Steve LaSpina

"I've always wanted to be able to solo like an alto sax player," says Steve LaSpina. "I thought of the bass as a horn and refused to be limited by its size." A melodic bassist with excellent chops, Steve revels in complex lines and adventurous note choices-check his solo on the radical reworking of "Softly, as in a Morning Sunrise" on The Road Ahead

Fans familiar with Steve LaSpina the purveyor of bass rhythms for Marian McPartland, Jim Hall and Ira Sullivan won't be disappointed by "The Road Ahead."

He doesn't look like your typical jazz aficionado.

The formidable presence of Charles Mingus looms large over The Bounce (Steeplechase), bassist Steve LaSpina's eight adventurous release as a leader.

There can be something very special about a bassist-led session. Perhaps it is their knowledge of both time and melody that, when coupled with the rich emotional sound of their instrument, results in some of the most creative jazz. On all these counts, Steve LaSpina's Remember When, makes its mark.

A dependable fixture in the Steeplechase stable, Steve LaSpina has contributed his anchoring bass sound to a variety of projects. Sadly his fourth recording as a leader comes in the tragic wake of the loss of his son.

On its face, Play Room is a solid, enjoyable record. But when you realize what LaSpina has been through, you hear it as an exceptional piece of work.

He is respected as a fast-finger master-instrumentalist in the tradition of Scott LaFaro and Gary Peacock.

In the Coolidge Auditorium, on the ground floor of the Library of Congress, Alan Lomax recorded Jelly Roll Morton’s reminiscences in 1938. Even seven decades later, it is surely daunting for jazz musicians to perform on that history-making spot. But if Jim Hall was intimidated last Friday night, he never let on; the legendary guitarist seemed comfortable as could be, and his trio-mates (bassist Steve LaSpina, drummer Joey Baron) exuded pure joy throughout their delightful and revelatory performance.

"Then there's LaSpina's [composition]'April Nights.' For me, any title with 'night' in
it automatically suggests something soft and dark. Not so here. He back lights his with
the suggestions of a Brazilian rhythm. Not to simply make it a Brazilian tune, but to let
us infer a certain level of night life which [Jerry Bergonzi and Fred Hersch] eagerly join
in."

"[LaSpina's CD WhenI'm Alone is] a thoughtful and invigorating set...LaSpina refuses to
hog the limelight and turns in an exemplary team performance. His only apparent
indulgence - to feature seven of his own tunes - turn out to be one of the session's key
strengths This intelligent and inventive session is warmly recommended."

"Giving ETC and Jerry Bergonzi album a fine counterpoise against Bergonzi's gruffer
approach is LaSpina's Scott LaFaro-esque nimbleness, high register lines and interplay."

"When Children Smile is an impressively thoughtful offering from a bassist often found
in the company of thoughtful musicians. As a bassist, LaSpina evokes a wonderful
sound, bent to the task by a solid time concept and intonation His understanding of the
instrument comes through loud and clear..."

"Dreamy lines and excellent execution make original foundations for very tasty
compositions by one of New York's better-kept secrets on string bass. I first heard Steve
LaSpina with leader/talent scout Marian McPartland in the laid-back confines of
Manhattan's Hotel Carlyle, where he quietly knocked out those listening with exquisite
intonation and note choice. On [his CD WhenI'm Alone], he exhibits fine writing skills
and leadership qualities Recommended.

"LaSpina, the possessor of formidable chops, combines elements of the big-toned percussive Wilbur Ware/Charlie Haden school with complex Scott LaFaro-like lines. He uses both multi-note phrases and rests intelligently. A wonderfully subtle effort."

"Steve LaSpina is outstanding, anchoring [Benny Carter's] band in time and soloing with
facility and wit."