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| 4.901 Ft
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| 1. | Overture
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| 2. | Prelude for Sheldon
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| 3. | Noid
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| 4. | Roll with It
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| 5. | Duke Countdown
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| 6. | Count Duke
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| 7. | Riled Up
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| 8. | Till You Come Back to Me
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| 9. | Plastic Temptation
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| 10. | Seven Year Glitch
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| 11. | Work It Out
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| 12. | Mayor Goldie
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| 13. | Victrola
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| 14. | Lemonana Vasconcelos
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| 15. | Ink Bladder
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| 16. | Lunchmeat Concerto in Eb Minor
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| 17. | Garcia
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| 18. | Organ Thunder
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Jazz
Uri Caine [keyboards]
Zach Danziger [drums]
Tim Lefebvre [bass and guitar]
Barbara Walker [vocals]
Elizabeth Pupo-Walker [percussion]
Adrian von Ripka Mastering
Hugh Pool Engineer
Jan Caine Artwork, Photography
Mariko Takahashi Executive Producer
Nathan Rosborough Second Engineer
Stefan Winter Executive Producer
Accurately timed for his upcoming tour, Uri Caine releases Plastic Temptation with his Bedrock trio!
Bedrock is comprised of Uri Caine, Zach Danziger, and Tim Lefebvre. The long-serving Hammond B3 is, besides drum `n' bass, the center of their sound. From wild improvisations and remixes to dance and house styles, the trio tinkers a groovy show in which gospel singer Barbara Walker performs in stirring voice.
Uri Caine opens a new window with a pleasurable view in his versatile playhouse. Enjoy it!
Uri Caine is known for his willingness to combine jazz and Euro-classical music, and the Philadelphia-born pianist/arranger has often done so with highly imaginative results. But a different side of Caine asserts itself on Plastic Temptation, which doesn't sound anything at all like his jazz-meets-classical experiments. This 2009 recording finds Caine playing electric keyboards exclusively (no acoustic piano this time) and operating as part of Bedrock, a group that also includes bassist/guitarist Tim Lefebvre and drummer Zach Danziger -- and Bedrock's work is as funky as it is unpredictable. But anyone hoping to pin Bedrock down stylistically is out of luck, because Plastic Temptation is all over the place in terms of styles. The most convenient way to describe this hard to categorize effort is probably "instrumental fusion meets vocal soul/funk meets electronica." Some of the instrumentals recall '70s-era Miles Davis, but without any trumpet playing; "Noid" and the title track are tunes that would not have been out of place on Davis' Agharta or On the Corner albums. But when the gritty singer Barbara Walker (also from Philly) is featured on "Roll with It," "Work It Out," and "Till You Come Back to Me," Plastic Temptation takes a '70s-minded soul/funk turn along the lines of Rufus & Chaka Khan and New Birth. Walker is also featured on the Brazilian-flavored "Lemonada Vasconcelos," which isn't unlike something Flora Purim would do with Airto Moreira. And abrasive, dissonant electronica offerings such as "Riled Up" and "Ink Bladder" are best described as techno. But as eclectic and far-reaching as Plastic Temptation is, Caine and his associates never sound confused or unfocused. In fact, the 61-minute CD is admirably cohesive. Plastic Temptation will come as a surprise to those who associate Caine with jazz-minded interpretations of Beethoven, Mozart, and Bach, but it's an exciting journey if one is open to hearing a totally different side of the risk-taking musician. ~ Alex Henderson, All Music Guide
Uri Caine
Active Decades: '80s, '90s and '00s
Born: Jun 08, 1956 in Philadelphia, PA
Genre: Jazz
Styles: Avant-Garde Jazz, Chamber Jazz, Fusion, Jazz Instrument, Modern Creative, Piano Jazz, Post-Bop
Jazz pianist/composer Uri Caine brings an eclectic array of disciplines and influences to his music. His own Jewish heritage, his classical and jazz training, and his interest in electronics combine in ambitious hybrids that are often challenging but always inventive.
Caine grew up in an intellectual, open-minded family in Philadelphia. His father, a law professor at Temple University, and his mother, a poet and professor at Drexel, ensured the best musical education possible for their son, having him study with French expatriate pianist Bernard Peiffer.
Over their four years of study together, Peiffer taught Caine not only piano technique but the possibilities of music. Each week, Caine brought a new composition to his lesson; teacher and pupil then deconstructed and reformed its melody, harmonies, and structure into entirely different directions. Along with listening to Herbie Hancock and Oscar Peterson, this rigorous study with Peiffer introduced Caine to jazz theory.
Caine was already performing at jazz clubs around Philadelphia with artists like Mickey Roker and Bootsie Barnes when he began studies with composer George Rochberg in Penn State's University Scholars Program. Choosing his own path of study, Caine took classes in music, literature, and other interests for a diverse-but-grounded program.
This well-rounded approach to music culminated in the aptly named debut album Sphere Music, released in 1992. Caine's spontaneity and technical prowess as a musician and composer combine on the album, making it a jazzy tour of moods and styles. Sphere Music also inaugurates Caine's collaboration with clarinetist Don Byron. Together, the two have played everything from Thelonious Monk's "Round Midnight" to klezmer music to modern classical, with Byron's ensemble Semaphore.
Caine followed Sphere Music with 1996's Toys, 1997's Primal Light, and 1999's I Went Out This Morning Over the Countryside, all of which feature his signature blend of fluid, visionary postmodernism. The late '90s brought international attention to Caine's projects reworking, reinterpreting, and reinventing the works of classical composers for the Winter & Winter label.
---Heather Phares, All Music Guide |
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