Califormia-based piano star Geoffrey Keezer has twice been nominated for a Grammy. His early career included touring the world with Art Blakey and playing Rhapsody In Blue at the Hollywood Bowl. He is popular as an accompanist and arranger (aside from being a fine composer) with the likes of Diana Krall. He has been part of the Storms/Nocturnes Trio for ten years.
Students at RNCM can be at a workshop with Geoffrey on April 7th.
Question 1)
Was there a period in your youth when you were glued to the piano ( of your own volition), and what spurred you on?I was basically glued to the piano from age 4 on. I became serious about learning Jazz in high school, when I was about 15. At that time I was practicing 6-8 hours a day.
2)
What did you learn most from Art Blakey?, you were no doubt a pretty junior member of that band?!I learned a lot about pacing, how to present a coherent and exciting set of music tailored to a specific audience. Art was very aware of his audiences and knew instinctively what they would respond to. I also got some kind of download of deep groove from playing with him... it's an uplifting "feeling-memory" of his big cymbal beat.
3)
How do you feel about the different approaches of electric and acoustic ensembles? Is it effortlessly interchangeable?
My first instrument (other than piano) was an Arp 2600 synthesizer, in 1975. I was fascinated by science fiction (Star Wars and Close Encounters of the Third Kind had just come out), and I loved the soundtracks, both the musical scores and space-age sound effects. I still love electronic sounds and it's a big part of what I do. So for me it is interchangeable, because sound is sound. I like to mix them up, like using synths on "swing" tunes and acoustic instruments on "funk" tunes. I think any acoustic vs. electric argument in music is a dead issue and needs to be "sent back to the light"!
4)
What non jazz music are you into, any computer/electronica stuff? - many creatives in their 20s are, and it'd be great to know some music of yours or others, that you feel is truly creative/successful in this area.I'm into some electronica, a lot of classical (I lean towards late-Romantic or 20th century composers), rock, singer-songwriter stuff, Indian music, Balinese/Javanese gamelan, Sufi singers like Abida Parveen, some country/folk, bluegrass.... pretty much everything. I try to listen to the Lady Gaga/Justin Beiber-type pop, and while I can appreciate the craft and production, I HATE auto-tune! I can't stand auto-tuned vocals.
5)
Tell us about how you wrote "Tiger Lily..." was it at the piano?
I started writing Tiger Lily's DIY Paradise on my friend Ingrid Jensen's piano in Astoria, NY. It was just the first few bars, and then the last 8 bars of the tune. I filled in the rest about 3 months later... so I kind of had a beginning and ending, but no idea how I would get it from point A to Z.
Were there bits you went back and changed after earlier drafts?
Probably.... I don't know for sure. I remember the form got shortened by 2 bars on the D.S... after playing through it a few times, it didn't seem necessary to replay those particular 2 bars, so we cut them out.
6)
Do you have any tips for writing for,and accompanying singers ? The back catalogue is impressive...
Well I think the most important thing is to pay attention to what the singer wants. When it's an arrangement, it has to support the singer and still give them the freedom to phrase however they want. They don't like to be contained or be put in musical handcuffs. So you try to get your hip stuff in there where you can, but without your hipness or grand arranging ideas getting in the way.
7)
You meet some students from RNCM on the 7th April, would you like them to check something out in advance?
Sure! Everybody get the new Storms/Nocturnes record "VIA"!
8)
Can you remember any real Peak experiences that affirm the life you've chosen?Yes, quite a few. They were all musical moments where there was SO much energy and everything just vibrating at such a high level. Certain moments playing with Art Blakey, Christian McBride, Wayne Shorter, Jim Hall, and Storms/Nocturnes... they might have lasted just a few seconds or an hour, I have no idea. It just felt like JOY. Those were times when I was certain I was connected to source, just feeling pure love through playing music.
