Name: Jonathan Reisin
Nationality: Israeli, Based in Brooklyn NY
Occupation: Saxophonist, composer, improviser
Current release: Jonathan Reisin teams up with Francisco Mela for Earthquake, out October 20th via 577.

If you enjoyed this Jonathan Reisin interview, and would like to find out more about his music, visit his official homepage. He is also on Instagram, Facebook, and bandcamp. For a deeper look into his thoughts on the saxophone, read our second conversation with him. 



Which artists, approaches, albums or performances involving prominent use of improvisation captured your imagination in the beginning?

My journey with the saxophone began with a deep admiration for the early jazz saxophone legends such as Lester Young, Coleman Hawkins, and Ben Webster. Their amazing ability to improvise had a lasting impact on my musical taste.

The first solo I played by Lester Young, "Blue Lester," was a transformative experience for me. It revealed the connection between improvisation and imagination, which has continued to guide me throughout my musical career.



These pioneers inspired my love of the saxophone and sparked my lifelong interest in improvisation.

When did you first start getting interested in musical improvisation?

During my time at the conservatory, there was a band called "Batterista", a band of five drummers, which represented the conservatory. After playing saxophone for a year, I was invited to join the band when they decided to expand and add a rhythm section and some horns.

Being part of "Batterista" impacted me greatly and I believe it is a significant part of my identity as an artist and improviser. We played original music that we created together in the room. Someone would bring an idea and we would improvise around it, a form of free improvisation.



Looking back, it is clear that the band had a powerful influence on me.

What, would you say, are the key ideas behind your approach to improvisation? Do you see yourself as part of a tradition or historic lineage?

My approach to improvisation centers on the idea of composing in real-time, emphasizing active listening, creating new spaces of sound, being in the present moment, recognizing the signifcance of space and silence, and engaging with the multidimensional aspects of music.

While deeply connected to my musical roots and traditions, I committed to pushing the art form forward into the future, bridging the gap between honoring tradition and embracing innovation to contribute to music's ongoing evolution.

Can you talk about a work, event or performance in your career that's particularly dear to you? Why does it feel special to you? When, why and how did you start working on it, what were some of the motivations and ideas behind it?

The reason we are having this conversation - the album Earthquake, a collaborative project with my mentor, the well-known / honored drummer Francisco Mela, is very dear to my heart. This project has a special signifcance for me, due to the mentorship that began when I was a student at Berklee College of Music.

The motivation behind Earthquake was to create a sonic experience that resonates deeply, not only in terms of its musicality but also its relevance and lasting impact. The idea was to explore the unique synergy between saxophone and drums, crafting a sound that was both powerful and beautiful. We embarked on this creative journey with the intention of making music that would endure through time, leaving a meaningful mark on the musical landscape.

My experience working on Earthquake went beyond just a musical collaboration, it also involved mentorship and artistic connection, making it a deeply personal project.

How do you feel your sense of identity influences your collaborations? Do you feel as though you are able to express yourself more fully in solo mode or, conversely, through the interaction with other musicians? Are you “gaining” or “sacrificing” something in a collaboration?

In this art form, collaborations are often based on personal connections rather than just technical abilities. Therefore, my identity plays a significant role in whom I choose to work with. Similarly, my collaborative experiences and community are integral parts of my identity.

Regarding solo or collaborative work, I think both are important and allow me to express myself differently based on different aspects of my artistic identity.

When you're improvising, does it actually feel like you're inventing something on the spot – or are you inventively re-arranging patterns from preparations, practice, or previous performances?

One of the feelings I seek while improvising is the sensation of discovering something new, whether it is a new sound on my own or as part of a group. I'm always looking for new ways to express myself through music.

I draw on my past experiences, but each time I improvise, the music takes on a new life. That's what makes improvisation so exciting for me—it's always changing and evolving.

I try to stay present in the moment and connect with the music and the other musicians around me. That's how I create something truly unique.

To you, are there rules in improvisation? If so, what kind of rules are these?

My approach to improvisation is that if it’s an open improvisation there are no rules, everything is possible and acceptable.

In a way, improvisations remind us of the transitory nature of life. What, do you feel, can music and improvisation express and reveal about life and death?

Music, especially improvisation, is like a mirror of life. It's always changing, always moving, and never the same twice. My mentor, Francisco Mela, says that music can liberate our souls, and I agree.

Improvisation captures the essence of the moment, just like life does. It lets us express all the emotions we feel, from joy to sorrow, and it's a powerful way to explore themes like love, loss, and death.

Improvisation is a reminder that life is fleeting and precious, and it encourages us to live in the present moment and appreciate all that it has to offer.

What was your own learning curve / creative development like when it comes to improvisation - what were challenges and breakthroughs?

When it comes to improvisation, one of the main challenges that became one of the main breakthroughs in my creative development was during the pandemic.

Similar to everyone in the world I found myself alone without any of my people to improvise with and this situation made me deal with the challenge of improvising by myself, playing solo. This challenge became such an amazing opportunity for me to explore the sounds of the saxophone and the space that playing solo suggests during improvisation. This experience added to my learning curve and looking back I’m grateful for it.

Since that period I released a solo project and I keep performing solo sets and developing my creativity throughout this form.