'Schauble is blessed with great ears and a boundless imagination for extracting colours from just two drums, a flight of cymbals and - as on Grabowsky's "Hello Niko" - propulsive use of a shaker.'
John Shand in the Sydney Morning Herald 7/7/02

[Niko Schauble] possesses a talent for composition and arranging that threatens to put him up there with the world’s best.’
Drum Media 6/2/96

‘Schauble’s compositions, like his drumming, are idiosyncratic and bristling with surprises. The drums are heavily featured and rightfully so. He is that all-too-rare percussive creature: a melodist. His drums are tuned to perfection and used to create hummable tunes, alongside a deft use of dynamics and drama.’
Sydney Morning Herald 12/4/94

‘Schauble’s hand as a composer is evident in the quirky themes and propulsive rhythms.’
The Age 2/9/92

‘The first thing that strikes you when you play this record is the beautiful sound of this music [...] I find it irresistible. It has elements of ambient music but is more interestingly lyrical than that might suggest. It is to be regarded, I suspect, as avantgarde but it is more melodic than that might suggest to some.’
24 Hours Magazine 1996 on ‘Night Music’

‘Play this one again and again - especially late at night.’
The Age 15/2/96 on ‘Night Music’

‘Here is a fascinating, invigorating album... it is blessed with touches of the purest beauty.’
Sydney Morning Herald 1998 on “On the Other Hand” (Jazz CD of the week)

‘The production values are extremely high, the music by Niko Schauble works wonderfully well. It would be a shame if this series were to be confined to a single time slot.’
The Age Green Guide 7/1/99 on ‘A Bunch of Fives’

‘The music is based on percolating polyrhythms and sets exuberant solos against constantly shifting tempos, themes and textures. Schauble’s music is consistently stimulating and often exciting.’
The Age 27/8/92 about Tibetan Dixie’s “Nothing Too Serious”

‘Add to this an enchanting piece by drummer Niko Schauble [The Ferryman]. There's much to explore here, many delights. Earthly and otherwise.’
John Clare in the Sydney Morning Herald about the AAO’s CD “Into the Fire”

‘The flexibility of Niko Schauble is quite remarkable [...] from the antic funk of his Tibetan Dixie to the hard bop of Dale Barlow, [...] he has brought to each a unique personality [...] his rhythmic intricacy - which is possibly unpreceeded in this country - was expressed with a dry economy, except in a sustained solo late in the evening, where he created a kind of willy-willy of rushing sound that veered about over an immaculate underlying pulse.’
Sydney Morning Herald 8/12/90

‘Not New Age, but very much the signaling of a new life. The sort of record that gets better and better the more familiar you become with it.’
Drum Media 30/1/96 on Night Music

‘Anyone who has yet to discover Melbourne’s Niko Schauble is missing out on one of the planet’s more imaginative drummers. He can be heard to great effect in the Australian Art Orchestra or in such intimate settings as his magical live duets with Mike Nock. Night Music is a collection of ambient pieces which drip with moody summer-night humidity... With the lights off late at night, this will have you drifting into a zone your parents warned you about.’
Sydney Morning Herald 26/2/96

‘Melbourne’s Tibetan Dixie created a sensation.’
The Age 7/11/90 about the Wangaratta Festival

‘This is electric jazz of the highest order,[...] Schauble’s rhythm section as about as subtle as you can possibly get,... you feel as so you’ve traveled somewhere and then returned home again.’
Jazz Notes on Night Music 9/96

‘Schauble showed the traits of a performance artist, not just a simple musician. His program comprised his own music, provided by an impressive battery of instruments, backed by a pre-recorded tape that wove synthesized sounds into the sonic fabric’
The Age 26/1/96 on Niko Trommelt

‘For sheer excitement and ingenuity this band might be compared to Lester Bowie’s Brass Fantasy.’
Sydney Morning Herald 21/7/92 about Tibetan Dixie

'Moras is a more abstract composition which is very rhythmically based and the final 'The Ferryman' takes this abstraction further, by
underpinning a contemporary jazz orchestra arrangement, with a gently hypnotic rhythmic foundation. Each is quite unique and beautiful, and shows just what can be achieved when musicians and composers of differing backgrounds and musical schools truly open themselves up, one to the other, and let their imaginations find new ways of expression. '
Capital Q 26/5/00

‘Tibetan Dixie is, in many ways, the modern equivalent of the nuttier New Orleans bands. Listen up to the roaring boys from Melbourne in powerhouse ensembles, crazy solos, and bursts of mad simultaneous improvisation.’
Sydney Morning Herald July 92

‘Schauble’s inspiring drumming, full of fire and imagination, and [Arthur] Blythe’s brilliance made sure the suite ended the festival on a musical high.’
The Australian 6/11/92 about ‘Ya-it-ma Thang’ at the Wangaratta Festival

‘Schoyble [sic] has a highly developed technique, and a time sense that allows him to stab urgently ahead of the beat or simply imply it beneath an action painting of textures, while keeping strong sense of the beat before even the most casual listener. At times he created virtual land slips across the rhythm, [...] His explosive returns to the basic pulse propelled the band alarmingly.’
Sydney Morning Herald, December 89

‘Niko Schauble sitting cross legged on the floor in the middle of a brooding improvisation, was an experience that verged on the surreal. One minute I was tapping my toes to a jaunty tune with a 50 year history; the next, I was lost in a shimmering mirage with four musicians whose profound rapport was entirely unspoken. ’ The Age 2/2/99 about On
the Other Hand’s concert at the Melbourne Jazz Festival

‘Schoyble [sic] also kept his colleagues on their toes. He was constantly juggling patterns around the pulse but never losing touch. He was equally unpredictable as a soloist, concocting a couple of thrilling solos that had nothing to do with mere drumnastics.’
The Age 6/3/91

‘... the trio really meshed as a unit and achieved some ecstatic peaks.’
Australian Jazz and Blues Magazine August/September 1993 about Papa
Carlo

‘...Jex Saarelaht Trio with the mind-bending rhythm section of Phil Rex and Niko Schauble [...] these guys roamed from poignant ballad to cool bop and back, taking time out from some brilliant soloing by all concerned, particularly Niko Schauble, who demonstrated just how dynamic a single (left) hand can be.’
Jazz News December 1998

‘Schäuble’s Ellington-Medley dokumentierte den souveränen Grenzgang zwischen E-Musik und Jazz,...’ Giessener Anzeiger 20/7/91

‘Besonders hervorzuheben sind auf “How Rook” die Kompositionen von Nikolaus Schäuble, die stets über einzigartigen “Pfiff” und muntere Ausgelassenheit verfügen...’ Jazzpodium über die CD ‘How Rook’ der JJBC