Fransax’s frequent foray into Christian gospel praise songs clearly provides insight into the mechanics of emotion that influences his performances.

Traditionally, Christian gospel praise songs are well orchestrated for a giddy groove, with heightened pitches, sustained vocal notes, and heavy percussion. And Fransax’s “Sounds of Jubilee”, a 10-minute performance of contemporary Christian praise songs, extends that groove with skillful Saxophone play.

In recent times, saxophonists like Fransax have contributed to the growing library of Saxophone performances as either original compositions or accompaniments of popular songs. And “Sounds of Jubilee” is his latest release in that regard.

The saxophone takes center stage, kickstarting the song without backing vocals for the first minute and stretching powerfully till the end. Fransax’s vibrant techniques like his improvisation and legato elevate the groove of the record, especially from around the first quarter of the song through till the end. Overblowing also steals the spotlight as it strengthens the emphasis, texture and depth of the performance. While the vocals in English, Yoruba and Pidgin glide above the saxophone’s tune, Fransax’s clever pacing helps to balance the emotion from the vocals with the saxophone. He creates a rendition that feels like a conversation between both portions of the song, elevating its harmony and overall composition.

The presence of the talking drum is also a standout feature of Fransax’s rendition, as it generally injects the pulse of Yoruba culture into the rhythm of both the singing vocals and the saxophone. The concord of these instruments is captivating, as the saxophone’s harmonic structure embraces the African drum’s polyrhythmic pulse, blending eclectic syncopation, especially common among other global Black Gospel music markets, with a Nigerian groove. The production techniques are also to thank for the elegant reverb on the saxophone and layered overdubs of the singer’s harmonies, giving the track a polished yet organic feel that fuses studio production with live worship energy.

Apart from the lengthy performance, which truncates the experience from the midpoint but picks up towards the outro, the entire song excels as a brilliant music masterpiece. In the context of modern gospel and fashion-adjacent cultural expression, Fransax’s rendition opens up conversation into the possibilities of incorporating Saxophone with various African music instruments.

Francis Junior Okeowo, popularly known as Fransax, is a Nigerian-born saxophonist whose unique blend of Afrobeat, contemporary jazz, and gospel sounds has earned him recognition both in Nigeria and the United Kingdom. With his soulful melodies and captivating performances, Fransax is gradually becoming a recognized influence in the UK music scene.

In 2019, he held his first major concert, titled “Topxperience”, which marked the beginning of his rise in the Afro-jazz and gospel music scene. Over the years, Fransax has worked on several impactful music projects, including “Praise Expression”, “Sound of Jubilee”, “His Hymns”, and a series of saxophone covers of popular songs, such as “A Thousand Years” by Christina Perri and “Can’t Help Falling in Love” by Elvis Presley. One of his notable saxophone cover videos was shot at the University of Greenwich, London.

In 2024, Fransax’s talent was officially recognized when he performed at “The Mayor’s Ball” in Southwark, London. His performance earned him a Letter of Commendation from the Mayor of Southwark, Michael Situ, for using music to unite the community and contribute to the cultural development of Southwark. This recognition further solidified his presence in the United Kingdom music scene, where he continues to gain popularity.

Beyond music, Fransax is also passionate about giving back to society. He actively participates in Corporate Social Responsibility (CSR) initiatives, using his saxophone as a tool to inspire and uplift communities.