Lao Tizer, a Colorado-born, LA-based keyboardist, is a shining example of what it means to be a modern jazz musician—one who thrives on diversity, collaboration, and fearless innovation. In a musical landscape where rigid genre lines are fading, Tizer doesn’t just cross boundaries—he erases them entirely.
Raised in a household rich with sonic variety, Tizer credits his early exposure to a broad spectrum of music for shaping the genre-spanning vision he now brings to the stage.
“My dad had a huge music collection. Classical, world music, Motown, Buddy Holly, Ravi Shankar, Janis Joplin—it was all there,” he recalls. “Ironically, jazz was the one thing I didn’t grow up with.”
That changed when, as a teenager, he took a gamble on a Columbia House mail-order deal and wound up with two Miles Davis records: Kind of Blue and Miles & Quincy Live at Montreux. That spontaneous purchase turned out to be life-altering.
“I remember one Sunday morning it just hit me—there was this entire other universe of sound and freedom I hadn’t tapped into. Jazz felt like it was breaking all the rules in the best possible way.”
From that moment forward, Tizer poured his classical piano background into jazz exploration. By high school, he was self-producing albums. After graduation, he moved to LA, bypassed formal music school, and instead immersed himself in the real-world rigor of live performance. Studying privately with acclaimed piano teacher Terry Trotter, he began gigging with seasoned players who challenged him to evolve fast.
“There’s no better education than being the weakest link on the bandstand,” Tizer laughs. “That’s how you grow.”
Finding His Voice—and a Formula That Resonates
Inspired by The Pat Metheny Group and their seamless blend of composed form and open improvisation, Tizer began assembling his own band at just 19. Over the years, The Lao Tizer Band has developed into a powerhouse ensemble, merging modern jazz with funk, world, rock, soul, and even classical flavors.
Their ever-evolving lineup has featured some of the most elite names in contemporary music:
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GRAMMY-winner Eric Marienthal (saxophone)
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Emmy-winner Chieli Minucci (guitar)
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Senegalese bassist Cheikh N'Doye
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Violinist Karen Briggs (Stanley Clarke)
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Drumming phenom Gene Coye (Hiromi)
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GRAMMY-winning percussionist Munyungo Jackson (Stevie Wonder)
Their performances have graced legendary stages from The Baked Potato in LA to international jazz festivals like Cape Town, Java, Atlanta, and even the prestigious Hollywood Bowl Jazz Festival.
With six albums under his belt, Tizer continues to evolve, never content with standing still.
“For me, having your own voice as an artist and composer is the most important thing. I’ve always tried to stay true to what brought me here.”
A New Chapter: Vocal Explorations and Amplify
Tizer’s 2018 album Songs from the Swinghouse was a bold detour: a mix of original instrumentals and jazz-inspired vocal covers of U2, Led Zeppelin, and Cat Stevens classics. It reached the Top 10 on the Billboard Contemporary Jazz chart and showcased his ability to reimagine the familiar without losing his identity.
“Until then, we’d only done instrumentals. Covering ‘Ramble On’ and ‘Pride (In the Name of Love)’ really pushed us creatively.”
Now, he’s set to go even further with his forthcoming album Amplify, a collection of original vocal songs and instrumentals designed to broaden the band’s sound while retaining their jazz DNA.
“It’s not strictly a jazz record, though jazz is in the DNA. We’ve got five original vocal tracks, four instrumentals, and some new faces in the mix.”
Notably, Amplify features:
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Saxophonist/flutist Danny Janklow (MONKestra)
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Bassist Anthony Crawford (Erykah Badu), sharing duties with N’Doye
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A horn section and background vocalists
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And in a surprising twist, Elliott Yamin of American Idol fame handling lead vocals
“Elliott’s a phenomenal singer—soulful, expressive, and totally up for the challenge. The music’s a stretch from his usual vibe, but he absolutely crushed it.”
Redefining What Jazz Can Be
For Tizer, the goal is simple: connect. And in doing so, challenge the very definition of jazz.
“Artists like Snarky Puppy, Kamasi Washington, and Robert Glasper have proven that genre-bending is not only possible—it’s the future. If it grooves and has melody, people will listen.”
And they are listening. Tizer notes that his audience has diversified significantly, with younger fans now showing up in force.
“There’s a real renaissance happening. 20- and 30-somethings are filling seats. That’s vital if we want jazz to live and breathe for generations to come.”
With Amplify, Tizer isn’t just building on his foundation—he’s leaping into new territory, guided by instinct, inspired by collaboration, and rooted in fearless creativity.
“I say forget the boundaries. Just make good music and try to connect with as many listeners as you can.”
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