I use the Sennheiser e835 and e935 microphones for sax, vocals and congas. Every bit the equal of a 57 or 58 in sound quality and durability. They are usually about $30 cheaper than the 57 and 58 microphones. For a while you could get Sennheiser packaged 3 packs of the e835 for around $200. You can usually find singles for around $100 new.
With all of these Sennheiser and Shure microphones, there are a lot of copies on eBay that are dogs wrapped in sheep's clothing. I got a bad 57 on eBay that was allegedly new with the warranty still valid from the factory. When it died after just a couple uses I sent it to Shure and they said it was a fake, and sent me pictures of the inside wiring compared side to side with a real 57...**** poor! They actually bought the microphone from me at what I paid! I guess companies do this for good forgeries so they can keep an eye on things...Like anything else on eBay: If the price is too good to be true, steer clear.
You really can't go wrong with any of the options listed on this thread. Unfortunately, when you are playing through a PA with a sound engineer that you don't know, he/ she will likely not know how to properly reinforce your sound. Not a knock on ALL sound guys, but most of "the good ones" seem to be failed drummers. I went to a show last week and the sound guy was supposed to be "the best in town," and talked all night about who he had worked with. When the band started, the alto player sounded like a harmonica! I heard him warming up and he was a good player. At set break I talked to the player and he snuck over to the board and adjusted himself...Second set was much better. Being a sound engineer is a lot more than just making sure everyone can be heard in the mix.