You only live twice... Half a century ago this used to be the slogan with which movie trailers were advertising the eponymous James Bond classic. At the same time Joe Zawinul joined up, on Fender Rhodes, with the band of Miles Davis who was about to start his second or third life as a trend setting artist playing his trumpet through effect devices. The electric bass was recently established in jazz music and the era of fusion music was launched. One could say that all this is ancient history but some might argue that it should nonetheless not be forgotten about. Because despite the vast mass of jazz productions in present time jazz only few artists are able to emerge from the shadows of jazz icons. And only a very small circle of artists is capable of catching people's attention through authenticity and musical personality, in the echo of the great traditions. Without any doubt Tomas Sauter belongs to this illustrious circle of artists. A gifted composer, interpreter and guitarist who attracted the attention of the audience with stunning records over the past years and who created a remarkable body of work. The silent worker is a guarantor for great music and sets a distinctive counterpoint in the gimmicky jazz business. And all of the sudden he breaks in on bass with a profound double life! ...and twice is the only way to live! Maybe the more significant afterthought of the old Bond slogan reveals the secret of true artistry: To be able to choose what one wants to do because one has the skills and the potential to allow full bent to one's penchants and to put the sheer enjoyment of creativity above career management. Sauter turns his amazing multiplicity into musicality of rare ease and he changes instrument like a chameleon changes color. He is a musician to his very fingertips driven by his passion to play music. License to play... Bass is quite a world apart from guitar. Sauter's odyssey into unknown territory could have easily become an aimless journey with a bad ending, if he were not a true musician who is able to find the right place and a pertinent part in every musical context. Despite his skills as a virtuoso guitar player Sauter immerses himself in the role of the bass player in his new quartet, supporting the music and at no time pushing himself to the fore. At the bottom of things and on the pulse of events Sauter is noticeably comfortable in his new role as a motor of the band and accompanist. Whatever he touches becomes music.