Excerpts of press releases about PAF

For the last 8 CD’s with PlasticArtFounation (PAF) Crameri is working for his concept of music, his own sound-cosmos – or how he puts it „a cycle of renewal of consciousness“. The cast changes constantly and brings renowned musicians like Arild Andersen, Paolo Vinaccia and the Los Angeles based cellist Martin Tillmann to this little paradise aswell as to the Rainbow-Soundstudio of Jan Erik Kongshaug in Olso/Norway, where the results of the sessions are brought to the highest technical level. …
Carlo is long tired of the discussions about Jazz anyway. It is about more.
About polyphonic symphonic structures, nothing monotonous like Jazz or Rock; about an obsession, about search-findings. For that purpose saturated musicians don’t serve. They are not ready to go to the limit, we do – and beyond. We don’t do this in order to sell CD’s, but to spread something, a thougt, an idea, an attitude. To bring out the seed“
Reinhard Köchel, ‚Jazzthing’, June 2010, p. 68.

„When I need distance from new compositions, I change to painting and vice versa. It is a known fact, that colour and sond are connected– although seemingly perceived seperately through eye and ear – and as frequency-carrier interrelated. Proof for that is the corresponding number 12 in the scale and the colour circle. Music however is the spearhead of evolution. It hast he capacity of pervading everything, also speech-barriers, because music is vibrant sonic-energy in units of sound and colour – activity of transformation, which whirls out of the centre Zero-sound and – colour into other time zones of awareness; a jouney of sound-colour, which is leading to a renewing cycle of consciousness. That’s what I mean with spearhead“ says Crameri.

„Art means to bring something New, being visionary“ says Crameri. „Artists are shamans of the here-now. When this Essential is missing, art becomes epigonal, eclecticistical, apologetical, un-crative, is merely programed: „l’art pour l’art“. In order to sense this information – underlying the New – a mental process is needed. It is about exploring spiritual dimensions and about expressing ‚the Spiritual in Art’ of which W. Kandinsky is talking in his book (‚On the Spritual in Art‘). The sum of experiences the Artist is exposed to, is reflected in his mind as a sentiment. Any aesthetical and ideational informations are important, all the artist in confronted with, the whole Culture is shaping this experience. At the same time all in all in interconnected, which is why we call our music ‚axiatonal’.
(P. Windmüller, ‚Jazz’n’more’, 4/2010, p.21)

„John Cage opened my eyes when he postulated, that the future of music belonged to the ‚All-Tonality’. Maurice Kagel talks about ‚the ambiguity in transcription and interpretation of musical processes’ in connection with his electronicly gernerated compositions. The refined tonality resultant thereof allows a variety of shades in music. Frequencies hidden in conglomerates can become audible through Electronics beyond the instrumental. Thanks to Electronics the jounrney inwards can really start. When we realize that everything is vibrating, is constantly in movement, that without vibration there would no matter and no music, then Electronics belong to contemporary music as a tool. Otherwise time-adequacy would be missing. The music did not reflect the times we are living in and would therefore not be contemporary.“
(P. Windmüller, ‚Jazz’n’more’, 4/2010, p. 23)

What remains is the incredible urge of Crameri to discover, his almost feverish search of unplayed sounds, of exits out of an infested music scene …
… PAF ist he extraparliamentary soundrevolution of the 21st century; radical, questioning the system, isolated, but contrary to the (german) RAF full of confidence.
(R. Köchel, ‚JazzThing’, April 2008)

Full versions of the texts in www.plastic-art-foundation.com