Keith Tim Anderson



Dreams Come True
2020, newage, neo-classical, contemporary piano

Waiting's End, Solo Piano Vol. 1
2018, newage, neo-classical, contemporary piano

“Dreams Come True” reviewed by Donovan Johnson

Dreams Come True is the latest album release by recording artist and pianist KeithTim Anderson. I'm going to begin this review by making it clear that I'm not a big fan of the felted piano sound, a very popular approach in original piano music recording right now. That being said, KeithTim has put an album together that uses this technique perfectly, and the sound of the felt on the piano strings fits the feel of this recording like a glove. From the artwork, to the song concepts, to the recording style, Dreams Come True is an album that flows with a sort of magical creativity. The feel and the quality of the music is almost child-like in its ability to tap into that center of innocent mysticism that we, as humans, possess. Noticeably, KeithTim doesn't go to the ends of the spectrum with these creative elements either. Instead he stays within a certain scope of listening that is safe and comfortable, yet very contemporary and often attention grabbing – without being jarring in any way whatsoever. The balance used to create this kind of album flow is an art unto itself, and in this case has been executed masterfully.

I like to select several songs from an album when I write my reviews, and from this recording we're going to start with the title track “Dreams Come True.” This track kicks the album off in the most appropriate way, grabbing my attention immediately. Fresh, bright sounding tones combine to create an inspired introduction, followed by a piece that sets the mood for the entire album. The slower, contemplative melody within the song intertwines with the sounds of the eighth note theme that's used at the beginning of the piece and is sprinkled throughout. The combination of the two themes compliment each other in a perfectly beautiful blend, and the result is a piece that is both reflective and imaginative, simultaneously. This combination, played out together inside on one song, is fairly uncommon in the music of the solo piano genre and is a breath of fresh air whenever I run into it.

Evermore is the second track on the album, moving steadily along and continuing the flow of the recording with grace and ease. This track is more consistent than the first in feel and melody, bringing a grounding and balanced feel to the listener. The playing is not rubato in any way, staying right on tempo for most of the piece. This is important in that playing a piece more freely changes the feel entirely, and this song does not call for that style of playing in any way. You'd be surprised at how many songs I've heard, played rubato, that simply don't call for it. KeithTim stays true to the feel that this piece demands, and paints a picture that's fluid without being simply a splash of colors on a canvas. The images you see when you listen to this piece will certainly be defined, and yet not crystal clear. A pleasure to listen to, and also something that will keep you engaged throughout without the excess dramatics. It's a piece that is proud to stand on it's own and be exactly what it is.

The Door is another one that stuck out as being a really powerful song in the most understated way. Where is this door? What is it? These are questions you'll ask yourself as you listen to the wonderfully elusive melody that dances throughout the piece. The left hand keeps the pace moving underneath the right hand, which flows over-top in a series of unpredictable musical changes and patterns. Where does this door lead us? My impression while listening to this song is that the door represents a stop in the pathway, a decision in life that will impact how things will be, moving forward. In fact, this door is one of many, each with a purpose unique to it. The purpose of this particular door can only be discovered in the mind of the listener...

In closing my review I'll put it this way: Dreams Come True is not a box of assorted chocolates. Instead, it's a box of the best of several kinds of chocolate to enjoy completely, over and over again. What we have here is a work of art that is contemporary, refined. It's magical and it's creatively engaging, and it's a perfect companion to a quiet evening alone or with a loved one. Light a candle and close your eyes, but don't expect to fall asleep right away. You'll have some musical thoughts to process before that happens. Very highly recommended.

“Waiting's End, Solo Piano Vol. 1” reviewed by Pam Asberry

It is no surprise that KeithTim Anderson made a career out of music. He spent his childhood in a small town outside of Eau Claire, WI; his father was a junior high band instructor and his mother was his first piano teacher. Although he had a knack for improvisation and preferred improvising composition to practicing his assigned lessons, he dreamed of being a singer. After graduating from the University of Wisconsin-Eau Claire with an Education Degree in vocal music and a minor in piano, he took a position as choral music director while continuing to compose piano music and set Scripture and lyrics to music and achieved great success as a singer-songwriter. But following an unexpected a twist of fate, he has returned to the creating music for solo piano. In November 2017, he returned to Wisconsin to give a Thanksgiving concert at his parents’ church, but lost his voice due to laryngitis. Unable to sing, he played these two solo piano pieces he had recently composed on a whim as part of a short concert. They very well received as were a couple of follow-up pieces he shared on social media, which led him to focus on creating a solo piano album. “Waiting’s End, Solo Piano Volume 1,” Anderson’s debut solo piano album, is the delightful result.
“The album has an overall concept of being healing, calming and reflective music,” says Anderson, “yet in some ways, it is a collection of musical snapshots, each song being distinct from the others, yet cohesive as a whole.” The album opens with the contemplative “Autumn Rain,” its gentle pitter-patter almost melancholy, anticipating the long winter ahead. “Here with You” is peppered with a rhythmic motive like a syncopated heartbeat, steady and reassuring. One of my favorites, the haunting “Hope Again,” has a modal, open sound and is a musical expression of the question how do we dare to hope again when we didn’t get the ending we wanted the first time. “Last Goodbye,” written with his longtime co-writer, songwriter Heather Field, is elegant yet tinged with sadness.
“Long Ago” expresses a deep yearning for a return to happy times that have long since passed; “Photographs” captures the rush of emotions I experience whenever I sift through old photos – a combination of happiness and heartache, with a strong feeling in the end that the best is not in the past but is yet to be.
“Remember When” is tender with a certain innocence; it put me in mind of the conversations my brother and I have in which we share our reminiscences of growing up. “Rest Awhile” is a melodic invitation to quiet the noise of the to-dos and simply REST – deep, glorious rest which most of us do not get enough of!
Things don’t always make sense in the moment but looking back we can often see that circumstances that seemed bad often turn out for our good and “Someday” paints that picture beautifully. The title “Somewhere Out There” made me think of the old song by Linda Rondstadt and James Ingram and expresses the hope people who are meant to be together will find each other. The album comes to a close with the title track “Waiting’s End” and the exhilaration felt when a long period of delay is over and a situation is satisfactorily resolved.
KeithTim Anderson’s “Waiting’s End” is a beautiful addition to the world of solo piano. Highly recommended! I can hardly wait for Volume 2!