A performance of an original solo composition Gifts to Make Children of the Seers led Chicago Reader critic John Corbett to write: …a recent solo slot on a mixed bill totally turned me on my ear. Ruthrauff’s control of the horn, particularly the full range of harmonics, was uncanny; he played blocks of multiphonics effortlessly, creating the illusion of multiple lines moving through chords, a full-fledged pseudopolyphony. And he did this with enough warmth to keep from turning into a nerdy technician… New Music at the Green Mill: "One Listener's Interpretation of May 03, 2009 at the Green Mill" by Jeff Kowalkowski "Bone Metal Meditation" was my favorite piece of the afternoon. I find Charles Lipp's music to be compelling and full force. His knowledge of the woodwinds is unmatched. Combine that power-punch with smart percussion continuo: Steve Butters produced the unison four mallet ostinato between double bongo, cow bell, and wood block, with all attacks simultaneous, while Jeremy Ruthrauff (the best saxophonist in town) activates two distinct registers, sometimes colliding with the thin percussion, sometimes just slightly eliding attacks. This piece uses the absolute (maybe) full range of the Baritone Sax, with amazing timbral control. The piece seemed to be one single gesture, and as listeners we are moved through it, as if in slow motion. This piece definetly put me off-kilter more than any other today. Robert Falesch: "Verisaras"--This piece is the reason the Green Mill series is vibrant. The care taken in the recorded vocalists' recitation, the flashes of highly processed sounds that speed in and out of perception, the sound of rats talking, the excellence of the high pitched saxophone (again Ruthrauff, now doubling sopranino), crunchy-voice electronic, this is computer music at it's finest, by a computer programmer/poet! I think you should spend more time composing Bob! Fulcrum Point plays for the movies By Michael Cameron Special to the Chicago Tribune November 14, 2009 At the other extreme of style and cunning was "GRAB IT!" by JacobTV (aka Jacob Ter Veldhuis), a Dutch composer with a twisted obsession with American media. The video revels in quick edits of Las Vegas gambling rituals and a hypnotic score assembled from a live and recorded mix of aggressive post-funk and hip-hop, fused in a raucous jumble of mixed meters and heavy amplification. Jeremy Ruthrauff was the dazzling saxophone soloist. Chicago Symphony Orchestra’s MusicNOW closes year with lively mix of young composers Tue Dec 14, 2010 By Lawrence A. Johnson Chicago Classical Review Tangled Loops by Jason Eckhart ...so compelling was the heavy-metal assault of Jeremy Ruthrauff’s hard-charging soprano saxophone that it was impossible not to respond. Pianist Amy Briggs lent equally impassioned support. Little voice, big impact at busy Mandel Hall By M. J. Rantala Hyde Park Herald April 21, 2004 Polish composer Elzbieta Sikora was on hand for her Lisboa, Tramway 28, a study in ambiguous borders between reality and fiction. Saxophonist Jeremy Ruthrauff provided virtuosic simpers, stutters and shimmers while Sikora controlled the playback of a tape of intriguing manipulated and mixed sounds of Lisbon. Contempo program serves up a wealth of brainy stylistic variety By Wynne Delacoma Chicago Classical Review January 13, 2013 Shulamit Ran’s Under the Sun’s Gaze was the program’s longest work and summed up the evening’s brainy delight in musical complexity. Written for nine string, wind and percussion players, its raucous outbursts evoked a merciless noonday sun while its more languorous moments hinted at a Middle Eastern desert cooling into twilight. Wandering onstage midway through the piece, Jeremy Ruthrauff turned his soprano sax solos into hypnotic siren songs.

A performance of an original solo composition Gifts to Make Children of the Seers led Chicago Reader critic John Corbett to write:

…a recent solo slot on a mixed bill totally turned me on my ear. Ruthrauff’s control of the horn, particularly the full range of harmonics, was uncanny; he played blocks of multiphonics effortlessly, creating the illusion of multiple lines moving through chords, a full-fledged pseudopolyphony. And he did this with enough warmth to keep from turning into a nerdy technician…

New Music at the Green Mill: "One Listener's Interpretation of May 03, 2009 at the Green Mill" by Jeff Kowalkowski

"Bone Metal Meditation" was my favorite piece of the afternoon. I find Charles Lipp's music to be compelling and full force. His knowledge of the woodwinds is unmatched. Combine that power-punch with smart percussion continuo: Steve Butters produced the unison four mallet ostinato between double bongo, cow bell, and wood block, with all attacks simultaneous, while Jeremy Ruthrauff (the best saxophonist in town) activates two distinct registers, sometimes colliding with the thin percussion, sometimes just slightly eliding attacks. This piece uses the absolute (maybe) full range of the Baritone Sax, with amazing timbral control. The piece seemed to be one single gesture, and as listeners we are moved through it, as if in slow motion. This piece definetly put me off-kilter more than any other today.

Robert Falesch: "Verisaras"--This piece is the reason the Green Mill series is vibrant. The care taken in the recorded vocalists' recitation, the flashes of highly processed sounds that speed in and out of perception, the sound of rats talking, the excellence of the high pitched saxophone (again Ruthrauff, now doubling sopranino), crunchy-voice electronic, this is computer music at it's finest, by a computer programmer/poet! I think you should spend more time composing Bob!

Fulcrum Point plays for the movies

By Michael Cameron

Special to the Chicago Tribune

November 14, 2009

At the other extreme of style and cunning was "GRAB IT!" by JacobTV (aka Jacob Ter Veldhuis), a Dutch composer with a twisted obsession with American media. The video revels in quick edits of Las Vegas gambling rituals and a hypnotic score assembled from a live and recorded mix of aggressive post-funk and hip-hop, fused in a raucous jumble of mixed meters and heavy amplification. Jeremy Ruthrauff was the dazzling saxophone soloist.

Chicago Symphony Orchestra’s MusicNOW closes year with lively mix of young composers

Tue Dec 14, 2010

By Lawrence A. Johnson

Chicago Classical Review

Tangled Loops by Jason Eckhart

...so compelling was the heavy-metal assault of Jeremy Ruthrauff’s hard-charging soprano saxophone that it was impossible not to respond. Pianist Amy Briggs lent equally impassioned support.

Little voice, big impact at busy Mandel Hall

By M. J. Rantala

Hyde Park Herald

April 21, 2004

Polish composer Elzbieta Sikora was on hand

for her Lisboa, Tramway 28, a study in ambiguous borders between reality and fiction. Saxophonist Jeremy Ruthrauff provided virtuosic simpers, stutters and shimmers while Sikora controlled the playback of a tape of intriguing manipulated and mixed sounds of Lisbon.

Contempo program serves up a wealth of brainy stylistic variety

By Wynne Delacoma

Chicago Classical Review

January 13, 2013

Shulamit Ran’s Under the Sun’s Gaze was the program’s longest work and summed up the evening’s brainy delight in musical complexity. Written for nine string, wind and percussion players, its raucous outbursts evoked a merciless noonday sun while its more languorous moments hinted at a Middle Eastern desert cooling into twilight. Wandering onstage midway through the piece, Jeremy Ruthrauff turned his soprano sax solos into hypnotic siren songs.