tag:mark-kramer.com,2005:/blogs/latestLATEST2022-07-06T01:24:23-04:00mark kramer, notable jazz pianistfalsetag:mark-kramer.com,2005:Post/50721192022-07-06T01:24:23-04:002023-10-16T10:51:42-04:00POSTED: "Announcing BEYOND vol.1" <p><img src="//d10j3mvrs1suex.cloudfront.net/u/241056/80d6b021ebd30c16be76b00b6d0e4f1cbf453e82/original/coverholder.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.png" class="size_m justify_left border_none" alt="" /></p>
<p>The initial experimental syneasthesically derived compositions/performances have been refined and have blossomed into more than 20 pieces, Twelve of these have been compiled and mastered into BEYOND vol 1.</p>
<p>As if it were even possible – “BEYOND vol.1” - introduces a likely unique form to “jazz.” Because this master is currently seeking a partnership with a remaining highly competent art jazz label it cannot be made fully available here yet.</p>
<p>One example is provided of an early form. </p>
<p> “BEYOND Vol.1” is a preliminary exploration and celebration of the meaning (advanced purpose) of being alive. It provides the hope that our mostly untapped spiritual potential can evolve per our birthrights; for a greater purpose. The body of work in Volume 1 suggests that the potential acceleration of human evolution is possible. At root, its premise – by which Kramer lives - is that ours is a spiritual journey: the only thing, when genuinely graced and expressed through any craft, that can qualify as ART. </p>
<p>Its follow-up i.e., BEYOND (volume 2), musically depicts a kind of tutorial that may provide dedicated listeners some signposts as they proceed along their roads to more evolved Consciousness. </p>
<p>Each track tells a story (Track names are shorthand for the story, and the story told in each track is also described in words for potential liner notes, and for writers, upon request.) </p>
<p>Here are the names of the tracks for BEYOND vol.1 </p>
<p> <img src="//d10j3mvrs1suex.cloudfront.net/u/241056/159ebf16106072ab3dd9c3431ebb450e5e56267d/original/track-list-and-times.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.png" class="size_l justify_center border_" /></p>
<p>Its sound signature is unique, yet it follows a natural path; one that appears to be in the natural evolutionary order of the art form. It is JAZZ to all who have heard it. </p>
<p>Its main inspiration is based upon early African Music (an expression of community, teamwork, flexible leadership, polyrhythms and poly-meters as the earliest language, dance, inflection using non-European Scale Tones, and other organic sounds, etc. ). And just about everything else derived and not derived from that! So, also entering the brew (generally cloaked) is “Latin”, Rock, Hip Hop, Folk World Music (including Afro-Cuban, South American, Turkish, Punjabi, etc. ), theme and variation forms (as found in European Chamber/Orchestral music), semi-free Jazz combined with disciplined structure, the groundbreaking pre-composed classical works of e.g., Strauss, Debussy, Scriabin, Schillinger, Reger, Bartok, early Schoenberg), elements of big band and bebop. </p>
<p>The instrumentation is simply piano, bass, and drums – maybe that's what contributes to the seamlessness of the meld of so many influences. </p>
<p>Hopefully, this work will find its way through top curators onto prominent global digital platforms and bear UPC and IRSC codes for consumption. Until then, we will simply provide an example of the sound. </p>
<p>Fingers and toes crossed! </p>
<p> </p>mark kramer, notable jazz pianisttag:mark-kramer.com,2005:Post/67988352021-11-04T20:25:23-04:002021-11-04T20:30:02-04:00Eddie Gomez and Mark Kramer: NYC, Friday, November 19th, 7pm sharp <p>In Concert: <br><img src="//d10j3mvrs1suex.cloudfront.net/u/241056/bb420d605da977ac4e1353f3799565b36f8ceee9/original/eddie-and-mark-2021.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.png" class="size_m justify_left border_none" alt="" /></p>
<p> </p>
<p>Friday, November 19th, 7pm sharp <br> J.W. Marriot Essex House, <br> Kolstein Loft <br> 160 Central Park S , <br> New York, New York - 10019 </p>
<p>Please contact (516) 546-9300 <br>for more information </p>
<p><em>"Nothing short of brilliant, often closer to miraculous" — Scott Yanow </em></p>mark kramer, notable jazz pianisttag:mark-kramer.com,2005:Post/67717932021-10-10T14:47:35-04:002021-10-10T14:54:00-04:00Mark at Berklee College of Music<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/241056/f2900648f6828d0e540cc13757e858d05298a62e/original/image1.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsInNtYWxsIl1d.png" class="size_s justify_left border_none" alt="" />Hope you can join me (virtually) as I give a presentation/demo at the Berklee Global Jazz Institute 6th Annual Symposium Friday / October 15, 2021 / noon EST </p>
<p>https://livestream.com/berklee/events/9872434</p>
<p>Personally, BERKLEE has always represented a premier institution for contemporary music. Its jazz program sets a high bar for excellence in Jazz. Having been invited to present my own work was unexpected and highly appreciated. Beyond being a cure for rampant pandemic-itis, it is a heartfelt honor. I'll be there in person. If you wish, you can attend free at this link. I'm on at Noon, Friday / October 15, 2021</p>
<p><a contents="https://livestream.com/berklee/events/9872434" data-link-label="" data-link-type="url" href="https://livestream.com/berklee/events/9872434" style="">https://livestream.com/berklee/events/9872434</a></p>
<p> </p>
<p>The whole program looks to be dynamite. </p>
<p> </p>
<p>BERKLEE GLOBAL JAZZ INSTITUTE </p>
<p> </p>
<p>Berklee Global Jazz Institute 6th Annual Symposium </p>
<p> </p>
<p>Friday / October 15, 2021 / starts 10:00 am </p>
<p> </p>
<p>David Friend Recital Hall (DFRH) </p>
<p> </p>
<p>921 Boylston Street, Boston, MA, 02115, United States </p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/241056/eb8705fb3fbc32a93412770970d401f90e530c88/original/david-friend-hall.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.png" class="size_m justify_center border_none" alt="" /></p>
<p> </p>
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<p> </p>
<p> The Berklee Global Jazz Institute 6th Annual Symposium for Interconnected Arts and Music Performance creates a space to explore the multidimensionality of music and the connections between creativity, improvisation, science, spirituality, art, activism, and the broader human experience. </p>
<p> </p>
<p>Schedule </p>
<p> </p>
<p>10:00 a.m.–11:00 a.m. <br>Global Performance Pedagogy for the New Millennium <br>Marco Pignataro, managing director, Berklee Global Jazz Institute </p>
<p> </p>
<p>11:00 a.m.–12:00 p.m. <br>An Interview about Race, Gender, and Politics <br>Tanya Darby, chair of the Brass Department, Berklee College of Music </p>
<p> </p>
<p>12:00 p.m.–1:00 p.m. <br>The Neuroscience of Jazz Consciousness: Our Beautiful Minds and Hearts <br>Mark Kramer, M.D., Ph.D., professional jazz pianist </p>
<p> </p>
<p>2:00 p.m.–3:00 p.m. <br>The Performance of Self Definitions <br>Teodros Kiros, professor, Liberal Arts Department, Berklee College of Music </p>
<p> </p>
<p>3:00 p.m.–5:00 p.m. <br>The Power of the Cypher: Hip-Hop Improvisation and Activism <br>Queen D. Scott, professor, Ensemble Department, Berklee College of Music</p>
<p> </p>mark kramer, notable jazz pianisttag:mark-kramer.com,2005:Post/67336852021-09-02T02:10:50-04:002021-09-02T02:11:40-04:00UPSIDES TO PANDEMIC-ITIS<p>This has been an awful time for most of us. Some musicians who performed <img src="//d10j3mvrs1suex.cloudfront.net/u/241056/7e3c1a7a4a973dad251481812b6b794d80d910f5/original/blo0g-winghs.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsInNtYWxsIl1d.png" class="size_s justify_left border_none" alt="" />often have been hit hard, too. Live audiences make a huge difference in what we do. On the bright side, this huge lull has afforded me time to review the very long arc of my now primary career in jazz piano and producing. </p>
<p>About three years ago I began to construct a mind-map on what could still be brought to the field of jazz; how could it be revitalized while keeping its authenticity intact. However, I could not see a way forward until just a few weeks ago until shortly after a great T/C with a jazz journalist acquaintance. . The elements of our conversation began to transform in me. Then a disruptive revelation appeared for me. I felt in a flash that for the past decade I'd been approaching everything from an old perspective. It will just not work that way. </p>
<p>It would be unkind to leave you entirely hanging. But not to ruin the epiphany with details that must still take root, I'll just say for now that it's not a change in JAZZ players or styles that are key, but rather it is that JAZZ needs to be repurposed. The "How" should become evident in practice in the real world, I'd say in about 9 months. I am now working long hours to realize, with grace, this potential. It's "dope." </p>mark kramer, notable jazz pianisttag:mark-kramer.com,2005:Post/62799942020-04-11T23:24:36-04:002020-04-11T23:24:36-04:00NEW DVD POSTED: LIT versions of 9 Jazz Standards. Live from New York 8 NOV 2019 <p><a contents="" data-link-label="" data-link-type="url" href="https://youtu.be/Le6mAa1Jvfg"><img src="//d10j3mvrs1suex.cloudfront.net/u/241056/2519e2ab87a1ced2ae18142b64247a8780ffb850/original/for-route-9.png/!!/undefined/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.png" class="size_m justify_left border_" /></a></p>
<p>Hardly more of the same, these nine selections are from an unrehearsed unscripted live concert/ gig in upstate New York. Mark Kramer (piano) with (Rich Mollin (bass.) </p>
<p>I remember the time when dear (RIP) Mulgrew Miller sincerely and collegially asked me what tunes I'd been working on. I sort of grunted. He then quickly proceeded to show me some creative things he discovered and developed on some Fats Waller. I really enjoyed his general approach, his humanity, and talent. When it came time for me to share "what I'd been working on" all I could do was to show him general principles of harmony or melody that I'd been discovering all along,. The idea of working on individual tunes was pretty foreign to me, except when I'd create a lead sheet for a duo or trio where specifying alt changes had been mandatory, </p>
<p>So, when talented bassist Rich Mollin invited me to perform a gig/concert with him many hours from my home, and having just returned home the week prior, something impulsively in me agreed. And I was happy on many counts to have done so.</p>
<p>I also had just started archiving my performances on multitrack video, and I hastily threw together the less than ideal set-ups you see here. (You can hardly ever see the pianist's left hand.) The raw files sat for months. That was good, because when I finally heard and saw them after a time they made me smile mostly. I marveled at what could be accomplished just by being present in the moment, and by bringing one's accumulated principles of music to bear on each moment. Rich kept up very well. From all the above standpoints, I think the posting may help or entertain the few people who visit here often and non-anonymously. </p>
<p>DO I THINK THIS IS ART? No, I generally do not. However, the very last piece (Who Can I Turn To . . .) approaches it. </p>
<p>ART in JAZZ may happen when the musicians or a group of musicians decides to invoke a new set of principles. For me, there would have to be a lot more space, concentration, with a lot more interspersed clutter/texture. The new harmonies would follow readily expressed principles. But this is nothing I'd be able to do in this context. When a duo says they are going to play jazz, that admission in and of itself provides the rigid structure of a straight jacket. I think we wriggled as much as is humanly possible within those constraints in this collection, Perhaps that is what makes it so compelling at times. </p>
<p>These videos are all on a youtube playlist on the MARK KRAMER MUSIC YouTube Channel as well as here. Enjoy! </p>mark kramer, notable jazz pianisttag:mark-kramer.com,2005:Post/61327812020-01-19T03:08:42-05:002020-01-19T04:48:37-05:00CHESTER, PA. CONCERT 12/20/2019: NEW VIDEOS POSTED<p><img src="//d10j3mvrs1suex.cloudfront.net/u/241056/3742ad0a49c667b0e8cf6877683f6b76567c95e2/original/chester-trio-composie.jpg/!!/undefined/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_left border_" /></p>
<p>It was a great treat to play again in concert with life-long friend and master drummer Eric Kamau Gravatt. We were graciously hosted by Paul F. at his concert salon space in Chester, Pa. (Andre-Cafe-Acoustique) Somberly, missing was our comrade bassist Charles Fambrough, but Craig Thomas did make a solid contribution. </p>
<p>This was a good experiment. I decided in advance to unleash my more energetic rhythmic jazz-fusion side - one kept quite intentionally at bay for years. Why so? - is a topic for another time. Perhaps at this event, I just wanted to experience anew some earlier muscular states of musical being; to give Eric the showcase he deserved. Fortunately, my comfort zone nearly adapted. Working in the same core of musicians for years, it never occurred to me that a rehearsal would have been good. Yet, in reviewing the videos, I felt that we were at only 33% capacity. Why so? On this, I have many theories, but at root am clueless. </p>
<p>I am actually very happy. My earliest jazz sensibilities were informed by both Eric and Charles. In those days we took buses to gigs and carted each other's instruments for many blocks. All this precious stuff flooded me as I'd already forgotten way too much., </p>
<p>Next time there could be at least one rehearsal - not for the notes on the page, but to loosely define a common musical framework for our "here and now," </p>
<p>I hope you enjoy our session. I relish it as a wonderful milestone in this life. </p>
<p><a contents="These videos are all on a youtube playlist as well as here Enjoy!&nbsp;&nbsp;" data-link-label="" data-link-type="url" href="https://youtu.be/cwFlz1nfPK0" style="">These videos are all on a youtube playlist as well as here Enjoy! </a></p>
<p> </p>mark kramer, notable jazz pianisttag:mark-kramer.com,2005:Post/50315852018-01-18T23:51:07-05:002018-03-01T13:32:27-05:00NEW VIDEO of MKT POSTED - "TROUBLED TIMES"<p> </p>
<p><a contents="" data-link-label="VIDEOS " data-link-type="page" href="/videos"><img src="//d10j3mvrs1suex.cloudfront.net/u/241056/5fed56fe2614993dd6028f4553d6b46a9c86e3b9/small/trio.jpg" class="size_s justify_left border_" /></a>Rare footage recorded in 2011 of a long-standing version of the Mark Kramer Trio playing "Troubled Times:" a 2-5 cycle of changes. Gary Mazzaroppi on bass, and John Mosemann on drums. Contain some biographical material and commentary. Concert sponsored by the award-winning JazzBridge organization. </p>mark kramer, notable jazz pianisttag:mark-kramer.com,2005:Post/49764292018-01-03T23:23:09-05:002018-01-04T10:46:51-05:00TO PUSH THE ENVELOPE OR NOT?<p><a contents="" data-link-label="COITUS UNRESERVATUS" data-link-type="page" href="/coitus-unreservatus"><img src="//d10j3mvrs1suex.cloudfront.net/u/241056/5062e1e442ebd02330353605333b2ecbf7886432/small/coitus-cover.jpg" class="size_s justify_left border_" /></a>As most restless older artists have experienced, navigation of the field of jazz had been a daunting challenge 40 years ago: reimagining/ extending its artistic scope had been materially pitted against maintaining aspects of its status quo. Today that challenge still exists but is now set upon the near-delusional assumption that the field is burgeoning. By record sales, audience attendance, and the number of privately funded live venues offering a living wage - it most definitely is not. Its remaining fans as well as "movers and shakers" of the field, often resist innovations that might stray too far from the conventions of modern jazz. Most recording artists who stuck too close to familiar envelopes (i.e, identifiable styles) generally lept quickly into obscurity - except those with a mesmerizing classical technique that could create an immediate identity. </p>
<p>Thus, "death by reviewer" is often the unintended consequence for subtly innovative artists who trusted reviewers to be perceptive enough to drill down on their work i.e., beyond any of its superficial familiar ground. This may be why some dedicated jazz artists, especially those lacking an internship with a celebrated mentor and/or those who could not adequately self-promote (minimum $100K per year) might never find a home in the jazz hall of everlasting fame - decayed as it now is. </p>
<p>Some of the above apply to Mark Kramer - as heard in the main body of his work. In this Mark primarily honors conventional jazz styles/attitudes. Despite expanding some bounds of conventional jazz piano within a familiar envelope, Kramer had not been inclined to lead with radical material or style. </p>
<p>In full disclosure, Mark's status as a "senior" had never limited personal artistic range. When this late bloomer chooses to reveal his underlying MUSE explicitly, he incongruously joins the ranks of young polymetric and polytonal two-handed pianists: i.e., he adeptly designs new concepts for the art form- [hear an example here from <a contents="COITUS UNRESERVATUS" data-link-label="position #1" data-link-type="page" href="/position-1">COITUS </a><a contents="COITUS UNRESERVATUS" data-link-label="position #1" data-link-type="page" href="/position-1">UNRESERVATUS</a>] </p>
<p>Going forward Mark has decided to continue celebrating the rich history that shaped his initial contributions but also now will nurture and promote his often neglected long-standing personal MUSE. Yet the reasons for doing so in such a field are certainly not commercial. </p>
<p>Mark could not be more thankful for how much he has realized from the field of jazz to date. </p>mark kramer, notable jazz pianisttag:mark-kramer.com,2005:Post/48549882017-12-13T22:50:00-05:002022-06-01T05:17:23-04:00MAINLY FOR MY BROTHER and SISTER MUSICIANS<p><img src="//d10j3mvrs1suex.cloudfront.net/u/241056/6e0fea1f350cfa8a83e6459590df532a66c94b9e/small/studio-theatre.png" class="size_s justify_left border_" />So, you are searching out your jazz "brothers?" You are in or have recently completed jazz college? Or maybe you are already published and recognized? You are familiar with the history of jazz piano, and have studied and practiced almost all that there is? You may have concluded recently (or long ago) that your aim must include identifying and developing your own voice? You may have already assembled one or more brilliant groups that realize your vision? </p>
<p> </p>
<p>Can I assume that you have sampled a video or some tracks here already? Can I conclude that you may now regard Mark Kramer as maybe a decent player from an older generation? Can I conclude that <strong>here </strong>you don't yet hear an approach to jazz, piano, or composition that inspires you? That what is here might seem dated? [Maybe not? ... .it is a variable call, highly dependent on the expectations and sophistication of the listener.] </p>
<p>If most of this is on target - then please listen to this from <a contents="COITUS UNRESERVATUS - POSITION #1. " data-link-label="" data-link-type="track" href="/track/1325272/position-1">COITUS </a><a contents="COITUS UNRESERVATUS - POSITION #1." data-link-label="" data-link-type="track" href="/track/1325272/position-1">UNRESERVATUS</a><a contents="COITUS UNRESERVATUS - POSITION #1. " data-link-label="" data-link-type="track" href="/track/1325272/position-1"> - POSITION #1. </a> It is then that what follows may touch the more precocious reader/ advocate as intended. </p>
<p>You are now acutely aware that the line between classical/world music and cultural roots of jazz have become increasingly blurred. You may have been originally conflicted about playing a race card, but you have concluded that you are justified playing it if you can. If you can and do, you will go to great lengths to musically justify superimposing streamlining and cloaking certain old riffs and attitudes upon a most advanced 21st-century classical music. When you perform - your phrases are generally initially understated, but you will eventually display enormous bursts of speed at any tempo using an impeccably crisp and precise classical technique, impossible poly-rhythms, odd meters, polytonal pentatonics, intervallic playing, nearly impossible leaps in lines, left-hand counterpoint, You have also mastered multi-potential ambiguous harmony, lest you sound like every harmonic genius that preceded you. You are also comfortable playing for effect alone (actually highly preposterous) simple diatonic classical triads and cadences at times way out of character. You play with drummers who specialize at times in quadruple Latin tinged/rock time, accenting logically - but unexpectedly - hip-hoppy-rappy, playing with more precision, raw energy (yet highly controlled) than thought humanly possible; playing with bassists who wouldn't dare commit to son-Montuna vs. walking vs. halftime, lest they appear dated. You play from crafted, impossibly precise, poly-metric arrangements or have worked out cues that make it appear that you all emerge from your freedoms into an implied structure. </p>
<p>Jazz piano trio art today is technically brutal - but you have nearly perfected the grand deception of making it look easy and natural. I know it is not. </p>
<p>Believe me, that I've likely understood most of what you are doing. It is so so very courageous, most so very good. Yet, remarkably what you may have already devised has likely become formulaic very rapidly. Most, even those who have received widespread recognition for their creativity and over the top technique, may still not be able to make a proper living at it - - OR some may wonder whether they will have a chance to fully explore their current directions - - OR some who have already received enough recognition for many lifetimes may be now fighting back approaching irrelevancy. Is this right? </p>
<p>If you are youngish and thinking about changing directions, do listen carefully to any remaining mentors (producers and industry execs) if they should happen to sincerely advise you to stay with your <strong>natural muse</strong>. I was so advised early on - but did not listen to them. This is particularly difficult to hear - especially when your best MUSE has not attracted a fan base, a significant mentor, or income stream - or when you are very concerned that you must change something in order just to tread water. Feeling the need to stray from your natural muse may be pragmatic, but if you do it will come at a price. As may be in evidence by the majority of the material presented here, I - for one - suspect this strongly. I really don't know how life would have changed for me had I trusted my natural MUSE fully in the late 70s. I suspect it would have gained tremendous traction within 10-15 years. Then again, that was then. Today, I suspect that remaining A and R of some "big" jazz businesses increasingly asks artists to simplify their music [to start singing or adding a vocalist or 2) in the direction of R and B, or to the other extreme - i.e., to craft it so technically and musically complicated and muscularly rhythmic so as to represent an apocalyptic "sonic tapestry" in the form of exotic instruments and singers. Hindsight is 20/20. </p>
<p>Irrespective of all of the above, a deep selfless search that transcends music is required for each of us at some time, Such a personal search goes to the heart of one's existence. Such a search may bring one into communion with the so-called Universal mind. Then you will know for real, just as some of your forebearers do, what you've been trying to tackle. This truth can be a burden for those who have families - those with little mouths to feed. </p>
<p>On this site, the open-minded will find some specific examples of approaches to jazz piano you likely never before heard. I'll try to highlight them. But know that they are buried because for me they must remain as experiments. I personally decided they were too arduous to justify their full development, no matter how cutting-edge. This is mainly because these approaches require classical piano training for consistency in facility and development. I didn't undertake that 55 years ago, nor do I want to pay that price especially now! </p>
<p>With all of this in mind, I'd be surprised if you can't find something here to help your own efforts. At least I would hope! If not, well thanks for visiting! </p>
<p>Best wishes, Mark </p>mark kramer, notable jazz pianist