When a bassist who's held down the low end for Stan Getz, Jim Hall, Chet Baker, and Mel Lewis walks into a room, the entire history of jazz walks in with him. Steve LaSpina doesn't just play upright bass—he channels four decades of New York City's most hallowed bandstands into every note, every walking line a direct connection between Little Jumbo's Monday night intimacy and the countless legendary sessions that came before.
LaSpina grew up marinating in dance band DNA in Wichita Falls, Texas, studied with Ray Brown (because if you're going to learn bass, you might as well learn from God), and then spent the better part of four decades becoming the kind of first-call player that legends call when they need someone who actually listens. This is bass playing as musical archaeology—every choice informed by decades of conversation with masters, every line both honoring tradition and pushing it forward.
For this quintet, LaSpina assembles some serious mountain firepower: Dr. Tim Fischer bringing USC-trained precision and genre-blurring audacity on guitar, Jacob Rodriguez channeling world-traveling saxophone wisdom from San Antonio street corners to Michael Bublé's Grammy stages, Alan Hall on drums (a four-decade veteran who's bent time behind Lee Konitz and Cirque Du Soleil), and Dr. Bill Bares on piano—Harvard's former NEH Distinguished Professor who turned a lip injury that ended his trumpet career into a keyboard calling that's reshaped jazz education across New England and now UNC Asheville.
Featuring
Born in the dance band DNA of Wichita Falls, Texas, Steve LaSpina transformed family musical heritage into a New York City bass legacy that spans four decades and reads like a who's who of jazz history. From Chicago's South Side clubs to Manhattan's most prestigious stages, LaSpina's upright and electric bass have provided the rhythmic backbone for legends including Stan Getz, Jim Hall, Mel Lewis, and Chet Baker. This is bass playing as musical archaeology, where every walking line connects...
Dr. Tim Fischer exists in that rarified space where USC doctoral precision meets street-level groove, where European touring experience fuses with American jazz DNA to create something entirely his own. This guitarist-composer-educator doesn't just play jazz fusion—he reimagines what happens when classical technique meets electronic experimentation, when rock energy collides with bebop sophistication. From Los Angeles studios to St. Louis classrooms to his current faculty position at Coastal...
From Nebraska to Harvard to Little Jumbo, Dr. Bill Bares embodies the scholarly soul of jazz—a NEH Distinguished Professor whose academic credentials from Amherst College read like a jazz education manifesto written in political science and piano poetry. When a lip injury ended his All-American trumpet dreams, Bares discovered that sometimes life's detours lead to destinations you never knew you were seeking. Now directing jazz studies at UNC Asheville after teaching stints at Harvard, Brown,...
Before Alan Hall played his first drum lesson, he played concerts. He and his sister would turn on the radio and perform for the neighborhood kids in San Jose — no instruments, no training, just the instinct that sound was meant to be shared and that sharing it required an audience. His mother was a pianist who sang and taught. His grandparents were Spanish dancers on the vaudeville circuit. His father's father wrote pop songs. The family had been in the business of moving people's bodies for...
From San Antonio street corners to Michael Bublé's Grammy-winning stages, Jacob Rodriguez has woven a musical tapestry that spans continents and genres. This Manhattan School of Music alumnus doesn't just play saxophone—he channels stories through reed and breath, whether he's painting midnight hues with Ambrose Akinmusire in Brooklyn's underground scene or igniting arena crowds alongside pop royalty. Now nestled in Asheville's Blue Ridge embrace, Jacob has become the valley's secret weapon,...