For les tubes (mobile), Müller worked with tubular chimes attached to the ceiling, sending them flying in changing formations. They became disks, ovals, and serpentines; they chased each other, reversed direction, skipped a step, and soared to ever greater heights. The sheer beauty of watching these metallic objects in animated patterns made you want to sing; there was nothing they didn't seem to be able to do. But best of all was seeing Müller performing an intimate dance with them. He caressed them and was in turn embraced by them; he whipped them into action but also, like a mother hen, anxiously hovered over them. (But could he please get rid of that white cotton underwear?)

Rita Felciano, The San Francisco Bay Guardian, 22 Mars 2006
Movement allies, San Francisco

«Müller is the sole performer in his les tubes (mobile). Five metallic tubes are suspended from the ceiling. Müller dons metallic finger extensions, which resemble claws. He sets the tubes flying in the air, like an industrial strength maypole, keeping the cylinders from colliding with each other. Then, he “plays” them with his claws. The audience, who are now reseated in a circle, duck every time the tubes swing over its heads. At the end, expectations are fulfilled and the contraption plays itself. No question about Müller’s timing. He probably swallows swords on alternate Tuesdays.»

Allan Ulrich, voice of dance, 17 Mars 2006
Jess Curtis/Gravity, Intercontinental Collaborations 2, San Francisco

«Een nummer steekt er met kop en schouders boven uit. Dat is de jongleeract van de Duitser Jörg Müller. Als een soort magiër bezweert hij vijf ann draadjes hangende matalen buizen tot het schilderen van bijzondere patronen in de ruimte. Bovendien ontlokt hij het materiaal geluiden, die de presentatie nog intrigerender maken. Als een balletdanser beweegt Müller zich op het speelvlak. Trecht krijgt hij verschillende open doekjes.»

Jeanette Stuurop, Leeuwarden, 20 Dezember 2001
Nordelijk Kerstcircus, Leeuwarden

«Finally, Jörg Müller's wind chime act, a miracle of strange device, and one of the most enchanting acts I have ever seen. Five huge tubes ranging from two to five feet in length hang from a single point in the rigging. Jörg pushes them so that they swing in various patterns, avoiding each other as they swoop out over the audience in circles, ellipses and spirals. Several times during the act, when you think he has reached the limits of the prop, he adds a new element to the motion: grabbing the cables and spinning the chimes in a vertical plane, making them rotate in a horizontal plane, and finally tapping them with a thimble on his fingers to turn the whole arrangement into a musical instrument. At the end, he simply lets them collapse together into the center of the stage, clanging and clashing into each other. This was quite simply one of the best juggling shows I have ever seen.»

5 août 1997
European Showcase, Pittsburgh/Pensilvania

«The final act was a … how should I say … wind chime act. (You really need to see the tape on this one.) The crowd went nuts! We all knew we where at a great fest, perhaps the greatest fest. For sure it was cool!»

Jugglers World, septembre 1997
European Showcase, Pittsburgh/Pensilvania

«Défiant les lois de la physique, un danseur jongle avec des tubes métalliques suspendus. Il les lance d’une manière parfaite du geste. Les tubes tournent les uns autour des autres en cercles concentriques dans un silence pesant. A l’instant sublime où, trop proches les uns des autres, ils se sont heurtés, la pluie s’est mise à tomber sur Aurillac.»

G.V., L’Humanité, 26 août 1995
Nu-Théâtre d’actions, Aurillac

«A juggler translates his craft to a higher plane, spinning tubular bells in elliptical orbits, each on a wire, maypolestyle. He looks like a man caught in a mammouth windchime mobile, or god managing a galactic kinetic sculpture. The silver chimes impossibly miss each other in the hushed silence or ring out, making what might be the music of the spheres.»

Kate Basset, The Times, June 30 1995
Le Cirque Plume in «Toiles II», London

«Fünf kalte, glatte Metallröhren versetzten die Gala-Gäste in höchste Verzückung. Gebannt verfolgten die mehr als 1500 Besucher in der Friedrich-Ebert-Halle das Spiel der tanzenden Stäbe, die an unsichtbaren Fäden aufgehängt ein fast überirdisches Ballet vollführten. Wie ein Zauberer ließ der Ausnahmekünstler Jörg Müller diese Röhren lautlos durch Raum und Zeit gleiten, um sie manchmal wie auf ein geheimes Zeichen zum Klingen zu bringen. Vor lauter Staunen vergaß das Publikum soger zu klatschen. Dafür gab es am Ende dann Beifallsstürme.»

Dierk Hartleb, Ahlener Volkszeitung, 06 Juni 1995
Ahlener Jonglierfieber, Ahlen

«…dans son spectacle inpiré, c’est peut-être son final qui, à lui seul, résume la philosophie de ce nouveau cirque en train de naître sous nos yeux. Final qui n’est autre que le superbe numéro de Jörg Müller. Un grand moment de poésie, de créativité et de dextérité durant lequel, suspendus par des fils, des tubes métalliques semblant voler dans les airs, s’entrechoquant parfois en de joyeux tintements. Presqu’une danse hors du temps.»

Jacques Valentin, L’Union, 03 décembre 1994
Sorti, Châlons-sur-Marne