The saxophonist Ferdinand Lemoine, who was chosen to perform with Sofiane Pamart and has featured on tracks by Peet and Dabeull, is writing his own story in the guise of Ferdi. This month, the Brussels-based Frenchman will honour Adolphe Sax's invention with his first jazz album, Take 01, and a concert at the Ancienne Belgique.
Rising sax symbol Ferdi: 'Sometimes, you don’t choose your influences'
Also read: Bram De Looze op het Brussels Jazz Festival: 'De Brusselse jazzscene deelt graag en veel'
"At the age of seven, I fell under the saxophone's spell,” says Ferdi. At the time, he was still known by his birth name, Ferdinand Lemoine. As Ferdi, the Brussels-based musician is still madly in love with the instrument. “I love the shapes of the saxophone, its vintage look. It's an object I associate with pop culture. It is omnipresent in films, on television, even in cartoons like The Simpsons. In primary schools in the north of France, where I grew up, you can borrow a guitar, a saxophone, a trumpet, or a piano for a few weeks. Following a successful try-out, my grandmother gave me my first saxophone: a Selmer, a reputable French make. Today, I still play a vintage model of the same make.”
Those primary school days in France are long gone. These days you are based in Brussels. When did you move here?
Ferdi: In 2014. After ten years of classical saxophone, I was awarded the Médaille d'Or at the Conservatoire de Douai. One of my teachers, the trombonist Phil Abraham, also taught in Brussels. It was he who advised me to continue my studies in Belgium.
In the eyes of the public, your name is strongly connected with Peet. How did you come to know the Brussels rapper?
Ferdi: A friend called me during the lockdown to tell me that Peet was looking to add some saxophone to one of his pieces. At the time, he was doing a live performance every week on Instagram. So, I logged on and I sent a request to participate. I joined right in with my sax. A few minutes later, Peet sent me a demo and invited me to arrange it. I recorded an accompaniment straight away. Thirty minutes later, Peet received my version of his piece. We have been together ever since. We have just finished a tour together. Now, I am going to take some time to concentrate on my album and my concerts.
After Peet, you joined up with Dabeull and Sofiane Pamart, two stars of the French scene…
Ferdi: I met Dabeull at a barbecue...at Peet's. He introduced us. He presented me and said that I was “the best saxophonist in Brussels.” It was absurd. The next thing I knew, Dabeull contacted me about recording in his studio, in Vorst/Forest. I was thrilled. The problem was that I had no idea what he did. Just before going to meet him, I quickly listened to his music. It's funky, very classy. That's when I realised that he was generating millions of streams. When I arrived, I found Sofiane Pamart and Dabeull. They were working on their joint project Loving Life. They asked me to do a solo on a track. I did it. They loved it, so they told me to do another track. In the end, I recorded five songs in a row, each time in one take.
Your first album is called Take 01. Did you record that in one take?
Ferdi: Not really. The story goes like this: two years ago, a journalist asked Sofiane Pamart who were, in his opinion, the great artists of tomorrow. He cited my name, describing me as the “One Take Man”, and explained that my first take is always the best. Then, when I was recording my album, I brought together several musicians in Elsene/Ixelles, in the ICP Studios. On arrival, I gave them a few directions and we ended up recording the first take of an anthology. I named the piece “Take 01”. That is also the title of the album.
Is Take 01 a jazz album?
Ferdi: Not according to purists. Because it has no elements of swing or bebop. Personally, I am inspired by artists like Christian Scott (now known as Chief Xian aTunde Adjuah, ed.), Yussef Dayes, Terrace Martin, and Braxton Cook. All those names come from the English-speaking world. I feel like there are fewer barriers between jazz and other musical styles in England and the US. The dialogue between different sounds is more fluid there. My encounter with the trumpet player Béesau really opened my eyes to that. It was he who encouraged me to develop my style without imposing any restrictions or codes of conduct.
"Two years ago, a journalist asked Sofiane Pamart who were, in his opinion, the great artists of tomorrow. He cited my name"
In July 2023, you played your first concert under your own name. It happened at the Montreux Jazz Festival.
Ferdi: That was the realisation of a childhood dream. My friend Louison, who runs the vintage clothes shop 0.9 on Zuidstraat/Rue du Midi, took it upon himself to contact the big summer festivals to see if they would invite me to play. I couldn't believe it. But, because he insisted, I submitted ten events for him to contact with, at the top of the list, the Montreux Jazz Festival. It was the only event that responded to him. I still can't believe I performed there.
On the album, there is a collaboration with Sofiane Pamart called “Montreux Palace”. Does it refer to that episode?
Ferdi: Just before my concert at the Montreux Jazz Festival, I received a call from Sofiane Pamart. He was also due to perform there, a few days after me. He asked me to accompany him. So, that summer, I performed at Montreux twice. The first time, I stayed in modest lodgings in the city centre. The second time, it was a different story: Sofiane's entire crew was put up in the Montreux Palace. I had never set foot in such a luxurious hotel. It overlooks the Alps and Lake Geneva. “Montreux Palace” is a reference to that place which, in its way, marked the beginning of my long-term collaboration with Sofiane Pamart. That night, I found myself in the wings with Chilly Gonzales and Jon Batiste. We performed on the main stage. After that, I accompanied Sofiane for his whole tour.
Your album has a flavour that seems very rooted in the 1980s.
Ferdi: There is an eighties vibe. But I tried to mix it differently, by adding contemporary arrangements and ideas drawn from alternative pop and indie-rock culture. That being said, the harmony in a piece like “5h37” is derived from French pop from the 1980s. When I was little, at home, my father listened to artists such as Daniel Balavoine, Jean-Jacques Goldman, Mylène Farmer, and Michel Berger. I grew up in that environment. Sometimes, you don't choose your influences. You just have to let yourself be guided by your background and your instincts.
