Sixteen-year-old pianist Fahrad Austin is a junior at The Philadelphia High School for Creative and Performing Arts. Fahrad started playing piano in sixth grade and immediately took to the instrument, showing musical understanding beyond his years.
In December of 2025, Fahrad had a residency at the Four Seasons Hotel in Philadelphia through the Philadelphia School District’s MIC’d Up program. He also participated in the 2026 Germantown Jazz Festival and studies in Temple Music Prep’s Community Music Scholar’s program. In spring 2026, he auditioned for and was accepted into Play on Philly’s Marian Anderson Young Artist Program, where he is a scholar working toward a career in music.
During the 2026-2027 season, Fahrad will play in Temple University’s Swinging Owls campus community jazz band, The Philly Four, a combo made up of fellow Marian Anderson Young Artists, and the Fahrad Austin Trio, which he founded in 2023. When he’s not making music with his friends, Fahrad enjoys playing billiards.
Fahrad aspires to be a teacher and a performer. His mentors and coaches include Dr. Jay Fluellen, Jay Epstein, Nimrod Speaks, and Alfie Pollit. He currently studies piano with Tim Brey.
10 Questions with Fahrad Austin:
1. Can you describe the role of the piano in a jazz ensemble?
The piano acts as the bridge between the horn players and the rhythm section, connecting the harmonies with the melody. When playing behind a soloist, the piano can embellish the harmonic pathways the soloist takes; in other words, make the whole band sound good. The piano must be careful not to abuse its role and play as if competing with the rest of the band. For example, playing too loudly or conflicting rhythms that may sabotage the flow of the band. In essence, the role of the piano in jazz ensembles is to maximize the band’s coherency.
2. What was one thing about the piano that surprised you when you started learning to play?
The surprises came a bit later in my musical journey, most recently how much the piano controls the mood and trajectory of the song, and how the playing style of the pianist can determine these changes and how they make them sound. For example, Oscar Peterson’s flowing lines, that lead to an intensity-building motif; in that moment, the drummer may switch to sticks, and the bass player may go from a half-time feel to walking at the start of the new section. That “take off” moment brings the trio to a new place flawlessly. However, in Ahmad Jamal’s trio, his masterful use of space determines the change. Jamal’s playing style makes the change in mood and trajectory almost unexpected, because within the space he creates, the mood and trajectory are completely up to him. He may come back with a sweet quote of the melody in the upper register of the piano or jaw-dropping block chords with masterfully placed accents. He also begins with a motif that ultimately leads back to where the mood and trajectory started.
3. How do you balance your musical pursuits with other commitments in your life?
As a high school student, this is very challenging. The thing I try to do is prioritize; education is a top priority, so I must make time to do that, the other half is music. Being in bands, learning the music, running a band, and finding time to practice ways to produce a better sound in bands is what do when educational things are out (of) the way. I also try to give myself a day or two of recreation; this is usually time to be with friends and partake in my one and only hobby, billiards.
4. How do you approach improvisation in your performances?
I try to relax and let whatever tune I’m improvising over take control. My instructor and I have been going over hearing what I want to play before I execute it. This practice has been very tough for me because I try to play what I already know will sound, but having that thought in mind has helped me improve my improvisational skills. To help me relax, I take deep breaths. My instructor has helped me realize that the way I play songs and the solos I take is more psychological than anything else. So, my approach is simply to relax and let your mind and body be free in the moment, and never be afraid to press the wrong note.
5. What does your typical practice routine look like?
Typically, I try to go over what my instructor and I have gone over. I love to transcribe the works of the masters and apply it to my playing. I like to play the songs I know with a backing track to keep them fresh in my mind. I like trying new ways to voice chords, especially over songs I play piano solo. When I practice, I try to practice actively thinking about my breathing and hearing out my line before I play them amid a song.
6. How do you navigate working with other musicians, and what do you think makes a great ensemble dynamic?
Working with other musicians is my favorite part of the job. I listen deeply to the other musicians’ feedback on my playing and learn from my experience with them. What makes a great ensemble dynamic is knowing who you are playing with; then the group’s chemistry will automatically be a step above a group that has just met for the first time.
7. How do you stay motivated to practice and improve your skills over time?
I keep motivated by listening to the greats Ahmad Jamal, Cedar Walton, McCoy Tyner, Oscar Peterson and wanting to accomplish their sounds. I know I want a career in music, so that alone pushes me to practice.
8. What do you hope to achieve in your music career over the next few years?
I hope to attain a musical scholarship to Temple University. I want to continue to learn the ins and outs of the music world, which I’m sure I will alongside the great Terell Stafford. I also would like to go on gigs throughout the US and outside of it as well.
9. What’s your favorite thing about Philadelphia?
I love its rich musical community and how tight-knit the community is. Philadelphia is a breeding ground for musicians, and the city provides them with a plethora of musical opportunities.
10. Any advice for people just getting started on an instrument?
I would tell beginners to zealously listen to whatever style of music they want to be versed in, and to never turn down any opportunities, you never know who may be watching. In turn, always be prepared for said opportunities and think about your future with every note that you put through your instrument.
