tag:mark-kramer.com,2005:/blogs/a-note-from-markA note from Mark2021-11-04T20:18:37-04:00mark kramer, notable jazz pianistfalsetag:mark-kramer.com,2005:Post/67988322021-11-04T20:18:37-04:002023-10-16T10:51:42-04:00In Concert:�Eddie Gomez and Mark Kramer , 19 NOV 2021 <p><em>In Concert: </em><br><span class="font_xl"><strong>Eddie Gomez and Mark Kramer </strong></span><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><strong>Friday, November 19th, 7pm sharp</strong><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>or more information</p>
<p> </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/67717922021-10-10T14:46:07-04:002021-10-10T14:46:07-04:00Mark at Berklee College of Music<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>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>The whole program looks to be dynamite. </p>
<p>BERKLEE GLOBAL JAZZ INSTITUTE </p>
<p>Berklee Global Jazz Institute 6th Annual Symposium </p>
<p>Friday / October 15, 2021 / starts 10:00 am </p>
<p>David Friend Recital Hall (DFRH) </p>
<p>921 Boylston Street, Boston, MA, 02115, United States </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>
<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>Schedule </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>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>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>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>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>mark kramer, notable jazz pianisttag:mark-kramer.com,2005:Post/50728662018-02-10T14:07:37-05:002018-02-10T14:11:44-05:00PLAYING JAZZ IN A BAR OR RESTAURANT<p><img src="https://d10j3mvrs1suex.cloudfront.net/u/241056/34562b76ae39b859b5a2f2239febe831eae9b492/medium/cut-out-trio.jpg" class="size_m justify_left border_" />I could not be the first to observe that accomplished jazz piano soloists, jazz piano-bass duos, and even piano-bass-drum trios playing in restaurants or bars are generally relegated to the background for dinner or bar conversation. This has been the public’s general attitude in most places ever since the late 50s as best as I can tell. One can never expect great concert conditions in such places, as that is not how they are billed. But a few moments of authentic connection with patrons can be precious. And you know it doesn’t matter whether it’s the public in NYC or Hoboken, whether it’s a famous musician/ ensemble, whether the joint is upscale or a dive, has a jazz reputation (think about Bradley's!!) , whether the piano is of the grand Steinway class, whether the jazz is pop oriented or esoteric, whether sound reinforcement is superb or crap, whether the music is upbeat or brooding, loud or quiet, whether the musicians try to verbally interact with the public, or surprisingly whether or not the musician(s) sings. </p>
<p>Yet, the local bar-restaurant settings (those that are still employing jazz musicians) are often the trusty home-base - - the creative laboratories - - even for many of the most accomplished concert-circuit jazz musicians. The owners of such places – many who love jazz – are generally skittish about charging for the music (although they must in some way) or enforcing a listening policy. It would be an understatement to say that the clatter of dishes, silverware, sliding chairs, and boisterous conversations just a few feet from the players, flickering of TVs hung every few feet, are major distractions. These would be total liabilities re the creative process if it were not for their role in helping interested musicians develop super-human powers of concentration. It is no small feat to be able to filter-out these intrusions if only to hear the notes that the bassists are playing. </p>
<p>One must be disciplined not to take the brutish behavior of the public personally. But we do at times. When that happens, the performances are at risk for being “phoned in” amidst thinly veiled frustration and anger. Remember, even in the noisiest of rooms we are sometimes surprised by the approach of a patron who somehow heard us and who stops by to express genuinely heartfelt appreciation. </p>
<p>So, I stumbled upon, developed and then maintained the following attitude: that if my music could only tap into an uncommonly rarified vibration, then people would be drawn to the flame and just shut up. However, the quality of awareness which makes that possible is hardly often within one’s grasp. To be so inspired - - despite those horrible conditions - - - as to attract the natural surrender of one’s own and the public’s narcissism, provides one with a nearly impossible, but authentically high, perfectly objective, standard of excellence. </p>
<p>So, when you hear the beautifully quiet recordings and enthusiastic jazz audiences at our Hong Kong Fusion “Concert” Room (e.g., <a contents="Magenta&nbsp; CD" data-link-label="MAGENTA" data-link-type="page" href="https://www.mark-kramer.com/magenta">Magenta CD</a> of about 12 posted) realize that the venue had only initially been an extension of a noisy restaurant, albeit one with extraordinary cuisine and a daring owner. In future entries here, I should explain how this transformation took place, the successes realized, and with only the most modest of casualties along the way. <strong>Believe it or not, musicians need to decide whether they would rather just suffer and complain about their working conditions or otherwise productively pilot creative solutions to their conundrum. </strong> </p>
<p>Mark </p>mark kramer, notable jazz pianisttag:mark-kramer.com,2005:Post/50721282018-01-18T23:51:07-05:002021-06-05T17:28:56-04:00NEW VIDEO of MKT POSTED - "TROUBLED TIMES"<p><img src="https://d10j3mvrs1suex.cloudfront.net/u/241056/5fed56fe2614993dd6028f4553d6b46a9c86e3b9/small/trio.jpg" class="size_s justify_left border_" /></p>
<p>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/50721292018-01-03T23:23:09-05:002018-02-09T21:31:25-05:00TO PUSH THE ENVELOPE OR NOT?<p><a contents="" data-link-label="COITUS UNRESERVATUS" data-link-type="page" href="https://mark-kramer.com/coitus-unreservatus"><img src="https://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="https://mark-kramer.com/position-1">COITUS </a><a contents="COITUS UNRESERVATUS" data-link-label="position #1" data-link-type="page" href="https://mark-kramer.com/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/49974132017-12-28T15:38:13-05:002017-12-28T15:43:21-05:00The inside story of DR. DJ xZONE and a JAZZ RECORD LABEL <p><a contents="" data-link-label="Trance" data-link-type="page" href="/trance"><img src="//d10j3mvrs1suex.cloudfront.net/u/241056/2f7e2e942218d650a2f3135cd0cd8c8c24c2a392/medium/drdj5th-kind.png" class="size_m justify_left border_" /></a></p>
<p> <span style="color:#c0392b;"><span class="font_large"><strong>R</strong></span></span>eal Jazz Fans have long suspected, but only now can learn the truth about the state our beloved artform. Few have realized just how prominently DR. DJ xZONE has figured into the mix. Thank goodness there are still a few financially well-off souls who underwrite some jazz labels and provide some remaining jazz artists (fossils and newcomers) with a forum. Most cannot fathom the gyrations these artists must navigate in order to just play good venues. </p>
<p>DR DJ xZone knows all these outlets. He figured that if they needed him they would contact him. His whereabouts are currently unknown. We are not sure he can even be reached anymore. </p>
<p><span style="color:#c0392b;"><em><strong>"Dr. DJ x-Zone’s place in the annals of jazz is unique. Once upon a time, BLUE NODE RECORDS was nearly synonymous with greatest of all Jazz and its artists. But the once prestigious label, even under the leadership of Bruce Landfill, was only hanging on by a slim commercial thread. A gift in the form of a talented, young, quite beautiful metro-mold singer - Norad Jonesed - . . . " </strong></em></span></p>
<p>Continued as below: - </p>
<p><a contents="You may find the liner notes to Encounters of the Fifth Kind illuminating.&nbsp; Highly recommended reading, .&nbsp;&nbsp;&nbsp;&nbsp;" data-link-label="Trance" data-link-type="page" href="/trance">You may find the liner notes to Encounters of the Fifth Kind illuminating. Highly recommended reading</a><a contents="You may find the liner notes to Encounters of the Fifth Kind illuminating.&nbsp; Highly recommended reading, .&nbsp;&nbsp;&nbsp;&nbsp;" data-link-label="Trance" data-link-type="page" href="/trance">, .</a><a contents="You may find the liner notes to Encounters of the Fifth Kind illuminating.&nbsp; Highly recommended reading, .&nbsp;&nbsp;&nbsp;&nbsp;" data-link-label="Trance" data-link-type="page" href="/trance"> </a></p>
<p><a contents="You may find the liner notes to Encounters of the Fifth Kind illuminating.&nbsp; Highly recommended reading, .&nbsp;&nbsp;&nbsp;&nbsp;" data-link-label="Trance" data-link-type="page" href="/trance"> </a></p>mark kramer, notable jazz pianisttag:mark-kramer.com,2005:Post/50721302017-12-13T22:50:00-05:002020-06-25T14:37:54-04:00MAINLY FOR MY BROTHER and SISTER MUSICIANS<p><img src="https://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="https://mark-kramer.com/track/1325272/position-1">COITUS </a><a contents="COITUS UNRESERVATUS - POSITION #1." data-link-label="" data-link-type="track" href="https://mark-kramer.com/track/1325272/position-1">UNRESERVATUS</a><a contents="COITUS UNRESERVATUS - POSITION #1. " data-link-label="" data-link-type="track" href="https://mark-kramer.com/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 pianisttag:mark-kramer.com,2005:Post/50728672017-10-13T15:48:41-04:002018-02-10T14:05:39-05:00LAUNCH<p>The site is scheduled to launch at the end of November 2017. It will be a miracle if it does. </p>mark kramer, notable jazz pianist