About

45 RPM, 2LP reissued on 180g black vinyl
Mastering by Kevin Gray and Steve Hoffman at Acoustech Mastering
Housed in stoughton printing old style tip-on gatefold jacket with scuff-resistant matte finish

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Ready yourselves, jazz aficionados, for modal piano brilliance, Bill Evans style! Released in 1977, Bill Evans — Quintessence, has the maestro diving headfirst into a lush, melodic hornscape — an elegant, smoky surprise.

Let's start with the man himself. By 1977, Bill Evans was less of a pianist and more of a philosopher with 88 keys. His technique? Still gentle, still whispery, still capable of melting diamonds. But here, he brings his lyrical poetry into a new context: a quintet. That's right — not just his beloved trio format, but a quintet, people.

No safety net. No piano bench to hide behind. Just sheer harmonic magic.

The Evans dream team of supporting players was a stellar lineup. Starting with Harold Land (tenor sax) — The West Coast legend whose tone is so smooth it could pass as jazz-flavored gelato. Warm, reflective, and the perfect foil to Evans' crystalline touch. Next, there's Kenny Burrell (guitar). Playing with such subtlety you'd swear he was painting chords with a sable brush. Never flashy, always perfect. On bass, Ray Brown — The anchor of jazz itself. You want groove? He'll give you groove. You want soul? He's got that in spades too. And on drums, Philly Joe Jones. Because if you're gonna swing, you call the guy who made Miles Davis' band sweat.

Together, they form a unit so tight it's basically a telepathic jazz circle. They're not just supporting Bill — they're expanding him!

What's On the Menu?

"Sweet Dulcinea" — A tune that proves you don't need to play fast to say something profound.

"Bass Face" — Ray Brown gets the spotlight, and boy does he shine.

"Martina" — A waltz so beautiful it should come with a warning label: may cause reflective gazing into middle distance.

"Second Time Around" — A standard for an album that's all about elegance, subtle swing, and refined musicianship.

"A Child Is Born" — The kind of rendition that makes you think maybe the world isn't so bad after all.

So why add Quintessence to your collection?

Because this is Bill Evans unplugged from the trio comfort zone, letting his lush harmonic sensibilities dance with top-tier horn players and rhythm gods. This album is meditative but never sleepy, introspective but never self-indulgent. It's rich, warm, and brimming with the quiet confidence of a master stretching his wings just because he can.

Bottom line, if your jazz collection is missing Quintessence, it's like owning a Picasso with a blank corner. This is the kind of record that sneaks up on you — not flashy, but unforgettable. Go ahead. You deserve this kind of quintet magic. — (via Label)

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Most of pianist Bill Evans' recordings were in a trio format, making this quintet date a nice change of pace. Evans' all-star group consists of tenor saxophonist Harold Land, guitarist Kenny Burrell, bassist Ray Brown, and drummer Philly Joe Jones and the results are quite tasteful and explorative in a subtle way. This version of Thad Jones' "A Child Is Born" is most memorable. — (via AllMusic)

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Label: Analogue Productions
Format: 2 x Vinyl, 12", 45 RPM, Album, Limited Edition, Reissue, 180g
Reissued: 2026 / Originally Released: 1977
Genre: Jazz
Style: Post Bop

File under: Jazz - Bill Evans
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