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HomeGrown
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電気グルーヴ
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Calm
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大橋トリオ
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EGO-WRAPPIN'
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Kan Sano
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ハナレグミ
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RICKIE-G
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YOUR SONG IS GOOD
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PUSHIM
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KenKen
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鎮座DOPENESS
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韻シスト
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ペトロールズ
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Kan Sano Biography

Kan Sano is a keyboardist, trackmaker, producer who studied Jazz at Berkley College of Music.

While in school, he performed at the Monterey Jazz Festival with his band.
His music ranges from Jazz, Hip Hop, Soul, R&B, and Electro.
Whether throwing down new tracks for the beat music scene or playing improv piano, he fuses jazz and classical into a original sound that can fill both expensive concert halls and underground night clubs.

Usually He plays with drummer and bassist in his gig but he also plays drum, bass, keys and trumpet.
They change instrumentals in the middle of the tune.

This style was big buzz and loved by fans, he was invited from big festivals like FUJI ROCK, Asagiri Jam, Greenroom and Sunset Live.
He was also invited to play as HEX at “WORLD WIDE FES”, an event hosted by UK DJ Gilles Peterson.

He released his debut album “Fantastic Farewell” in 2011.
The following year, under the name of Bennetrhodes, he released the album “Sun Ya” on the Wax Poetics Japan label which was a huge hit in the club scene.
he played keyboards on “Toshio Matsuura presents HEX” a project celebrating the 75th anniversary of BLUE NOTE, a jazz label of Universal Music in 2013.
In 2014, Kan Sano brought together Benny Sings, Monday Michiru, mabanua and other international artists for the releases of “2.0.1.1.,” which topped sales charts.

In 2016, his 3rd album named “K IS S” won “CD shop award Japan”, he got big buzz in Japan.
He released 4th album “Ghost Notes” in 2019.
New singles “DT pt.2” and “Sit At the Piano” from this album were played 5 million each on digital streaming service in the world.

As a keyboardist, he has performed and recorded with a multitude of artists including
Madlib, Shing02, Eric Lau, Monday Michiru, Chara, Ohashi Trio, Twigy, RHYMESTER, and more.
As a contemporary beat maker and producer, he takes part in a ton of collaborations, both in Japan and overseas.
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