January 02, 2012Album Review at Allaboutjazz
By DAN BILAWSKY, Published: December 15, 2011
Musicians and farmers may have far different day-to-day routines, but they have at least one thing in common: when their work reaches full maturation, it must be harvested for public consumption. Those digesting the end result of their hard work may not think twice about how it ends up in their hands, but they know the difference between rotten and succulent. Taste, flavor, and freshness are important indicators of a quality product, and these ripe items plucked from the mind of Matthias Bublath score high on all three counts.
Bublath, a German-born, New York-based pianist and composer, leads a multicultural contingent of five through an appealing program that touches on various Latin jazz idioms, contemporary stylings, funk, and more. The success of this music can be found in Bublath's ability to deliver change-ups that always keep things interesting, while also providing common denominators under most tracks, like strong soloing, appealing harmonies, and interesting sonic blends. Contemporary funk ("Harvest On The Moon") and festive fare ("African Boogie") serve as the entry point to the album, but each song that follows takes a different path. "¡Digame!" starts off with a 2-3 son clavé, and marries Afro-Cuban ideology with a generally funky sound, while Cesar Camargo Mariano's "Samambaia" is a more subdued number that looks toward Brazil, "Flor De Lino" finds Bublath tackling tango, and "Bigfoot" avoids Latin trappings of any kind, while beautifully humanizing its namesake.
Bublath's decision to use a two-horn frontline doesn't distinguish his music from that of his peers, but his choice of horns does. The combination of flute and trumpet in this type of setting is fairly unique, and it's a wonder that more people haven't investigated it. Flautist Anne Drummond—best-known for her work with pianist Kenny Barron and vibraphonist Stefon Harris—and trumpeter Takuya Kuroda both shine as soloists, and prove to be grist for the musical mill. Bublath alternately blends them together, sets them apart, and marries them to his own layered piano, keyboard and/or organ sounds, or simply gives them the space they deserve to shine. On the rhythm end of things, Bublath turns to the Argentine-born duo of bassist Fernando Huergo and drummer Franco Pinna, and they never disappoint. While showing an obvious affinity for the Latin-leaning material, they also demonstrate great skill in shaping and shading songs that aren't as easily defined ("Bigfoot"). All five musicians make their mark as separate entities, but the sum total of their talents is even greater than the individual parts.
Matthias Bublath really hit pay dirt with this bountiful supply of arresting music. Harvest On The Moon is a gem.
Track Listing: Harvest On The Moon; African Boogie; ¡Digame!; Amambaia; Bigfoot; Jazzschool; Night Shift; Der Wurm; Homenaje; El Barrio; Flor De Lino.
Personnel: Matthias Bublath: piano, Hammond B3 organ, keyboards; Anne Drummond: flute; Takuya Kuroda: trumpet; Fernando Huergo: bass; Franco Pinna: drums.
October 29, 2011new album "Harvest On The Moon"
The new album "harvest on the moon" will be available november 8th, 2011:
Please use the contact section to order your copy or visit one of our CD release gigs:
8. November 2011
Cafe "Die Schranne"
9. November 2011
10. November 2011
11. November 2011
12. November 2011
Oceans & Jazz
BMW Welt, München
January 05, 2011Review of the new album "Diversity"
by Alan Bryson
With his fifth release in five years, Munich-born Matthias Bublath demonstrates, once again, that he's a creative powerhouse. The composer/pianist/organist has the knack of achieving a rare and enviable outcome made famous by artists like Dave Brubeck: specifically, his music satisfies a sophisticated palate while appealing to a general audience.
Diversity is an apt title, a musical kaleidoscope that brings together musicians from four continents. Although he is a fine musician in his own right, first and foremost Bublath's approach serves the music and places a premium on a strong group dynamic. His original compositions draw organically from his wide ranging influences, with hints of reggae, funk, tango, Schubert, Dr. John, and the various icons of piano jazz. The opening "Smooth As Silk" is, likewise, a fitting description of unmistakable compositional strengths that might be described as Henry Mancini meets Charlie Parker. The Argentinean rhythm section, with drummer Franceo Pinna and bassist Fernando Huergo, is an ideal choice for an outing that also includes compositions from Cuban composers/pianists Ignacio Cervantes and José Maria Vitier, and Brazil's Cesar Camargo Mariano. To achieve his vision, Bublath relies heavily on the precision, vibrancy, and fluidity of flutist Anne Drummond and the subdued charm, harmonic instincts and considerable chops of Japanese trumpeter Takuya Kuroda. Drummond and Bublath, in particular, enjoy a remarkable degree of musical communication, like twins who finish each other's sentences.
Kuroda's funky and soulful solo on "Faat King" demonstrates that, beneath his tasteful restraint, lurks a powerful young lion. On "Prelude II," J.S. Bach's composition begins close to the original, with Bublath reminding that a strong left hand was alive and well in Europe long before it reemerged in New Orleans. The eight-plus-minute romp includes extended solos from Drummond, Bublath, and Kuroda, and some very inventive playing by Pinna, as it navigates towards Cuba. Huergo's beautifully melodic bass on "Ballad For The Universe" merits special recognition, and vibraphonist Tim Collins makes an appearance with a masterful solo on "Tomtom."
Diversity's enticing melodies, filled with intricate interplay, interesting transitions and time changes—sometimes understated and elegant, other times funky— encourage repeated spins when it's all over; that's the appealing music of Matthias Bublath.
Please email email@example.com to purchase the album.
April 28, 2010Portrait in der Jazzzeitung
check out the portrait about Matthias in the german "jazzzeitung"
November 29, 2009interview at allaboutjazz..
Here's an interview Matthias did in october with Alan Bryson. Check it out if you like!
November 27, 2009New CD out
The new CD is out on CD baby - check it out if you like!
December 31, 2008Review for the new Album "Second Angle" in allaboutjazz
By Dave Major
Second Angle is the third CD from New York-based organist/pianist and composer Matthias Bublath. His two previous releases saw him exploring two disparate sound-worlds individually: Latin music and jazz/funk. Here, with the help of vibraphonist Tim Collins, drummer Obed Calvaire, and saxophonist Scott Bourgeois, Bublath seeks to unify and consolidate these ideas rather than segregating them.
The unique instrumentation provides a wide range of possible colors and timbres, all of which are exploited fully by the group. Collins shares the accompaniment with the well-educated hands and feet of Bublath, and both are given equal time at the fore alongside Bourgeois. Calvaire's playing is without doubt exemplar; never overwhelming, always supportive, and never ceasing to challenge his band-mates in rhythmic discussion.
Confronted with such a wide spectrum of influences including funk, jazz, gospel and Afro Cuban, Bublath focuses in on the common core from each style: rhythm. Equally at home in swing time or straight meter, his phrasing and placement of both single lines and accompaniment seethes with rhythmic spice and precision. This is especially evident when supporting Bourgeois and Collins: organ and drums sound one and the same, yet in reality there is a constant, organic discourse of rhythmic figures and phrases. His solos are adventurous, but never at the cost of musicality, combining legato organ lines with ideas more commonly heard on piano (on previous outings he played both).
"Africa" provides a perfect example of the band's approach on this album. Beginning with a humble, jazz-infused melody, a loose and bustling accompaniment slowly creeps to the foreground acting as the backbone and catalyst for a exhilarating samba-esque jam. Soli figures intertwine with characterful improvisation and driving rhythmic ideas. This is a group which doesn't just shift gears jarringly in the middle of tracks. Rather, they drive more like an smooth automatic, slowly segueing between feels with a sense of growth which seem natural, and always compels.
The compositions are well executed and varied, from the bright and vivid "Dump The Goose," to the slow boiling "Sweet Melody" and the raunchy, infectious swing of "Silvershining." The forms used are well thought out and implemented, providing ample space for the band to stretch out without sounding repetitive. No track fizzles out either, with the endings all being strongly composed and definitely not afterthoughts. A fine example is "Humidifier," which is brought expertly to conclusion by Calvaire with a veritable master-class on drum breaks.
Second Angle provides everything expected from a jazz organ album: pedal bass, swirling swells and sizzling improvisation. Alongside all that, Matthias Bublah brings his exquisite faculty on the organ, a talented supporting cast, and a solid command of his music, creating an album deserving of recognition, praise and enjoyment.
Visit Matthias Bublath on the web.
Track listing: Dump The Goose; Sweet Melody; B3 Choro; Africa; On The Road Again; Pocket; Douleur; Luiza; Humidifier; Silvershining; Second Angle.
Personnel: Matthias Bablath: Hammond B3 Organ; Tim Collins: vibes; Scott Bourgeois: soprano sax; Obed Calvaire: drums.
December 10, 2008New organ CD available
July 16, 2008New sound clips & video
Check out the sound clips of the new organ record - it'll be out in october 2008!
They are also on my myspace site and a video surprise..
February 26, 2008CD review for the Latin Jazz Album!
Spotlight: Matthias Bublath
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.
November 29, 2007New Latin jazz CD available!
The new CD is now available!! Please goto:
or just click on the link...
November 12, 2007CD release tour 2008
The new latin jazz CD is ready - please check out the NEW preview Tracks in the listening section! We'll be doing a CD release Tour in Germany in january 2008. featuring an international band with my favourite musicians from NYC, Austria, Germany and Japan!!
Tim Collins - vibes
Takuya Kuroda - trumpet
Christian Lettner - drums
Pascal Niggenkemper - bass
and myself on piano,keys
january 6th: Atrane Berlin
january 8th: Jazzclub Unterfahrt, Munich
january 9th: Steinebacher, Steinebach
january 11th: Stellwerk Hamburg
january 12th: Piano Buehne Oberthulsa
january 13th: Jazzkeller Frankfurt
More details are in the itinerary section:-)
Also join us for the special trio concert on december 13th, 2007
with Patrick Scales on bass and Christian Lettner on drums
at Kuechenfuerst in Pullach, Germany
July 31, 2007Japan Tour
We're getting ready for our CD presentation Tour with "Chicken Gravy"!
A funky band feat:
Taku Kuroda - tp
Jason Disu - tb
Luca Stoll - sax
Tomo Kanno - drums
Hiro Honma - guit
myself - organ
we'll be there from august 10th - 31st playing gigs in the whole country!
check my site for photos and live mp3's!
June 04, 2007New CD in work
I finished recording my 2nd CD on may 10th & 13th. We'll mix it in late june/early july and it'll be available in the fall of 2007.
It features my latin influenced compositions and my favourite musicians from Argentina, Cuba, Russia, Japan and the US.
June 04, 2007touring
I just came back from a Westcoast Tour with Stephane Wrembels "Camarade Soleil" or "electric band". In the last 3 weeks we played venues and festivals in Portland, San Francisco, Santa Cruz, Asland and Los Angeles.
Stephane is a monster guitarist in the Gypsy jazz tradition but takes influences from rock, latin and world music which apeals to a younger crowd. We were rockin' it hard!! Checkout his site for some live videos of us performing: www.stephanewrembel.com
This week I'll be upstate New York with Los Banditos a fine Salsa band.
January 01, 2007check out the CD review in allabout jazz!
Allaboutjazz review 2006
By Tom Greenland
Making his transition from the academy to the “streets,” pianist/organist/composer/arranger Matthias Bublath has released a trio/quartet album boasting a motley mix of sounds and skills. Simmered and steeped in soulful grooviness, tracks like “Jazzy Jazz,” “Preachin’,” “Stacy,” and “Pain Relief” owe a debt to the church, blues, and funk roots of African-American improvisational music, greatly aided and abetted by drummer Simon Lott’s crackling dry snare and just-behind-the-beat backbeat, played in-the-pocket with relaxed authority. The trio cuts (with Nathan Peck on bass) include a serious take on “A Girl From Ipanema” (a risky business given the tune’s overplayed history, but pulled off with panache here), rendered in rich reharmonizations and muscular solos.
The second half of the CD is Bublath’s Hammond B3 quartet, “feet”-uring the organist standing in for the stand-up bassist, walking (literally) his own lines; check out his footwork on “Bublath’s Idea.” With the addition of Takuya Kuroda on trumpet and Tim Collins on vibes, cuts like “Beltissimo” and “Young Lion” add additional layers and funk-tionality to Bublath’s catchy tunes. This is feel-good, think-deep party music, a strong start for a young lion stalking the jazz dream.
Track listing: Jazzy Jazz; Preachin'; The Girl From Ipanema; Stacy; Pain Relief; Reverend Scott; Bublath's Idea; Beltissimo; Young Lion; Decision.
Personnel: Matthias Bublath: piano & Hammond B3 organ; Simon Lott: drums; Nathan Peck: bass; Takuya Kuroda: trumpet; Tim Collins: vibes.
July 30, 2006Brandnew CD available!!
hi, you can buy my cd at cdbaby now...
click on the link or:
July 22, 2006New MP3's
Check out the Cd preview tracks!
May 20, 2006Recording
I just finished recording my CD at Twinzrecords in New Jersey.
It's featuring Takuya Kuroda (trumpet), Me (B3-organ), Simon Lott (drums) and Tim Collins (vibes).
The second half features me on piano/rhodes, Nathan Peck (bass) and Simon on drums.
It's all original music I wrote during the last year or so. Some of it is funky&bluesy, and some jazz/ latin flavoured tracks...
I been workin' on my footpedal chops for the last couple of months to make it happening!
No it's time to listen through all those takes and choose!