School of Music
270 18th Street
Brandon, MB R7A 6A9
California Institute of the Arts, Los Angeles CA 1987 - 1990
Master of Fine Arts, Jazz and World Music Studies, 1990
Bachelor of Fine Arts, Jazz Studies, 1988
Areas of study included: Piano, composition, jazz history, pedagogy, film and dance history, as well as Gamelan, Classical Indian Music, and African Music with Alfred and Kobla Ledzepko and ethnomusicologist Nicholas England.
Participated as a member in Charlie Haden and James Newton’s ensembles, and a variety of multi-media works and inter-disciplinary projects.
University of Southern California, Los Angeles CA 1985 - 1986
Areas of study included classical music with harpsichordist Malcolm Hamilton, emphasizing Bach and other Baroque composers; also studied recording arts and music business.
University of North Texas, Denton TX 1983 - 1985
Areas of study included both jazz and classical piano; member of the 2:00 Lab Band, and the Zebras, an electronically based contemporary keyboard ensemble.
Teaching and Professional Experience
Brandon University School of Music, Brandon, Manitoba 2008 - Present
Professor, School of Music
Areas of teaching include private piano, large ensemble, jazz improvisation, composition, production/engineering and private piano instruction.
New England Conservatory of Music, Boston MA 1997 - 2008
Faculty, Jazz Department and Theory Department
Areas of teaching included private piano lessons, large ensembles, jazz improvisation, along with classes in development of rhythmic skills and analysis.
Introduced and taught a class called Digital Playgrounds: Music, Education, Technology, and Culture, which examined the matrix of culture, technology, and music, and explored technology’s relationship with and impact on various musical cultures and traditions.
The New School University, New York NY 1998 - 2008
Piano instructor for private students.
The Hoboken Charter School, Hoboken NJ 1999 - 2006
Founder and Director of the Digital Playground, an electronic music and keyboard arts program
The Digital Playground is a music program for grades K-12 in which a holistic recording studio/classroom environment is created in which students can improvise, compose, record, mix, master, print, package, and distribute their music. This innovative educational initiative places the music that the students create at the core of their music curriculum. And, by being recording-centered, it allows for the exploration of where music interfaces with other media arts such as film and video, dance, as well as contemporary and current forms of music such as Hip-Hop, R&B, Rock, Electronica, and others.
The Urban Assembly School of Music and Art 2006 - 2008
Band Program Director
Oversaw the band program and design curriculum for the Urban Assembly School of Music and Art, which is a high school chartered by the New York City, Department of Education (DOE), located in downtown Brooklyn, New York.
Jazz at Lincoln Center (JALC), New York NY 2006 - 2007
Consulted with JALC on a host of educational programs, initiatives, and curriculum, including partnering with the Urban Assembly School of Music and Art.
New England Conservatory of Music, Boston MA 1997 - 1998
Led administrative dialogue and programming focused on issues of diversity in all its implications at the university level. Worked closely with the Conservatory’s president Dr. Robert Freeman, and the various division heads. Responsibilities included helping to define notions of diversity for the institution, creating and implementing structures in which dialogues can occur which broaden the inclusiveness of curriculums, and representing the Conservatory in meetings with staff of various human resource departments for several Boston-based businesses
Eastman School of Music, Rochester NY 1995 - 1997
Assistant Professor of Jazz and Contemporary Media,
Co-Director of the Undergraduate Jazz Studies Program
Areas of teaching included piano, jazz improvisation, composition, pedagogy, and jazz history.
Directed undergraduate and graduate chamber ensembles, oversaw various independent studies projects focusing on a variety of topics, and served on several committees.
Guest Lecturer /Clinician 1991 - Present
Lead numerous workshops, clinics, seminars, lectures, and participate as an Artist-In-Residence worldwide, including countries such as Japan, Chile, Germany, Africa, Brazil, Argentina, France, Austria, Italy, Colombia, and England, among others. These have ranged in nature from high school afternoon workshops to several week-long residencies. They have been for people of all ages and from various backgrounds and with often involve widely ranging levels of engagement with music ranging from professional to hobbyist.
As Leader 1988 - 2006
Performed extensively in America, Europe, Asia, and South America. Concerts, recordings, and other projects, include chamber work broadcast on WDR radio in Germany, a solo piano tour in Japan, a solo piano CD entitled Evidence of Things Unseen (1993) on the MA label, two recordings for Candid Label Strange Omen (1991) and What Means This? (1992), Circa (1997) recorded for ECM Records/BMG Classics, and Brooklyn Waters (2001) recorded for Telepathy Records. As well as composing the music for a Chicago Public Radio documentary Seeing the Color Blue, writing the music for The New Vaudevillians, a Disney Channel special hosted by Harry Anderson, performances with saxophonist Ravi Coltrane, which included recording the CD Moving Pictures for BMG Records and appearances with the group at La Villa in Paris, France, BET Television in Washington DC, and Town Hall in New York--a concert which featured Alice Coltrane performing on organ.
In 1997, I was commissioned by the Howard Hanson Memorial Institute to compose a piece in honor of President Clinton and the 53rd Presidential Inauguration. The piece, entitled Praeludium, premiered January 28, 1998 at the Eastman School’s Kilbourn Hall.
Notable projects have included serving as musical director for the Jose Limon Dance Company’s New York premiere of Crossroads, a collaboration between composer James Newton and choreographer Donald McKayle, at the Joyce Theater in New York the fall of 2001. Another noteworthy project was the composition of the film scores for the films Maybe and Real With Me, by director Carl Ford for Black Nexxus Films. Along with film score composition, Cain has written musical score for live theater as well, composing the music for the Broadway play View from 151st Street, which was produced by the LAByrinth Theater Company and ran at the George Papp Public Theater in New York in the fall of 2007.
Other recent projects have included performing with guitarist Pat Metheny as part of the 2006 Montreal Jazz Festival, a performance at the Kennedy Center in Washington DC with the group Persiflage, and a 2006 Grammy-nomination for Dance of the Infidel, Me’shell Ndegeocello’s recent Shanachie release, on which Cain performed as pianist and co-arranged the album.
Most recent recordings are The Green Eyed Keeper, released in 2008, and Solo, released in 2011, both for Native Drum Music.
Aside from producing his own recordings, Cain has been producer on several notable recordings, including Ron Blake’s Shariya, for Mack Ave Records, two recordings for NY saxophonist and composer Brian Landrus, The Landrus Kaleidoscope, Capsule, and The Brian Landrus Quartet, Travers, which features bassist Lonnie Plaxico and drummer Billy Hart, and Brandon’s own Neon Blunt.
With Jack DeJohnette 1990 - 1998
Over an eight-year period Cain worked extensively with Mr. DeJohnette in various groups as musician and producer, starting with Special Edition, which included Greg Osby, Gary Thomas, and Lonnie Plaxico, and concluding with the collaborative trio Oneness, which was a co-lead group with Mr. DeJohnette and Jerome Harris playing bass and guitar. This relationship has resulted in five recordings including Earthwalk, which received Japan’s Swing Journal Album of the Year and Best Produced Record of the year, several tours, concerts, workshops, and clinics, all over the world. Festival performances have included Mt. Fuji Jazz Festival in Japan, and the North Sea Jazz Festival in Holland among others.
As Sideman 1988 - Present
Other artists performed, toured, and recorded with include Dave Holland, Bobby McFerrin, Carlos Ward, Ray Anderson, Charles Neville, Hassan Hakmoun, Christian McBride, Oliver Lake, Reggie Workman, Mya, Kip Hanrahan, Gerald Wilson, Noreaga, Cindy Blackman, Joshua Redman, Victor Baily, Robin Eubanks, James Newton, Anthony Cox, Regina Carter, Steps Ahead, Bobby Previte, Bennie Maupin, Pheeroan akLaff, Gary Thomas, Vernon Reid, Marty Ehrlich, Gene Jackson, Marlena Shaw, Dewey Redman, Ralph Peterson, Steve Swallow, Kevin Eubanks, Andrew Cyrille, Steve Coleman, John Scofield, Jeff Watts, Stanley Turrentine, and Don Alias, among others.
The Green Eyed Keeper (NDM)
The Evidence of Things Unseen (MA)
What Means This? (Candid)
Strange Omen (Candid)
Brooklyn Waters (Telepathy Records)
Rarum Xiv w/Jack DeJohnette (ECM)
Dancing With Nature Spirits (ECM)
Music for the Fifth World (Blue Note)
Extra Special Edition (Blue Note)
Earthwalk (Blue Note)
With Me'Shell N'Degeocello
Cookie: the Anthropological Mixtape (Maverick )
Dance of the Infidel (Shanachie)
With Ravi Coltrane
Moving Pictures (BMG France)
Vibe (NYC Records)
Get 2 it (RE)
Mental Images (JMT Records)
JJ/Slide/Curtis and Al (TCB)
Sonic Tonic (Mack Avenue Records)
Shayari (Mack Aveune Records)
Live in Tokyo
The East Side Psalmbook
Mantalk for Moderns Vol. 10 (Blue Note)
Global Mantras (Modern masters)
Hang Pinochet (Modern masters)
New York Child (Enja)
Dark Metals (Minor Music)
Factor of Faces (Minor Music)
If Love (Delta Records)
A Thousand Nights and a Night, Red Night (American Clave)
A Thousand Nights and a Night, Blue Night (American Clave)
Shadow Nights 1&2 (American Clave)
Kold Kage (JMT)
When Doves Cry (Blue Note)
Cry Flute (Pao/Verve)
Arrival (Black Saint)
Short Takes (Muse)
Melvin Flynt Da Hustler (Tommy Boy)
Fear of Flying (Warner Brothers)
Selected Signs 1, An Anthology (ECM)
Huffington Post, October 2, 2015
"Mr. Cain’s latest offering the celestial sounds of Sola...captivates the listener with deep grooves, inherent musicality and a palpable sense of equanimity ." An accomplished pianist, Mr. Cain’s most recent work has had a distinctively electronic bent to it with colors and textures that seem to borrow from elements of jazz, hip hop and Electronic Dance Music."
Something Else Reviews, November 16, 2015
"With an imaginative mind and worldly experience, fresh and appealing ideas can still be mined within the realm of fusion jazz. Michael Cain’s Sola attests mightily to that notion."
New York Times, July 21, 2011
“Michael Cain is an almost maniacally versatile pianist (and bassist and programmer) whose music often conveys a questing sensibility.”
JazzTimes, June 20, 2012
Pianist Michael Cain gained recognition through the ’90s for his association with Jack DeJohnette. On his own, he has produced a string of thoughtful, provocative releases, including his acclaimed 1997 ECM recording, Circa. On 2008’s The Green-Eyed Keeper, Cain dabbled in a fresh blend of jazz, R&B and alluring mood music featuring soulful vocals. This time out, he’s presenting a far more cerebral side, revealing his classical influences along with a deep interest in electronics.
“Kammotion” opens with a flourish of cascading piano that recalls one of Keith Jarrett’s solo concerts, but it soon resolves to an insistent programmed backbeat underscored by subharmonic synth tones and augmented by synth string washes that suggest a heavy Stevie Wonder influence. The midpoint of this ever-shifting suite is marked by Zen-like silence before Cain takes off on what sounds like a four-handed extravaganza, no doubt overdubbed. And he concludes this ambitious musical journey with some rhapsodic passages over a chugging drum program.
The aptly titled “Prayer” is a peaceful requiem for piano and synth drones with a cathedral-like sonic resonance. Switching gears, Cain dives back into the Stevie zone with the slow-grooving, clavinet-fueled “Gerald,” which features some of his most virtuosic turns on piano. Following the beautiful solo piano interlude “The Question,” he settles into the lovely “Last Waltz,” a delicate, subtly swinging piano trio ballad reminiscent of “Spring Can Really Hang You Up the Most.” But, of course, this is strictly a one-man show with all the music composed, performed and produced by Michael Cain. So that very real-sounding upright bass and sensitive brushwork on the ride cymbal are programmed. Regardless of how it was done, this is warm, rewarding music by an inspired, searching artist.
Downbeat, April 1997
If you’ve got to conform to get ahead in today’s jazz scene, somebody forgot to tell Michael Cain. Despite his unusual background and rarified tastes, the pianist has enjoyed surprising success –largely on his own terms—since coming to New York in 1990.
All About Jazz, November 3, 2011
Michael Cain’s Solo, a savvy work of acoustic piano with electronic manipulations, the outcome is—to coin a very dated phrase—in Technicolor. It is the impeccable balance of imagination, elegance and hipness.