photo: Petra Cvelbar, Ljubljana 2009.
ABOUT /
WORKS LIST /
DISCOGRAPHY /
PRESS + REACTIONS /
AUDIO /
VIDEO /
TEXT /
OTHER /
PROJECTS /
AFGHANISTAN /
THE LOVE STORY /
ONE IS ONE: PRELUDES & FUGUES /
DODGING BULLETS /
SOLO SAXOPHONE /
MAZUR/NEURINGER /
DUO WITH DJ SNIFF /
DUO WITH JOEL RYAN /
WALDEN WITH ENSEMBLE KLANG /
WORKS LIST /
DISCOGRAPHY /
PRESS + REACTIONS /
AUDIO /
VIDEO /
TEXT /
OTHER /
PROJECTS /
AFGHANISTAN /
THE LOVE STORY /
ONE IS ONE: PRELUDES & FUGUES /
DODGING BULLETS /
SOLO SAXOPHONE /
MAZUR/NEURINGER /
DUO WITH DJ SNIFF /
DUO WITH JOEL RYAN /
WALDEN WITH ENSEMBLE KLANG /
"His percussive riffs and musical spitfire sermons disrupt neurons and reorient thinking – and hit the gut."
-Park Doing (Brightspark Electronic Punk Folk Festival)
"Sounds as if he’s eviscerating the metal and splintering his reed as he plays."
-Ken Waxman, jazzword.com
"If he was this captivating on his own — as a drum-pounding prophet of doom, keyboard-playing last poet and sax marathonist — then who knows how far he might reach while backed with a rhythm section."
-Mechanical Forest Sound blog, on Conquistadors solo tour 2011
"Obligatory in collection of every free jazz lover throughout the world."
-Polish Jazz Saturator on Unison Lines
"He exhibited a circular breathing technique that was simply stunning, running through scales, making simple chords (I thought about Bach) shimmer with additional colors (I thought of Phillip Glass's slightly ever-changing chords flowing, only Keir would sound like two saxophones playing at once, at double speed - and he adds simultaneous whispers on top of that!). Hypnotic, absolutelty mesmerizing, fabulous performance."
-(Free) Jazz Alchemist, Mazur/Neuringer concert review
"a never-ending aural palimpsest that seems simultaneously to mock and honor the revolutions idea"
-Artvoice, on Revolutions in Buffalo
"...quite unusual, with a very distinctive voice and character. They find a perfect symbiosis of sound, jointly creating something that goes beyond the voice of the individual instruments. Really strong. Really disorienting. Really modern."
-Stef Gijssels (freejazz-stef.blogspot.com), on Improwizje
"Ithaca's most interesting artist."
-Luke Fenchel, The Ithaca Times
"...fascinating. In a brief solo performance he deftly applied a percussive approach to rapid-fire timbral changes built upon short gestalts."
-Devin Hurd (hurd audio), concert review
"The sympathetic interaction of...American alto saxophonist Keir Neuringer and acoustic bass guitarist Rafal Mazur from Krakow...prove that cultural barriers are easily surmountable"
-Ken Waxman, jazzword.com, on Unison Lines
"a cleverly programmed synthesis of sound and vision...we witnessed Neuringer move – very quickly at times – from absurdly long circular breathing tones to abrupt shifts in register and high and low skronks, leaving him looking thoroughly exhausted by the piece’s end."
-classicalsource.com, on Dodging Bullets at Cargo, London 2006
"Keir Neuringer was superb as the motionless and menacing Wolfman, meeting the challenge of the precisely notated vocal part."
-classicalsource.com, on a performance of The Wolfman for the BBC, 2005
"spewing sonic beauty on the masses"
-Ryan Ingebritsen
-Park Doing (Brightspark Electronic Punk Folk Festival)
"Sounds as if he’s eviscerating the metal and splintering his reed as he plays."
-Ken Waxman, jazzword.com
"If he was this captivating on his own — as a drum-pounding prophet of doom, keyboard-playing last poet and sax marathonist — then who knows how far he might reach while backed with a rhythm section."
-Mechanical Forest Sound blog, on Conquistadors solo tour 2011
"Obligatory in collection of every free jazz lover throughout the world."
-Polish Jazz Saturator on Unison Lines
"He exhibited a circular breathing technique that was simply stunning, running through scales, making simple chords (I thought about Bach) shimmer with additional colors (I thought of Phillip Glass's slightly ever-changing chords flowing, only Keir would sound like two saxophones playing at once, at double speed - and he adds simultaneous whispers on top of that!). Hypnotic, absolutelty mesmerizing, fabulous performance."
-(Free) Jazz Alchemist, Mazur/Neuringer concert review
"a never-ending aural palimpsest that seems simultaneously to mock and honor the revolutions idea"
-Artvoice, on Revolutions in Buffalo
"...quite unusual, with a very distinctive voice and character. They find a perfect symbiosis of sound, jointly creating something that goes beyond the voice of the individual instruments. Really strong. Really disorienting. Really modern."
-Stef Gijssels (freejazz-stef.blogspot.com), on Improwizje
"Ithaca's most interesting artist."
-Luke Fenchel, The Ithaca Times
"...fascinating. In a brief solo performance he deftly applied a percussive approach to rapid-fire timbral changes built upon short gestalts."
-Devin Hurd (hurd audio), concert review
"The sympathetic interaction of...American alto saxophonist Keir Neuringer and acoustic bass guitarist Rafal Mazur from Krakow...prove that cultural barriers are easily surmountable"
-Ken Waxman, jazzword.com, on Unison Lines
"a cleverly programmed synthesis of sound and vision...we witnessed Neuringer move – very quickly at times – from absurdly long circular breathing tones to abrupt shifts in register and high and low skronks, leaving him looking thoroughly exhausted by the piece’s end."
-classicalsource.com, on Dodging Bullets at Cargo, London 2006
"Keir Neuringer was superb as the motionless and menacing Wolfman, meeting the challenge of the precisely notated vocal part."
-classicalsource.com, on a performance of The Wolfman for the BBC, 2005
"spewing sonic beauty on the masses"
-Ryan Ingebritsen