January 18, 2006
Interviewed by: Susan Johnson
Writing and playing piano since he was five years old, Lao Tizer
just finished his much-anticipated fifth CD and he is only in
his mid-20s. His first three were solo records and the
most recent one, Golden Soul, was produced
by Chieli Minucci and was the beginning of Lao’s work with
a band. He has come a long way since then and now Chieli
is a guest on Lao’s upcoming CD, Diversify,
which hits the streets in April.
SmoothViews (SV): It has been five years since
you released Golden Soul and four since you were nominated
for Best New Artist at the 2002 Smooth Jazz Awards. Tell
us a little about the path you’ve taken towards recording
your new CD.
Lao Tizer (LT): Well, I got over my
bout with heroin… (jokingly laughs) Okay. I’ll
take this seriously… (laughs) The path since then
has been many, many hours of hard work; a lot of fun times
on the road developing more and more of a following across
the country; and playing a lot of different shows in a lot
of cool different places alongside some of my musical heroes. That’s
been pretty exciting. And really focusing on writing
songs for the new record that are going to come from a place… a
little bit different place than Golden Soul did. I
really focused on crafting some memorable melodies for certain
commercial tunes and then the rest of the record is just kind
of making a new statement about where my artistic vision is,
at least at the current time, and helping that evolve to a
new place. So it’s been quite a journey in the
last five years… from parting ways with my former manager
and being more hands-on to hopefully growing musically a great
deal. After all, that’s the whole objective.
I think my strongest attribute as an artist
has always been the ability to connect with people in the live
setting more than any place else. When we play live, the
connection we make with the fans is something that can be very
special. That means a lot to me… that I’ve been
able to, whether in a solo setting or with my full band, be able
to reach people and kind of open their minds and hearts to what
I/we are doing. When
people ask me to describe my style of music, I always try to
give them the least descriptive title I can. I think the
more open-minded they are going into it, the better served they’ll
be to just listen and experience the music for what it is instead
of trying to title it and identify it and have some pre-conceived
expectations. So the magic that happens live is definitely
something that is unique and special.
SV: How will this new CD differ from your
previous four?
LT: The name of the album is Diversify, and
I think that says a lot about it right there. It’s
definitely the most diverse of anything that I’ve done,
and I think it’s got everything from some very intimate
moments of solo piano to real high-energy band stuff and hip
commercial stuff. It’s also been an opportunity
to take the next step by incorporating some other production
techniques and other instrumentation that I haven’t used
in the past, including some vocals. There aren’t
any lyrics, per se, but some vocal colors on a couple of tunes. And
I’ve incorporated some of the more modern production
techniques (drum programming mixed with live drums, etc) than
what was on Golden Soul. I
just think that the record is going to make a big, broad statement
and give people a lot to chew on. I think the most important
thing… I know for me, with my favorite records and favorite
artists… is that I have to listen to a record five times
before I really can say that I understand it. And usually
the records I like the best are the ones that it takes five
times to start to grow on me, and every time I listen to it,
I like it more. And, I think… not in any way to
compare myself to some of the great artists (laughs) that I
admire… but I think this is going to have that quality
to it. I want listeners to give it multiple listens and
discover what’s in there. It’s got a lot
of different moods and a lot of different styles, but it’s
cohesive at the same time and I think that’s a very important
thing with musicians… to be able to show a lot of different
influences, but have your own style with which you go about
everything. I think I’ve discovered that with this
CD and that makes me feel good.
My regular band [Jeff Kollman, Christopher Maloney, Drew Megna,
and Steve Nieves] joined me on the record, along with numerous
other guests. One thing that I believe in strongly is
the commitment that my band has made and the bond, musically
and personally, that we’ve all developed over time in touring
together and the time we’ve spent together… I wanted
to keep that cohesiveness as much as possible. Yet, at
the same time, you have to do what’s right for every song. So,
they all play a very large role in the record, but there’s
some very cool guests on there as well who brought their distinct
talents. That’s always a very exciting thing… to
work with new people or to have someone you’re not accustomed
to working with come in and bring their own colors to your songs. That
can be a very magical experience.
SV: How did you decide who will be a guest
musician on which song?
LT: That’s a tough one. I
guess you just kind of decide by thinking… if you have
a person… it depends if you’re using someone on
only a couple of tunes or if it’s someone like the percussionist
we brought in, D. Munyungo Jackson [who has recorded and performed
with, among others, The Supremes, Temptations, Four Tops, Aretha
Franklin, The Pointer Sisters, Kenny Loggins, Sting, Miles
Davis, Stevie Wonder, Lionel Richie, and Jonathan Butler] who
is on half of the record. So with a guy like that, you’re
not so much choosing the songs he’s going to be on as
much as what his specialties are and applying those to the
songs because you kind of have a pre-conceived notion. Whereas,
Chieli Minucci, who we had the honor and pleasure of having
on this CD as well, I try to pick songs that will utilize his
strengths and also utilize his name. So, he’s on
one of the tunes which certainly is a good candidate as a single. We
also recorded him on a tune that is completely different, more
like an acoustic trio that is very intimate and fits his acoustic
guitar style very well. Also, Karen Briggs [has played
with Yanni, Chaka Khan, Stanley Clarke and Dave Grusin], who
is one of my favorite musicians that I’ve ever worked
with… she plays violin, so it’s obviously going
to be specific to what songs violin is appropriate for. It’s
only appropriate on a couple of songs. So it just kind
of depends on the person and what you feel their strengths
are as a musician and what their instrument brings to the table
on a particular song. Then let the magic happen!
SV: Unlike a lot of musicians who have experienced
success playing at festivals and night
clubs, you have continued to play the streets also as a solo
performer whenever you are home
in the LA area. I think this gives people who are not
familiar with contemporary jazz a rare opportunity to experience
the music. What does this experience give you that
performing with your band might not?
LT: Well, since that’s how I started
out when I was 14 years old… I got my start performing
in different outdoor venues in major tourist locations, and
there’s something magical that happens in that setting,
because it can be so intimate when there isn’t anything
logistical that divides you from the audience. Also,
playing solo I’ve always improvised a lot, and that allows
me to go further down that road. So that’s really
cool, because a lot of my song ideas will just come there when
I’m improvising. So it’s just the ability
to be creative. When you’re with the band, you
can improvise and be creative but not to the same extent, because
there’s a certain amount of structure that’s necessary… so
you all sound like you’re in a band… as opposed
to warming up! (laughs) It’s something that will
always be a big part of me whether I continue to do it long
into the future or not, it will definitely always have a special
place in my heart. It took me a long time to make the
transition from that kind of setting to the stage setting,
which I’ve done so now I feel just as comfortable on
the stage as I do playing solo. It’s just a completely
different experience when you have moments of magic and inspiration
by yourself as opposed to playing with the rest of the band.
SV: How does self-managing compliment your
musical career?
LT: (laughs) Work, work, work,
work, work, work. It allows you to… I think the
biggest benefit is to speak on your own behalf. And if
that’s something that means a lot to you, then I think
it’s very valuable. Also, to be able to control
your artistic statement a little more than if you’re
with a label. I don’t want to make a record that’s
all structured. I want to make a record that has stuff
that is commercially viable, but also makes a larger statement
in other areas as well. But self-managing does allow me to
craft my creative vision better, and I like developing those
personal relationships. There are, of course, a lot of
challenges that come with it. I think what’s going
to make me successful or this group successful and really go
to the next level is being something fresh and different, and
that’s all part of this. When we go to radio with
the first single, I want it to be something that is going to
be in the pocket, but at the same time, something that is fresh
and different. I want to make a fresh, youthful, exciting
statement.
SV: What are the challenges of writing, producing
and distributing your own CD?
LT: I don’t know if I would describe
writing as a challenge. To write great songs takes time. Not
everything you write is great. You have to give yourself
time and get perspective on things to understand whether it’s
a song that really can stand the test of time. I really
think that, due to many factors, this is one of the first times
I can say that every song on this record has been very well
thought-out, conceived and arranged. There has been an
immense amount of detail that’s gone into it. And
it’s the same with any business that you run. I
have a great sense of responsibility to the investors who backed
me and, of course, I want it to be successful for them, for
myself, for the band, for my fans! More than anything,
I really hope and believe that this record will be something
that my current fans and new fans can really grab onto and
feel like they’ve been a part of making it possible… because
they have been! Without them, I’m just some guy
playing piano.
Jeff Kollman is the producer and I’m the
co-producer. It’s
been a major joint effort, and the amount of work involved is
hard to put into words. It’s lots of hours, lots
of energy and lots of love that’s gone into it. A
lot of focus and the creative efforts of so many, not just Jeff
and I, it’s an experience that’s hard to quantify. You
pour everything you have into it, and it really takes over your
life. At least, that’s been the case with this record. Every
record can be a different experience. And the reward that
I’ll experience down the road is something I can’t
even fathom right now. This record is something that we
can all be very proud of. In the end, that’s what’s
great about it.
SV: Has your strategy for distribution changed
since you released Golden Soul?
LT: I want to utilize the newest technology. There’s
something to be said for the kind of ingrained standard technology,
but there’s so many new outlets as well. So a combination
of all that. Certainly satellite and internet, digital
downloads, those kinds of things are invaluable. But
I still believe your true fans and those who latch on to the
project or you as an artist will want to hold the real CD in
their hands and be able to look at the artwork and read about
it, so it’s a combination of everything.
Going back to the production of the record,
I guess I’ve
kind of seen this now more than ever. I’ve never
been much of an opponent or said much about people downloading
music for free, but I will say this… I think that any
music fan with a conscience, if they could be a fly on the wall
in the studio for even a few days when someone is making their
record, seeing the amount of work and detail and effort that
goes into it. I don’t think they’d ever want
to download anything for free again in good conscience. When
I think about another artist and the work they put into their
record equals or quite possibly outdoes mine, and the sale price
for that is between $10 and $20? You get a lifetime of
enjoyment out of that record… I can’t think of nearly
anything that’s a better investment. People spend
five bucks on a cup of coffee at Starbucks and might scoff at
a CD for fifteen bucks. That’s something that will
last you forever. And if it’s great, that’s
a lifetime of enjoyment. And not to mention that if you’re
a true fan of music, I hope people recognize that it really does
hurt artists. This is how we make our living, and every
CD sold makes a difference to me. It may not make a difference
to Britney Spears, but I really encourage people… and
this is in no way judgmental at all, it just has occurred to
me that, man, in my humble opinion the record industry kind of
made a mistake in the way they approached the piracy issue. Instead
of making the argument to people, look what you get for only
$10-20… they took 12 year old kids to court and sued them
for internet piracy, not a brilliant PR move in my opinion, but
in the end, it’s probably for the best because the restructuring
of the industry has been such that more and more of the money
is going to end up with the artist when the music gets sold,
and that’s where it belongs. I mean, everyone deserves
their piece, certainly. There are a lot of people who make
the business work. We’re lucky enough to do this
because of the fans, but at the same time without the fans support
we can’t do it. It’s an important two-way street. Thanks
to all of the music fans who recognize that and understand. You
pour everything you have into this… or at least I have! I’m
so close to it that it kind of owns my days. It’s
like a child. Or about as close as I need to get to a child
right now! (laughs) The single keyboardist…
SV: As a young musician in the industry, what
changes in the music industry have enhanced the genre and
what are its biggest challenges?
LT: I think the biggest challenge
for the genre as a whole is reaching new fans. I think
that… what I always find, and this is why I love playing
live and shows that are outside of the typical jazz world,
is that you have the opportunity to reach young audiences. I’ve
been emailing the last couple of weeks with a fan from Chicago,
who is really a big fan of the jam band scene, which is something
that I’ve never quite understood. But it reaches
out to so many college kids and such young audiences with great,
quality musicianship. So I emailed him and basically
said that I know we can reach these fans musically, but I’m
curious as to how we tap into the scene. He had seen
me in San Francisco playing solo when he was with five of his
friends who had traveled to a show out here, and he’s
like, “Man, they haven’t stopped talking about
it since.” So I think reaching new audiences and
winning them over to the music is the biggest challenge for
anyone in this format. That’s what any music needs
to be able to continue forward. If you lose your young
fans, it’s the cycle of life... people don’t go
to as many shows as their responsibilities in life grow… jobs,
careers, families, etc. But what I love is being able
to reach all ages. That’s the best. I love
the 10-year-old kids who will get so into the music right alongside
their grandparents who make that same connection. That’s
special.
SV: What advice would you give a young musician
who is trying to break into the business?
LT: Get into car sales. I hear
there’s a lot of money in that. (laughs) It’s
funny, because the beautiful thing that has happened with the
music industry being completely changed by the whole advent
of the internet and piracy and digital technology, etc… I
think we’re dawning on a time where there’s going
to be much fewer major household name artists and a lot more
mid-level artists. Which is great because there are so
many talented people out there who never got their voices heard
for whatever reason, because it takes a certain amount of business
savvy and an opportunity of right place, right time and a lot
of tenaciousness. So I would just say dream big. Go
for your dreams. Write great songs. In the end,
no matter how great you play as a musician, I think it’s
about writing melodies that tell people stories. Music
is about a feeling and conveying that to your audience. But
yeah, dream big. I think I have and I admire all those
who do. It’s out there and you can make it happen. That’s
the beauty of the music business today.
SV: How about those Denver Broncos?
LT: Super Bowl XXXX, baby! Here
they come! They look pretty good and I think they have
the best shot of any team left… not by much, but they
have the best shot. I know Vegas says they have best
odds. I think they should win, but I could easily see
them not winning because Pittsburg is hot. We’ll
see what happens! If they play up to their potential,
they’re a better team and they’re at home so they
should win. [Sorry Lao!]
SV: Any last words for your fans?
LT: Thanks for giving us all the opportunity
to do what we do and please keep supporting the music, live
and records. And spread the word. That is, in the
end, the most valuable plug for any artist… a recommendation
from a fan to another fan. And thanks to my fans, in
particular, for their patience (laughs) in making the new record! Please
go out and buy 200 each, so I can get a steak burrito! Much
love….
top of page
|
