"Austrian trumpeter Franz Koglmann (1947) debuted in the 1970s. Bill Dixon's Opium contained the 17-minute For Franz (august 1976) performed by a quintet with two trumpets (Dixon and Koglmann), tenor saxophone, bass (Alan Silva) and percussion. The rest of the album (recorded between december 1975 and november 1976), contains compositions by Koglmann and features Franz Koglmann on flugelhorn and Steve Lacy on soprano sax except one piece that is an early electronic experiment with Gerd Geier on computer and Toni Michlmayr on bass.

Koglmann founded the Chamber Jazz Emsembles Pipetet that debuted with Schlaf Schlemmer Schlaf Magritte (december 1984), a vehicle for his brainy scores that embedded everything from Arnold Schoenberg's dodecaphony to swing to free jazz, all done with a Dadaist attitude worthy of Pere Ubu (notably in the four-movement Tanzmusick Fuer Paszstueckem). Evolving through fragmented albums such as Ich (october 1986), his manyfold art of composition and deconstruction bloomed on the nine-movement suite The Use of Memory (october 1990), almost a colossal compendium of 20th century music.

Orte Der Geometrie (november 1988) featured alto saxophonist Guillermo Gregorio, soprano saxophonist Roberto Ottaviano, Jean-Christophe Mastnak on French horn, bassist Klaus Koch, trombonist Rudolf Ruschel, tuba player Raoul Herget, clarinetist Martin Schelling, pianists Ran Blake and Robert Michael Weiss, oboe player Mario Arcari, guitarist Burkhard Stangl, drummer Fritz Hauser, and "conductor" Gustav Bauer.

A White Line (november 1989) was a collaboration with an ensemble conducted by Gustav Bauwer: Jean-Christoph Mastnak (flugelhorn), Raoul Herget (tuba), Mario Arcari (oboe), Tony Coe (clarinet and tenor sax), Helmut Federle (accordion), Paul Bley (piano), Burkhard Stangl (guitar), Klaus Koch (bass), and Gerry Hemingway (drums).

A theorist not so much of post-modern but of post-classical music, Koglmann continued to rehearse a cryptic vision of music on albums such as L'Heure Bleue (april 1991) only to unleash another massive, powerful reconceptualization of the century's music with Cantos I-IV (october 1992) for orchestrated improvisers. Koglmann had coined a moving music of contradictions, misunderstandings and, ultimately, of mistakes. His monumental and demented synthesis of improvised and composed music continued on O Moon My Pin Up (march 1997), explicitly dedicated to poet Ezra Pound. After Make Believe (november 1998) for a quintet, he also ventured outside chamber music with the electroacoustic opera Fear Death By Water (march 2003) and the "imaginary play" Let's Make Love (september 2004). One of the greatest composers of his generation, Koglmann metabolized the past in order to create the future.

Lo-lee-ta (2009) was inspired by Vladimir Nabokov's texts and performed by the Monoblue Quartet (Tony Coe on clarinet/alto saxophone, Ed Renshaw on guitar, Peter Herbert on bass).

Join! (Orf, 2014), the first album in five years, is a sci-fi opera, premiered in may 2013, for seven opera singers and a chamber ensemble.

G(ood)luck (april 2015) documents a trio with Mario Arcari on English horn and oboe, and Attila Pasztor on cello."

Kurt Franz Schmid is an Austrian clarinetist, known for the groups Das Wiener Terzett, Tonkünstler Orchestra, Zemlinsky Quintett Wien.

"The saxophonist and flautist Sandro Miori was born in Bolzano/Italy in 1961. The first instrument he learned was the flute at the middle school of the Bolzano Conservatory (before that he liked to play the harmonica).

In 1985 he moved to Vienna, where he completed pedagogical training for classical saxophone with Prof. Oto Vrhovnik and for jazz saxophone with Martin Fuss with a focus on the transverse flute with Prof. Raphael Leone at the University of Music. As a scholarship holder, he spent a year studying at the Hartford Conservatory (Connecticut/USA) with George Sovak.

He took part in numerous master classes, among others. with the saxophonists Steve Lacy, Bob Berg, Lee Konitz, George Garzone, Jerry Bergonzi and with the flautists Robert Dick, Wil Offermans and Bill Holcombe.

He played and made some recordings with Reform Art Unit, Sunny Murray, Walter Malli, Peter Gabis, Henrik Hallberg, Yuko Gulda, Wolfgang Reisinger, Franz Koglmann, Walid Rouissi, Lorenzo Frizzera, the Blue Eyes Big Band, the Vienna Improvisers Orchestra and many others. During his stay in the USA he was a member of the New England Jazz Ensemble and performed with the Walt Gwardyak Quartet."

Rudolf Ruschel is an Austrian trombonist, known for the group Franz Koglmann Pipetett, Franz Koglmann Quartett, Pipe Trio, Reform Art Orchestra.

Raoul Herget is an Austrian tubist, born 11 November 1957. He is known for the groups Franz Koglmann Pipetett, Franz Koglmann Quartett, Pipe Trio, Reform Art Orchestra, and Steve Lacy+16.

"Robert Michael Weiß (born August 1, 1956 in Vienna) is an Austrian jazz pianist, harpsichordist and composer. He is considered the leading specialist in Austria for the compositions of Josef Matthias Hauer.

Robert Michael Weiß received his first piano lessons at the age of 6. After graduating from the Zirkusgasse Federal High School in 1974, he studied piano, music and instrumental pedagogy at the Vienna University of Music from 1975, and from 1976 jazz piano and harpsichord with Fritz Pauer at the Vienna Conservatory and Josef Matthias Hauer's twelve-tone playing at the Hauer- Student Victor Sokolowski. In 1984 he attended a workshop by George Russell.

From the late 1970s onwards, Weiß performed internationally, first in the duo Gemini with Woody Schabata on marimba and vibraphone (Middelheim Jazz Festival, Belgium 1978) and on the first tour of the Vienna Art Orchestra. As a pianist he can be heard on the first Austrian jazz production on CD: Woody Schabata's "May-Rimba". He has been part of Franz Koglmann's "Pipetet" since it was founded in 1983. He also performed in a duo with Lee Konitz, Jim Pepper, Roger Bobo and also with the violinist Ernst Kovacic. In 1988, Weiß was awarded the City of Wiener Neustadt Recognition Prize for Music and Music Education.

Weiß was the conductor of the Austrian premiere (2000) of "M is For Man, Music, Mozart" by Louis Andriessen/Peter Greenaway. He formed the dance-music duo "zweiacht" with the dancer Doris M. Reisinger (since 2002). He is the musical director of the jazz big band 11concertBand (CD and tour "Mingus Music", 2007; "Money Jungle", 2008). He also played in a duo with bass trombonist Dave Taylor (Brucknerhaus Linz, Vienna, Passau, 2008). In 1999 he was artist in residence for "musik aktuell - new music in Lower Austria".

Weiß also emerged as the author of numerous twelve-tone plays and wrote compositions and improvisation concepts at the interface between jazz and modern concert music. His compositions were played by the "Manhattan Brass Quintet", New York, the Koehne Quartet and the Lower Austrian Tonkunstlerorchester.

Until 2010, Weiß was deputy head of the Josef Matthias Hauer Conservatory in the city of Wiener Neustadt, and since 2010 he has been deputy head of the Josef Matthias Hauer Music School."