Kiefer, the multi-talented pianist and producer, has quietly been making a name for himself over the last couple of years – not just in the Californian neo-soul scene, playing alongside big names like Anderson .Paak and Terrace Martin, but internationally, releasing four albums of his own instrumental material, and providing weekly online piano lessons via Zoom for aspiring musicians, entirely for free.
This giving attitude is indicative of the uplifting approach Kiefer takes towards music, reflected in the titles of his releases, like 2023’s ‘It’s Ok, B U‘. These slickly produced exercises in classy jazz-hop will not, however, entirely prepare you for the explosion of passion and mesmerising chaos which unfold in his live show. Sporting a minimalist line-up of himself, some Ableton backing, and one drummer – the irrepressible and inexhaustible Myles Martin – Kiefer manages to achieve a level of complexity and sheer auditory joy that most four-man jazz bands can only dream of.
The initial appeal of Kiefer’s playing is in the understated manner through which he draws on his vast wealth of musical knowledge. His capacity for making attention-grabbing “diagonal” changes, the subtly beautiful licks with which he punctuates and explores the harmonic landscapes he sketches out, all serve to create a sound as artful as it is intuitively appealing. However, the addition of Myles’ forceful, elaborate drumming elevates the music to another level altogether, injecting some much-needed energy.
The studio sound, underpinned by simple drum loops, sometimes runs a little more on the ambient or easy listening side – the likes of Head Trip throws some time signature curve balls into the mix (courtesy of guest drummer Luke Titus), but generally the record material has less variety in this department. Live, the power and ingenuity of Myles’ rhythms unlock another dimension of interaction, pushing Kiefer’s playing to new heights in turn.
His typically understated style then becomes more lively and searching, as it contends with the drumming for prominence. Bopsy arpeggios and bluesy fills lapse into frantic, chromatic salsa interludes, spurred onwards by Myles’ furious encouragement at the kit. They do two back-to-back versions of Doomed: one at the normal tempo, another one at what they call the ‘Mario Kart’ tempo. Listening to the tonally-indifferent stacked fourths skirting from key to key as the drums rocket up to full speed, you can practically see the two flying down an N64-era Rainbow Road on the stage. Taking the intensity down a notch, the whimsical licks of Dreamer then float around on ethereal chord changes, bringing the audience along into a blissful trance. This is characteristic of their playful experimentation. They don’t take themselves too seriously, but the passion for the music is undeniable.
There was enthusiastic interaction and encouragement between the stage and the crowd as the music went on. It being their first time in Scotland, the duo noted being equal parts baffled and enchanted by the Glaswegian accent and attitude.
“Someone said I look like a doll,” Myles said. In fairness, his fit did make him look a bit like a Lazy Town character.
The down-to-Earth commentary provided an appreciated rest between the intensity of the tracks. Kiefer, grateful for the reception he received from the audience and for the opportunities which had led him up on to the stage, told an endearing story about his background as a piano teacher, before he was called up to play with Abraham Laboriel – a prolific session bassist who performed with the likes of Miles Davis and George Benson – which saw him step into the world of performance. Ever the motivator, Kiefer didn’t miss the opportunity to turn this into a touching and inspirational lesson on why we should all chase our dreams.
Unsurprisingly, the opening act was also a hidden gem. Olympia Vitalis is a London-based songwriter with a soulful, impeccably gritty voice, which she utilises to tackle socio-political topics unapologetically. She sang backed up by a single guitarist (whose name I unfortunately didn’t catch), who provided some tasteful neo-soul comping. If she continues to push out material of this quality, her act will easily rise from strength to strength. Another one to watch for anyone interested in the future of British soul and R&B.
Interested in music and economic history
Leave a Reply