2015 marks a metamorphic time for the Cape Town musician Kyle Shepherd as he moves beyond revivalism and continues to explore a new sound with his trio, writes Stefanie Jason.
There’s something fascinating about the turning point in a musician’s life.
For many, it sneaks up in the midst of political unrest as it did for the jazz group the Blue Notes, in the 1960s, who, after leaving South Africa, explored their social and musical freedom. For others, like the lionised saxophonist John Coltrane, a heady concoction of spirituality and drugs were the tipping point for future sounds.
But the catalyst for pianist-composer Kyle Shepherd’s juncture was the admiration that comes with being famous.“The turning point came out of receiving too much praise, if it makes sense,” he says, as if to gauge how outlandish that might sound to someone who cannot empathise with stardom.
This is a metamorphic time for the musician. Last year, he won the Standard Bank Young Artist of the Year award for jazz. Recently, he returned from playing at Carnegie Hall in New York, became a father and began rethinking his sound. Shepherd, who dropped out of the University of Cape Town’s jazz school, has also been awarded the Newton Memorial Music Scholarship to take his master’s at Stellenbosch University.
“I have been writing like a madman. I have written so many compositions these last few months than I know what to do with. And me and my trio are moving into a space where I feel modern South African jazz might come from.”
Cape Town-based Shepherd catches up with me by Skype from Switzerland, where he’s with fellow award-winning jazz artists drummer Kesivan Naidoo and bassist Shane Cooper, touring and recording an album with Swiss musicians.
For the full report on this Skype catch up with Stefanie Jason, visit Mail & Guardian
PHOTO CREDIT: Kyle Shepherd Trio. Gregory Franz©
