“THE UNWINDING is a great vehicle to get your name and “sound” out there! What impresses me most is the clarity and the feeling of your playing in your lines and the chordal embellishments. At times, it sounds more than a trio. Rich is amazing and Eric plays powerfully. The program is strong, too! You pay homage to the Master composers covering such a broad spectrum with ease and confidence. BRAVO”

“...the way electric bass should be in modern jazz.”

“Straight ahead music is always a challenge for electric bass, Steve’s in the pocket with the recording I’ve now listened to many times,
THE UNWINDING. Wonderful playing by this trio. Steve Millhouse - contrabass guitar, Rich Perry - tenor saxophone, Eric Halvorson - drums...

Also Check out the CINEMA TRIO recording. Steve Millhouse - contrabass guitar, Allan Farnham - piano, Eric Halvorson - drums. Definitely check out these songs,..In Love in Vain, Valley of the Moon, You Must Believe in Spring
Steve and company have a beautiful sound together. Steve is Lyrical and has the wonderful concept of chordal playing taking the electric bass Into the realm of the Contrabass guitar style.
A joy in listening tor these two trios led by Steve Millhouse...”

“Steve Millhouse is a veteran New York and Broadway bassist known for championing the electric bass in jazz and for his chordal mastery on his Fodera 6-string Contrabass Guitar.”

“A virtuoso of the 6-string electric bass... the Joe Pass of the bass.”

“This is excellent jazz!... Millhouse’s six-string bass proves a refreshing addition to the role of the bass in jazz.”

“In the late 1960s, deeply excited by the possibilities I was finding in the electric bass, I was sure it would rapidly supplant the acoustic bass in jazz, much as the acoustic had displaced the tuba many years before. I was wrong, but what has happened is no less remarkable: I have seen a mountain moved slowly by the persistent efforts of some remarkable players.

This album shines as an example. Steve Millhouse has formidable technique and, more important, he’s using it to help define and refine what the electric bass can do to refresh jazz music. I was wrong, but I haven’t been disappointed; the electric bass is taking its place in jazz with all deliberate haste. Steve is offering new energy and insight to this challenge. Onward!

Valley Of The Moon is wonderful! Congratulations.
Fitting the electric bass to the sound of the piano is the toughest test of all, and you’ve nailed it, with help from Allen and Eric, who play beautifully with you. The three of you are tight, really playing together. I’m reminded of Gil Evans’ phrase: “a party with a purpose.”
Beautiful playing, better than ever. Gorgeous playing all around. (Music on the Way is) another obscure Mancini gem. I’m running out of adjectives, but they’re absolutely sincere. You’re handling the bass with ever-increasing care and finesse, and my hat’s off to you. It also seems to me your recorded sound is both richer and clearer, which is of course what we’re all shooting for. Congratulations.”

“Both of Steve Millhouse’s recent CD releases are chock full of great arrangements, great vibe and interplay, particularly with the great Rich Perry, and beautifully musical bass playing. Not to mention Steve is holding down a lot of the harmonies...my six-string brother in arms is bringing some HEAT in the chordal bass accompaniment department. I’m glad I got to hear these! I hope you get to as well!
The touch and clarity in the chordal stuff is stellar.
Interestingly, although it’s not a traditional instrumentation, every tune has a really strong vibe, and in each case the vibe really serves the tune. I really love that about both of these!”

“I first heard Steve way back in 2007 when he came to me for a supposed lesson. Well, it took me about 10 seconds to realize I had nothing to show this guy. My recommendation to him was “keep on doing what you’re doing”. Subsequently when he called me to substitute for him in a couple of pop/commercial music settings, l heard him lay it down. Still, I was unprepared for the unique voice he reveals on his recording, “The Unwinding”. Right from the top I was hit by his tasty and clear chord voicings. Following a spirited version of Thelonius Monk’s melody, “I Mean You” he plays a very lyrical solo.

One aspect of his playing that really knocked me out as well is that in the middle of a walking line he seamlessly slips in these beautiful chords without interrupting the flow of the line. Most importantly, he uses his technical skills to create an inviting sound that brings the listener into the music. Beautiful compositional skills complete the picture of a fully developed well-rounded musician. “I Don’t Know Yet” is a standout on this recording.”