Wolfgang Maiwald trio

Wolfgang Maiwald is a contemporary jazz pianist with an original sound. His compositions distinguish themselves by catchy, narrative melodies, compelling grooves and lyrical improvisations.

Together with Guus Bakker on bass and Pim Dros on drums, Maiwald manages to create a trio that is familiar with the jazz tradition and simultaneously has the nerve to depart from it, dressing it up in a new and personal jacket. Atmospherically, original songs are accompanied by a fine selection of lovely interpretations of existing standards. Sophisticated song-based jazz, offering abundant space for interaction, adventure and tranquility. In short, music that appeals to the imagination of a wide audience.

Concerts

No shows booked at the moment.

  • Wolfgang Maiwald trio playing @ jazzdag
  • Wolfgang_Maiwald_Trio1
  • Wolfgang Maiwald trio @ de dag der Kunsten
  • Wolfgang Maiwald trio @ de regentenkamer
2nd cd, the Silent Ones recorded by the Wolfgang Maiwald trio (2013)

the Silent Ones

2nd cd, the Silent Ones recorded by the Wolfgang Maiwald trio (2013)
cd Two Faces Wolfgang Maiwald trio (2010)

Two Faces

debut cd Two Faces recorded by the Wolfgang Maiwald trio (2010)

PRESS & REVIEWS

With his new CD ‘The Silent Ones’ Maiwald appears to have found this own direction. He proves to be a skillful, lyrical, melody-loving pianist who has captured his place in Europe’s first division of Jazz-pianists.” (Klaas Koopman, Jazz journalist)
Considerate, jet lyrical and virtuous, Maiwald forms a strong combination with bass player Guus Bakker and drummer Pim Dros.“ (Angelique van Os, ‘Jazzism’)
Whilst his debut album already garnered wide critical acclaim, with his second album Maiwald particularly emphasizes his own sound.” (Mark van Rikxoort,JazzContrasten’)
“The new album ‘The Silent Ones’ prominently places Maiwald and his trio on the map in the Dutch and international music scene.” (Mathilde Löffler, ‘Jazzenzo’)
A very pleasant album, extremely melodic and with a certain playfulness. Beautiful trio.” (René Steenhorst, ‘De Telegraaf’)