The easy description of Bill Evans is that of an American jazz saxophonist with a mischievous streak a mile wide. But then, easy descriptions are inherently narrow, aren’t they?

You need just a few more adjectives and addendums to nail all that is Evans, who cut his teeth playing jazz lofts in New York City starting in the late 70s, logged time with Miles Davis and many others throughout the 80s, remained a core member of the adventurous group Elements well into the 90s, and has over the past 20 years or so made armfuls of fascinating records in a wide variety of contexts and combos, jazz and non. This is the same Bill Evans who’s equally comfortable sitting in with the Allman Brothers Band – as he did, again, during this year’s Beacon run in New York – as he is with Herbie Hancock or Bela Fleck.

 Evans’ latest album, Dragonfly, returns him to the Soulgrass concept he began about seven or eight years ago. It’s a confluence of bluegrass, jazz and other flavors that isn’t without precedent – look at the Flecktones, after all – but has Evans’ characteristic charm and sense of adventure, with an all-star combo featuring himself, drummer Josh Dion, banjoist Ryan Cavanaugh, guitarist Mitch Stein, bassist Andy Hess and keyboardist Clifford Carter. Among its highly decorated guests are John Medeski, Toto guitarist and sessions great Steve Lukather, and Warren Haynes, with whom Evans has collaborated in a number of contexts since the two met a few years ago.

Evans will fete the album over four nights and eight shows at New York’s Blue Note starting Tuesday April 10th. Cavanaugh, Dion and Stein are all joining him in the Blue Note band, along with bassist Etienne Mbappe and on select nights, Medeski, vibes ace Mike Mainieri and jazz trumpet legend Randy Brecker.  Glide caught up with Evans to hear about his latest adventures.

It’s great that you’ve continued with the Soulgrass concept, so how does Dragonfly compare to previous Soulgrass releases, particularly the 2005 debut?

Since the release of Soulgrass in 2005, Dragonfly is the third release in this series. I am still experimenting and letting the music grow naturally and organically with the band. I have been using banjo in my band since 2005, and I love the percussive sound and feel of it with my music. When people hear the word “banjo,” they think bluegrass music. I don’t. I think of it as a fresh innovative sound to be used with my rhythm and groove, and funk concept. I’ve seen Ryan grow from a bluegrass powerhouse to a strong improviser on his instrument – he’s really grown as a player.

The main difference between Dragonfly and the original 2005 Soulgrass is the use of vocals. There are six vocal tunes on this CD sung by Josh, as well as background vocals by the rest of us. Josh is one of the most soulful singers I’ve ever heard. He plays drums and sings at the same time, and he’s been doing that since he was 15 years old. Josh and I co-wrote four songs from Dragonfly. I’m really happy with the CD, I still listen to these songs all the time.

How did you go about choosing the players here? You obviously have no shortage of potential collaborators.

Josh, Ryan and Mitch are in my touring band and we have grown a lot together musically, so it was only natural to use them on the CD. I always ask the drummer who he likes to play bass with, and Josh recommdned Andy Hess, who was the right call. Clifford and I have known each other for 30 years. He’s one of the most musical musicians I’ve ever met, and he knows how to make songs come to life with his ideas, his playing, et cetera. Our personalities are very similar. We’re slightly insane.

How would you describe this music? It seems like a lot of descriptors for Soulgrass are somewhere along the lines of “jazz-bluegrass fusion” or something to that effect, but what you have here sounds a lot more “whole” than that.

The band, which I do call “soulgrass,” is a funky/jazzy combination of American roots music featuring vocals, saxophone, guitar and banjo in a very innovative yet user-friendly way. I don’t listen to genres. I listen to the individual instruments themselves. I love the banjo sound, but I can’t really name much “banjo” music or many bluegrass tunes, for that matter. I come from jazz. I’m a jazz musician who’s always been influenced by all kinds of music, ever since I can remember. I just like writing songs with instruments and musicians with whom I’m inspired to play and be around.

I wanted to ask about your guests. What did John Medeski bring to this album?

John brought a great case of wine! Actually, John has a very distinctive style and way that he plays a keyboard or B3 organ. He uses it much ike a percussion instrument with a lot of different dimensions and color. He is always fresh and adds something to the music – he has his own energy that’s very addictive to play with.

We had a chance to tour together in the summer of 2011, and I really enjoyed it – we see a lot of the things the same way, left of center and a little distorted. John’s a fan of all kinds of music: joyful, soulful, you name it. Very open-minded.

 How about Steve Lukather?

 I love the way Steve plays – it’s one of a kind. Me and Steve did a bit of touring together over the last few years, so I was able to hear and play with him live every night and get a feel for his playing. We did a six-night club [run] in New York together at the Blue Note last year and had a blast. Luke is amazing.

How long have you known Warren Haynes? You two seem to have collaborated quite a bit – sit-ins especially – in the past few years.

 Me and Warren actually met at the airport in New York by chance, several years ago. He called me just after that, and asked if I would be interested in sitting in with his band, Gov’t Mule, which I did, and really had a great time. Warren’s band kicks some serious ass, which I’m always into. What can I say? His keyboardist, Danny Louis, has gigantic ears – how he wears hats I don’t know – and is also a joy to create music with and get to know.

The song me and Warren wrote and played together on Dragonfly, called “Tit for Tat,” turned out to be one of those songs you end up playing every night live because it can go in so many different directions. We met at my little studio at my house and wrote this song in just a few hours. He added the jazz part and I added the rock part – how funny is that? I love it. He is very easy to write with. His sound and feel is something you just want to play with. 

You sat in with the Allman Brothers and Gov’t Mule on several occasions and also played Warren’s Christmas Jam in Asheville a few months back. Talk about those shows.

Warren hooked me up on all these occasions, including the Allman Brothers. He calls me and asks if I would like to sit in and have some fun, and of course, I always accept. Gregg Allman has been really gracious with me, as well as letting me stretch out and solo for extended periods of time – that’s indicative of that band since the 70s. There’s just a great vibe with all of these bands.

Christmas Jam was pure fun – me and Bela Fleck got the opportunity to play together again for the first time since 2006 in San Francisco. I was able to meet and play with Jimmy Herring, whose playing is now one of my favorites. He makes his guitar sound like a vocal instrument, and his sound is also very identifiable, which in this day and age is hard to do on a guitar.

A highlight for me at Christmas Jam was to sit in and play with Warren and Phil Lesh on an old Traffic song called “Low Spark of High Heeled Boys.” Turned out to be a magical rendition of that song. Everyone really had a chance to play on that one. Warren is also great at pushing boundaries, and letting the music and the musicians dictate where it will go. Miles was a master at that, and Warren carries on that tradition.

I saw you sat in again during this past Allmans Beacon run, on a lengthy segment along with Nels Cline. Seemed like quite a show!

It’s always fun and challenging sitting in with the Allman Brothers. I love to push the envelope musically, and those guys are into that concept as much as I am, and Warren loves to keep things fresh so he’s always trying to make songs and solo sections different every time he plays, much like jazz musicians do. Matter of fact, Warren does it <i>more</i> than most jazz guys. Miles was like that, too – nothing safe – and for me, that’s inspirational.

A lot of the creativity in a band has to do with the vibe of the musicians onstage. Gregg Allman has such a positive vibe that you really want to play with him. This guy is a legend, and when you see him smiling as you’re stretching out on one of his songs, it feels great. All of those guys have been really nice to me each and every time I play with them – it’s been a blast.

 This last Beacon run was the first time I’ve played with Nels Cline. He sounded very original, and unique to me. Almost avant-garde. But it all worked and he had a very personal touch to his playing when we played together with the Allman Brothers. They really allow anyone that sits in to feel comfortable, and I just love hearing that strong groove behind me. The bass player, Oteil Burbridge, is one of the most creative bass players I’ve ever played with – so creative, but with a great feel, too. He knows how to lay it down so you, as a soloist, can improvise on top of it. A lot of bass players play the bass like a guitar, but never lay it down for the soloist.

You mentioned Miles Davis earlier. I like to ask musicians that played with Miles in his later years what they took from their experience. What did you take from your years with Miles?

That’s a big question, but in short, the biggest lesson was to believe in myself and believe in what inspires me. It’s almost a curse: it’s not the easy road, but it’s the only road I know how to take. What can I say? Me and Miles were really good friends. I was lucky that we got along so well and that I could get to know him as well as I did. Not all the players who played with him had that relationship. He always told me, “Be yourself.”

You’ve got the Blue Note residency, but will you be touring with Soulgrass any more this year?

 Yes, there are plans to tour Europe and plans to start doing more concerts and clubs here in the States. It’s a building process for me here in the States because I have spent so much time touring Europe – 22 years over there. I’m determined to play out stuff for audiences here, too, it’s just mathematics. Play hard every night, and they will come. I’ve proven that in other countries, so why not here?

What else will you be working on this year?

I will be recording another CD with Randy Brecker and the Soulbop band called Soulbop 10th Anniversary. Me and Randy have been doing a successful tour of Europe every year since 2003 with this band. We get different members as guests for each one of our tours, and it’s turned out to be a real festival favorite. It’s something we can do that doesn’t conflict with our own solo bands, and Randy is a terrific writer and player.

In short, I just want to keep playing with Soulgrass, play Dragonfly on the road and just keep pushing ahead. I also have to do some fishing, golfing and general things that pertain to not being indoors. So we’ll see you on the road!

I’m not sure many of our readers know what a serious avid fisherman you are. Can you talk about that love and how you spend your time?

I love all kinds of fishing from salt water to freshwater, but freshwater is sort of my preferred fishing. I love the action and the adrenaline rush you get from it. Jimmy Herring is also way into fishing, you know. We are going to do some striped bass fishing together this coming May. Fishing is something that gets in your blood, and you have it for life. I usually go up to Northern Canada every year with some fishing buddies, and fish from a canoe and camp out in the wilderness. It really grounds me. In the music business, you need to stay grounded or you will crash land without a parachute!

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