When tuba, trombone and double bass sound out low frequencies, when flute, piano and bass clarinet weave tightly woven carpets and when drums and violin provide fine contours, then the compositional pen of Maximilian Kreuzer is not far away.

While it was once Gil Evans who took Miles Davis' music into new spheres and it was a certain Charles Mingus who showed the jazz world where the bartel gets the must, the young Styrian double bassist and arranger follows in this tradition and continues it. The jazz of the 1950s is spiced up with a pinch of chamber music, pop music is refined with free improvisation and minimal music is tastefully enriched with modern, open and often world-music jazz currents. The concrete is juxtaposed with the abstract, bebop classics with original compositions, improvisation with composition.

The icing on the cake: eight musical friends who make the octet what it is: unity in diversity - musically and personally.