The moment you hear Keir Neuringer‘s alto-saxophone vibrating through an art museum — the warm tones bouncing off of avant garde sculptures — and watch those tones solidify into zoetropic color and immerse themselves into Muhal Richard Abrams collages, the only thing that seems to make sense, in the moment, is that you’re watching a reinterpretation of jazz.
It’s with his decidedly experimental (and experiential) band Irreversible Entanglements (featuring Camae Ayewa, aka Moor Mother, on poetic vocals) and his crashy, noise ‘n blues and equally experimental/experiential outfit Neuringer/Dulberger/Masri that Keir is able to accomplish this feat. With the release of Irreversible’s self titled debut on Don Giovanni Records, and the N/D/M trio’s Dromedaries on Already Dead Tapes, Keir has stepped into the same spaces where the conversation on jazz is being informed by artists like Matana Roberts, Tyshawn Sorey and, of course, Kamasi Washington. His rustic, granola-outdoorsmans meets suburban punk dad visage aside, Neuringer channels the spirit of this young jazz movement, often moving beyond the genres confines, yet remaining steadfastly reverential to its roots, expressions, and most importantly to him, the genre’s intrinsic radical politics.
The Key sat down with this eclectic, inspiring musician and discussed what it’s like to transmit waves of change in a world that doesn’t seem to want to. Continue reading →