After Carnival, the debut album of New World Beat, a world-music jazz-fusion ensemble out of Miami, is the kind of music that seems deceptively simple on first hearing but grows increasingly complex and interesting with repeated listening. Led by the vibraphone of composer Richard Sprince, New World Beat runs through a set of exotic melodies played over a torrent of Latin American rhythms that serves as a template for some innovative solo improvisation. This is not the kind of music that makes for easy listening regardless of first impressions; this is music that rewards continued revisiting.
Of the 11 tracks on the album, nine are original Sprince compositions and two are covers of Pat Metheny pieces. Notes on the band's website indicate that "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." This is somewhat contradicted by the indication that some of the tracks are featured as singles. I must admit that while I would be hard pressed to define exactly what that story might be, I will buy the band's assertion and keep trying. There is, after all, a clearly consistent tone and atmosphere running through this album.
Standout tracks include the haunting jazz tango "Adios, Buenos Aires," inspired, we are told, by a midnight ferry trip across the Rio de la Plata. It features some impressive solo work by the group's saxophonist, Matt Vashlishan. Playing both the alto and the soprano sax, Vashlishan also contributes fine solos on the title track as well as "Fantasia de Carnival" and the album's closing song, Pat Metheny's "Sueno Con Mexico." Guest artist flautist Jorge Pardo adds a wistful solo to the bolero rhythms of "Song For Brazil," which also has some nice solo moments from Sprince on the vibes. Like some of the other songs it also uses the vocal harmonies of Tony Cruz and Terezinha Valdis.
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