Sometimes when a child of a musician shows an interest or an aptitude in playing music themselves, it’s called “the curse”. Sometimes the curse is revealed in mysterious ways, and the cursed child might not even realize that they have the curse until something clicks in them, a light goes off, a switch flips.
In the case of Adam O’Farrill, he says he discovered his curse when, at 8 years old, he went to his older brother’s Zach’s middle school band concert and saw the trumpet player. Looking back on it, he admits that part of it was simply the shine and brilliance of the instrument - he was called to it. He certainly wasn’t the first and he won’t be the last to react that way.
But for Adam, it was really just a matter of time. For the cursed child, there is no escape. He’s a quiet but intense observer, an omnivorous receiver of inputs and inspirations, from foreign films to video games, literature to cuisine. And he’s also what some people would call musical royalty - the grandson of Afro-Cuban-Irish composer and arranger Chico O'Farrill, the son of the cultural boundary-pushing composer and pianist Arturo O'Farrill, and pianist-educator Alison Deane.
Last year he was voted the No. 1 “rising star trumpeter” in the DownBeat magazine critics’ poll. He was 26 years old at the time. But of course age is really just a number, and Adam seemed to shoot out into the world fully formed, not only an accomplished player, but a developed artistic thinker. At an early age, he was putting in time with the likes of Rudresh Mahanthappa, Mary Halvorson, and his father’s Afro Latin Jazz Orchestra.
Adam’s family background is so diverse that refers to himself as “the United Nations in flesh”. That sense of inclusiveness is found in his music as well - freedom and control, tradition and exploration, intention and “tumult,” as he tells me.
Recently he released Visions of Your Other, the third statement by his group Stranger Days, which features his brother on drums as well as the bassist Walter Stinson and recently, saxophonist, Xavier Del Castillo.
Here he talks about belonging to that rich musical legacy, how video games, literature and most of all the films of PT Anderson have informed his work, the hazy lines around labels and categories, the importance of making space for other musicians to support one another, and how he strives to remove “the external” from his playing.
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