Adam Caine: guitar | Tom Blancarte: bass | John Wagner: drums
Tracklist : 1. Outer Church 8’20” 2. Ride the Tiger 5’31” 3. Castros 8’51” 4. Thousandfold 10’32” 5. The Howl 8’29” 6. Invisible Kingdom 6’48” 7. Eschatology 7’46” 8. Human Body 5’07” Total time:55:45
This record has been made possible by generous support of UAB “Vanvita” and UAB “Garsu pasaulis”. Great thanks to them. NoBusiness Records NBCD 3, 2009, edition of 1000 cd’s. All compositions by Adam Caine (AC Sounds (ASCAP), Tom Blancarte (Xibalba (BMI) and John Wagner. Recorded 24/10/2008 by Steve Griesgraber at Soft Landing Studios, Brooklyn NY. Mixed and mastered by Jim Clouse at Park West Studios, Brooklyn NY. Photos by Michael Iannantuono and Liesl Henrichsen. Design by Oskaras Anosovas. Executive producer – Danas Mikailionis. Co-producer – Valerij Anosov. Limited Edition of 1000 cd’s.
is a guitarist, improvisor and composer. Adam fronts the Adam Caine Trio with Tom Blancarte and John Wagner and the Adam Caine Quartet with Nick Lyons, Adam Lane and John Wagner. Adam also plays in Johnny Butler’s Scurvy and Eric Eigner’s Mysterium. Adam grew up in Rochester, New York and studied music at the University of Rochester. Since 2000 he has lived in Brooklyn, New York and has played in New York City and throughout the United States. Adam has performed with Connie Crothers, Paul Smoker, Daniel Carter, Ken Filiano, Phil Haynes, Glen Branca, Haale, and the New York Soundpainting Ensemble. Adam’s 2005 CD, “PIPE,” received rave reviews in the Wire, Cadence, and All About Jazz. In 2008, Adam was awarded a grant from the Brooklyn Arts council for an improvised performance with visual artist Marjan Moghaddam. As a composer for video art, Adam’s music has been featured in over 20 international festivals since 2006.
Guitarist Adam Caine
displays his endlessly innovative creative instinct on Thousandfold. Bassist Tom Blancarte and drummer John Wagner supply a steadfastly well-defined surface onto which Caine thoroughly infuses multidirectional vibrations as varied in color and texture as possible.
The guitarist splurges on extraordinarily unique patterns of fingering and plunges into chasms of reverberation. As sparks fly off his strings, Caine demonstrates expressive control of his instrument, the bass and the drums responsible for maintaining the hidden tempo beneath the persistence of staccato picking. Integrated with the thump of the bass drum, artful rattling of loose snare, low-end tom resonance, cymbal swishes or deep bass string pizzicatos, the guitar unwinds its fiery, nearly pointillist schema within indescribable improvisational bounds.
Caine changes the purity of the guitar’s tone with more than ample pedaling and amplifier artifice. “Castros,” “Howl,” “Invisible Kingdom” and “Human Body” exemplify how he allows ornamentation to absorb, transform and expand the guitar’s essential tonalities. He employs fingering that is slightly straightforward, then begins to bend pitches, strum, form clusters, use tiny glissandos, pluck in odd combinations and completely adjust the sequencing of the processes. In the title track, the guitar sound morphs into something akin to an organ.
The music has no identifiable thematic material, is self-referential and transpires so easily that locking into a listening trance might happen often. The guitar subsides infrequently into a place where the drums and bass come to the forefront, for instance, in the last three of eight cuts. The purest guitar tones end the record concurrently with a dusting of the snare. — Lyn Horton
CD version (incl. shipment cost world-wide)