Ed Spargo.com

Ed Spargo’s latest CD, Playroom, is an upbeat mix of jazz, latin and funk. It’s diverse compositions take the listener on a satisfying adventure through contemporary jazz. Fans of all styles of jazz will find something exciting and captivating in this release.

Bassist, Ed Spargo, who has been referred to as “an MVP among Boston Sidemen” by Ted Drozdowski of the Boston Phoenix, has been an integral part of the Boston music scene since the mid-80’s. He’s shared his sympathetic accompaniment with artists such as Johnny A., Toni Lynn Washington, Heavy Metal Horns, Greg Piccolo and James Montgomery, to name a few. But it is in his compositions where Spargo really shines. Penning ten of the eleven tunes on Playroom, Spargo creates a thrilling journey that will easily withstand frequent listenings for years to come.

Featured on Playroom are some of the jazz world’s brightest stars.

Tom Brechtlein, on drums, is an original member of Chick Corea’s Touchstone Band. Robben Ford culled his drumming expertise for his Blue Line band. Tom has also played and recorded with Wayne Shorter, Jean Luc Ponty and Al Di Meola. Steve Hunt on piano and keyboards spent ten years on the road with renowned jazz artists such as Billy Cobham, Stanley Clarke, Angela Bofill, Tom Brown, and Allan Holdsworth. Wailing City recording artist, Dino Govoni, adds his considerable talents on tenor and soprano sax. Percussion duties are tastefully executed by the great John LaMoia.

Ed Spargo’s Playroom is a sure thing. Buy it today. You won’t be disappointed.

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The Latest Praise for Playroom

Jazz Improv Magazine

By Clive Griffin | Volume 7 #3 Summer 2007

For the past 20 or more years, bassist Ed Spargo has planted firm roots in the Boston area. His reputation as one of the solid players in the region has multiplied over time. As a bass player, he often plays the role of accompanist. Instrumentalist in that position run the risk of getting overlooked in a band – often unintentionally deferring attention to the more high profile soloists whom he accompanies. Clearly not one to be lost in the back, Spargo finally recorded his first CD in 1998, eponymously titled, Ed Spargo. He indicated that improvisation is essential to his music-making. His concept is reflected effectively in his latest release Playroom.

Expectedly, his style has developed and like fine wine, the richness of tone, technique and ideas are all in place, as evidenced here. No doubt this is just the beginning of the ongoing journey – and a great place from which to pursue his muse. While his first album in 1998 assimilated his favorite three styles of this music – Latin, funk and straight ahead jazz, Ed Spargo’s album Playroom is focused on the Latin and contemporary sides of his personality.

Playroom is a noteworthy snapshot of Spargo’s talents. He surrounds himself with a handful of seasoned, well-known players with pedigrees in some of the more well-known fusion bands. Tom Brechtlein played with Chick Corea, and Steve Hunt has performed with Stanley Clarke, Billy Cogham, Allan Holdsworth among others. Spargo made a smart move. Not only could he count on these superb players to deliver great music, they also serve as a palpable source of inspiration in his own performance. Spargo seamlessly draws all of the players and elements toward him and creates a compelling colorful tapestry.

The first track is “Min.” It’s laid back for an opener. It’s got a contemporary groove, overlayed with a simple melodic motif. There are no showy chops on Spargo’s part here. He simply lays down pure groove. Dino Govoni opens up on soprano sax – and fleetly traverses the range of the horn.

“Brother Andrew” kicks the tempo up, add a floating Latin groove. Spargo is right in the pocket driving this lively piece home.

If you enjoy dancing like I do, I felt like I wanted to move my feet from the first note on “Toy Box.” It is a lively Latin number solidified by a Mambo-like groove underneath. Don’t think this is what you would have heard in the showroom at a Catskills summer resort in the 1950s, 60s or 70s. Watch your step. Here, the melody is overdubbed to give the impression of two horns. Govoni is on tenor here and displays his formidable technique – clearly influenced by Michael Brecker, as so many tenor sax players of this generation have been. Steve Hunt follows with another energized solo, showcasing his own well-honed chops.

In addition to his muscular bass playing, and solid time, Spargo composed all of the songs on the album except “Road Song” by Wes Montgomery. He gives this standard a more edgy treatment than Montgomery did on the original from the 1960s.

The tenor of Playroom is decidedly in the contemporary side – the grooves and the melodies take it there. The musicianship and the quality of the recording is absolutely top-shelf from end to end. The driving solos, harmonically-sophisticated language and rhythmic acrobatic and syncopation of all three soloists – saxophonist Govoni, pianist Steve Hunt and drummer Tom Brechtlein – combine to make Playroom artful and playful. Spargo made all the right choices in terms of repertoire, apropos personnel, mixing and creating a happy album and impressive showcase for his talents.

And Still Available at CDBABY.com

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Spargo’s critically acclaimed, eponymous release, Ed Spargo, has been called “…a powerful album of catchy melodies and masterful playing." by Douglas Sloan of Metronome Magazine. Roger Sadowsky of Sadowsky Guitars LTD. commented that "Ed Spargo's CD is a joy to listen to. His contemporary compositions evoke the feeling of jazz classics. It is such a pleasure to hear a CD from a bassist that puts musicality before technical pyrotechnics. His band is first rate and Ed's bass playing is as tasteful as it gets."

Praise for Ed Spargo

All About Jazz

May 2006 - Dan McClenaghan

"Bassist Ed Spargo titled his 1998 debut CD Invisible Man, a reference to the oftimes background relegation of his chosen instrument. He's not invisible on Ed Spargo; his bass is very much in the front line on this energetic jazz/fusion outing. Indeed, he even penned a tune entitled “Visible Man” for inclusion here, as if he's been chafing a bit about playing in the shadows.

The set falls decidedly into the fusion genre. With fusion, you think tight rhythm section and infectious grooves; and they're here, from beginning to end. Dino Govoni, on tenor sax, burns on four of the eight numbers, with a real sting in his sound, wound tight but still getting into some interesting improvisation, bringing Yellowjackets or Inside Out-era Chick Corea to mind; add some fluid keyboard/piano work from Steve Hunt and Brad Hatfield.

Spargo penned seven of the eight tunes, adding Wayne Shorter's “Beauty and the Beast,” a hard-driving highlight. The leader's bass playing is propuslive and quite unique, often melodic, always busy, always laying a big fat full-of-energy foundation for the band to work off. On “Tina's Tune” he plays a beautiful guitar-like lead over drifting percussion. Elsewhere, Spargo drives the music ahead in a high-octane, pedal-to-the-metal fusion fashion that allows room for some fine keyboard and saxophone improvisations."

Metronome Magazine

November 2005 - Douglas Sloan

"After playing sideman for so many years, Ed Spargo's time has come with a powerful album of catchy melodies and masterful playing. "

Roger Sadowsky

Sadowsky Guitars Ltd.

"Ed Spargo's CD is a joy to listen to. His contemporary compositions evoke the feeling of jazz classics. It is such a pleasure to hear a CD from a bassist that puts musicality before technical pyrotechnics. His band is first rate and Ed's bass playing is as tasteful as it gets."

Rich Appleman

Chair, Bass Department - Berklee College of Music

"Phat Bass Sounds, Great Grooves, Excellent Musicians & Burning Improv. You sound great. Excellent recording. I enjoyed your originals and the smokin' rendition of Wayne's "Beauty and the Beast"."

Greg Piccolo

“Ed Spargo is probably the most proficient electric bass player that I have ever worked with. He has great tone, rock solid time, and dynamic to die for! He’s got the technical chops to play rings around most players but his chops are tempered by a maturity that enables him to unselfishly serve the song and put what is right for the song first. To me, that is all anyone could ever want from a fellow musician.”

Ted Drozdowski

Boston Phoenix

“…bassist Ed Spargo, who’s an MVP among Boston sidemen.”

Ron Garant

Bassics Magazine

“Spargo lays down the bottom end without a lot of frills, offering strong support to the ensemble…”

Barbara Benham

New England Blues Society Spectrum

“…one of the most sought-after bass players in the region… …Spargo drive(s) the music forward like a steamroller.”

Michael Caito

Providence Phoenix

“Spargo: steeped in the illusive magic of true ensemble playing”