Christian Sands/Photo: Christian Sands
The title of Christian Sands’ Grammy-nominated composition, “Be Water,” says it all. Just as lakes are formed by water collected from rivers, streams and runoffs from the areas around them, Sands’ jazz piano has done the same. Be-bop, hard-bop, Afro-Cuban, hip-hop, avant-garde and the Great American Songbook; Bach, Chopin, Errol Gardner, Hoagy Carmichael, McCoy Tyner, Bobby Timmons, Marcus Roberts; the notes, rhythms, chords and modals that pour from his fingers and Steinway keys collect and redirect all ideas that run through them.
Like many jazz artists, Sands was a child prodigy. Born in New Haven, Connecticut, he was playing piano by the age of four. Jazz pianist Dr. Billy Taylor, who was also the artistic director for the Kennedy Center for the Performing Arts, noticed Sands’ talent immediately. So much in fact that he became Sands’ mentor and teacher and allowed him to close one of his sets at the Kennedy Center. While still attending the Manhattan School of Music, he began touring with bassist Christian McBride, appearing on two albums with the artist. His first recording, “Hoagy Carmichael Stardust Road Live,” was a tribute to this songbook pioneer. Among his more than thirty solo and accompanying records are tributes to Duke Ellington and Tito Puente.
Sands then incorporates musical and cultural diversity into his original compositions. “Be Water” uses slashing piano chords a la Tyner or Keith Jarrett, the electric keys of Chick Corea, drums, Latin percussion, bass and horns. Together they create a jazz sound akin to an ocean with white capped waves of sound crashing down, flowing gently to the shore, dispersing and forming in quiet pools—only to gather musical energy and reform again. Yet the whole time Sands remains in control of his ensemble. Solos are kept short, existing in bursts to add to the overall sound, providing color, texture and feel before, like the aforementioned wave, retreating. Another of his compositions, “Reaching for the Sun,” follows a similar pattern, but with a bit of a freer jazz feel, giving Sands’ longtime bassist Yasushi Nakamura plenty of room to stretch out.
Sands’ most notable recording may be his version of the Blind Faith song, “Can’t Find My Way Home.” After accompanying his brother to see Eric Clapton at Royal Albert Hall, Sands became amazed by his musicianship and delved into his history, eventually discovering the Steve Winwood composition. Sands takes its haunting, recurring theme and riffs on it, adding splashes of funk, be-bop and blues.
In recent years he has performed at the Montreux Jazz Festival, Dizzy’s Club, The Blue Note, and most recently the Newport Jazz Festival. At Newport, he not only performed but acted as a musical director for a musical ensemble featuring Kurt Elling, Dee Dee Bridgewater, Lakecia Benjamin, Nakamura and Clarence Penn.
Heralded as a “rising star in jazz” by none other than Wynton Marsalis, Sands will be performing a four-day, eight-set stint at the Jazz Showcase, 806 South Plymouth, May 9–12. Performances start at 8pm and 10pm from Thursday, May 9–Saturday, May 11; 4pm and 8pm on Sunday, May 12. Tickets from $25 here.
