The Jay Sanders Quintessence distills the pure essence of improvisational expression, where four musical alchemists converge to transmute sound into its most fundamental form. This quartet embodies the philosophical concept of quintessence—the fifth element beyond earth, air, fire, and water—representing the primordial substance from which all musical reality springs.
Rooted in Taoist principles of interconnectedness, the Quintessence operates as a living system where individual consciousness dissolves into collective creation. Each performance becomes an exploration of Bill Hicks' profound insight: "all matter is merely energy condensed to a slow vibration; we are all one consciousness experiencing itself subjectively." The music flows as pure energy exchange, where traditional boundaries between composer and improviser, leader and follower, self and other, dissolve into unified creative expression.
The quartet's repertoire crystallizes the essential qualities of diverse influences—jazz sophistication meets rock power, blues authenticity converges with Americana's pastoral beauty, while African rhythmic wisdom weaves through it all. Sanders' original compositions serve as launching points for spontaneous musical conversations, where through-composed themes evolve into groove-based explorations, peaceful melodicism transforms into free jazz adventures, and moments of cacophonous noise resolve into transcendent harmony.
Through years of improvisational study together, these four musicians have learned to access that rarefied creative space where genres become meaningless, where technique serves spirit, and where the music creates itself through willing vessels. Each performance with the Quintessence is both a meditation and a celebration—a sonic demonstration that we are indeed all particles of the same infinite energy, temporarily organized into the beautiful illusion of separate beings making music together.
In the end, the Quintessence doesn't just play music—it channels the fundamental frequency of existence itself, reminding listeners that life is only a dream, and we are the imagination of ourselves.
Featuring
Quinn Sternberg doesn't just play bass—he becomes the gravitational center around which musical solar systems orbit, his four strings serving as the invisible force that holds melody and rhythm in perfect harmonic balance. In Asheville's intimate jazz venues, Sternberg has mastered the art of musical architecture, building rhythmic foundations so sturdy that horn players can stretch toward the stratosphere while drummers explore the outer reaches of syncopation. His upright bass doesn't...
The house in Orangeburg, South Carolina, was a frequency spectrum unto itself. The Isley Brothers and the Manhattan Transfer and Dolly Parton and Mozart — all of it moving through the same rooms, all of it landing in the ears of a kid from Queens, New York, who had been transplanted to the Lowcountry and was trying to figure out which signal to lock onto. His mother had graduated from Jamaica High School of the Performing Arts, and she made sure Will and his siblings sang. Gospel was the...
Jay Sanders grew up in Nashville, which means he grew up understanding that music is labor — that behind every song on the radio is a session player who showed up on time, read the chart, and made someone else's vision real. But the Nashville that shaped Sanders wasn't the one on Broadway. It was the one in practice rooms and living rooms where Reggie Wooten talked about fundamental vibration and sacred geometry and the Music of the Spheres, where the instrument became a doorway into...
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...
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