If you are one of those cynics who always thought jazz was a passion for older folk, think again. Fresh-faced Kyle Shepherd has been involved with this genre since he can remember. And he has not been around a long time. Suffice to say, he was only three years old when Nelson Mandela walked free.

Thanks to his mother’s association with jazz great Dr Abdullah Ibrahim, with whom she performed and worked, the jazz influence came early on in his life. This was the same backdrop that nurtured the young man into embracing the work ethics he practices today.

The benefits of such grounding are enumerable: Shepherd developed an uncanny ability to play musical instruments at a very young age and cultivated a real sense of appreciation for music.

Born on 8 July 1987 in Mowbray, Cape Town, Shepherd, whose debut CD “fineArt” was released in 2009, began his career on classical violin until the age of 15, when he developed instincts for the piano, which he now ranks as his main instrument.

As a role model to young jazz enthusiasts, he stays committed to his craft so much that he sees himself as an agent of change, in trying to influence young people into debunking the myth that jazz is an old man’s passion.

“Only when they see their peers performing, will young people eventually be drawn to jazz music,” reckoned Shepherd.

Speaking on the eve of the launch of his second CD, “A Portrait of Home”, Shepherd said his love for jazz was an act of fate, bearing in mind that this music genre attracted people with certain personality traits; as such, he finds himself in a space where one need not make a conscious decision to play music for young people because “jazz is a calling”.

He maintains that jazz musicians are unique, in the sense they have real desire to seek deeper meaning of music beyond the musical notes or fame.

As an eternal student, he always looked up to jazz greats in the mould of Dr Ibrahim, the late Robbie Jansen, Keith Jarrett, Zim Ngqawana and Jason Moran, who have all inspired him creatively, musically and spiritually.

Shepherd’s idea of a live jazz session does not conform to industry norms. Rather than plying the jazz club circuit, he is more inclined toward performances in concert settings before captive audiences, than in clubs and bars where the music is in the background.

On how well his debut album “fineArt” fared in 2009, he said it was an overwhelming success, symptomatic of the kind of training he has received from masters of the art.

Shepherd has followed up on this good work with yet another classic CD for his fans, which launched on 14 August 2010 at the University of Cape Town College of Music.

“It’s in the core and has the same touch, though the impressions were executed differently and the nature of play is unique,” said Shepherd excitedly.

His career highlights include playing with some of the great names in jazz and featuring at the 2009 Cape Town International Jazz Festival.

He also performed at the Joy of Jazz Festival at Bassline, Johannesburg on 28 August 2010.

Shepherd lamented the lack of support structures for up-and-coming jazz musicians in South Africa. “There is no environment for serious study of jazz; as a result, youngsters prematurely get thrust into the gig scene.

“There needs to be knowledge-sharing that enables jazz musicians to hone their craft. Young artists go to the Cape Town International Jazz Festival for their first experience at seeing their peers play,” he observed.

It is precisely due to this lack of formal jazz music mentorships that Rashid Lombard (organiser of the Cape Town Jazz Festival), only stumbled upon Shepherd’s raw talent at a concert in Cape Town. Since then, it has been a natural progression for this blossoming jazz mind.

Where does he want to see his career in the next five years? “At a music level, I want to continue growing, stay committed while playing a lot more in South Africa in the near future and going on to play more nternationally and in Africa,” concluded Shepherd.

David Mwanambuyu