“Intuitive leader… old soul... Virtuosic... Creativity and passion are extremely high.
Downbeat Magazine
“Haven’t been this impressed with a young musician for a long time... he oozes integrity, authority and gravitas.
Jazzwise Magazine
“Preminger is a master... compositions are uniformly excellent.
Jon Davis, Expose
“These works heighten jazz’s presence in the American artistic landscape.
Martin Johnson, The Wall Street Journal
“Preminger continues to state the case that he belongs at the table with today’s blue-chip tenor players.
Mark Corroto, All About Jazz
“Preminger Plays Preminger adds to the tenor player’s epic catalog of soul-satisfying musical brilliance.
Ken Micallef, JazzTimes
“There’s no shortage of vivid expression... Congratulations to Preminger for seizing the moment to be the first jazz musician to document his concerns about his country in 2017.
Peter Hum, Ottawa Citizen
“Dark Was The Night, Cold Was The Ground is an unmissable achievement
Musica Jazz Italy
“Over the course of less than a decade and four albums as a leader he has forged an individual style and easily recognizable of the more adventurous musicians on the mainstream jazz scene today.
Jazz Times
“In an age where really accomplished young jazz musicians are prone to making recordings that are simply too cautious, too precious, obviously “dressed to impress,” or too complicated to digest in one sitting, Pivot: Live at The 55 Bar is a welcome blast of gritty, fearless, sweaty, and intelligent hard-core jazz.
All About Jazz on Pivot
“…a lyrical young tenor saxophonist whose alert work as a leader on three albums has drawn considerable critical attention... taste for luxuriant balladry and occasional free-form exploration.
The New Yorker
“...good chance of ending up as a cult classic
Jazz Special Denmark on Pivot
“Impressive, challenging, and beautiful.
Boston Globe
“He plays with not just chops and composure, but already a distinct voice: His approach privileges
mood and reflectiveness, favoring weaving lines that can be complex but are also concise, without a trace of over-playing or bravado.
Siddhartha Mitter, Boston Globe
“ melodic improvising... he designs a different kind of sound for each note, an individual destiny and story.
Ben Ratliff, New York Times
“Whispers and Cries is a masterpiece, and its architects deserve to be remember and honored. This is music of rare, unguarded purity.
Dan Bilawsky, All About Jazz
“With help from a stellar, acoustic-jazz quartet, Noah Preminger covers pieces from the old movies’ soundtracks, as well as some original compositions inspired by them.
Giovanni Russonello, The New York Times
On Meditations on Freedom: “Preminger is prolific... He gives weight to the significance of our concerns and a wake-up call to those who disregard past history. This is his best music and his more important album to date.
Karl Ackermann, All About Jazz
“Preminger Plays Preminger is the well-steeped byproduct of this fascination: an act of personal archeology that also amounts to an exercise in aesthetic translation.
Nate Chinen, WBGO
“Preminger’s extended improvisations recall the muscular angularity of Sonny Rollins, the lush lyricism of Warne Marsh, and the indomitable spirit of Bukka White in a rapturous style wholly his own. Preminger swoons for the saxophone-searching, sweating, wailing, restlessly caught in the present progressive tense—a reluctant prophet heading for a resolution or a crisis with the antediluvian sense that a flood is coming.
Village Voice on Pivot
“ecstatic... incantatory...
New York Times on Pivot
“With this superb album Preminger has crossed yet another creative milestone whetting the appetite for the next installment in his stellar oeuvre.
JazzTimes on Pivot
“Noah Preminger and his compatriot Jason Palmer is American jazz today. I am glad they went back to Greenwich Village to pivot the blues. Every art has its own history, here is the present tense.
What's New Magazine
“Since the release of his debut album, [Preminger] has spent the last five years earning praise that coalesces around the idea of maturity. He has his own sound, the elusive target of an serious young improviser: his timber on tenor is darkly shaded and often bone-dry, but warmly expressive through the entirety of his range… Patience and composure, along with fluency, prudence and control.
Nate Chinen, The New York Times