'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
possesses a talent for composition and arranging that threatens to put
him up there with the worlds best.
Drum Media 6/2/96
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
hand as a composer is evident in the quirky themes and propulsive rhythms.
The Age 2/9/92
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
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
Sydney Morning Herald 1998 on On the
Other Hand (Jazz CD of the week)
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
The Age Green Guide 7/1/99 on A Bunch
is based on percolating polyrhythms and sets exuberant solos against
constantly shifting tempos, themes and textures. Schaubles music
is consistently stimulating and often exciting.
The Age 27/8/92 about Tibetan Dixies
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 AAOs CD Into the Fire
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
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
has yet to discover Melbournes Niko Schauble is missing out on
one of the planets 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
Tibetan Dixie created a sensation.
The Age 7/11/90 about the Wangaratta Festival
This is electric
jazz of the highest order,[...] Schaubles rhythm section as about
as subtle as you can possibly get,... you feel as so youve traveled
somewhere and then returned home again.
Jazz Notes on Night Music 9/96
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
excitement and ingenuity this band might be compared to Lester Bowies
Sydney Morning Herald 21/7/92 about Tibetan
'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
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
inspiring drumming, full of fire and imagination, and [Arthur] Blythes
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
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
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 Hands concert at the Melbourne Jazz Festival
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
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
Jazz News December 1998
Ellington-Medley dokumentierte den souveränen Grenzgang zwischen
E-Musik und Jazz,... Giessener Anzeiger
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