By Susan Gedutis
Berklee.edu Correspondent
October 2005

	Photo by Liz Linder
	Francisco's Audio • "Soul Junk" (M. Rezak) Featuring Francisco Cruz on alto saxophone Listen

Francisco Cruz grew up in a musical family in the barrios (urban neighborhoods) in Puerto Rico. His father was a trombone player, and taught him to read music at age 6. That gave Francisco a start, but he soon quit. It wasn't until age 11, when he heard saxophonist David Sanchez, that he knew he wanted to play the saxophone. "I loved the sound and the art of it," he said. So much so, that his father bought him an inexpensive saxophone with the promise that if he practiced, he could upgrade.

Cruz started playing and not long after, joined his town marching band. It was there that he learned how to get a sound on the instrument. He progressed rapidly, and by the time he was ready for the equivalent of seventh grade, he knew that music was his passion. He was sent to the Escuela Libre de Musica, a public school dedicated to music, where for the next five years, he spent mornings pursuing typical academic studies and afternoons studying music and developing technique on the alto, flute, and clarinet.

Every year, Berklee provides clinics in Puerto Rico, and when the scholarship tour came to Cruz's school, he auditioned and was invited to San Juan to participate in the one-week seminar. His command of the instrument was solid, and the clinic helped him make a dream come true: a scholarship to attend Berklee's five-week summer program in 2000, and again in 2001. By the time he had completed high school, he auditioned again, and got a full tuition scholarship to attend Berklee.

At Berklee, he is a performance major, and spends long days in practice rooms perfecting both his alto saxophone skills and his doubles on the flute and clarinet. He practices five to six hours a day, waking daily by 7 or 8, and getting a couple of hours in on his alto sax before his 10 am class, which may be a private lesson or a harmony class, or even an ensemble, depending on the day. He has a long span mid-day that he uses to work on his doubling instruments, flute and clarinet. He tries to get an hour a day on each, but he says with a laugh, "I don't practice clarinet as much as flute or saxophone—all three of them are very important for Caribbean music, but the clarinet is really hard."

It was always his dream to perform, and while other students also diversify into music production, or music business, Cruz's goal is to work on his instrument. "I wanted to be a performer since I started. I just want to play. I didn't even know there was field called music business until I got here. " Cruz also gets lots of performance experience. Off hours from Berklee, he's often found on stage with touring Puerto Rican musicians as they pass through Boston, especially during the summer festival season.

Because his passion is the music of the Caribbean, he also takes percussion class with master conguero Egui Castrillo, who also grew up in Puerto Rico learning the clave rhythm at the feet of masters like Tito Puente, Israel "Cachao" López, and Ray Barretto.  They focus on learning the rhythms and most importantly, the clave beat that is at the heart of Caribbean music. Cruz finds that all that he learns at Berklee feeds into his musical style. "[Many] of the classes are in jazz, but I apply what I learn to the music I like."

Cruz takes a break in percussion class. Photo by Liz Linder

Francisco's Top Five Influences: • Leslie Lopez – "A flute/clarinet/sax player from Puerto Rico. He was the one that taught me everything. He was the best teacher I ever had." • Israel Rivera – "He is a singer from my island. He can do whatever he wants with the clave. He can stretch it, or shorten it. He is a master. And his message. I can identify with him, be because he is from the barrio—the neighborhood in Puerto Rico." • Eric Dolphy – "The sax player. He doubles on so many instruments, and plays them well." • John Coltrane – "He changed everything." • Hector LaVoe – "He is a salsa singer, and I admire his life. He did a lot for our country."

Cruz also finds that his ensemble experience enriches his background. This semester, he is in the Afropop ensemble, which was completely new to him—yet he recognized the African roots of the familiar clave beat. "This was the first time I was listening to African music. I learn that they use the clave, which I thought was more in the Caribbean. But the basis of the Afropop is the repatriation of the Cuban clave."

After three years at Berklee, he's gearing up for his most difficult year, semesters 7 and 8. He will spend the next year preparing for his final proficiency exams, and his recital, in which he'll perform a solo and a series of etudes such as those written by classical sax master Marcel Mule. Francisco will also showcase his talents in jazz and Caribbean music.

"I have learned a lot about jazz, and I can apply that to whatever style. It doesn't matter. It's the musical language." While the musical language has proven universal, his biggest challenge at Berklee has been the spoken language. Conversation in English, and trying to follow what instructors are saying—especially English literature—has been a challenge. But, he says, his friends have been supportive and helpful.

The diverse friends Cruz has made at Berklee have helped him musically as well. "There are so many things to do at Berklee, so many places to play. I have friends who are great musicians from all different countries and different cultures. It makes me a better musician. It opens my work."

Susan Gedutis Lindsay is the author of See You At the Hall: Boston's Golden Era of Irish Music and Dance (Northeastern University Press).

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