Philadelphia pianist and composer, Mark Kramer has played with such masterful musicians as Michael Brecker, Randy Brecker, Charles Fambrough, Stanley Clarke, Eddie Gomez and Eric Gravatt in addition to heading his own trios.
Born in Philadelphia, Mark began playing classical violin when he
was five. Always an adventurous improviser, Kramer gravitated
towards jazz, teaching himself saxophone, bass and drums before
settling on piano. As a teenager and while in his twenties he played
with such masterful musicians as Michael Brecker, Randy Brecker,
Charles Fambrough, Stanley Clarke and Eric Gravatt in addition to
heading his own trios. Kramer also became involved in some
unusual projects including recording the largest known body of jazz
renditions of complete Broadway shows (eight scores including
Evita* [see footnote by Kurt Siegel], The Sound Of Music, Rent and
Sophisticated Ladies). He reharmonized an entire Mozart symphony
and recorded it with his trio. He also recorded jazz interpretations of
the main themes from John Williams score for Harry Potter and the
Sorcerer’s Stone. In addition, Kramer transformed the music of the
Rolling Stones into creative jazz on Stone Jazz.
Starting in the late 1980s and regularly since 2001-2, Mark Kramer
concertized and recorded intuitive and very creative duets with
Eddie Gomez. Troubled Times is their 7th and most inventive CD
yet. Also planned for media circulation is his 2009 release of a
mainstream, recording of “Jazz Standards” - KIND of TRIO. This is
a stunning piano centered live recording of Mark’s trio, featuring
Eddie and Joe Chambers. It documents Kramer as a brilliant
mainstream jazz piano virtuoso, and as a leader.
Overall he has led or co-led over 20 titles distributed worldwide.
Most hv not had formal media campaigns. For 2010 and beyond, his
early CD productions , those whose licensing has expired, will be
incrementally re-release, and distributed to media for review. Among
these are a duo set of his Evaneque originals entitled TROUBLED
TIMES, as well as further projects with Eddie Gomez. He continues
to tour and record with Eddie, and most recently with the addition of
Joe La Barbara throughout Italy.
Importantly, Mark has abandoned his past decade+ of efforts to
recruit new audiences into the jazz world through novelty recordings.
These have all invoked what has been called an authentic
Evanesque approach. His methodical, now completed 10 year
experiment in specialty jazz did gain some traction at major labels,
but most certainly separated him to some extent from the
mainstream jazz community. This was a heavy price to pay for a
brilliant pianist, who remains an unsung creative “great” among jazz
Over the past two years (2008-2010*) Mark invented and
implemented a remarkable proprietary composing and orchestration
system: potentially groundbreaking as an artistic production model.
He has privately revealed an astonishing demo of a series of works
entirely produced as he says “on his own terms, partnered with the
grace of an omnipresent source.”, He seems entirely intent on this,
and appears to be unconcerned about 1) its commercial value, 2)
deviations from mainstream jazz, 3) acquiring critical acclaim, 3)
pandering to jazz greats for credibility, or 4) audience acceptance of
it in his lifetime.
Notwithstanding, his contributions already to the field are
considerable. His piano playing on all vehicle he has chosen moves
the modern mainstream of jazz forward, combining together his early
influences and his formidable technique with fresh ideas that form
his own individual voice. He is a piano giant who is finally being
--Scott Yanow, jazz writer
- Miles Davis - Kind of Blue
- John Coltrane - My Favorite Things
- Bill Evans - Conversations w/ myself /all
- J.S.Bach -Complete works
- Erik Satie - Collection
- If not, just a simple solar powered keyboard,
- headphones, extra parts, a connection with the great MUSE,
- would be fine. Maybe a basketball to talk with
- and as audience?