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Jewish, Philadelphia-born, classically-trained pianist Uri Caine (1956)
Uri Caine
debuted with Sphere Music (may 1992), ostensibly dedicated to Thelonious Monk but in reality running the gamut from melodic classical music to dissonant free jazz (the eight-minute Mr B.C. for a quartet with clarinetist Don Byron, bassist Anthony Cox and drummer Ralph Peterson, This Is a Thing Called Love for a trio, the free-form Jelly and the ten-minute Jan Fan also featuring tenor saxophonist Gary Thomas and trumpeter Graham Haynes).
That eclectic range was at least matched, if not surpassed, by Toys (march 1995), thanks to an improved pool of collaborators (Byron, Thomas, Peterson,
trumpeter Dave Douglas, trombonist Joshua Roseman, bassist Dave Holland, and percussionist Don Alias) and engaging stylistic hybrids (the Latin-tinged and Wagner-quoting Time Will Tell, the sprightly Or Truth, the abstract Yellow Stars in Heaven).
After a humbler trio excursion, Blue Wail (december 1997), mainly in a swing and hard-bop vein (Blue Wail and Sweet Potato), Caine
upped the ante by introducing electronic equipment on
Keter (march 1999), credited to
Zohar, a band formed with Moroccan vocalist Aaron Bensoussan, DJ Olive on samplers, clarinet, guitar, bass and drums, but, alas, mostly devoted to traditional Jewish music.
Unfortunately, he became little more than a charming entertainer for aging
yuppies, crafting pointless
tribute albums to classical composers, to pop music and to Brazilian music.
He finally took some chances on Bedrock (february 2002), an album heavily
influenced by hip-hop and drum'n'bass, on Solitaire (march 2002), a
solo-piano set, and on Shelf Life (september 2005), the second album
credited to Bedrock (now a trio with Caine on electronic keyboards,
guitarist Tim Lefebvre and drummer Zach Danziger).
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