| Jazz |
It is quite difficult to categorize pianist and composer Christian Sands, undoubtedly because he is rather eclectic in his personality, tastes, and choices. This album, therefore, is the one that resembles him the most, as it seeks neither to please nor to structure itself in a particular direction. It is more akin to a film score than a jazz album in the strict sense, because, indeed, Christian Sands offers here what is deep within him and opens the door to his worlds. For this sonic experience, Sands invites musicians who, like him, have a rich cultural background that influences their art: Christian Sands – piano, Yasushi Nakamura – upright bass (all tracks except 8), Ryan Sands – drums (all tracks except 8), Marvin Sewell – guitar (tracks 1, 2, 3, 5, 9), Andrew Joslyn – violin, viola (tracks 1, 2, 5, 8, 9), Eli Weinberger – cello (tracks 1, 2, 5, 8, 9), Ross Gilliland – contrabass (tracks 1, 8), Warren Wolf – vibraphone (tracks 2, 5), Grégoire Maret – harmonica (track 9).
The result, while quite disorienting, is rather exhilarating, as throughout the tracks you can clearly sense the fun that took place between these musicians. The humorous notes and various references are likely proof of this. The composer not only offers new works but also revisits pieces by other musicians, such as “Good Morning Heartache” by Ervin M. Drake, Dan Fisher, Irene Higginbotham • Lindabet Music Corporation (ASCAP); Microhits Music Corp (ASCAP); Sony/ATV Tunes LLC (ASCAP). String arrangements on “Good Morning Heartache”: Yuma Sung. String arrangements on “Divergent Journeys,” “Serenade of an Angel,” “Braises de Requiem I (The Embers Requiem Mov. I)” and “Embracing Dawn”: Andrew Joslyn. Each time, it is evident that the arrangements almost amount to a rewriting, which not only ensures a good integration into the overall idea of the album but also gives the musicians expanded creative space.
However, from my point of view, this is not the artist’s best album. By going in so many different directions, the listener may end up feeling lost, which is likely only partially intentional. Many artists indeed go through transitional stages between two significant albums, and that is the impression this one gives. Nevertheless, it remains a good album that we rank among our “Favorites,” ending like a movie’s closing credits with Grégoire Maret’s beautiful performance on the track “Embracing Dawn.”
Thierry De Clemensat
USA correspondent – Paris-Move and ABS magazine
Editor in chief Bayou Blue Radio, Bayou Blue News
PARIS-MOVE, September 24th 2024
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