The Spotlight Series highlights upcoming Latin Jazz musicians that have yet to reach national recognition. Many of these musicians thrive in local scenes and some tour in support of releases. All these musicians contribute greatly to the overall Latin Jazz scene, and they deserve our “spotlighted” attention.

Latin fusion involves the reconstruction of essential musical elements taken from various styles. Artists must break apart the defining characteristics of a genre; the musical pieces need to imply the genre’s history while providing enough flexibility to match other styles. As the artist looks across styles, they need to find pieces that compliment each other when forced to work as a whole. As the musician rebuilds the individual pieces into a new fusion, they need to carefully represent each genre honestly. It’s a precarious balance that forces an artist to retain the pieces of a style that they deem truly important and discard those that they find inconsequential. Pianist Matthias Bublath fuses a variety of influences together on his self-titled release Matthias Bublath, highlighting his involvement in Cuban and Brazilian music, as well as funk.

Modern Jazz With Afro-Cuban Elements
Several tracks contain jazz performed with a modern approach, using Afro-Cuban elements as a basis. A major melody floats over a rock drumbeat and then a son montuno on “Austrian Influence,” leading into a composed section that blends both styles. Bublath and vibraphonist Tim Collins engage in a melodic exchange over a montuno that quotes the famous groove from “El Manicero.” Bublath then provides a solid sense of clave behind trumpet player Takuya Kuroda’s solo, giving drummer Ludwig Afonso the freedom to establish a backbeat. The album’s one cover tune, “Caña Brava” opens with a bold melodic reading from Kuroda. Bublath, Collins, and Kuroda trade 16 bar phrases, building intensity with each turn. Afonso serves as the main interactive catalyst here, contributing a busy mixture of songo, funk, and conversation. Bublath opens “Ten Degrees” with an understated montuno, leading into a clave driven melody from Kuroda and Collins. Bublath carefully builds his improvisation, utilizing space to punctuate rhythmic ideas. The rhythm section breaks further away from the basic feel behind Kuroda’s solo, increasing tension through variation. Bublath references modern Cuban music with a funky montuno, rhythm section breakdowns, and bluesy melodies on “Timba.” Collins combines virtuosic runs and syncopated rhythms to create his statement, while Bublath drives the rhythm section into a frenzy with repeated phrases and bits of montuno. Bublath’s compositions and arrangements on these tracks maintain a steady commitment to Cuban music while providing adequate space for interaction and exploration.

Integrating Multiple Ideas and Genres Into Brazilian Structures
Some pieces refer to Brazilian music, while keeping a connection to a variety of other styles. Bublath recalls the late pianist “Jorge Dalto” with a lush melody performed by flautist Yulia Musayelyan. The band remains in a simple major harmony behind Musayelyan’s solo, blending Brazilian ideals with pop implications from Bublath’s arpeggiated accompaniment. The rhythm section loosens into an open space for a collective improvisation from Bublath and bassist Fernando Huergo that floats freely before returning to the melody. Huergo’s slap bass drives the funky partido alto on “OTB” percolating boldly underneath a rhythmically jagged melody from Kuroda and Collins. Bublath displays his ability to walk between straight funk ideals and Brazilian groove on his improvisation, alternating between bluesy licks and sharp accents. The rhythm section foregoes the partido alto for Huergo’s solo, letting him move directly into a demonstration of funk bass prowess. The band moves into a somewhat awkward 9/8 samba feel on “Odd Samba” grounding the song with a wandering melody. Kuroda places blues licks sporadically throughout his improvisation, eventually building into longer phrases that carefully explore the odd time signature. Bublath takes a more fluid approach, stretching long organic phrases over multiple measures and playing off the song’s true rhythmic basis. Bublath’s compositions integrate several ideas and genres into Brazilian structures with varying results, but the band holds each piece together with strong performances.

A Steady Footing In Jazz-Funk
Other songs avoid Latin music aesthetics altogether, maintaining a steady footing in jazz-funk. A distinct pop feel permeates the introduction on “MB in da CT” until a strong melody attacks the funk rhythm. The rhythm section integrates a slight reference to Brazilian rhythms behind Bublath’s solo, but never strays far from the backbeat. Kuroda and Collins trade 8 bar statements, inspiring an enthusiastic response from the rhythm section. A swung hip-hop drumbeat drives a groove-oriented melody on “Mogler,” grounded with a basic harmony. Huergo’s finger style funk, Bublath’s bluesy comping, and Afonso’s deep pocket allow the soloists to dig into a serious funk phrasing. Kuroda, Collins, and Bublath all take turns exploring the feel here, before establishing an ostinato for Afonso’s improvisation. An up-tempo rock feel recalls Weather Report on “Boogie Waltz,” until the band transitions into a disco groove for the melody. The song’s jam session format allows Kuroda to stretch his statement, working off the rhythm section’s growing dynamics. Collins enjoys the same liberties, improvising until the band explodes back into the melody. The energetic performances on these songs reveal the band’s affinity for funk rhythms and jam band aesthetics, which in these cases, take the place of Latin music.

A Fusion Under Construction With A Promising Future
Bublath makes a variety of interesting aesthetic choices when constructing his sound on Matthias Bublath, resulting in a personal fusion that retains authentic ties while forging new ground. Bublath establishes a close connection to Cuban ideals through his clave driven compositions, but the lack of congas or percussion remains an unusual choice. Untied to a percussion section the band communicates freely, yet this often moves them outside traditional rhythmic structures. Bublath displays a deep knowledge of Brazilian music, but his stylistic experimentation too often dilutes the focus. The group hits their stride on the funk pieces, finding a powerful voice once they hit their obvious comfort zone. Despite these stylistic differences, the band consistently performs with energy, skill, and personality throughout the album. Each song prioritizes improvisation and interaction, driving the musician’s choices about stylistic guidelines and displaying their solid nature as a unit. By the end of Matthias Bublath, the group’s fusion of styles remains under construction, yet their command of the individual pieces and their dedication to the concept guarantees a promising future.

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