This bachelor's thesis explores the intersection between jazz and minimalist music through compositional and improvisational experiments within a piano trio setting. Although jazz and minimalism may initially seem like contrasting genres - the former known for its improvisational freedom and the latter for its structural rigidity and repetition - they share fundamental concepts such as motivic development and the exploration of limited musical material. Motivated by a personal search for a deeper and more individual approach to jazz performance, this project applies compositional techniques commonly associated with minimalism, such as repetition, static harmony, and ostinato patterns, to both newly composed pieces and reinterpretations of jazz standards. Through ensemble rehearsals, live experimentation, and reflective analysis, the project investigates how minimalist principles can influence group interaction, improvisational strategies, and compositional thinking in jazz. The outcome offers insights into how reducing musical material to its essentials can open new expressive possibilities for jazz musicians, both as composers and performers.