.

“You’re always trying something new each show, and if it works, it goes in, and if it doesn’t, we never do that again,” Short said. “It is just by repetition and examining it. I mean, we can leave the show, leave the stage and (the) audience is giving us great reaction, and we’re right away talking about how to make it better. ‘What if we moved that line around?’ That’s where you find it.”

While there’s a Glick segment from Short and a few callbacks to both comedians’ stand-up routines, the show is about presenting new material.

“We never wanted to make it a nostalgia show,” Martin said. “But also, what you didn’t see on the Netflix special is we open with a five-minute reel of kind of greatest-hits stuff. So that is dealt with right at the top of the show, showing some old videos and things, and then we start a new show when we come out live.”

Babko and The Steep Canyon Rangers will get plenty of chances to shine onstage in Bend (as opposed to the Netflix special, which cut most of the music). Martin, who performed at Les Schwab in 2013 with singer-songwriter Edie Brickell in support of their first album (of two) together, “Love Has Come For You,” will, of course, pull out the banjo, an instrument he’s played since age 17, for a few numbers.

Though still best known for his acting, Martin’s focus has been in music since the release of his first bluegrass album, 2009’s “The Crow: New Songs for the 5-String Banjo.” And he’s been away from stand-up even longer, having retired from the form in 1981 to pursue a film career. Other than a 2016 appearance opening for Jerry Seinfeld in New York City, this show marks Martin’s return, but he said he wasn’t concerned about jumping back in.

“It’s true I had not done stand-up, but I had done hundreds of television appearances and hosting of award shows and other live situations,” Martin said. “I was a little — and also, I toured with The Steep Canyon Rangers for years and years and years playing music and also being the host of that show, essentially, and doing stand-up but with a band. So it wasn’t anything unusual or new to me, really.”

The show also gives Short a chance to flex as a singer, perhaps one of his lesser-known talents. During one segment, he talks about his love for singers such as Tony Bennett and Frank Sinatra, throwing in a few impressions along the way.

“Most impressionists, when they would sing like Frank Sinatra or would sing like Tony Bennett, and then when they sang in their own voice, it was bland and had no personality,” Martin said. “And that’s the opposite for Marty. He can do all these impressions, then he has this terrific touch of being himself that most impressionists couldn’t do.”

“I think that it does come from placement, certainly,” Short added. “I’ve done a few Broadway musicals, and to survive in doing something like that, you have to place your voice and be very aware because you’re doing eight shows a week. But I guess it’s true, it comes from the same kind of world (as doing impressions).”