Grounding a song with left hand pounding out the steady chords, while the right fingers tickled lines, chords, and pearly runs up and down the heavily microphoned piano, the listener was carried through soundscapes of the Kyle Shepherd Trio’s vast repertoire once again.
On 25 February, Shepherd trio fans experienced another jolt as this 2014 Standard Bank Young Artist of the Year pianist, Kyle Shepherd, and his very loyal double bassist Shane Cooper and drummer Jonno Sweetman raised the Reeler Theater roof again at Capetown’s Rondebosh Boy’s High School. Coopers’ intense plucks and plunks dialoguing with Sweetman’s clackety, forceful drums exploded into crescendos of delight as the trio maneuvered through old and new Shepherd compositions.
You could tell, see, hear, and feel these peers listening intently to each other. They had to; and have done so for the past 9 years. That’s the make-up of these three masters of their craft as they collaborate, offering their individual sounds. Shepherd’s newer compositions crafted a lot of behind-the-beat, and in-front-of-the-beat, and delayed, punctuated beats on several songs, playing around with off beats that are becoming common in his forward-looking musical journey.
Kyle Shepherd trio at Straight No Chaser; credit: Gregory Franz
The 94-minute session was only interrupted when the pianist looked into the audience, and apologized for the lights still being on. They were quickly dimmed. The thirsty pianist also had to ask for water which might have embarrassed the stage organizers somewhat. But maybe not.
Shane Cooper at Reeler 25 Feb 2017; credit: Gregory Franz
What Shepherd did not tell the audience, even amidst the cameras and sound recording equipment strewn across the stage, was that this concert was the second and final recital required for completing his Masters degree! It would be submitted digitally as a video presentation. But even if the audience knew this, I have no doubts that their applause, standing ovations, whistles and cat calls of appreciation would have been less intense, for this concert was very special, indeed, a culmination of a decade’s worth of hard work, commitment, and growth in developing talents.
I caught up with Kyle before his concert:
CM: We live in a strange world where artistry is being stressed out. Some artists are more political than others. Listeners don’t want to hear about politics either, preferring to listen to music to relax. Yet some artists are message-givers, like Gregory Porter, who writes his own lyrics. What’s your message now?
KS: In the beginning of my career, I focused on my ethnic and traditional background. After the first 3 albums of this, I felt I had to move on towards more global sounds and transcending borders more. I think borders are human fabrications. I discovered this after traveling for 10 years and meeting people from so many different places around the world, only to see how common we all are. So the music I’m writing now reflects these realizations I’ve gleaned over the years. I don’t feel the strong pull to create cultural music of the past.
CM: Are you saying that perhaps your music is moving into, what some would say, is an ‘intellectual’ mode?
KS: I think a little bit. It had to happen a little bit. But it’s not purely intellectual. I had to start combining other elements. Now, the sound is more expansive, but in a concert setting I can go in between these two worlds, and can play just Cape cultural music for 30 or 40 minutes if I feel like it. Or, if I play with Xhosa or Zulu musicians, I feel very comfortable with their type of sound….playing Mbaqanga for 90 minutes or more. Now, with my trio, we have metric challenges in the compositions, but for me, it’s what music I’m feeling in my heart that counts.
CM: You’re starting to touch on style, and I was wondering how or if your band members are influencing you. How do you collaborate?
KS: We’ve been together for 9 years. In the beginning, for the first 3 years, I had a singular vision on the sound I wanted to create. I was studying all these cultural influences from South Africa, like what Abdullah Ibrahim and Zim Ngqawana and Winston Mankunku were doing, and I wanted to combine these with my jazz style. And then, I hit a ceiling – from lack of inspiration, and that necessitates a whole different type of research. I started this research with my band members because Shane and Jonno came from a totally different cultural and economic background to mine. So the type of music they were talking about on our planes and buses wasn’t the type of music I grew up with. I had a ‘lightbulb’ moment, thankfully! I realized that if I want to expand my scope, I can start with the people they were talking about…. Mostly rock musicians. Rock wasn’t a sound I knew at all in my upbringing. My Cape flats life – we listened to R&B, soul, smooth jazz – stuff like that. Then I started listening to RadioHead smashing funk and rock, and loved the energy and found the spirit quite akin to what we as a trio do in jazz…..sometimes frantic, sometimes crazy, really energetic. So that’s what we do but sonically on a much smaller scale! So Shane and Jonno influenced me in that way. I felt like writing music for all of us and keeping everyone’s musical personality in mind. The emotional investment in the sound becomes like their own stuff. I found we are all connected on a much higher level as I wrote for them.
CM: I notice that you seem to prefer the acoustic piano, yet have played the electric piano with other groups, like on Claude Cozen’s “Jubilee Jam” album. Is that so?
KS: I have no aversion to the electronic instruments at all – I have a few keyboards at home. I use the electronic more with the film and documentaries I’ve written for because I love the analog synthesizers. If I could afford it, I’d have a room full of Moogs. I love sounds and the analog ones.
This sound is coming back into contemporary music , like Radio Head, and the Little Dragon. They’re all using analogs now and I love synthesizers.
But when I think of the trio, I think acoustic, since we’re all playing acoustic. If others are playing electronic bass, for instance, I can play electric piano. But it comes down to the sound you want to create with the individual band members.
CM: Sometimes you put things on the piano strings – like cardboard or paper – to get a specific sound effect, which may alter the traditional acoustic sound…. But you convey a message.
KS: Yeah, I like doing that. It’s almost like using the analog synthesis without the wires. As you know, I play a lot of other instruments. But I find that sonically, the piano is very one-dimensional. You plonk a note and it stays as that note. With a bass or saxophone, you can bend notes. So I like to create other textures using what we call ‘prepared piano’ which means putting things on the strings to get sound effects.
CM: Cultivating the traditional instrumental jazz idiom, however it’s done, is a lifelong mission. But you are now delving into the world of film scoring. Is this because there are more opportunities in this genre, particularly here where there is a growing film industry in South Africa, or is it something you like?
KS: On a practical level, I had to make a decision. Here in Capetown now, there are no more jazz venues to play at, whereas for years I had gigs 4-5 times a week with no problem. I could pay the bills and perform. Now, the film opportunity came. I love film, my wife’s a film buff, and her father is a film director. So we take note of the cinematography and the score – we’ve always done that. And there’s composition in film. It’s not just compiling pre-recorded music for film; it’s actually intense composition. At first, I wasn’t sure it was for me, but when I got to the end of my first film scoring which was for Noem My Skollie, I felt that this was something I can do, that I would like to do.
CM: Your songs were featured in other films, like Action Kommandant, about Ashley Kriel….
KS: Yeah, those were already pre-recorded. But for Noem, the songs were originally composed for the film. Again, I loved the idea of Noem My Skollie because the sound you can operate in is so expansive – from orchestras to crazy sound module stuff which I love. If I could do one or two films a year, I’d be very happy. My ideal life going forward is doing both: performing and film scoring.
CM: You write poetry. Are you interested in writing lyrics for songs?
KS: I used to write counterparts to my compositions, but not any more. I used to read live as part of the performance. It’s not something I’m particularly interested in doing now. But if I compose something, and there’s an inspiration for a text, then that’s cool.
CM: Interested in playing any other instruments?
KS: (Ha ha ha!). My practice routine now is ….. my music is heavily baseline driven. I play this odd-metre repeated chords with my left hand, while with the right hand, I tap out on the snare drum for 30 minutes. This helps to develop rootedness and stamina of my left hand while also keeping the grooviness going. You have to be groovy when you play drums, there’s no other way!!! So that’s my practice thing, playing odd-time signatures and repeated patterns with the left hand but playing drums at the same time with a drum stick in the right hand. It’s also fun.
I had struggled to make practice fun which is part of the challenge! After ten years of playing, you have to make fun. Otherwise, it’s just mechanical. I tell my private students this all the time.
CM: Are you interested in teaching?
KS: I’m finishing my Masters degree at Stellenbosh University. It was funded by the British Council. I focused on half performance, half research – an orthography of my own process of composing and improvising, and interrogated Abdullah Ibrahim and Zim Ngqawana’s process as I know it from their work and writings. This opens up new opportunities, perhaps, for education and teaching, but I don’t see myself there yet.
CM: There was a time when you were collaborating with another group in a festival – with the Beatenberg band. In terms of the future of South African jazz, is your music remaining in the ‘jazz’ genre, if that’s what you want to call it? Many ‘jazz’ musicians renounce the description, saying “I just play music”!
KS: Yeah. I feel the same. We can’t take improvisation away, because the way we phrase is jazz. But now there’s so much influence from contemporary music in what we’re doing, from classical music to ethnic or primitive music . I can’t call it just one thing anymore. But festival producers and record label producers – it helps them to catalogue ‘jazz’. The different textures and emotions and themes all piled into one sound – is hard to define.
Kyle trio in Japan May 2016; credit: Seigo Matsunaga
CM: Speaking about emotions. I found a quote you made that referenced ‘emotional disposition of a character in a scene’, ‘sonic scaffolding for those emotions’, – you’re using very poetic words here – ‘emotional anonymity’ ….
KS: I had to learn how to write when doing my thesis – that was a big thing, to write properly! What I meant by ‘emotional anonymity’, when I wrote my solo works on my own albums, there’s a deep emotional investment in it – like an emotional rollercoaster. But what I like about composing for films is that there’s the requirement to just tell the story; my own emotions fall by the wayside, they don’t count. By ‘emotional scaffolding’, I mean create the sound, the spine of what’s being seen. What you see on the screen falls onto the sound. The music is a very important part of filmmaking.
CM: You would consider yourself to be a very visual person? You’re driven by visuals.
KS: Yeah, I think so. When I see star performances by actors in films, it tells me what kind of sound I have to produce, what I have to compose. For me, it’s a welcome release from having to compose something solo or concert music because you have none of that emotional pictorial context. All that content, all the narrative is coming from you, by yourself.
CM: Have you considered doing slides and visuals put to your music?
KS: Right now, I’m collaborating with a photographer. We’re doing a performance on 11 May at the Youngblood Gallery in Bree Street. I’ll work with his photo projections.
CM: Anything else?
KS: I went through a really bad period with the closing of venues in Capetown for gigs. It really depressed me. My plea is do something, who’s going to help us musicians? Traveling has become very difficult with prices so high. Also, my trio has lost two possible performances in the U.S. because of the change of government there now, and the sponsoring organizations are not sure of funds coming in to support jazz/music efforts. One in New York, one in Washington DC.
But with the film prospects in South Africa, the future is looking brighter now with many film productions in Capetown and a lot more funding is becoming available. So there’s something to do there. As a composer, I’m quite excited about that. But as an artist, I would love to be able to play in concerts and gigs with my trio, with appreciative audiences, and with different collaborations – through jazz and also composing for visual media projects. That’s what I’m working hard towards, where I would like things to go. It’s like I’m at the beginning of my composing career! It’s like ten years all over again. You know, when my first few albums were released, I was flying all over the country doing gigs and launches, driving to radio stations to deliver my CDs, etc., essentially doing the leg work to promote my music. Luckily, with the digital age, things have become a bit easier to promote oneself. But now, with my composing career, I’m doing the same thing, just not physically.
In an announcement made on Thursday, 16 Feb 2017, Kyle Shepherd, who composed the film score for Noem My Skollie / Call Me Thief, was nominated for South African Film & Television Award [SAFTA] for Best Achievement in an Original Music Score in a Feature Film. In a major feat, the film scored 10 SAFTA nominations including Best Feature Film & Best Director (Daryne Joshua). The original soundtrack of the film is now available for purchase, worldwide, on all major digital retail platforms via Gallo Record Company.