Hey, Adam. Oh, I forgot you're not here.

Well, we do have a replacement today, Christian Sands.

So let's dig into part two of our co-hosting experience with pianist Christian Sands.

This is the You'll Hear a podcast. Daily Jazz Advice coming at you.

I want to play a track.

But I just kind of want to ask you a question first.

Sure.

And that is, like, you cover a lot of styles on this album, like genres, and I think you do it super successfully, and at times you do it very abruptly, which is a cool thing, and it's a little bit unusual because a lot of times, you know, musicians, artists want to say, well, you know, this is all part of who I am. Of course, for, I think for all of us, you know, all the influences in music. But you do some very deft and skillful kind of jumping back and forth between styles.

And so if it's cool, I was just going to play a little of the beginning of yesterday

and then just get your thoughts on that.

Yeah. I'm I'm Mmm, nice. Oh, sorry. I should have had a slicker fade there, but, you know, but I can listen to this all day.

So I love that, like, you know, you got a couple different things happening. And I just want to say to all the, like, jazz piano nerds, check out the way Christian is playing the left and right hand right at the beginning like the he basically you you've created like like you're playing with a

different kind of touch and sound with that left hand quarter note going and then the way that

you're playing the melody and that's really what I think of as voicing and I think there's a lot you, you guys can check that out and kind of try to emulate some of that stuff and use it in your own way, but that's just incredible pianistic skills. So my hat's off to you for that. But yeah, so you're starting with kind of like, you know, old school solo piano kind of vibe. And then you into you know of course with the trio you got the

gospel's influence is happening but you go straight from that solo piano feel i don't know is that

correct calling it solo piano feel yeah you can call it that yeah i mean that could be anything i guess but you

know but then you go right into like you know the backbeat backbeat with, you know, that sharp nine and stuff.

So was, as you put this arrangement together, like, was that kind of intentional or was it just sort of what you heard and you put it together as an arrangement?

It's basically what I heard.

You know, I wanted it to groove.

And I really, I really got the arrangement from listening to a lot of Errol Garner lately.

I'm the creative ambassador of the Errol Garner project now, which is wonderful.

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