Here's a guy who, in his early twenties, began a four year touring and recording hitch with Miles Davis and following that, a three-year stint with John McLaughlin and the Mahavishnu Orchestra. Not bad for a kid from Clarendon Hills, Illinois, who by chance, shares the same name with two other jazz giants (one, the modern jazz pianist who died just about the time that Bill the Third signed on with Miles, and the second, the reedsman who changed his name to Yusef Lateef).
Since then, Bill Evans has recorded and toured with Herbie Hancock, Lee Ritenour, Dave Grusin, Mick Jagger, Willie Nelson … the list goes on and on. And when he isn't performing sideman duties, he tours with his own band, which he's done continuously and mostly overseas since 1990, playing over 100 gigs a year. He has produced, arranged and recorded 14 solo CDs. His 2001 release, 'Soul Insider' featuring jazz great Les McCann on vocals, received a Grammy nomination.
In 2005, he recorded "Soulgrass", a blend of bluegrass, jazz, and Americana soul that included Bela Fleck on banjo, Sam Bush on mandolin, Jerry Douglas on dobro, Bruce Hornsby on piano, Victor Wooten bass and Vinny Colaiuta on drums.
Bill says he has a 'short attention span' and a 'thirst for something new and inspiring'. Fortunately for Shure Notes, we managed to keep his attention during the time he so graciously allowed us.
Just wondering how often you are confused with the other Bill Evans.
It happens. We both played with Miles Davis but at two different times, twenty years apart.
Let's talk about how you mic your sax. Then – and now.
I was touring with the guitarist John McLaughlin and I used an SM98 condenser mic clipped on to the bell of my saxophone with the small portable wireless unit Shure was selling at the time. It worked great for many years.
As soon as Shure introduced the small half-rack space wireless system, I started using it with a Beta 98 condenser clip-on microphone.
Do you use different mics for different saxes?
I use one system for tenor and one system for soprano. I have explored a wide range of musical styles with the different bands I've formed over the years … from hip-hop to soul and jazz — and now Jazz Americana with my Soulgrass Band. The one thing that has remained unchanged is my wireless microphone and wireless system. It has worked fine in virtually every country in the world over the years.
"The mics are almost invisible so I can concentrate on what this is really all about in the first place — playing and recording music."
The small Beta98H/C™ condenser mics have given me the depth and sound that has carried me through all of these genres. The mics are almost invisible so I can concentrate on what this is really all about in the first place — playing and recording music.
What about in the studio?
I've been using Shure's KSM32 microphone exclusively in the studio. In fact, it's been the mic of choice on my last six solo CDs. I use it for the all the saxophones - tenor, alto, soprano, and baritone – positioning them about 8 inches in front of the mic. I get a warm sound and incredible depth. I've tested the KSM32 against some unbelievably expensive mics, and it has given me as good or better sound.
My new CD "The Other Side of Something " features people like Bela Fleck, Dennis Chambers, Victor Wooten, Sam Bush, Richard Bona and Chris Howes.
I am not going to use a microphone that doesn't give me the best quality. I never sacrifice my sound for anyone or anything!
Lets face it, we want to concentrate on making music, and not have to worry about the sound. That's what these microphones allow me to do. And I've been doing it with Shure for over 22 years now.
Any secrets you've learned about miking your instrument?
Don't put the Beta98H/C™ too far into the bell of the saxophone. Position it about one inch above the middle of the bell.
If you're using a wireless set-up: Attach some Velcro® to the side of the bell and onto the small transmitter.
Affix the transmitter to the bell, wrap the excess cord around the bell, and clip the mic onto the TOP of the bell. It works great and you won't have any problems.
Batteries: Use Radio Shack 9-volt batteries. They last the longest. I've tested them all and can get at least three or four two-hour shows out of them. Other batteries work for about two to four hours max.
I play at least 125 shows a year with my Soulgrass Band and as a guest with bands like Steps Ahead, Lee Ritenour, and the Soulbop Band, which I co-lead with trumpeter Randy Brecker. The Shure microphones I use are proven road-worthy.
"… I knew with people like Bela Fleck, Victor Wooten, Sam Bush and the others, I couldn't really go wrong."
Soulgrass was recorded two years ago. What's next in terms of a project?
I've just finished a new album, "The Other Side of Something" that I recorded, incidentally, using KSM32 mics.
It's a logical progression from "Soulgrass". With that project, I didn't really know what to expect since it was such a new experience for me. But I knew with people like Bela Fleck, Victor Wooten, Sam Bush and the others, I couldn't really go wrong.
With "The Other Side of Something", I had a much better idea going in. It was the next step musically for me - the next level in this music. I love exploring the grassroots sounds created with the banjo and mandolin.
I'm happy with the finished product and I think we reached a new high. Dennis Chambers, who played drums, really took it to a new level.
You can find lots of Bill Evans videos on YouTube. (Make sure you enter "sax" in your search terms.) Recent CD releases are in wide distribution, including at the online store at www.billevanssax.com.
We were thrilled to have an opportunity to speak to genre-bending sax great Bill Evans, especially given his heavy touring and recording schedule. You can get the rest of the story at Bill's website. Great photos, track clips, tour dates and even a chance to sign up for his mailing list.
