from the collection "Coitus UnReservatus"
"My road as a jazz pianist has now been long. The trip so far has gone quickly. I'll never know what might have been had I in the 80s initially associated my professional jazz identity with my most natural inclinations (as are represented in this recently recorded example.) After all, stuff like this (Position #1) has always flowed through my veins with little effort. It both delights and blows my mind. In the early days (except for a minor portion of an initial album) I would not permit this kind of stuff to see the light of day, concerned that to be recognized as any kind of jazz pianist, I'd need to play fluently in a modern, yet predictable jazz style. (For this, I chose a kind of metamodern impressionism). I had just not accepted that my natural predilection, despite only having primitive piano chops, had been to play at the extremes: i.e., of repetition, contrapuntally, polymetrically, polyrhythmically, and polytonally. Despite having an inkling, I could not have fully realized early on that this “natural me” style would in just two to three more decades embody the most prized attributes of jazz piano playing. I understand only now that my natural instincts had always been consistent with both core original and evolutionary jazz values, including individualism. Because of being so busy in several careers in life, I never had pressure to rediscover, remarket or reinvent myself as a musician. Thus, my core jazz muse had never been resurrected. So, it is only now, arguably too late, that I am more than pleased to be able to present this kind of work along with the rest. Even now, that you hear this at all is only a matter of setting free what should have been set free all along. This is, of course, a highly personal confession. What this means in the greater scheme, I am not sure. To be cynical, the field at this level of minutia only matters now to a few of us. If you get what I am saying, drop me a line. OK? "Mark Kramer