|

Click here to expand and collapse the player

For All I Care

Rate It! Avg: 4.0 (173 ratings)

We’re sorry. This album is unavailable for download in your country (United States) at this time.

For All I Care album cover
01
Lithium
Artist: Wendy Lewis
4:48  
02
Comfortably Numb
Artist: Wendy Lewis
6:43  
03
Fém (Etude No. 8)
3:21  
04
Radio Cure
Artist: Wendy Lewis
6:42  
05
Long Distance Runaround
Artist: Wendy Lewis
3:44  
06
Semi-Simple Variations
2:32  
07
How Deep is Your Love
Artist: Wendy Lewis
3:41  
08
Barracuda
Artist: Wendy Lewis
3:24  
09
Lock, Stock and Teardrops
Artist: Wendy Lewis
4:10  
10
Variation d’Apollon
4:35  
11
Feeling Yourself Disintegrate
Artist: Wendy Lewis
4:53  
12
Semi-Simple Variations (Alternate Version)
1:13  
Album Information
EDITOR'S PICK

Total Tracks: 12   Total Length: 49:46

Find a problem with a track? Let us know.

Wondering Sound

Review 0

Peter Margasak

Contributor

Peter Margasak has been a staff music writer at the Chicago Reader, where he covers everything from jazz to world music to country, since 1995. He's also a regu...more »

02.02.09
The Bad Plus, For All I Care
2009 | Label: Heads Up / Telarc

Although the jazz trio Bad Plus have gained widespread attention for their inventive-yet-sincere treatments of rock and pop songs, their recordings have made plain that they have no interest in cheap novelty. And while the band — pianist Ethan Iverson, bassist Reid Anderson and drummer David King — all come from a jazz background, what makes this group crackle is their nonchalant disregard for stylistic hierarchy. They dig into a Blondie tune like "Heart of… read more »

Write a Review 11 Member Reviews

Please register before you review a release. Register

user avatar

Moments of Brilliant Jazz Insights, But Uneven

Triseult

"For All I Care" oscillates between moments of pure brilliance (Comfortably Numb), to clear misses (Barracuda.) By far the best song bar none is the remake of Nirvana's "Lithium", with its disconcerting tempo and flights of piano madness. "Comfortably Numb" is also brilliant, but a lot of the rest is hit-and-miss. There's definitely moments of jazz insights into some popular tracks, but the downtempo of some of the other tracks, and weird arrangement decisions, means the album is a letdown as a whole, with flashes of brilliance.

user avatar

Wonderfully odd

jhautaluoma

Ms. Lewis adds a lot,in a low profile way not to distract from the mind boggling instumental work. I saw them when they came to town...love it.

user avatar

I keep coming back...

Soundwookie

I've got several Bad Plus albums (all of them, i think), and they are a group that I can swiftly go from hating to loving within seconds. I can't explain it, the shift works for me. But the rendition of "Comfortably Numb" is absolutely brilliant. It is worth getting the whole album for that one track. But get the whole album anyways.

user avatar

Edgy & Well-Sedated

MCWillie

The Bad Plus with Wendy Lewis pushes the jazz envelope and breathes fresh life into the genre. This batch of drug-laced covers really proves the band can add a new twist to the originals. "Feeling Yourself Disintigrate" and the other more sedate covers benefit from Wendy's naked sincerity. You really believe her. I think they could have passed on Barracuda.

user avatar

Has it's moments

Plainpawl

Some interesting stuff here but some tunes like Barracuda are unpleasantly odd ... I'm not completely sold on the vocals.

user avatar

Butchers good music

fduniho

This album takes good songs and somehow makes them sound awful. I normally love to listen to Comfortably Numb, Long Distance Runaround, and Barracuda, and I'm not averse to good covers, but I could not bear to listen to these songs on this album.

user avatar

Lewis is perfect, and the band still kicks awesome

Folding_Chair

This is my favorite Bad Plus record. The sound is prefect, not too muffled or poorly eq'd like past albums, and incredibly effective and hefty bottom end. It was a risky move adding a vocalist--they could have picked someone just because she was a cool kid, but instead they got themselves a real damn singer in Wendy Lewis. She's the perfect balance between rock and jazz, every bit as ballsy and musically masterful as the band. And the arrangements are as inspired as ever. The worst is probably How Deep Is Your Love. I'm no snob--I love the Bee Gees--but this song is just too simple musically and emotionally for what they do best. Comfortably Numb, Fem (Etude No. 8), and Lithum are far better.

user avatar

So Good!!!!

SchlockMonkee

Adding Lewis might even make it better. She is good. Heartbreakingly so.

user avatar

comfortable, not numb

freeimprov

Adding a vocalist doesn't change who the Bad Plus is, or what they do to songs. They still tread the line between homage and mockery, between rock and jazz, between many things. They only hurt the ones they love. If you dig what the Bad Plus do, you will not be disappointed here. If you're unfamiliar with them, I think "Prog" might be a better album for starters (also available on EMusic). And if you EVER get a chance to see them live, DO NOT MISS THEM! The live show is just astounding.

user avatar

Very good

mdc

Great song choices! It doesn't matter whether you call this album jazz or pop and what's more, you can tell these guys don't care. I love that they've used an unknown, but very talented, vocalist here: I think it helps hear the song with fresh perspective.

eMusic Features

0

Interview: Ethan Iverson

By Kevin Whitehead, Contributor

Ethan Iverson is a polymath: a jazz pianist equally comfortable playing Cole Porter's "Night and Day" at a cozy club like Smalls and knocking out Black Sabbath's "Iron Man" on a theater stage with the Bad Plus, the hugely influential trio he co-leads with drummer Dave King and bassist Reid Anderson. These days, they mostly play original music, although lately they've been playing Stravinsky's Rite of Spring on the road. Their new album Made Possible… more »

They Say All Music Guide

That the Bad Plus have recorded pop covers since their inception as a piano/bass/drums trio is a given in their M.O. The Minnesota-based trio has consistently added tunes by Blondie, Queen, Black Sabbath, David Bowie, Ornette Coleman, and Burt Bacharach to their albums — in addition to their own compositions — as they’ve gone about reinventing the piano trio sound and dynamic in jazz (they have become the loudest, most hard rocking acoustic trio in the music’s history). Some critics have accused them of camp, but this is simply a pronouncement of ignorance and prejudicial conservative and “preservationist” paranoia. After a decade of working together, the Bad Plus, following up their brilliant 2007 album Prog, have undergone some major changes: they left Sony and now record themselves independently. They’ve chosen Heads Up as their label/distributor in the United States and Universal in the rest of the world. For All I Care also marks their first recording entirely comprised of covers. The songs range from tunes by Nirvana (who they’ve covered before), Wilco, and Pink Floyd to Milton Babbitt, Igor Stravinsky, Yes, the Flaming Lips, and Gyorgy Ligeti, to Heart, Roger Miller, and the Bee Gees. There isn’t an original on the set. Another first for the trio on For All I Care is the addition of Minneapolis rock vocalist Wendy Lewis.
Perhaps the most compelling, shocking, and wonderful thing about this collaboration is how much Lewis’ presence becomes part of the trio’s landscape. Where before they’ve chosen tunes rich in irony for a jazz band to cover — “Heart of Glass” and “Iron Man” come immediately to mind — the emotional intensity and reverence Lewis offers the material only intensify their approach, especially “How Deep Is Your Love.” On tracks like Heart’s “Barracuda,” Lewis becomes a real soloist despite deliberately downplaying her interpretive skill as a singer. In becoming a “member” of the band on this outing, she stands out as its singer. Her lack of vocal histrionics and acrobatics allows the melodic, harmonic embellishments and dimensional extensions by the band to roam free over the material. She grounds them but they still swing like mad. Check the reading of a “classic rock” nugget like “Long Distance Runaround” and you’ll hear a fresh, brave, and utterly engaging song in its place — despite the fact that the lyrics, and melody have been faithfully rendered. The same goes for Kurt Cobain’s “Lithium” that opens the set. In the trio’s able hands, the pathos in that lyric, and Cobain’s melodic intricacy, can actually be heard. The dead space in Pink Floyd’s “Comfortably Numb” comes across as revealing the void at the heart of the song. The heartbreak in the Flaming Lips’ “Feeling Yourself Disintegrate” is devastating because of her dry delivery as accented by Reid Anderson’s propulsive bass, Ethan Iverson’s almost florid embellishing piano, and the in-the-cut breaks played by David King. On the modern classical material where vocals are absent, the trio look to interpret these works with deep concentration and bring out their improvisational possibilities as jazz tunes; they succeed in spades — check the knotty contrapuntal bass and piano interaction on Ligeti’s “Fém (Etude No. 8)” for example. This is one of the most compelling releases yet by one of the new jazz’s finest bands to emerge in the 21st century. – Thom Jurek

more »