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<\/p>\nA saxophonist employing the circular breathing method is impressive, but not as remarkable as it once was. At the top of the creative scale, jazz legend Rahsaan Roland Kirk used the technique; at the other end of the spectrum, Kenny G made it into the Guinness Book<\/i> for playing the longest-held note on the saxophone (nearly five minutes). Clearly, what matters is what one does with the technique.<\/p>\n
Chicago-born (and Brooklyn-based) Jonah Parzen-Johnson does something special. He creates hypnotic soundscapes with his baritone saxophone, but he adds another element to his sound. Working with analog synthesizers, Parzen-Johnson manipulates those electronics with his feet while playing the sax. The result is lush, deeply textured music.<\/p>\n
<\/p>\n
The saxophonist first conceived of combining synth and sax during a visit to the Asheville, N.C. factory where Moog synthesizers are hand-built. \u201cI was really struck by the immediate physical quality of the instruments that they were making,\u201d says Parzen-Johnson. \u201cThat got me interested: ‘is there is such a thing as electronic music that’s not computer music?’\u201d For him, the answer was a definite yes.<\/p>\n
To his delight, Parzen-Johnson discovered that the physical limitations of analog synthesizers \u201ccreate the opportunity to make more musical statements, things that sound less like computers,\u201d he says. He believes his music sounds \u201cmore like a human being interacting with electronics.\u201d He’s careful not to let technology overwhelm him. \u201cI want to combine to create a cohesive sound and message,\u201d he says. \u201cI like to get on stage and say something clear and complete musically, creatively and interactively with the audience.\u201d<\/p>\n
The gear setup that Parzen-Johnson uses preserves the unique qualities of the saxophone. \u201cThe idea behind my setup is to directly interact with the sax,\u201d he says, \u201cbut not alter its tone.\u201d He explains it another way: \u201cI’m playing the saxophone, and the saxophone is playing the synthesizer. Instead of feeling like a duet, it sounds like two instruments that have come together to play as one unit.\u201d<\/p>\n
Parzen-Johnson has released four albums under his own name. Describing his sound as \u201clo-fi experimental folk,\u201d his latest one-man release is 2017’s I Try to Remember Where I Come From<\/i>. As much as he enjoys playing with other musicians \u2013 like his band mates in Brookyn’s Afrobeat ensemble Zongo Junction \u2013 he says there’s no denying the advantages of playing and touring on his own.<\/p>\n
\u201cThe green room is a lot emptier when you’re the only musician in the band,\u201d he points out. \u201cThat means I spend a lot of time in the audience, talking to people and getting to know folks in different parts of the country,\u201d he says. \u201cSo every time I go on tour it’s also an informational tour.\u201d And Parzen-Johnson says there’s another advantage to being a solo act. \u201cIt’s really easy to schedule a rehearsal.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"
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