‘My audience is a main priority. They have devoted their time and money to come along to my show and it’s essential they have an amazing time.’

Ahead of her returning to Isbourne Arts, Saturday 24th October, I caught up with Cheltenham based saxophone sensation Kim Cypher. To be honest, I’ve been meaning to do a ‘Behind the Music’ feature with Kim for some time now so I was delighted when she said yes. And with us delving into her compositional processes, her views on grassroots music, and why connecting with her audience is so important, I’m sure you will feel the same.

Hi Kim, thanks so much for taking the time to chat let’s jump straight in. What was your first exposure to music and did you know at the time how much it would shape your life?
I was lucky enough to have an amazing music teacher in primary school called Mr Harrison who I will be forever grateful for. He taught me recorder when I was around 6 and he obviously saw potential in me as he arranged for me to start playing clarinet. I thrived on that, and soon I was entrusting with more musical responsibility. At 7, I played alongside him for a school production on glockenspiels, percussion, recorder… pretty much playing anything I could get my hands. Importantly, he allowed me the freedom to just ‘play’. I knew I loved it, but it was only when looking back that I realised it was my first exposure to public performance and it was a spark that ignited my lifelong love of music. I was very lucky to have such an inspirational teacher and have contacted him in adult life to thank him for shaping my life. 

With you being a multi-disciplined musician, what informs whether a composition or arrangement will be centred on saxophone or vocals?
Some compositions come to me in the form they are destined to be, so it may be a lyric that determines the piece will be a song or a strong melody line that establishes it as an instrumental. It is not always so easy though. I do have some compositions that ended up with both instrumental and vocal versions, such as ‘Tomorrow’s Song’ on my ‘Catching Moments’ album. The melody is beautiful, so there was an instrumental first but the melody inspired a vocal version recorded with the amazing Liane Carroll.

Earlier this year you released ‘Blues for David Freeman’ alongside Simon Spillett. Given the prowess of both of you, what was the recording session like?
Working with Simon was an absolute privilege, especially as it was part of a wider project we put together to mark and celebrate a Simon’s milestone of 30 years as a professional jazz musician on the UK jazz scene. Simon and I are completely different in terms of our playing styles and our personalities so it was always going to be an interesting collaboration! The whole project was called ‘Unification’, and it was about compatibility being found in unlikely places. The project also included a live performance together in collaboration with Highworth Jazz Festival and a recording session for a couple of my original tracks.

In the studio we were – to reference one of Simon’s compositions – ‘Yin & Yang’, but it was really fun. My hyper, over-excitable personality was balanced out by Simon’s very cool, calm demeanour. I brought the glitzy leopard print and he brought the formal suit! In the recording booth though we just both did our thing and it worked well. ‘Blues for David Freeman’ was the first track to be released and the second one, ‘Red Beret’, is out 23rd October. 

‘It’s so important to feel ‘safe’ with the musicians you choose to work with. After all, you’re all in it together!’

Like myself, you had a previous career in music teaching. How do you feel about the way the subject is viewed within education, as well as its related impact on grassroots live music as a whole?
When I first started as a primary school teacher I was lucky enough to work in schools that really valued and championed music education. So much so, a position as Head of Music was created for me. I loved it and the extra-curricular music sessions were a key part of school life with us being praised by OFSTED and winning awards in national music competitions. Sadly, over the years I found primary education to become less focused on the arts in general. Music was very low priority, and it pretty much broke my heart. However, for me that was the catalyst to leave my teaching career and follow my own musical dreams. It is very sad though and I do worry about the future of grassroots live music. I embarked on a big project a few years back called ‘Brighter Tomorrow’ to pay tribute to all who work in the arts. It is a very tough business, and it deserves far more respect.

On the topic of things being tough, at Cheltenham Jazz Festival this year you talked about your journey to closing the Deya Arena. Which elements of your previous experience within the festival prepared you for that milestone gig the most?
Closing the main DEYA Arena for the 2nd consecutive year at Cheltenham Jazz Festival was huge. It represented a 17 year long journey which became a mission to make a stand for all local musicians. It was emotional to get that wider recognition in my hometown festival. My previous experience within the festival, playing the ‘Around Town’ fringe year after year gave me the determination to keep going. It’s these experiences give you the resilience you need to survive in this business.

So what would you say to those who are considering applying to play the ‘Around Town’ and ‘Free Stage’ slots in future years?
The slots are a great platform for up-and-coming jazz musicians, so I’d say go for it. But stay focused on your progression and make sure you are not playing the free stage year after year if your career in music is progressing and you are worthy of more. It’s so important to believe in yourself and never give up on your dreams and goals.

At that CJF gig and many others you have a core group of superb musicians working alongside you. In no more than ten words, what’s the best thing about working with them?
Fun; Laughter; Dedication; Musicianship; Reliability; Professionalism; Respect; Loyalty; Hardworking. That’s 9 so I’ll add in Safety. as it is so important to feel ‘safe’ with the musicians you choose to work with, after all, you’re all in it together! They really are the best people to work with, especially as one of them is my husband! 

Whenever I’ve seen you live, there’s a huge sense of you balancing professionalism with having an amazing time. How important do you feel this approach is to the connection you have with the audience?
Professionalism is an absolute given in this business. You need to be a master of your craft and deliver a top-notch performance. For me though, my audience is a main priority. They have devoted their time and money to come along to my show and it is essential they have an amazing time. I love nothing more than chatting with my audience, they are part of the performance, and I want them to feel a connection. My music is from the heart, and every performance is built around connecting through the music, from my heart to the hearts of my audience.

Whether you are playing or hosting a gig, there is always a sense of you making jazz inclusive for all who want to experience it. What would you say to people who want to experience the genre but are unsure where to start?
Jazz is such a wide-ranging genre and it can often get bad press. I have encountered so many people who tell me they don’t like jazz – which is a bit like someone saying they don’t like food. My aim is to present jazz that is accessible and to play music that people can relate to. My set is also always very varied so there will be something for everyone.

‘I worry about the future of grassroots live music. It is a very tough business, and deserves far more respect.’

With you heading back to Isbourne Arts later this month, what can people expect this time round?
I am thrilled to be returning to Isbourne Arts. It is a fantastic venue and I love nothing more than performing within my local community. I hope people will join me for a great Saturday night out. The set will be a varied mix of uplifting lively music, taking the audience on an exciting journey. There will be lots of sassy saxophone and some great vocal numbers with the usual chat and banter. We really will have a lot of fun.

So which piece from the setlist will be the most challenging or enjoyable to play live?
Hmmm, a tricky one to answer as I really enjoy playing every track in the set. I have to say that my new FUNKY LATIN JAZZ PARTY set is particularly enjoyable as every track is fun to play. There is so much variety with influences of Latin, African beats, funky grooves and even some jazz with infused with Reggae and Ska. The most challenging piece for me personally is one that ends with an improvised sax cadenza where I just make it up as I go along. That can be scary as you never know how it’s going to turn out! At Cheltenham Jazz Festival it ended up with the audience singing along with me whilst stamping their feet, so anything is possible!

And finally, looking back over your career as a performer, which moment has solidified to you why becoming a full time musician was the best decision you could have made?
I knew from the moment I made the decision because I felt an overwhelming sense of ‘coming home’. I finally felt like I belonged and I had found my rightful place. I now work alongside my drummer husband and with like-minded fellow musicians where every moment just feels right and, although I have never worked so hard, I feel happy, content, and at home.

Thanks Kim Cypher for chatting with Listen to Discover.