Tim Hughes talks to Oxford saxophonist Adam Waldmann of super cool jazz quartet Kairos 4tet.

IN THE best jazz tradition, the Kairos 4tet never play the same set twice. In fact they never really play the same song twice.

This young quartet are all about improvisation – playful experimentation and exploration, which makes every set unique.

The notion of crafting new melodies over repeated cycles of chord changes is hardly a new one, it goes back to the very early days of jazz, and, before that to the great classical composers, but it remains an exciting one – and a test of any musician’s mettle.

“The idea of the band is to allow us to play as much as we can as a unit, while also going off to play our own melodies,” says band leader Adam Waldmann, whose luxurious saxophone infuses the quartet’s work with a delicious warmth.

“The compositions are set up with lots of open sections for improvisation, so some songs can be different every time.”

Adam, 27, who grew up in Summertown in North Oxford, and was educated at the Cherwell School, is passionate about free-flowing jazz. “It’s about taking risks,” heexplains. “That’s what makes it exciting. As the rapport between the four of us gets stronger, we take even more risks.”

Feted as one of Britain’s best new jazz outfits, the London-based outfit consists of Adam, bass player Jasper Høiby, drummer Jon Scott and pianist Rob Barron, who has worked with Damon Albarn and Kanye West.

Their debut album Kairos Moment was widely regarded as one of the best jazz releases of last year, and the band are now on the road for a tour which pitches up in Oxford at The Spin jazz club at The Wheatsheaf, next Thursday, and the Oxford Jazz Festival in April.

While he describes the band as “democratic”, Adam is behind many of the compositions. “I write but I do so with the musicians in mind,” he says. “That means everyone features equally and the band has a strong identity.”

Improvisational jazz has, I suggest, acquired a bad reputation for difficult, discordant and even unlistenable, music. Just think of The Fast Show’s Jazz Club – which, like all good comedy, had a kernel of truth.

Adam agrees. “Jazz has that stigma attached to it and, in some cases, rightfully so. But improvising in the right context is relevant, and people respond to it.”

Surely, I ask, not every attempt at improvisation is a success? “No,” he laughs. “But that doesn’t matter, as long as it’s done convincingly.”

The 4tet’s music is smooth, uplifting and by turns exhilarating and melancholy. Moody and evocative it has a transcendent quality which is absent from most music being made today.

“Our music is very accessible,” adds Adam. “We haven’t had to dilute anything, but use hooks, grooves and cyclical chord sequences. And I hope we bring an appreciation of our audience to our performances which is as genuine as possible, and that the audience feel included.”

The composer name checks the likes of Miles Davis, John Coltrane and Wayne Shorter as influences, but adds: “The first person to turn me on to jazz, was Louisiana-born saxophonist and composer Branford Marsalis. He made a huge impression. His music was a complete revelation.”

For an artist who started his musical career gigging around Oxford before taking up a place at London’s Trinity College of Music, the prospect of returning with the 4tet is an exciting one. “The great thing about being in Oxford was seeing great musicians, and there was jazz everywhere. It’s time to take jazz more seriously – and it’s up to us to make sure people feel engaged."

Kairos 4tet play The Wheatsheaf next Thursday. Doors open at 8pm. For details go to spinjazz.com. To find out more about Adam's work, go to Adamwaldmann.com