CMS Archive Project CD Set Reviewed
The first edition of the CMS Archive Project Selection CD sets, featuring Oliver Lake, Roscoe Mitchell, Musa Suso, David Izenson and many others, was positively reviewed in the in many publications, print and online (and both!), including in Downbeat, Jazziz, New York City Jazz Record and Cadence, among many others.
Ben Ratliff of the New York Times gave CMS a positive call-out in a July 31, 2014 review, saying, “The drummer Tyshawn Sorey and the pianist Marilyn Crispell played together as a duo only once before Tuesday night at the Stone. It was a couple of months ago, during a Creative Music Studio Workshop in the Catskills, and it lasted about 20 minutes. The reports were positive, and a video appeared online."
Tyshawn Sorey and Marilyn Crispell Improvise at the Stone
By BEN RATLIFF JULY 31, 2014
“The drummer Tyshawn Sorey and the pianist Marilyn Crispell played together as a duo only once before Tuesday night at the Stone. It was a couple of months ago, during a Creative Music Studio Workshop in the Catskills, and it lasted about 20 minutes. The reports were positive, and a video appeared online. It’s a little compromised. Ms. Crispell is playing a digital keyboard; the subtleties of Mr. Sorey’s drumming are compressed through YouTube audio. What can you do?”
"Karl Berger, the jazz pianist, vibraphonist and conductor of improvisers, ran a workshop for his orchestra before its performance at ShapeShifter Lab in Brooklyn on Thursday night. He uses a few simple hand signals for duration, attack and pitch, and the musicians wanted to be sure they were interpreting the specifics correctly. But Mr. Berger seemed more concerned with telling them something very general."
“Karl Berger has been a pioneer in large-scale jazz improvisation longer than just about anybody, which explains why his Improvisers Orchestra swings as hard, and interestingly, and often hauntingly as they do...”
“…in a sense any project in which Berger takes the helm involves playing naked. As a disciple of Ornette Coleman’s harmolodics, as a sideman for Don Cherry’s early ventures into the fusion of jazz and world music, as the eccentric visionary behind the Woodstock-based Creative Music Studio, and now as mastermind and conductor of the Stone Workshop Orchestra, Berger has practiced and encouraged the art of opening oneself to the immediate, shrugging off preconceptions in order to hear the options inherent in the here and now.”
The Downbeat interview, that never made it to Downbeat is on a wordpress blog.
The legacy of the Creative Music Studio persists—if you listen
“…attention to sense perceptions and encouragement of imaginative play remain touchstones of the CMS method, along with study of the rhythmic exercise called GaMaLa Taki (for its syllabic division into three beats, and two), the overtone series and harmonics. “These are more basic, ground level elements of music than Western tradition teaches, starting with pitches written on staffs,” says Berger.“
“…the study of the fundamental rhythmic exercise “GamalaTiKa,” the overtone series and harmonics offers a young player more direct connection to the “playing” aspect of music than does learning to read scores. This is the kind of pedagogy that could take root all over, encouraging spontaneous, personalized music wherever it reaches. That’s what happened last time, as the generation of CMS participants who emerged included percussionist Adam Rudolph, pianist Marilyn Crispell, tambin flutist Sylvan Leroux, bansuri flutist Steve Gorn, alto saxist Dan Davis, guitarist James Emery … trumpeter Steven Bernstein, multi-instrumentalist Peter Apfelbaum and many others. More good music, mixing tradition and creativity, all the time!”
“…Its (CMS) instructors were active performers and bandleaders, and they used the school as laboratory and playground. …Certainly the discoveries of the students — there were never more than 30 a term — were matched by the discoveries of the teachers. The studio did not promote one style because its teachers were too stylistically diverse. But a handful of important bands or records would not have happened without the studio as a spur, where the players were introduced to one another and the ideas were hatched.“