New World Beat | After Carnival

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Jazz: Contemporary Jazz Jazz: Latin Jazz Moods: Instrumental
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After Carnival

by New World Beat

A fresh, contemporary sound, mixing jazz, ambient, and world music. All original material features an international group playing rich harmonies and hot solos over diverse rhythms including Tango, Bossa Nova, Samba and Flamenco.
Genre: Jazz: Contemporary Jazz
Release Date: 

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  Song Share Time Download
1. Beyond the Clouds
5:30 $0.99
2. On My Way
7:09 $0.99
3. The Dance Has Just Begun
6:47 $0.99
4. After Carnival
8:08 $0.99
5. Partido Alto
7:24 $0.99
6. Song for Brazil
6:24 $0.99
7. Last Train Home
5:08 $0.99
8. Adios, Buenos Aires
7:24 $0.99
9. Fantasia de Carnaval
6:18 $0.99
10. It's Not Far
5:16 $0.99
11. Sueño Con Mexico
7:16 $0.99
Downloads are available as MP3-320 files.


Album Notes

1. Beyond The Clouds - 5:31
2. On My Way - 7:09
3. The Dance Has Just Begun - 6:47
4. After Carnival - 8:08
5. Partido Alto - 7:25
6. Song For Brazil - 6:25
7. Last Train Home* - 5:08
8. Adios, Buenos Aires - 7:24
9. Fantasia de Carnival - 6:18
10. It’s Not Far - 5:17
11. Sueño Con Mexico** - 7:17

Compositions by Richard Sprince, Pat Metheny*

“After Carnival” is intended to stand as a whole, developing a story and ambience from track to track. This structure is paralleled by the through-composed nature of each number. The album opens with Beyond The Clouds, an upbeat major key tune inspired by silver linings and chasing rainbows. On My Way, a track about journeys, sets a moodier tone. A lyrical opening melody leads to a transition followed by an edgy ensemble groove. Matt Vashlishan plays a burning featured solo on the EWI sax synthesizer.

The direction of the release becomes clear with The Dance Has Just Begun, one of the featured singles. A heroic opening melody over an active bass line and back beat on the drums leads to a Brazilian Afoxé rhythm and a memorable vocalized melody, followed by an interlude-like transitional section. A thoughtful, bluesy solo by guest guitarist Gary Damanti is followed by a soulful soprano sax improvisation by Matt Vashlishan, who channels Wayne Shorter over a Brazilian groove. After the final interlude, the track breaks out in an infectiously uplifting samba beat, with a memorable vocal melody and grooving vibes improvisation by Richard Sprince to take it out.

Another featured single is the title track After Carnival. While Carnival in Brazilian is famously upbeat and intense, this track is about the aftermath. (see act three of “Black Orpheus”, the Brazilian film classic.) Starting with a plaintive melody over a samba-funk rhythm, it transitions to a nostalgic theme over a straight ahead samba feel. An improvised interplay between the vibes and guitar leads to a soaring solo by Tom Lippincott. Matt Vashlishan’s solo on soprano sax takes it to another level. He sets things up with long tones and polytonal licks inspired by his mentor, Dave Liebman. Matt’s cascading pyrotechnics climax over the band’s ensemble figures.

Partido Alto is an exploration of the Brazilian rhythm of the same name and a Miles-inspired bass line. A double-time samba over some Steely Dan harmonies provide the turnaround into inspired improvisations on guitar and sax. Song For Brazil is a nostalgic ballad over a bolero-tinged rhythm. Inspired by the end of a romance, the composition transitions into a hopeful 3/4 waltz, then a plaintive 6/4 vocal melody over some dark harmonies, leading back to the opening theme. The track features guest artist Jorge Pardo on flute in a soulful and acrobatic improvisation, a touch of Hubert Laws mixed with Pardo’s characteristic Spanish Flamenco flourishes.

Last Train Home, another featured single, is a novel arrangement of the Pat Metheny hit. Slowed down and with Matt providing synthy flourishes on the EWI, the result is a fusion ballad in the spirit of Weather Report’s A Remark You Made. After a lyrical Metheny-inspired vibes solo by Richard Sprince, the interlude breaks out in a slow samba with vocals doubling the melody. The last head leads to a samba outro with evocative Brazilian lyrics sung by Tony Cruz and Terezinha Valois. The track ends with an acapella tag vocal sung by three year old Alejandro Pino-Sprince.

Adios, Bueno Aires is a jazz tango inspired by a midnight ferry trip from Montevideo to Buenos Aires across the Rio de la Plata. The unusual form passes through a variety of sections and tonalities. Fantasia de Carnaval is about the build up to Carnival. A free jazz intro leads to an upbeat bossa rock melody. The track features a burning solo by Matt Vashlishan on alto sax. After the last head, a free group improv trails off into the reverie of each musician’s fantasy.

It’s Not Far tells an epic travel tale, going from a pastoral opening melody to a bossa groove to double time samba bridge. Short but inspired solos over dark harmonies (Diogo Brown, bass, Tom Lippincott, guitar) take the traveler off the beaten path. Richard Sprince’s extended solo on vibraphone started with sustained notes, then builds up to a climatic release and evocative samba vocal melody coda.

The album closes out with Sueno Con Mexico, an arrangement of an early Metheny solo guitar vehicle. The tune has been re-invented with an African groove, backed by talking drum and atmospheric bird whistles, bells and shakers. A rhythmic melody is played on vibes and alto sax over an ostinato guitar pattern. Kicking it into fifth gear, the bridge comes in over a 12/8 shuffle rhythm, with Teri Valois’ vocals doubling a heroic, prototypical Metheny melody. A lyrical vibes solo climaxes with a quote of Minnie Ripperton’s “Lovin’ You”. Vashlishan’s grooving, Sanborn-tinged solo on alto sax brings the track full circle.



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