When an artist achieves a certain fame in the international jazz world certainly spanning Europe as Michael Wollny did (and remember the pianist is still only 44) when he headed his original trio [em] - drummer Eric Schaefer still survives from those heady days when Call it [em] in 2005 dropped - what comes next is a different cycle: lots and lots more records, name recognition, often deep domicile in very large concert halls regularly all of which has happened to Wollny. Still on the label that broke the German pianist Munich label ACT, for years now Tim Lefebvre replacing Eva Kruse has been on bass, here's Ghosts.

Live - I've seen Wollny at Ronnie Scott's - he is a dazzling presence and is more like Polish genius pianist Leszek Możdżer than anyone not so much stylistically because Możdżer has Polish raw rhythmical and melodic materials as a big input in addition to his classical chops than anyone else I can think of but because of that same extravagant showman side even when and it is the music is highly cerebral.

What's here on Ghosts doesn't move me at all but of course the record is very easy to admire. But words of praise or demurral are really pretty irrelevant these days given that people will go to see Wollny and buy his records anyway. And if you haven't certainly do.

In terms of records if the stellar German is new to you go back to the brilliant Weltentraum first, moving, yes that time it was, and the intimate Mondenkind second and then turn to his latest.

Ghosts highlights are scattered around and include a limber treatment of 'I Loves You Porgy' and tender rendition of the Irish traditional song 'She Moved Through The Fair'. I'm left looking to the future and maybe one day a new phase in Wollny's approach to imagine what might come next. Because for now the fire still smoulders but needs a new spark. Stephen Graham

Michael Wollny, photo: Gregor Hohenberg/ACT