DisWho?Productions Recording Artist; "Norman Evans"
The Interview DisWho?Productions Recording Artist: "Norman Evans"
The Interview:
By: Ryan J. Fleming
Contemporary jazz artist Norman Evans recently answered a few questions via email, concerning a myriad of topics ranging from the newfound popularity of smooth jazz, to what music really means to him. We also discussed his latest effort, “Twilight”, as well as his future endeavors.
Ryan J. Fleming: How did you begin with music? Who were your early influences as a musician?
Norman Evans: Well, growing up in New Haven, CT. music was a natural selection. A number of local bands did a great deal of rehearsing in the neighborhood and they were very good. The influence was powerful and kept driving me forward to create original music so that I could become the successful within the music industry.
RJF: How is the music scene in New Haven different from the scene you have encountered in the DC Metropolitan area?
NE: When I was coming up there were a
number of government programs that supported the arts as well as a number of
clubs that young musicians could learn to play from in New Haven, CT. with
seasoned professionals such as the late “Eddie Buster, Bobby Buster” and
“Dickey Myers” just to name a few. Also at that period in New Haven, CT. all
types of music was everywhere, so you could go to any performance area and
listen to great players from Latin music to Rock. There was also a fellowship,
which taught young cats such as myself, to respect the art of being a good
musician – ‘learn your instrument and develop a musical vocabulary’. I
don’t think that there are as many music instructional programs available to
new musicians, due to budget cutbacks and an overall lack of investment in the
arts. I also don’t see the fellowship of artists supporting other artists,
it’s more of “I’ve got to make that dollar” and fear of losing a gig.
This is not good for the upcoming musician, nor is it good for music overall. It
fosters tunnel vision development, which limits the creative juices as well as
stunts the overall growth of musicians and the music. The number of venues that
support music jams or instruction are also limited due to the “make the
dollar” mindset and I don’t see this as a smart, long-term investment for
musicians or the public at large.
RJF: Would you consider the saxophone or the keyboard your principal instrument of choice?
NE: The saxophone is my principal instrument and the keyboard is my compositional tool. Both for me are quite essential in order to fully realize the composition.
RJF: How difficult is it for you to do a live performance handling all the instruments yourself?
NE: I’ve been doing it for so long
that it’s a natural process for me now, so I don’t think about it much in
terms of difficulty. It just requires a lot of energy.
RJF: Do you prefer creating in the studio, or live performance?
NE: I like both. In the studio, making a good recording is the focus. The musical ideas have to be executed and the thought is always on the relationship with the listener, and to a degree, how it will go across on radio. Now in a live performance, I’m thinking about the interaction with the crowd and making sure that the performance is powerful. The exchange between the crowd and the musician is one of high energy and respect. I love the creation process of music, which is first, and then the recording process that builds to the live performance. After you develop a body of work the order becomes interchangeable, a complete circle.
RJF: You have worked with a myriad of artists from George Howard to Morris Pleasure, and I wanted to ask you what have you learned from working with these artists that you have applied to your own musical development?
NE: Always improve yourself as a musician and a person. Never take anything or anyone for granted. Respect your gift and remember that it is a gift, and give thanks. Don’t reinvent the wheel, learn how to improve its use and remember those that made it possible for you to be here doing what you do and give back. Stay humble so that you can grow.
RJF: How do you feel about the influx of the smooth jazz movement and how it’s rapidly penetrating the mainstream radio?
NE: I’m okay with the development of popular themes to further the growth of the genre. However, in general, I think that the music industry has done a poor job in supporting all musical styles. There are a number of artist that are recording, and are very good, which the public at large doesn’t get to hear. Radio play lists are very limited and need to include more music, more artists’ -much more variety then the same ten artists that we hear over and over again. This makes the public uninterested and is poor for music the musicians and the music retailers.
RJF: I have always loved jazz and adult contemporary but there has been a lot of smooth jazz albums produced lately from Hidden Beach Unwrapped to A Twist of Motown, therefore I wanted to read your take on this new movement.
NE: I think that the move is to grab a larger share of the retail sales market. It’s important to grow your market share. I don’t mind this idea as part of an important feature to my genre. The more people that buy and support the music, the more record labels will invest in artists. We had to show that it was a music that the public would purchase and support. Hopefully, a broader range of music within the genre will be presented. I think that a focus on presenting a broader range of artists will draw more support from the general public and will increase market share and retail sales.
RJF: Do you feel that some jazz artists are “cheating” by interpreting classic songs rather than creating original material?
NE: No, not at all, I feel that if you have an idea that would improve a standard musical selection or you just want to perform the music to express your view, it’s great. New musical ideas are out there they just are not readily available to the public at large.
RJF: Norman, I really liked your CD Twilight. Some of my favorite tracks include Emerald Village, Heaven, and Hypnotic, and I just curious how did you choose your song names?
NE: It comes as a whole for me. I think about what made the musical idea come about within me and go from there. Hopefully, the listener becomes part of the music and further enhances the music painting.
RJF: The title track, Twilight, the keyboard handiwork really to me was reminiscent of Stevie Wonder work behind the keyboards at his Apex. What do you think was the overall theme of your Twilight album?
NE: Feeling good and enjoying the end of a day that kept you in touch with all things that are truly important in life.
RJF: Would it be fair in saying that the album Twilight was an equal distribution between your keyboard and the saxophone taking the “lead voice” on the tracks?
NE: Yes. The overall focus was to make sure that the music would be interesting to the listener. Then, I wanted the performances to bring people within the music without thinking about it, but just feeling the vibe and moving with it. Hopefully it worked…
RJF: What’s on tap for you Mr. Evans? Future projects, appearances, collaborations?
NE: Well, some things I can’t speak
about because they are not finalized but clearly more performances at festivals
and recording songs for the “Unspoken” release. Then I am working on the
next project “Expectations Of Wishes”.
RJF: What’s in your CD player right now?
NE: Sarah Vaughan “Brazilian Romance”, Ricardo Silveira “Small World”, Randy Bernsen “Paradise Citizens”, David Benoit “Letter to Evan”, Darryl Dybka “Curiosity Dance”, Ray Obiedo “Sweet Summer Days”, Smokie Norful “I Need You Now”.
RJF: What does music mean to you?
NE: Life…all that I am and all that I will become comes from music. It’s not in my body - it is my body, it reflects, comforts and provides energy for all occasions. It shows the culture how to reflect on every aspect of living and dying. It gives voice to our pain and joy… Music has so much more to teach me. I learn that each time I play a progression on keys or play the saxophone , a better approach to life and a continuing development of myself which also inspires and drives me forward.
RJF: How do you feel about the state of music today? Which direction do you think it will take in the future?
NE: The current state of music is challenging due to the economic turmoil. So we have to be creative in our presentation and stay positive. Things will get better and the reach of music will continue to grow and impact our day to day events .
RJF: What has the music industry taught you as an artist over the years?
NE: Stay focused and keep playing and creating music it is your energy as an artist that keeps the wheels moving.
RJF: Do you have any advice for any aspiring artist trying to make it in the industry?
NE: Learn all that you can. Remember
that your music is a reflective product, so know your product well and present
it in the best light possible. Stay positive and foster positive relationships
with others. It’s the right thing
to do, and in tough times it will help you get through. While money helps to pay
the bills it doesn’t define you as a musician. Your body of work and overall
investment does that. Don’t forget it when you’re having tough days…
June
13th, 2004 Café Promenade
The Marriott Inner Harbor Hotel Baltimore, Maryland
Reviewed by: Ryan
J. Fleming
Reviewed: 26 Jun 2004, at 15:24
Sunday June 13th, 2004 would be a day I will soon not forget. On this particular
day, I was treated to two of my favorite things: great food and music. Each and
every Sunday Baltimore’s radio station, WSMJ 104.3, hosts a Smooth Jazz
Brunch, in cooperation with The Café Promenade, with on-air personality Mr.
Randy Dennis. What a fulfilling experience for my appetite and for my soul.
As the patrons got comfortable in their seats, we were all led to the middle of
the restaurant where a lavish buffet was waiting. As you walked down the aisle,
your mouth became watery as you gazed upon fresh food items which included:
turkey sausage, bacon, eggs, waffles, seafood Creole, and omelets made to your
liking. Then, it was multi-instrumentalist Norman Evan’s turn. He gave us a
few minutes for our food to settle before he began to feed our soul with some
intense smooth jazz and R&B.
To really appreciate what Norman Evans is all about, you really have to see his
live performance. Norman is a one man music machine, effortlessly toggling
between the instruments of saxophone and keyboard. He provided a satiable mix of
R&B and smooth jazz interpretations that are featured from his albums,
Retrospective, Tapestry Sessions, and his newest studio release Twilight. A
brilliant marketing tool for Norman Evans, portions of the performance was being
broadcasted live on WSMJ.
After he warmed up the crowd with his keyboard handiwork, Norman proceeded to
pick up his saxophone and do what he does best—establish a connection with the
crowd. Many of today’s artists play in a “box”, unbeknownst of their
audience, so it was quite refreshing to see that Norman understands and respects
the importance of engaging the crowd. More times than none, the one patron that
was being engaged by Norman’s sweet sound was a lady, but that did not matter
as the whole audience applauded at Norman’s lung capacity for those long,
sustained notes. Just when you thought the note would cut off, Norman would hold
that sensual note on his saxophone for an additional 20 seconds. Norman was
working hard with his labor of love as the show lasted from 12:15PM to 2PM, with
very little intermission except for some commentary from Randy Dennis. What a
way to spend your Sunday afternoon.
It was a pure delight to attend Norman’s Jazz Brunch, and I strongly encourage
you to see his live performance when the opportunity arises. For more
information on Norman Evans, his CDs, and schedule of events, please to go his
official website:
www.diswho.com
Quote: 'to really appreciate what Norman Evans is all about, you really have
to see his live performance'