Fabian Willmann Trio
Fabian Willmann and his trio with Jeff Ballard on drums and Arne Huber on bass are «casually celebrating the beauty of melody» (thatjazz).
They strip the music down to the essentials, yet with something to say in every breath, devoid of any chatter, redundancy, or showing off.
„All About Jazz“ compare their «spaciously presented pieces to the groundbreaking trio work of Sonny Rollins in the '50s and Ornette Coleman in the '60s» and describe their debut album „Balance“ as «one of the most unassuming albums of 2022, that may end up being as one of the Best of the Year as well.»
A most auspicious start for an enterprise aiming for progressive credibility, this is already one of the most unassuming albums of 2022 and may end up being as one of the Best of the Year as well.
Doug Collette, allaboutjazz
The album casually celebrates the beauty of melody and magically gets better with every listen.
Wolfgang Fricke, thatjazz
Spaciously presented, the trio pieces, resemble the groundbreaking trio work of Sonny Rollins in the ‚50s and Ornette Coleman in the ‚60s. The measured freedom expressed in this recording is refreshing and robust.
They strip the music down to the essentials, yet with something to say in every breath, devoid of any chatter, redundancy, or showing off.
„All About Jazz“ compare their «spaciously presented pieces to the groundbreaking trio work of Sonny Rollins in the '50s and Ornette Coleman in the '60s» and describe their debut album „Balance“ as «one of the most unassuming albums of 2022, that may end up being as one of the Best of the Year as well.»
A most auspicious start for an enterprise aiming for progressive credibility, this is already one of the most unassuming albums of 2022 and may end up being as one of the Best of the Year as well.
Doug Collette, allaboutjazz
The album casually celebrates the beauty of melody and magically gets better with every listen.
Wolfgang Fricke, thatjazz
Spaciously presented, the trio pieces, resemble the groundbreaking trio work of Sonny Rollins in the ‚50s and Ornette Coleman in the ‚60s. The measured freedom expressed in this recording is refreshing and robust.