Like many of his musical peers in their 30s, jazz trumpeter and saxophonist Fernando Ferrarone absorbed a wide variety of sounds growing up.
While incorporating elements from a myriad of genres, he’s setting out to carve his own path, displaying a confident approach on trumpet and alto saxophone, and featuring all original material on his first two releases.
As a teen, Ferrarone announced his presence by winning outstanding soloist awards in both 2013 and 2014 at Jazz at Lincoln Center’s Essentially Ellington Competition, a premiere stage for high school students. That feat helped him land a full tuition scholarship to Boston’s prestigious Berklee College of Music.
Ferrarone’s talent shone through in last year’s album Now Till Forever. His latest full length, Beautifully Different, features him in collaboration with several Argentinian musicians.
Jazz24 had a chance to chat with Ferrarone about his new record, childhood in Miami, and how he turned a misfortunate event into an asset.
Answers have been lightly edited for length and clarity.
You're fairly unique in that few horn players so nimbly switch from trumpet to sax. How did that come about? Did you learn both at the same time?
I began playing the saxophone at age 9. About a year or two later, I had an accident and broke three fingers on my left hand. I always loved the look and sound of the trumpet so in order for me to keep playing music, I borrowed one from school and began playing it in the school band. My great mentor and band teacher, Mr. Robert Gonzalez, encouraged me to keep playing both instruments in my two classes. I wanted to keep both up at the same level, so I just practiced a ton on both horns. As the years passed, I fell in love with both.
Are there situations when you feel a melody forming in your head is going to sound better on one or the other?
I definitely hear certain melodies on one horn more than the other, but both can do it all.
I have heard the trumpet is harder to master than the sax. Do you find that to be the case?
For me, the trumpet has had more of a learning curve; I find it more physical. That being said, both need to be practiced daily if you want to keep them at a high level. The goal is to be able to say everything in your head and through your horn.
You're based in Miami, Florida. Did you grow up there?
Yes, I was born and raised in Miami and I’m currently based there as well. My father is Peruvian and my mother is Nicaraguan. We grew up listening to son, salsa, bachata, cumbia, boleros; a mix of that and American music, so jazz, funk and hip-hop are also prevalent. You are what you listen to. All of it became part of me organically.
I see you attended Berklee, and then spent a good five-year stretch in New York City. Can you compare the two scenes in Boston and New York?
In Boston, I was young and going to school. Most of the players I was working with were students, so I don’t feel like I was really “on the scene” as a working musician. New York was a different time in my life, when I was out of school and working with people of all ages, meeting people of all walks of life. I had to work to survive. This is where the fun began.
I like how your first two full length records include a lot of original material. I imagine you've spent quality time with standards through your studies and when performing. But, when it comes to releasing albums, is composing your own music a priority?
For my first two albums, all my music has been original music. I do feel like that’s a priority because it’s fresh, it’s mine and I enjoy composing. Improvisation is spontaneous composing. That being said, I’m a student of the game and I learn standards and listen to the greats all the time. I really listen and learn from them. I wouldn’t be playing what I play if it weren’t for the greats. I’d like to record standards as well, just haven’t yet. But I will.
Tell us a little bit about your new CD Beautifully Different, and how your collaboration with Argentinian musicians came about?
Well, this album is very special in the sense that I didn’t know I was going to record it when I went down there. My friend Russell Kranes, who is the pianist on the album, lives in Buenos Aires, Argentina now, and I went to visit him and play some gigs. He introduced me to some great Argentinian musicians. After our first rehearsal I was so impressed I immediately told them I’d love to record with them, so we made it happen. I listen to quite a wide range of music: hip-hop, rock, cumbia. It all comes out in the music. I also like for the musicians I play with to play their story. When we all do that, something very special comes out.
I read that you had the opportunity to jam with trumpeter Roy Hargrove. That must have been a thrill.
Yes, that’s a highlight of my life and a learning experience better than any other. I was lucky enough to be around in New York before Roy’s passing. He would be at [the jazz club] Smalls quite a lot and so was I. I’d go just to hear and play with him. A lot of musicians would go and do the same. He truly was a teacher for us all just by playing and hanging out.
Who are some current day artists you'd like to collaborate with?
There are so many, like Sean Mason, Russell Hall, Sebastian Rios, Emmet Cohen, Vincent Herring. Those are just some that come to mind.
