https://youtu.be/cQezQJo28wY
https://youtu.be/1Ly_CvAr_IQ
https://youtu.be/o7g-3UVcPa8

Rafal Mazur - acoustic bass guitar
Keir Neuringer - alto saxophone

Editor's info:
Keir Neuringer on alto saxophone and Rafal Mazur on acoustic bass guitar serve you a delight of horrific music, with two instruments building a wall of sound that is hard to believe, screeching, wailing, howling: terryfying, pleading, hair-raising, hypnotic, numbing, mad, desperate ... but it is also light, sensitive, full of sonic subtlety and nuance.

Improviser Rafal Mazur's involvement with music began in his youth with violoncello studies in Krakow. He switched to bass guitar in the late 1980's. Since 2000 he has played an acoustic bass guitar built to his own specifications by luthier Jerzy Wysocki. He has developed an advanced and individual approach to his instrument, and to improvisation in general, in which sonority, extended technique and gesture combine effortlessly in performance. He has taken an important role in Kraków to support young artists and improvised music. A founder of the ImproArt studio of improvisation, he has performed jazz and improvised music in clubs and festivals across Poland and Europe, and in China, South Korea and Israel. In recent years he has collaborated with Lisa Ullen, Frederic Blondy, Charlotta Hug, Raymond Strid, Keir Neuringer, Zsolt Sores and Attila Dóra and others. His current focus is the trio Ensemble 56. He is an organizer of the Laboratory of Intuition, a series of spontaneous art presentations in Kraków. Mazur's main field of interest and activity is collective and solo free/spontaneous improvisation. In his practice as an improvising musician and on his way to mastery/artistry he studys Chinese philosophy (Jagiellonian University). He regards Taoism as a strong base for the enrichment of the improviser's attitude, and to this end he practices the Taoist's martial art TaiJi Quan Chen. For Mazur, following the masters of Chinese philosophy and martial arts is crucial in the development of a state of mind prepared for the unexpected situations an improviser encounters in the act of .......
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Editor's info:
Keir Neuringer on alto saxophone and Rafal Mazur on acoustic bass guitar serve you a delight of horrific music, with two instruments building a wall of sound that is hard to believe, screeching, wailing, howling: terryfying, pleading, hair-raising, hypnotic, numbing, mad, desperate ... but it is also light, sensitive, full of sonic subtlety and nuance.

Improviser Rafal Mazur's involvement with music began in his youth with violoncello studies in Krakow. He switched to bass guitar in the late 1980's. Since 2000 he has played an acoustic bass guitar built to his own specifications by luthier Jerzy Wysocki. He has developed an advanced and individual approach to his instrument, and to improvisation in general, in which sonority, extended technique and gesture combine effortlessly in performance. He has taken an important role in Kraków to support young artists and improvised music. A founder of the ImproArt studio of improvisation, he has performed jazz and improvised music in clubs and festivals across Poland and Europe, and in China, South Korea and Israel. In recent years he has collaborated with Lisa Ullen, Frederic Blondy, Charlotta Hug, Raymond Strid, Keir Neuringer, Zsolt Sores and Attila Dóra and others. His current focus is the trio Ensemble 56. He is an organizer of the Laboratory of Intuition, a series of spontaneous art presentations in Kraków. Mazur's main field of interest and activity is collective and solo free/spontaneous improvisation. In his practice as an improvising musician and on his way to mastery/artistry he studys Chinese philosophy (Jagiellonian University). He regards Taoism as a strong base for the enrichment of the improviser's attitude, and to this end he practices the Taoist's martial art TaiJi Quan Chen. For Mazur, following the masters of Chinese philosophy and martial arts is crucial in the development of a state of mind prepared for the unexpected situations an improviser encounters in the act of .......
more