Friday, March 16, 2012

"New World Beat and Siempre Flamenco appearing at the South Miami-Dade Cultural Arts Center


New World Beat and Siempre Flamenco

appearing at the

South Miami-Dade Cultural Arts Center

March 16-18 (Black Box Theater)

Friday, March 16 at 8:30pm

Saturday, March 17 at 8:30pm

Sunday, March 18 at 3:30pm

Tickets $20 in advance.

$25 on day of performance.

Senior/Student/Active Military discounts of $5 off.

New World Beat – “After Carnival”
New World Beat Mixes a Sonic Cocktail
of World and Jazz Influences in
“After Carnival” (CDM 1001)
Street Date April 3, 2012

"New World Beat and Siempre Flamenco team up to present a collaborative world music and jazz fusion performance event at the new South Miami-Dade Cultural Arts Center. The show, "Flamenco Jazz Jam", features vibraphonist Richard Sprince, guitarist Paco Fonta, bassist Agustin Conti and Flamenco dancers Celia Fonta and Paola Escobar, and will include original compositions from New World Beat's new CD release, "After Carnival". Three performances will take place on March 16, 17 at 8:30pm and on March 18 at 3:30pm, at SMDCAC's Black Box Theater."
More Info HERE

New World Beat Features:
Richard Sprince - vibraphone;  Matt Vashlishan – soprano & alto saxophones, EWI; Tom Lippincott - 8 String guitar; Diogo Brown – fretless bass; Goran Rista – drums; Tony Cruz, Terezinha Valois – vocals; Cezar Santana - nylon string guitar;  Dwili Dewongy –percussion; Gary Damanti – guitar solo, “The Dance Has Just Begun”; Jorge Pardo – flute solo, “Song For Brazil”;  Alejandro Pino-Sprince – tag vocal, “Last Train Home”.

Musicians are like mixologists trying to come up with the ultimate cocktail. Some strive to pour the perfect martini, while others experiment with their own innovative blend of ingredients.  On “After Carnival”, the debut release of Miami-based New World Beat, the group has invented an original sonic cocktail, artfully combining memorable melodies and introspective harmonies with the sensibility of Brazilian jazz and world rhythms. Guest artists on the date include Jorge Pardo, Spain’s leading jazz instrumentalist and Chick Corea alumnus.  Jazz fusion pioneer Othello Molineaux calls the release “exciting and refreshing…deep and passionate music.”
New World Beat is led by vibraphonist/composer Richard Sprince, who served as producer, composer and arranger for this release. A Boston native, Richard has been immersed in world music, rhythms and culture since early on in his career, playing everything from Salsa and Brazilian to African music and Jazz Flamenco, while on the road for years in Europe and South America. He has shared the stage with world class Latin Jazz and Fusion innovators including Ray Gomez, Jorge Pardo, Sammy Figueroa, Nestor Torres and Othello Molineaux.
With “After Carnival”, Sprince and his international crew of sidemen serve up nine original compositions along with two innovative Pat Metheny covers (including the hit “Last Train Home”). Throughout the release, one can discern elements of the Metheny sound, along with Brazilian flavors reminiscent of Milton Nascimiento and Airto. “I like to imagine the project as if it were the adoptive love child of Pat, Milton and Airto, maybe getting some love from Return to Forever for good measure”, Sprince muses.
On the session, up-and-coming saxophonist Matt Vashlishan shines on soprano, alto, and the EWI sax synthesizer, playing grooving, polytonal lines. Guitarist Tom Lippincott creates intricate backing textures as well as soaring improvisations, offering a counterpoint to Sprince’s percussive comping and lyrical solos on the vibraphone.  Vocalists Tony Cruz and Terezinha Valois double melodies in an evocative Brazilian style, while bassist Diogo Brown, drummer Goran Rista and guitarist Cezar Santana lay down authentic world grooves. Percussionist Dwili Dewongy adds rhythmic flavor and ambient effects, with a variety of percussion toys, bird whistles and shakers.
“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.  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 leads to a Brazilian Afoxe rhythm and a memorable vocalized melody, followed by an interlude-like transitional section. A thoughtful solo by guest artist Gary Damanti is followed by a soulful soprano sax improvisation by Matt Vashlishan, channeling Wayne Shorter over a Brazilian groove. After the final interlude, the track breaks out in an infectiously uplifting samba beat, with a catchy vocalized 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 “Black Orpheus”, the Brazilian film classic.) It starts with a plaintive melody over a samba-funk rhythm, then transitions to a nostalgic theme over a straight ahead samba. An improvised free 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. Building in intensity, 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 sophisticated 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 reminiscent of Hubert Laws mixed with Pardo’s characteristic Spanish Flamenco flourishes.
Last Train Home, another featured single, is an unusual arrangement of the Pat Metheny hit. Slowed down and with Matt providing fills and 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 outro samba vamp 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 modal keys. 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.
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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