Esperanza Spalding

If "esperanza" is the Spanish word for hope, then bassist, vocalist and composer Esperanza Spalding could not have been given a more fitting name at birth. Blessed with uncanny instrumental chops, a multi-lingual voice that is part angel and part siren, and a natural beauty that borders on the hypnotic, the 23-year-old prodigy-turned-pro might well be the hope for the future of jazz and instrumental music.

"She is an irresistible performer, " says The Seattle Times. "She sings and plays bass at the same time and does a sort of interpretive dance as she plays…Her analysis of what's going on in jazz today is perceptive. " She had essentially taught herself to play the violin well enough to land a spot in The Chamber Music Society of Oregon, a community orchestra that was open to both children and adult musicians. She stayed with the group for ten years, and by age 15, she had been elevated to a concertmaster position.

But by then, she had also discovered the bass, and all of the non-classical avenues that the instrument could open for her. Suddenly, playing classical music in a community orchestra wasn't enough for this young teenager anymore. Before long she was playing blues, funk, hip-hop and a variety of other styles on the local club circuit. At 16, Spalding left high school for good. Armed with her GED and aided by a generous scholarship, she enrolled in the music program at Portland State University. Berklee College of Music was the place where the pieces all came together and doors started opening. After a move to the opposite coast and three years of accelerated study, she not only earned a B. M., but also signed on as an instructor in 2005 at the age of 20 – an appointment that has made her the youngest faculty member in the history of the college. She is the 2005 recipient of the prestigious Boston Jazz Society scholarship for outstanding musicianship.

In addition to the studying and the teaching, the Berklee years have also created a host of networking opportunities. Since her move to the East Coast, Spalding has worked with several notable artists, including pianist Michel Camilo, vibraphonist Dave Samuels, bassist Stanley Clarke, guitarist Pat Metheny, singer Patti Austin and saxophonists Donald Harrison and Joe Lovano. "Working with Joe was terrifying, " she recalls, "but he's a really generous person. I don't know if I was ready for the gig or not, but he had a lot of faith in me. It was an amazing learning experience. "

The newest chapter of Spalding's journey begins with the release of her forthcoming international debut recording for Heads Up in May 2008. The album will be the first opportunity for a worldwide audience to witness her mesmerizing talents as an instrumentalist, vocalist and composer, but it's just the start of what she hopes to achieve in a career where the creative opportunities are almost limitless.