Christian Sands is not yet 30 but he is one of the most sought-after pianists in jazz. On his new record he draws horns and percussion around the tight unit comprising himself, drummer Jerome Jennings and bassist Yasushi Nakamura.
Listen to the spry intelligence of the young pianist’s soloing on Frankenstein, the longest track on the record at eight-and-a-half minutes. It’s a sparkling soaring piece, featuring sprightly interplay between Sands and trumpeter Keyon Harrold.
It’s hard to credit that Sands has written all the pieces with the exception of The Beatles Yesterday which doesn't quite hit the spot with your reviewer. Yesterday appears to lag for a while, as if everybody got bored, although Sands ensures a thrilling climax. I'd imagine this would be a live showstopper, once you got past the half-way mark and the arrangement does need tighter focus.
The effervescent Sangueo Soul features the Venezuelan Roberto Quintero giving it the lash, on all or some of the following instruments, cumaco, clarin, laures and maracas. Cristian Riviera valiantly chips in with further propulsion, it's a lively exercise, somewhat reminiscent of Chick Corea.
Her Song is lightly-accented soul with Caio Afune’s guitar gently tagging close to Sands’ piano lines. Meanwhile, there’s a flavour of church fervour on Sunday Morning which tune ends with a showboating electric guitar-led crescendo. That kind of thing American audiences don't mind, it's called showbiz.
In conclusion, if you are looking for passionate, colourful joie de vivre led by a pianist of exceptional capabilities, aided by skilled musicians such as saxophonist Marcus Strickland, then you got it.
