Page Five

Jimmy Giuffre… to name a only a few. Inspired by the idea of World Music he discovered at CMS, he followed his interest for African music all the way to Conakry to study the tambin (a.k.a. Fula flute), a traditional three-hole sideblown Guinean flute, remarkable for its vital sound and the exuberant vocalizations that accompany it.

Later, in collaboration with Guinean tambin master Bailo Bah he produced the album “Fula Flute” which was influential and contributed to worldwide awareness of the instrument. The music from the CD has been ubiquitous on Guinean radio and television for more than a decade.

Leroux has visited Guinea many times. Initially to study the tambin, his relationship with the country has evolved into a more personal one. Many times his friends expressed to him that he should open a music school there. This seemed an impossible dream until the advent of his invention. Then, he saw that this simple instrument could help lay the foundation for an eventual fully-fledged music school.

He therefore began striving to prove the validity of the concept with a first step earlier in 2013 when he spent a month in Conakry teaching the wonderful children of the Tyabala Center the basics of flute playing. They took to the flute enthusiastically and this demonstrated that the instrument was adequate for use by children for the intended purpose. The next step, which is covered by the current Kickstarter project, consist in a four month stay to dive further into the children’s instruction and work with them to achieve tangible results in music literacy.

Joe Lovano, Henry Threadgill, and Tyshawn Sorey Named Guiding Artists for CMS Spring 2014 Workshop

They Join Peter Apfelbaum, Marilyn Crispell, Warren Smith, Judi Silvano and CMS Co-Founders Karl Berger and Ingrid Sertso

June 9 – 13 Workshop Features Intensive Workshops, Jam Sessions and Intimate Concerts in a Spectacular Mountainside Setting

Deadline to Register is May 19 

REGISTER NOW!

Daily Schedule
Guiding Artist Biographies
About Full Moon Resort
FAQ
Pricing and Registration
Directions/Transportation

The Creative Music Studio continues its resurgence, offering two four-day workshops in 2014 at the well-appointed Full Moon Resort in Big Indian, NY.  Master musicians/composers/educators Joe Lovano, Henry Threadgill, Tyshawn Sorey, Marilyn Crispell, Peter Apfelbaum, Warren Smith and Judi Silvano will join CMS Artistic Directors Karl Berger and Ingrid Sertso as Guiding Artists for the CMS Spring workshop intensive, June 9 – 13.  Along with Harvey Sorgen, Ken Filiano, John Menegon and Omar Tamez, they will explore CMS’s “Music Mind” practice that focuses on the common elements of all music, inspiring awareness, personal expression, intensive listening and cross-cultural communication.  Registration deadline for the CMS’s Spring Workshop is May 19, 2014.

Two highly successful four-day workshops in May, and October, 2013 at the Full Moon Resort re-ignited CMS and its nonprofit parent, the Creative Music Foundation.  Positive feedback from those workshops prompted CMS to offer two more workshops in 2014, the first during the peak of spring and the second during the height of autumn when the Catskill leaves are most colorful.

CMS Workshop Guiding Artists in 2013 included: Vijay Iyer, Dave Douglas, John Medeski, Oliver Lake, Don Byron, Peter Apfelbaum, Tony Malaby, Cyro Baptista, Marilyn Crispell, Steven Bernstein, Jason Hwang, Kirk Knuffke, Kenny Wessel, Steve Gorn, Mark Helias, Tom Rainey, Thomas Buckner, Harvey Sorgen, Tani Tabbal, Ken Filiano, Omar Tamez, and John Menegon, in addition to Creative Music Foundation co-founders Karl Berger and Ingrid Sertso.

CMS Workshops feature four days of intensive workshops, master classes, intimate concerts and informal jam sessions that inspire active listening, personal expression, improvisation and musical exploration. Musicians of any instrument, including voice, are welcome as are non-musicians.  Adults who played music earlier in their lives can benefit from this lifelong learning opportunity that offers participants a once-in-a-lifetime experience to learn from and play with music masters, and to simply spend time with them in an informal, personal setting.   The non-traditional atmosphere of the Creative Music Studio Workshop encourages participants to experiment, push beyond limits, genres and categories, to take risks, and to develop their own deeply personal musical expression.

“In the CMS tradition, the 2103 workshops offered not only profound teachings from music masters but also gave participants game-changing perspectives,” said Karl Berger. “Joe, Judi, Henry, Peter, Marilyn, Warren and Tyshawn will continue in that direction, offering their heart-felt insights into playing, composing and improvising.”

A typical day at the CMS 40th Anniversary Workshop is:

8:00 – 9:30                      Breakfast

9:30 – 10:00                    Body Awareness

10:15 – 11:00                  Rhythm/Voice Awareness, including GaMaLa Taki rhythm practice

11:30 – 1:00                    Master Class/Workshop

1:00 – 2:15                      Lunch

2:30 – 5:00                      All Instruments Workshop

5:15 – 6:30                      Improvisers Orchestra

6:30 – 7:00                      Listening Meditation

7:00 – 8:15                      Dinner

8:30 – 10:00                    Concert with Guiding Artists

10:00 – ?                          Participant concerts and jams, unscheduled sessions

 

Late night consists of playing music, unscheduled sessions, conversations, bonfires, or simply stargazing at Full Moon’s gorgeous location in the heart of the Catskill Mountains, with the historic Esopus Creek running through the expansive property.

CMS’s parent nonprofit, the Creative Music Foundation, is working to fundraise in order to offer full and partial scholarships for the workshop. For more information and online registration, please call the Full Moon Resort, 845-254-8009,  or email: music@fullmoonresort.com.

 

REGISTER NOW!

Deadline is May 19 

 

Full Moon contact info:
Telephone: 845-254-8009
Monday-Friday, 9am-5pm (EST)

 

 

Daily Schedule (subject to improvisation)

Monday, June 9

  • Opening orientation in the main building, hosted by Karl Berger, Ingrid Sertso and other Guiding Artists
  • Introducing featured artists and any special guests
  • Brief review of daily workshops, activities, performances
  • Meet and Greet on Front Lawn with Open Bar and Hors D’Oeuvres
  • Dinner
  • Opening night performance in the “Roadhouse” performance space
  • Late night jams among participants  

 

Tuesday, Wednesday, Thursday, June 10 -12

8:00 – 9:30                      Breakfast

9:30 – 10:00                    Body Awareness

10:15 – 11:00                  Rhythm/Voice Awareness, including GaMaLa Taki rhythm practice

11:30 – 1:00                    Master Class/Workshop

1:00 – 2:15                      Lunch

2:30 – 5:00                      All Instruments Workshop

5:15 – 6:30                      Improvisers Orchestra

6:30 – 7:00                      Listening Meditation

7:00 – 8:15                      Dinner

8:30 – 10:00                    Concert with Guiding Artists

10:00 – ?                          Participant concerts and jams, unscheduled sessions

 

Friday, June 13

  • Breakfast
  • Group photo
  • Farewell and Departure

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Guiding Artist Biographies

 

Joe Lovano, saxophone, composer   

Grammy-winning saxophonist and composer Joe Lovano is fearless in finding new modes of artistic expression.  With 14 Nominations and a Grammy for his 52nd Street Themes, he has won Down Beat Magazine’s Critics and Readers Polls countless times as Tenor Saxophonist, Musician of the Year, Jazz Album of the Year and Triple Crowns from Downbeat and the Jazz Journalists Association in 2010.

Born in Cleveland, Ohio on December 29, 1952 he attended the famed Berklee College of Music in Boston where years later he was awarded an Honorary Doctorate.   Since 2001 he has held the Gary Burton Chair in Jazz Performance and is a founding faculty member of the new Global Jazz Institute directed at Berklee by Danilo Perez.  He is a guest lecturer at New York University Jazz Program, Juilliard and Manhattan School of Music as well as Clinician at Universities around the globe.

He has toured with jazz greats such as Woody Herman Thundering Herd, Dr. Lonnie Smith, Mel Lewis Jazz Orchestra, Carla Bley Band, Elvin Jones Jazz Machine, Saxophone Summit and has created a body of work for his large ensembles including strings, woodwinds, voice as well as his Horn-rich Nonet and more recently his UsFive group with double drummers which has been gathering kudos world-wide!

Since 1991 Lovano has been recording as a leader for Blue Note Records and “Cross Culture” marks his 24th release with more to follow.   He has had an extraordinary relationship with Blue Note President and driving force Bruce Lundvall throughout the years for which he is grateful.   Joe has recorded with a long list of jazz greats including Woody Herman, Mel Lewis, Bob Brookmeyer, John Scofield, Paul Motian, Bill Frisell, Gunther Schuller, Elvin Jones, McCoy Tyner, Ed Blackwell, Dave Holland, Hank Jones, Dave Liebman, Michael Brecker, Ravi Coltrane and many others.  In addition, a Concerto for saxophone and chamber orchestra was written for him by Mark Anthony Turnage called “A Man Descending”.

Joe Lovano continues to explore new horizons within the world of music as a band leader and composer.  Look for a new recording with the great Tony Bennett due out this year!

 

Henry Threadgill, composer/reeds 

Henry Threadgill (born February 15, 1944, in Chicago, Illinois) is an American composer, saxophonist and flautist,[1] who came to prominence in the 1970s leading ensembles with unusual instrumentation and often incorporating a range of non-jazz genres. He studied at the American Conservatory of Music in Chicago co-majoring in piano and flute, along with composition. He studied piano with Gail Quillman and composition with Stella Roberts. He has had a music career for over forty years as both a leader and as a composer.

Threadgill’s music has been performed by many of his long-lasting instrumental ensembles, including the trio Air with Fred Hopkins and Steve McCall, the seven-piece Sextet, Very Very Circus, the twenty-piece Society Situation Dance Band, X-75, Make a Move, Aggregation Orb, and his current group Zooid. He has recorded many critically acclaimed albums as a leader of these ensembles with various record labels namely Arista/Novus, About Time, Axiom, Black Saint, Columbia and Pi Recordings.

Threadgill has had numerous commissions and awards throughout. He has composed music for theatre, orchestra, solo instruments, and chamber ensembles. His works for large orchestras, such as “Run Silent, Run Deep, Run Loud, Run High” (conducted by Hale Smith) and “Mix for Orchestra” (conducted by Dennis Russell Davies), were both premiered at the Brooklyn Academy of Music in 1987 and 1993 respectively. He has had commissions from Mordine & Company in 1971 and 1989, from Carnegie Hall for “Quintet for Strings and Woodwinds” in 1983 and 1985, the New York Shakespeare Festival in 1985, Bang on a Can All-Stars in 1995, “Peroxide” commissioned by the Miller Theatre Columbia University in 2003 for “Aggregation Orb”, a commission from the Talujon Percussion Ensemble in 2008, a piece “Fly Fliegen Volar” commissioned and premiered at the Saalfelden Jazz Festival with the Junge Philharmonie Salzburg Orchestra in 2007, a premier of the piece “Mc Guffins” with Zooid at the Biennale Festival in Italy in 2004 to name some.

Threadgill, aside from being a remarkable alto saxophone player, is one of the most imaginative of jazz composers today. “He seems to be deliberately challenging the audience: My lyricism and mastery come complete with thorns and spikes, and I promise to yank the props out from under you,” quoted John Litweiler, longtime Down Beat jazz critic, in an article he wrote for the Chicago Sun-Times. Threadgill was one of the founding members of the Association for the Advancement of Creative Musicians (AACM), a Chicago group that was free-form, you might say, in its philosophy and approach. Peter Watrous of the New York Times described Threadgill as “perhaps the most important jazz composer of his generation.” Recent concerts in Chicago have led the local critics to speak of him as a revolutionary figure, altering the manner in which jazz itself is going. Said Howard Reich, jazz critic of the Chicago Tribune, “It would be difficult to overestimate Henry Threagill’s role in perpetually altering the meaning of jazz..…He has changed our underlying assumptions of what jazz can and should be.” – An excerpt from a chapter on Henry Threadgill in And They All Sang (2005) by Pulitzer-winning author and disc jockey Studs Terkel, a book about “forty of the greatest and most deeply human musical figures of our time.” He recently composed an elegy for the late Butch Morris that premiered to critical acclaim. (Wikipedia)

 

Marilyn Crispell, composer/pianist 

Marilyn Crispell is a graduate of the New England Conservatory of Music where she studied classical piano and composition, and has been a resident of Woodstock, New York since 1977 when she came to study and teach at the Creative Music Studio. She discovered jazz through the music of John Coltrane, Cecil Taylor and other contemporary jazz players and composers. For ten years she was a member of the Anthony Braxton Quartet and the Reggie Workman Ensemble and has been a member of the Barry Guy New Orchestra and guest with his London Jazz Composers Orchestra, as well as a member of the Henry Grimes Trio, Quartet Noir (with Urs Leimgruber, Fritz Hauser and Joelle Leandre), and Anders Jormin’s Bortom Quintet. In 2005 she performed and recorded with the NOW Orchestra in Vancouver, Canada and in 2006 she was co-director of the Vancouver Creative Music Institute and a faculty member at the Banff Centre International Workshop in Jazz.

Besides working as a soloist and leader of her own groups, Crispell has performed and recorded extensively with well-known players on the American and international jazz scene. She’s also performed and recorded music by contemporary composers Robert Cogan, Pozzi Escot, John Cage, Pauline Oliveros, Manfred Niehaus and Anthony Davis (including four performances of his opera “X” with the New York City Opera).

In addition to playing, she has taught improvisation workshops and given lecture/demonstrations at universities and art centers in the U.S., Europe, Canada, Australia and New Zealand, and has collaborated with videographers, filmmakers, dancers and poets. Crispell has been the recipient of three New York Foundation for the Arts fellowship grants (1988-1989, 1994-1995 and 2006-2007), a Mary Flagler Cary Charitable Trust composition commission (1988-1989), and a Guggenheim Fellowship (2005-2006). In 1996 she was given an Outstanding Alumni Award by the New England Conservatory, and in 2004, was cited as being one of their 100 most outstanding alumni of the past 100 years.

 

Karl Berger – PhD, Founder Creative Music Foundation, composer, vibraphonist, pianist 

Founder and director of the nonprofit Creative Music Foundation, Inc., and creative leader of the legendary Creative Music Studio, Karl Berger is dedicated to the research of the power of music and sound and the elements common to all of the world’s music forms. In addition to his composing and playing, Karl is known around the world for educational presentations through workshops, concerts, recordings, and with a growing network of artists and CMS members worldwide.

Karl Berger is a six time winner of the Downbeat Critics Poll as a jazz soloist, recipient of numerous Composition Awards (commissions by the National Endowment for the Arts, the New York State Council on the Arts, the Rockefeller Foundation, European Radio and Television: WDR, NDR, SWF, Radio France, Rai Italy. SWF-Prize 1994). Professor of Composition, Artist-in- Residence at universities, schools and festivals worldwide, PhD in Music Esthetics.

Karl Berger became noted for his innovative arrangements for recordings by Jeff Buckley (“Grace”), Natalie Merchant (“Ophelia”), Better Than Ezra, The Cardigans, Jonatha Brooke, Buckethead, Bootsie Collins, The Swans, Sly + Robbie, Angelique Kidjo and others; and for his collaborations with producers Bill Laswell, Alan Douglas (“Operazone”), Peter Collins, Andy Wallace, Craig Street, Alain Mallet, Malcolm Burn, Bob Marlett and many others in Woodstock, New York City, Los Angeles, Tokyo, London, Paris and Rome.

He recorded and performed with Don Cherry, Lee Konitz, John McLaughlin, Gunther Schuller, the Mingus Epitaph Orchestra, Dave Brubeck, Ingrid Sertso, Dave Holland, Ed Blackwell, Ray Anderson, Carlos Ward, Pharoah Sanders, Blood Ulmer, Hozan Yamamoto and many others at festivals and concerts in the US, Canada, Europe, Africa, India, Phillippines, Japan, Mexico and Brazil.

His recordings and arrangements appear on the Atlantic, Axiom, Black Saint, Blue Note, Capitol, CBS, Columbia Double Moon, Douglas Music, Elektra, EMI, Enja, Island, JVC, Knitting Factory, In&Out, MCA, Milestone, Polygram, Pye, RCA, SONY, Stockholm, Vogue and others.

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Ingrid Sertso  – voice, poet, co-founder, Creative Music Foundation 

Through her work with such avant-jazz musicians as Don Cherry and Karl Berger, Ingrid Sertso established herself as a captivating, adventurous vocalist, capable of blending jazz, African, South American and other worldbeat influences into a distinctive, hypnotic sound.

Although Sertso didn’t become well-known until the release of Dance with It in 1994, she spent over 20 years honing her art. During the late ’60s, she lived in Europe, leading her own trios and performing with the likes of Eric Dolphy, Don Cherry, Steve Lacy, Karl Berger and Leo Wright; she also worked as a music teacher at several institutions in Europe. In 1972, she became a permanent resident of the United States and she released her first album, We Are You, on Calig Records. Over the next few years she taught, while she performed in North America and Europe with the likes of Cherry, Ed Blackwell, Lee Konitz, Sam Rivers, Jimmy Giuffre, Bob Moses, Dave Holland, Perry Robinson and Jumma Santos. In 1974, she released Kalaparush on Trio Records in Japan. It was followed in 1975 by Peace Church Concerts on India Navigation/CMC Records.

In 1975, Sertso became a faculty member at the Naropa Institute in Boulder, Colorado. She stayed there through 1975 and 1976, before moving to the Banff Centre of Fine Arts in Calgary, Canada. She had two residencies at Banff before moving to the Creative Music Studio in Woodstock, New York, where she became the co-director. While working at the Creative Music Studio, she began singing in the Art of Improvisation with Berger and David Inzenon. In 1979, she toured major European cities as a solo artists, supported by the Woodstock Workshop Orchestra. She also released an album on MPS Records that year.

During the early ’80s, Sertso remained a co-director at the Creative Music Studio, while continuing to record and perform with a variety of musicians, including such mainstays as Don Cherry and Karl Berger, as well as Paulo Moura, Nana Vasconcelos, Steve Gorn, Dan Brubeck and Mike Richmond. In 1984, she performed with the Music Universe Orchestra at the Kool Festival in New York and released a duet album, Changing the Time, with Berger on Horo Records in Italy. She also toured Europe twice during this time and she also toured West Africa with Olatunji and Aiyb Dieng.

Sertso’s career picked up momentum during the latter half of the ’90s. She held a series of concerts and workshops in Rio de Janeiro, Brazil and she regularly tour the US on club and festival circuit. Sertso also toured Europe twice and sang solo vocals on Berger’s orchestral ballet, The Bird. She was one of the co-leaders of Rhythm Changes, who released the Jazzdance album on ITM Records. During these five years, she also performed and recorded with a variety of artists, including Pauline Oliveros, Lee Konitz, Frank Luther, Anthony Cox, Leroy Jenkins, Jimmy Cobber, Linda Montano and Karl Berger.

In 1990, Sertso catapulted back into the mainstream jazz spotlight through her version “Until the Rain Comes” on Don Cherry’s Multi Kulti album. Shortly afterward, she began working on a new album, but she became sidetracked by collaborating with Karl Berger and guitarist Paul Koji Shigihara. The trio blended original compositions with Sertso’s poetry, improvisations and interpretations of traditional tune. Sertso also regularly performed poetry readings at the Tinker Street Cafe in Woodstock and the Knitting Factory in New York, and she also regularly played clubs along the Northeast coast. In 1994, she released her comeback album Dance with It, which earned postitive reviews. – Stephen Thomas Erlewine (All Music Guide)

 

Peter Apfelbaum – sax, drums, composition 

Peter Apfelbaum (born 1960) is an American avant-garde jazz pianist, tenor saxophonist, drummer and composer born in Berkeley, California. He first emerged on the jazz scene in the late 1970s, performing with Carla Bley from 1978–1982 and touring with Warren Smith and Karl Berger. Around this time Apfelbaum also studied and worked with musicians involved with the Creative Music Studio in Woodstock, New York. He graduated from Berkeley High School in 1978 in a class that included jazz pianist Benny Green.

Apfelbaum has made an impact on the avant-garde jazz and world music scene since the late 1970s and 1980s. He is a well known multi-instrumentalist and composer. His three main instruments are tenor saxophone, piano, and drums, but he has recorded and performed with a diverse array of percussion, wind, and other instruments. He has composed suites for various artists (including Don Cherry) as well as his 17-piece group The Hieroglyphics Ensemble. In 1990 Apfelbaum toured and recorded with Cherry in the group Multikulti, playing both piano and saxophone.

In the early 1990s, Apfelbaum opened shows for The Grateful Dead with The Hieroglyphics Ensemble. Apfelbaum formed The Hieroglyphics Ensemble with jazz musicians from the San Francisco Bay Area, including Jeff Cressman, Will Bernard, Norbert Stachel, Jessica Jones, Tony Jones, Peck Almond, Dezon Claiborne, Josh Jones, Jai Uttal, and many others. In 1991 his album “Signs Of Life,” recorded with The Hieroglyphics Ensemble, went to No. 14 on Billboard (magazine)’s “top contemporary jazz albums.[1]

The latest incarnation of this group, The New York Hieroglyphics, released “It Is Written” in 2005, featuring members from the original group and New York-based musicians such as Patrice Blanchard, Dafnis Prieto, Josh Roseman, and Abdoulaye Diabate as well as Phish guitarist Trey Anastasio, for whom Peter was music director. His compositions and performances have influenced many artists active in the contemporary jazz fusion scene. His work recombines and synthesizes varieties of world music (i.e. various non-Western diasporic musical traditions) with experimental jazz idioms.[2] Of how his music came into being, Apfelbaum writes: “My vocabulary reflects the fact that I started life as a drummer, was trained in jazz theory, blues and gospel music as a pre-teenager, became absorbed in African and Latin music as a teenager, listened to a lot of contemporary classical music, worked in R&B, reggae, blues, Latin, African, jazz, funk, Middle Eastern and Indian bands and, for as long as I can remember, I’ve been fascinated by how sounds can be fitted together.”

 

Warren Smith, percussion, drums, composer 

Smith was born in Chicago, Illinois, into a musical family; his father played saxophone and clarinet with Noble Sissle and Jimmy Noone, and his mother was a harpist and pianist. He studied clarinet under his father from age four. He graduated from the University of Illinois in 1957, then took a master’s in percussion at the Manhattan School of Music in 1958.

One of his earliest major recording dates was with Miles Davis as a vibraphonist in 1957. He found work in Broadway pit bands in 1958, and also played with Gil Evans that year. In 1961 he co-founded the Composers Workshop Ensemble, a New York-based jazz composition and performance ensemble. In the 1960s Smith accompanied Aretha Franklin, Nina Simone, Lloyd Price, and Nat King Cole; he worked with Sam Rivers from 1964–76 and with Gil Evans again from 1968 to 1976. In 1969 he played with Janis Joplin and in 1971 with Tony Williams Lifetime. He was also a founding member of Max Roach’s percussion ensemble, M’Boom, in 1970. In the 1970s and 1980s Smith had a loft called Studio Wis which acted as a performing and recording space for many young New York jazz musicians, such as Wadada Leo Smith and Oliver Lake. Through the 1970s Smith played with Andrew White, Julius Hemphill, Muhal Richard Abrams, Nancy Wilson, Quincy Jones, Count Basie, and Carmen McRae. Other credits include extensive work with rock and pop musicians and time spent with Anthony Braxton, Charles Mingus, Henry Threadgill, Van Morrison, and Joe Zawinul. He continued to work on Broadway into the 1990s, and has performed with a number of classical ensembles.

Smith taught in the New York City public school system from 1958 to 1968, at Third Street Settlement from 1960 to 1967, at Adelphi University in 1970-71, and at SUNY-Old Westbury from 1971.

 

Judi Silvano, vocalist, composer 

Judi Silvano is a daring musician who moved from Philadelphia to NYC to be part of the Loft scene as an improvising dancer and singer. She was soon making waves with her horn-like vocal lines, improvisational skills and extended compositions to develop a reputation as a Creative Improvising Vocalist around the world.

Silvano has toured and recorded with jazz greats Kenny Werner, Joe Lovano, Jack DeJohnette, Charlie Haden, John Lindberg, Gerry Hemingway, George Garzone, Warren Smith, Ratzo B. Harris, Tim Hagans, Steve Swallow, Mal Waldron, Larry Goldings, Vic Juris and Bobby Few among others in the US and Europe.

Awarded 3 Grants from Meet the Composer and NY State Council on the Arts, Silvano was voted Top Ten Jazz Vocalist in Down Beat Reader’s Polls 4 times and has ten recordings as Leader. She expects 2 more recordings to be released this year of all her Original Compositions; a duo project with pianist/arranger Michael Abene and a Quintet featuring guitarist Kenny Wessel.

As a progressive composer and arranger, Silvano has written over 45 pieces for jazz and chamber music ensembles incorporating improvisation with written material. She also champions the work of American Women Composers, in her “Women’s Work” recording and her Chamber Music songs have been recognized by the industry by being chosen for New York Women Composers, Vox Musica and Ars Nova concerts.

In 2012 Silvano premiered four new poetry and music works at The Stone’s “Spoken Word Festival” with veteran improvisers Ratzo B. Harris and Warren Smith and two of her chamber pieces were featured in concert at NYC’s Symphony Space.

As an educator, Silvano leads International Vocal Master Classes called “Freeing the Voice” at major universities in addition to practicing her lifelong passion for gardening and painting. 

 

 

Harvey Sorgen – drums, percussion 

Harvey Sorgen’s vast and diverse career as a drummer/percussionist has given him a unique ability to fit in and play with artists of virtually every type of music. His orchestral concept on and off the instrument has distinguished Harvey as one of the truly unique drummers of our time. Expanding the boundaries of sound and color on the drum set, Harvey has had the opportunity to perform and record with a vast array of musicians, including: Hot Tuna, Ahmad Jamal, Michelle Shocked, Karl Berger, Paul Simon, Dewey Redman, Dave Douglas, David Sancious, Mark Feldman, Zakir Hussain, Giovanni Hidalgo, Leo Smith, Cameron Brown, Steve Swell, Anthony Braxton, Bruce Hornsby, Derek Trucks, Bill Frisell, Bob Weir, NRBQ, Phil Lesh, Greg Allman, Tony Levin, Jack DeJohnette, Garth Hudson and Jimmy Vivino, among many others.

 

Harvey has also written and performed pieces for film and the stage, including a solo percussion piece for the New Day Repertoire Theater’s version of “Antigone” and has conducted workshops throughout the world, from the University of Graz (Austria) and Jazz Initiative Marburg (Germany) to the University of Michigan and Virginia Commonwealth University. He is also an accomplished audio engineer and editor, having worked at the legendary Dreamland Recording Studio. Past projects include re-mastering of the entire ESP record label. Harvey’s first instructional video ” Drumming Made Easy ” is currently available worldwide from Homespun Tapes Inc. / Hal Leonard publishing. Harvey Sorgen also appears on Jack DeJohnette’s ” Musical Expression On The Drum Set” and Jorma Kaukonen’s ” The Electric Guitar Of Jorma Kaukonen “ DVD’s also available from Homespun Tapes Inc.

 

Omar Tamez – guitarist/composer/multi-instrumentist 

Omar studied composition with Nicandro Tamez, (composer and educator) as well as with with Andre Richard, Daniel Catan, Mario Lavista, Manuel de Elias, Helmut Lachmann, Pierre Boulez and Karlheinz Stockhausen. A visiting artist at CalArts, Omar is also the founder, producer and artistic director of the “International Musicians Meeting.” Mr. Tamez attended the NIMES (New Interfaces for Musical Expression) and Résonances Music Technology Convention at the IRCAM – Centre Pompidou, Paris, France. He teaches privately and at workshops around the world.

Mr. Tamez has performed in more than 137 countries including Mexico, United States, Italy, France, Germany, Austria, Sweden, Denmark, Holland, Turkey, Canada, Argentina, Chile, Colombia, Japan and extensively trough Middle East, Asia & Africa. He has played/recorded with Ramón López, Agustí Fernández, Gebhard Ullmann, Karl Berger, Conny Bauer, Gunter Sömmer, Felix Petry, Gabriele Hasler, Carl Ludwig Hübsch, Almut Kuhne, Frank Köllges, Andreas Willers, Reggie Workman, Rashied Ali, Sonny Fortune, Andrew Cyrille, Sam Rivers, Geroge Schuller, Ratzo B. Harris, Steve Baczkowski, Alex Coke, Joe Fonda, Harvey Sorgen, Herb Robertson, Steve Rust, Steve Swell, Lou Grassi, Tina Marsh, André Jaume, Beñat Achiary, Sophia Domancich, Rémi Charmasson, Teppo Ahuta – ahoo, Harri Sjöstrom, Kalle Kalima, Mikko-Ville Luolajan-Mikkola, Tony Oxley, Derek Bailey, Marco Colonna, Enrico Rava, Neil Swainson, Emilio Tamez, Rémi Álvarez, Hernán Ríos, Gustavo Lorenzatti, Satoshi Takeishi, Tatsuya Nakatani and Arjen Gorter among many others.

He recently participated in Wadada Leo Smith’s Golden Quartet/Double Quartet in Buffalo, NY, with Angelica Sánchez, John Lindberg and Pheeroan AkLaff.

 

Ken Filiano 

Bass player, composer, improviser, Ken FIliano has been performing throughout the world for thirty years, collaborating with leading artists in multiple genres, fusing the rich traditions of the double bass with his own seemingly limitless inventiveness. Ken leads two quartets, Quantum Entanglements, and Baudalino’s Dilemma (Vinny Golia, Warren Smith, Michael TA Thompson), and is a co-leader of The Steve Adams/Ken Filiano Duo and TranceFormation (Connie Crothers, Andrea Wolper.) His extensive discography includes a solo bass CD, “subvenire” (NineWinds), and “Dreams From a Clown Car” (Clean Feed), which presents his compositions for his quartet, Quantum Entanglements (Michael Attias, Tony Malaby, Michael TA Thompson). Ken has performed and/or recorded with Karl Berger, Bobby Bradford, Anthony Braxton, Connie Crothers Quartet, Bill Dixon, Ted Dunbar, Giora Feidman Quartet, Vinny Golia ensembles, Taylor Ho Bynum, Jason Kao Hwang, Joseph Jarman, Raul Juanena, Joelle Leandre, Frank London, Tina Marsh, Warne Marsh, Dom Minasi, Barre Phillips, Roswell Rudd, ROVA Saxophone Qt., Paul Smoker, Fay Victor Ensemble, Pablo Zielger, and many more. Ken is on the teaching roster at the New School in New York, and is a guest artist lecturer at School of Visual Arts and Hunter College (New York). He teaches master classes in bass and improvisation, and has a private bass studio in Brooklyn.

 

John Menegon – Bassist / Bandleader / Composer / Arranger / Educator 

A resident of Upstate New York, Menegon started his career as a jazz bassist in Montreal. After having worked for several years on the Canadian jazz scene, he then went on to hone his skills in NYC in the mid-80s. Since moving to New York City to study Jazz at Long Island University on a full scholarship, John has performed/recorded with Dewey Redman, David “Fathead” Newman, Matt Wilson, Frank Kimbrough, John Hicks, Yoron Israel, Jack DeJohnette, Kenny Burrell, Kenny Barron, Paul Bley, Anthony Braxton’s Tri-Centric Orchestra, Sheila Jordan, Joe Lovano, and many others. John was an integral member of the Dewey Redman Quartet, as well as the David “Fathead” Newman Quintet, and spent well over a decade performing, touring, and recording with them.

 

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About Full Moon Resort

Full Moon, located one half hour west of Woodstock, New York, “the most famous small town in the world,” is a year-round mountain resort located in the heart of the “Forever Wild” Catskill Forest Preserve.  Dedicated to the celebration of nature, music and the arts, this one hundred-acre wonderland of mountains, fields, and streams is a world of its own.

Full Moon is an alternative to more traditional country inns and resorts – with educational, recreational and artistic workshops, weekend-long destination country weddings, cutting-edge music camps, and art exhibits all part of its magical landscape.

“Music and art in nature” is a central theme at Full Moon Resort. Music is always in the air with the Music Masters Camp series, a special mid-week interactive musical experience with world renowned artists – complete with superb dining, comfortable country inn accommodations, and camping options.

Lovingly prepared, fresh, healthy cuisine served by a friendly, professional staff is the trademark of Full Moon Catering.  The menus offer a full range of possibilities – hot buffet breakfasts and lunches, down-home country barbeques …tantalizing hors d’oeuvres and formal gourmet dinners in the Tent Pavilion.  Fresh, natural ingredients (often organic) are the common thread throughout.

Accommodations are charming in their simplicity, with guest rooms available in a variety of lodges  – some in a simple B&B style with shared hallway baths and others with private bath options.

In all, Full Moon Resort, with its picturesque grounds, cozy guest accommodations, excellent cuisine and friendly, professional staff, sets the stage for highly memorable experiences for those attending the Music Masters Camps.

Full Moon contact info:
Telephone: 845-254-8009
Monday-Friday, 9am-5pm (EST)

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FAQ

When will my deposit be run?
Your deposit will be run at the time of your registration.

What gear do I need?
Bring your instrument(s) if they fit! Amps are not required. For more information, email music@fullmoonresort.com to see what will be provided.

Can I still come if I’m not a musician? 
Non-musicians are more than welcome and encouraged to attend.

What skill level is required to attend?
Classes and curriculum are developed to accommodate all ranges of playing. All classes are optional and open to everyone.

Is there an age requirement?
No. Minors are required to submit a parent/legal guardian consent form.

Are meals included?
Three gourmet meals a day and snacks are included in your tuition.

If I want to bring my spouse, but they don’t want to attend classes, can I?
Yes. In order to bring a non-participant, you would need to purchase a “single occupancy” package. Non-participants have access to all meals, but no classes or workshops. Additional fees apply.

When is check in and check out?
Check in is at 3pm on arrival day and check out is at 11am on departure day. Due to Full Moon’s busy event calendar, it is generally not possible to check in early or check out late.

How do I get there?
Please see the ‘Directions/Transportation’ section below.

Is there cell phone reception at camp?
There is no cell phone reception at Full Moon Resort.  Complimentary phone service for all calls within the U.S. is available at all times at the Inn. Also, there is complimentary Wi-Fi available throughout the facility.

How do I make my final payment?
Your final payment will be automatically run on the credit card on file on the due date noted in your registration form. You may provide an alternative method of payment as long as it is received before the due date.

Can I take photos, video or audio recordings? 
Yes. You may be required to sign a waiver stating all recordings, footage and/or photos will be used strictly for personal use and not commercially.

What is the weather like at camp?
Weather in the Catskills varies. In the spring, you can expect warm days (low 60s to upper 70s) and cooler nights (lower 40s to lower 60s).  Click here for updated weather information.

What do you suggest I bring with me?
Audio recording devices
Camera
Clothes & Toiletries (toothbrush, soap, shampoo etc…)
Tent Campers- don’t forget towels, sleeping bags, tarps, etc.!
Insect Repellent
Swimwear
Flashlight
Writing Utensils & Note Paper
Water bottle
Cash for evening bars (There is no ATM on-site.)

Do you provide equipment storage for tent campers?
This can be arranged on an as needed basis.

Can I select my own roommate?
Yes – if that person is signed up as well. We cannot hold a spot for someone unless they have already registered.

How does the facility select my roommate?
Full Moon Resort selects roommates based on age and gender. You will always be placed with a same-sex roommate.

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Pricing and Registration

Camp Packages are All-Inclusive!

Monday to Friday you will have access to all workshops, seminars, gourmet meals, performances, and camp activities. The only thing you have to do after signing up is get here!

All camp activities will be held at Full Moon Resort. Full Moon features an eclectic array of comfortable, rustic country-inn accommodations including simple B&B style guest rooms with shared hallway baths and guest rooms with private baths. “Primitive” campsites are also available. All accommodations are just steps away from daily music camp activities. The grounds offer one hundred acres of meadows, forests and streams providing a natural backdrop for an unforgettable, enriching experience.

Guest rooms at Full Moon do not have telephones, TV’s, air conditioning or daily housekeeping service. Wi-Fi, cable television and complimentary phone service are all available at the Inn (please bring a phone card for international calls).   Enjoy the spring-fed swimming pool, on-site access to the Esopus Creek, and explore the splendors of the Catskills on the nearby network of hiking trails.

Please Note: There is no cell phone reception at Full Moon Resort or in Big Indian.

Package Pricing
  Note: Prices do not include applicable taxes

Full Moon Resort Accommodations:

Note: Prices include Full Moon Resort lodging, food and CMS workshops. Prices do not include applicable taxes.

Rates:

  • $695 Tent Camping
  • $895 Double Occupancy, Shared Bath
  • $995 Double Occupancy, Private Bath
  • $1,295 Single Occupancy, Shared Bath
  • $1,595 Single Occupancy, Private Bath
  • $495 Non-participant rates for spouse/children

 

Registration, Payment and Cancellation Terms and Conditions:

Your decision to register for Full Moon Resort Music Masters Camps constitutes your acknowledgement of and consent to all of the registration, payment and cancellation terms and conditions listed below.

Registration and Payments:

  • All rates are per-person
  • All rates are subject to a 2% county tax, 8% New York State Tax and a 1.5% online registration fee
  • Upon registration, a non-refundable deposit of $350 is charged to your credit card
  • 100% of the remaining balance due is automatically charged to the credit card on file on May 19, 2013
  • Any registrations received after May 19, 2013, must be paid in full at the time of registration

Cancellation:

  • All payments and deposits are non-refundable, except when approved by the Creative Music Foundation.
  • Cancellations received before May 19, 2013 will not be charged the remaining balance
  • Cancellations received after   May 19, 2013 will be charged the full remaining balance

Due to the nature of our events and strict cancellation policies, Creative Environments, LLC DBA Full Moon Resort strongly suggests purchasing travel insurance.

REGISTER NOW!

Full Moon contact info:
Telephone: 845-254-8009
Monday-Friday, 9am-5pm (EST)

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Directions/Transportation

All Music Masters Camps are held in Big Indian, New York which is centrally located in the heart of the “Forever Wild” Catskill forest preserve.

Full Moon Resort
1 Valley View Road
Big Indian, NY 12410
Directions to Full Moon Resort

By Car:
Car parking is complimentary to all participants.

From Albany and points North:
Take the New York State Thruway (I-87) South towards New York City
Take Exit 19, Kingston (see below)

From New York City and Points South:
Take the New York State Thruway (I-87) North/West to Exit 19, Kingston
After toll, merge slightly right onto Route 28 West (towards Pine Hill)
Travel approximately 30 miles on Route 28 West to Big Indian/Oliverea
Turn left onto County Route 47 (just after a brown sign on Route 28 which says Oliverea 3 miles)
Proceed 5 miles on County Route 47 (Oliverea Road)
You will see signs for Full Moon on the right-hand side.

By Plane:
The closest airports to Big Indian are one hour and thirty minutes away:
Albany International Airport and Stewart/Newburgh International Airport

Albany International Airport (ALB):
737 Albany Shaker Rd
Albany, NY 12211
Phone: (518) 242.2222
http://www.albanyairport.com/

Stewart-Newburgh International Airport (SWF):
1180 1st Street
New Windsor, NY 12553
Phone: (845) 564-2100
http://www.panynj.gov/airports/stewart.html

JFK and LaGuardia Airports in New York City are approximately two and a half hours from Big Indian.

Airport Car Services:
Woodstock Town Car Service: (845) 679-6656
Black Diamond Transportation: (845) 338-8426

By Bus:
Adirondack Trailways buses run from NYC and Kingston, NY. There is a stop on Route 28 at the Big Indian post office just five miles from Full Moon Resort. Email us to arrange a pick up from the Big Indian bus stop to Full Moon Resort.

NYC buses depart from the Port Authority bus terminal in Manhattan at 9.30am, 12.30pm and 3.30pm (EST) daily and take approximately three hours to reach Big Indian. One way fare is approximately $35, return is approximately $70.
For additional schedule information and bus stop locations, visit www.trailwaysny.com or call 1-800-776-7548

Big Indian Bus Stop Located At the Big Indian Post Office:
8279 State Route 28
Big Indian, NY 12410
*Email music@fullmoonresort.com to let us know when you will be arriving and we will be sure to have a shuttle waiting to bring you to camp!

By Train:
The closest train station is in Rhinecliff, NY which is approximately one hour away from Big Indian.

Rhinecliff Amtrak Station (RHI)
Hutton St. and Charles St.,
Rhinecliff, NY 12574
Phone: 1 (800) 872-7245
Station and Service Hours: Open 7 Days a Week: 5:30am-10:30pm

**Carpooling is suggested!

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Grammy Foundation Awards Grant to the Creative Music Foundation To Digitize and Preserve the CMS Archive

The Grammy Foundation awarded a grant to the nonprofit Creative Music Foundation to help it preserve, digitize and archive the CMS Archive, over 500 concerts conducted at the Creative Music Studio in the 1970s and 1980s.  CMF was one of only 16 organizations to receive the prestigious grant.  The grant, for $11,600, will help CMF digitize the remainder of its archive, which is being cataloged and stored at Columbia University’s Library.

“Over the course of its history, our GRAMMY Foundation Grant Program has awarded more than $6 million to more than 300 worthwhile initiatives,” said Neil Portnow, President/CEO of The Recording Academy® and the GRAMMY Foundation. “Our grantees are noteworthy for the range and ambition of their endeavors, and this year’s group includes such varied initiatives as the preservation of 400 recordings of innovative performances by pioneer composers and performers of jazz, world music and new music to a project that will be the first to identify how music can facilitate stroke patients’ abilities to understand everyday speech. We are proud that the GRAMMY Foundation Grant Program can be a philanthropic leader in the areas of archiving, preservation and scientific research.”

Generously funded by The Recording Academy, the Grant Program provides funding annually to organizations and individuals to support efforts that advance the archiving and preservation of the recorded sound heritage of the Americas for future generations, as well as research projects related to the impact of music on the human condition. In 2008, the Grant Program expanded its categories to include assistance grants for individuals and small- to mid-sized organizations to aid collections held by individuals and organizations that may not have access to the expertise needed to create a preservation plan. The assistance planning process, which may include inventorying and stabilizing a collection, articulates the steps to be taken to ultimately archive recorded sound materials for future generations.

“The credibility of this prestigious grant cannot be overstated,” said Rob Saffer, CMF executive director. “Along with our association with Columbia University, receiving a Grammy grant will help elevate the importance of the CMS Archive Project and will fuel fundraising for the remaining tapes crucially need preservation.”

In a statement, the Grammy Foundation said, “The goal of the CMS Archive Project is to finalize the restoration of historically and artistically important audiotapes from the Creative Music Studio’s archive of more than 400 recordings of innovative performances by pioneer composers/performers of jazz, world music and new music. The CMS Archive of recordings is unique in its artistic breadth and depth. The archive is being housed at the Columbia University Library in New York City for research and educational purposes.”

The Creative Music Foundation has partnered with Columbia University’s Library to preserve the CMS Archive for posterity. CMS is giving Columbia the full archive of recorded tapes, along with memorabilia and photographs from CMS. CMS co-founder and artistic director Karl Berger and audio engineer (and former CMS participant) Ted Orr are going through each tape, digitizing and re-mastering them, a time consuming process that’s as much a labor of love as it is technical.  The digitized, re-mastered recordings will be available at the Columbia University Library for scholars or others who want to enjoy and learn from them. A CMS Oral History Project is also being conducted in association with Columbia University and its radio station, WKCR-FM.

The Creative Music Foundation, a 501C(3) nonprofit corporation, makes it possible to profoundly experience and express our deep connection with the transforming energies of music, our universal language. CMF programs focus on the common elements of all music, emphasizing keen awareness, personal expression, intensive listening and cross-cultural communication, and providing unique opportunities for musicians, students and listeners from different backgrounds and traditions to explore together, share, develop, and broaden their musical understanding and sensitivity. CMF pursues its mission through workshops, residencies, coaching, concerts, recordings and archival projects that engage both listeners and musicians in the USA and around the world.

World Class Musicians Coming to Big Indian NY?! Four Concerts June 9 – 12 Offer Intimate Setting to Hear Joe Lovano, Henry Threadgill, Marilyn Crispell and Many More

Over a dozen world-class musicians, including Joe Lovano and Henry Threadgill, are participating in four concerts Monday, June 9 through Thursday, June 12 at the Full Moon Resort in Big Indian, NY. The musicians are taking part in the Creative Music Studio’s Spring Workshop and will offer concerts each night at 8:30 pm in The Roadhouse, an intimate setting to see artists who often play large concert halls that seat thousands.  A donation of $20 to CMS is required at the door.  Seating in the Roadhouse is very limited.

Lovano and Threadgill, both reed players, composers and bandleaders, will join CMS co-founders Karl Berger and Ingrid Sertso, in concerts that will also feature musician/educators Marilyn Crispell, Tyshawn Sorey, Peter Apfelbaum, Warren Smith and many more.

The CMS Spring Workshop concert line up is expected to be:

Monday, June 9:  Joe Lovano (reeds), Peter Apfelbaum (reeds, drums, piano), Karl Berger (piano, vibes), Ingrid Sertso (voice), Judi Silvano (voice), Warren Smith (drums) and John Menegon (bass).

Tuesday, June 10:  Karl Berger, Ingrid Sertso, Warren Smith, Ken Filiano (bass), Omar Tamez (guitar) and special guests.

Wednesday, June 11:  Henry Threadgill (reeds, flute), Karl Berger, Ingrid Sertso, Ken Filiano, Omar Tamez, Harvey Sorgen (drums) and special guests.

Thursday, June 12: Karl Berger, Ingrid Sertso, Ken Filiano, Marilyn Crispell (piano), Tyshawn Sorey (drums), and special guests.

Directions or information about the Full Moon Resort is available at www.fullmoonresort.com or by calling 845.254.5117. More information about the Creative Music Studio’s Spring Workshop is available at: http://www.creativemusicfoundation.org/springworkshop2014.html

Like CMS workshops held at the Full Moon Resort in 2103, the Creative Music Studio’s Spring Workshop will feature four days of intensive workshops, master classes, concerts and informal jam sessions that inspire deep listening, personal expression, improvisation and musical exploration. Musicians of any instrument, including voice, are welcome as are non-musicians.  Adults who played music earlier in their lives can benefit from this lifelong learning opportunity that offers participants a once-in-a-lifetime experience to learn from and play with music masters, and to simply spend time with them in an informal, personal setting.

CMS Spring Workshop Recap: Ears Split, Hearts Open, Minds Blown

 

The Creative Music Studio’s Spring 2014 workshop took place between June 9 – 13 at the Full Moon Resort, nestled streamside in a valley 30 minutes west of Woodstock, NY.  Twenty-two participants, from Berlin to Warsaw, Tokyo to Los Angeles, interacted day and night with a dozen CMS Guiding Artists, including Henry Threadgill, Joe Lovano, Tyshawn Sorey, Marilyn Crispell, Peter Apfelbaum, Warren Smith, Judi Silvano, and of course Creative Music Foundation co-founders Karl Berger and Ingrid Sertso.  Intense workshops and breathtaking concerts created a nurturing, inspiring environment.

The following offers a short, daily recap:

Monday, June 9:

 Despite gloomy, un-Spring-like weather the Creative Music Studio Spring 2014 Workshop is underway. Musicians – expert to novice – from New York to Los Angeles, Berlin to Warsaw, Tokyo to Washington, DC, are eager to soak up music and wisdom from Guiding Artists. During orientation CMS co-founder and artistic director Karl Berger talked about music being the universal language of spirituality; in just a few notes of the concert after dinner everyone knew what Karl was talking about. Peter Apfelbaum led the group – Warren Smith on drums, Karl on keys and vibes, Ingrid Sertso on voice and John Menegon on bass – through a variety of improvisations, eventually landing on a Karl Berger tune, followed by Monk’s “Bemsha Swing,” a tune he played many times during his tenure playing with Don Cherry. Peter invited participants on the stage and the concert performance segued organically into a raucous jam session; musicians who had never met learning to speak that universal language, learning to  listen, and learning to trust each other musically.

Tuesday, June 10:

After a delectable breakfast, the group of 23 participants walked to the large, timber frame barn and began a half hour of body awareness led by Savia Berger. Having grown up with musician parents on the CMS Woodstock campus, Savia understands the physical demands of being a musician and led the group through gentle movements to warm up prior to playing. This was followed by a vocal class  led by CMS co-founder Ingrid Sertso. Explaining that the voice is the ‘first instrument’ as well as the importance of breathing not only for singing but for all instruments, she then led the group through a series of vocal exercises and song. Karl Berger took the next slot, teaching the group CMS’s legendary ‘gamalataki’ rhythm practice.  “Think of rhythm in an additive way,” he said. “It’s always moving, like a train.  If you don’t catch it the first time, just wait and another train, another cycle, will come.” The group then spent 30 minutes learning and practicing the method, which breaks music down into twos (taki) and threes (gamala). Even 80 year old master drummer Warren Smith practiced the method. “That’s because it’s a lifelong practice,” summarized Berger.

Peter Apfelbaum’s workshop focused a lot on the importance of rhythm. “Rhythm is important to everyone, not just musicians. It’s about timing, how we arrange our lives, how we walk and speak.” He took the group through a number of exercises and then passed out music for them to play, ending with Don Cherry’s “Togo” (which he said Don also called ‘Guinea.’)  Peter also challenged the group to create interesting, arresting solos using only a few notes. “If you have only three or four notes to use, the structure might free you up.”

 Joe Lovano and Judi Silvano stressed the importance of feeling in one’s music. “You can play all the notes you want. What people will hear is feeling,” said Joe.  The two of them, alternating naturally between themselves, played a duet that demonstrated not only deep feeling and sympathy, but also how to collaborate. Joe: “You sound is your approach to music.” Judi, not missing a beat: “And it needs to change when you play with others; your sound needs to change over time.’  The two then played duets with the participants, each of them alternating around the room. After that musical introduction and connection to the participants, Judi and Joe led the group through a variety of compositions and improvisations.

Surveys from the 2013 workshops were clear: the participants wanted more time playing in the improviser’s orchestra. So, this workshop, we decided to offer it each of the three days, from 5 – 6:30, a way to practice and synthesize what’s learned during the day. And, play with a large orchestra. Karl explained that the main principal is to ‘harmonize together, to forget what your playing and play the sound – you are the sound, you are the orchestra.’  After a brief tuning in exercise where everyone sings a note while Karl plays piano, alternating the note’s colors, the orchestra played for well over an hour. A highlight was a Japanese butoh dancer and how she became just another ‘instrument’ in the orchestra, responding to the music while the orchestra and Karl especially was inspired by her movements and energy.

After another fresh, sumptuous meal, everyone walked to the Roadhouse for concerts and jams. Tonight’s concert was historic: Joe, Judi, Karl, Ingrid, Ken Filiano on bass, Warren Smith on drums, and participant Dave Brandon Ross on guitar.  A free improvisation turned into the traditional ‘Centerpiece,” followed by Lovano’s ‘Blackwell’s Message’ and Judi’s “Ride the Zephyr’ before a stunning rendition of ‘Body and Soul,’ mostly showcasing Karl and Joe. An Ornette Coleman tune Joe is rehearsing for this week’s tribute to Ornette in Brooklyn ended the set, and allowing the participants to come on stage and play. There was a huge difference in tonight’s jam vs. last night, before any of the workshops had taken place. People were listening more, playing less, using a greater range of dynamics…all things we heard throughout the long, productive, creative day.

Wednesday, June 11:

 After body work and CMS’s daily basic (vocal and rhythm) practice, the first workshop with master percussionist Warren Smith, who’s done just about everything in music, from Broadway show tunes to playing in Max Roach’s percussion ensemble and traveling the country with Harry Partch!  As rain started to drop on the barn’s metal roof, Warren invited it into an improvisation exercise. “Absorb the atmosphere. Listen, then play.” Despite the complexity of an exercise using Partch’s music, Warren said, “What you play should be fun and enjoyable. When you find what you like, do it, and eventually it will become part of your vocabulary, your style.’ He ended his workshop with some advice: “The key to improvisation is to not listen to yourself, but to feel yourself and listen to others.”

Henry Threadgill started his workshop by asking the participants what they wanted out of it and interacted with the group a bit. He stressed the importance of deeply investigating and reinvestigating musical ideas and vocabulary. He challenged the group to question everything and to look at musical challenges from a variety of facets. “Are you interested in communicating an idea, thought or feeling? And, don’t forget punctuation – ideas need forms.’  Then Henry broke out charts and the real challenge began.  About half the participants were familiar with Henry’s music, and half not at all. Henry dug in, working for a bit with the guitars, then with reeds, then horns, basses, drummers, closely working with all the participants on phrasing, rhythm and how to approach his compositions. After lots of rigorous work, the ensemble finally started playing the tune fluidly which is when Henry stopped them and introduced a new challenge, another piece of music. The same detailed, thorough work with groupings of musicians followed,  Henry singing lines, and dancing around the participants while energetically conducting and encouraging the group. At one point, when he couldn’t quite explain something, he left the barn, got his alto and came back to demonstrate what he meant by playing it, and then playing with the participants a bit more. After two and a half hours, many participants were tired. Henry seemed like he could go on for many hours more.

Henry’s workshop was a great warm up for the second day of the improvisers orchestra, conducted by Karl Berger. Karl taught the group one of his tunes, explaining how the notes must crescendo and inflect up, rather than down, and really working the group on that light sound. He spent the next 90 minutes running the orchestra through this and a few other pieces, working with them on dynamics and harmonizing with each other.

The Buddhist listening meditation ended a long day and provided a nice segue into another delicious meal and an evening concert that started with Ingrid Sertso’s poetry and Michiru Inoue’s remarkable Butoh dancing. This tough act to follow was followed by Karl and Ingrid, Ken Filiano on bass, Warren Smith on drums, and guest artists Omar Tamez on guitar and Harvey Sorgen on bass.

As always, jams followed, tonight led by Omar and Ken, dividing the participants into smaller groupings so individuals have a chance to stand out and solo a bit more.

The only negative: it’s cold and rainy.

Thursday, June 12:

 Despite another day of rain, the music and playing Thursday was light and airy. After body work and basic rhythm and vocal practice, Guiding Artist and former CMS participant Marilyn Crispell led the first workshop. She said she came to some of her musical ideas as a girl, walking past a music school and hearing all kinds of different music coming out its windows, and hearing it all come together, “like an Ives composition.” From that experience, and her work with Anthony Braxton, she described using collage as a compositional method. Marilyn also talked about what she calls musical “cells, or the DNA of music – simple ideas motifs” and discussed working with opposites: sound/silence; loud/soft; long/short. She then took the group through some improvising exercises she learned from Wadada Leo Smith, a former (and perhaps future?) CMS Guiding Artist, as well as some of her own rhythmic clapping exercises that inspired the participants and especially Michiru, the Butoh dancer from Japan.  One word best describes the class: fun.

Drummer, composer, bandleder, conductor and trombonist Tyshawn Sorey led the afternoon workshop. His musical theory, simply stated, “I engage with a lot of music, with no particular style in mind.” He also talked about his love of extreme dynamics, something he gleaned from Stockhausen and Webern, as well as his interest in incorporating “natural things, rhythmic stuff from every day life, and taking a lot from nature.” He then explained to the group about something he calls ‘rhythm trees,’ a way of investigating different rhythms against one another. The exercises were challenging in their simplicity. Hands were clapped for over an hour before any instruments were picked up. “The key thing is the relationship of rhythms to each other,” he explained.  One participant described it as ‘Gamalataki in four dimensions.’ At the end of the workshop, both Karl and Ingrid said independently, “Tyshawn’s doing for rhythm what Henry did with harmony’  – breaking it up and looking at all the possibilities and facets.

Like every day, the last workshop, is the Improvisers Orchestra, conducted by Karl Berger. After two previous days, the group needed little time harmonizing together and jumped right into some Turkish pieces, Karl incorporating different groupings of musicians to create different musical colors, giving time and space for every participant to solo  and stretch out, filling the barn with sounds never made there before. A wall of sound, the Improvisers Orchestra, plays with dynamics, winding down quietly and segueing into the evening listening meditation, a chance to be quiet, listen and to incorporate everything that had happened during the day.

The evening concert started off with a musical first: a duet with Marilyn Crispell and Tyshawn Sorey. It started quieter than quiet, and slowly, carefully built into a whirlwind of sound, before gently laying itself down. The crowd of about 40 roared with approval, clapping and whooping for several minutes. The duet continued with a composed piece that had more of a song structure to it, at times precious and beautiful. Then, Ken Filiano, Karl Berger, and Omar Tamez joined Tyshawn and Marilyn for a lively, rollicking jam, punctuated by Karl’s metallic tones on vibraphone.  Next Ingrid Sertso came on and Tyshawn sat out, creating a quiet, almost chamber music group with Ingrid’s vocalizations complementing the soft, airy playing of the group. Tyshawn came back on and played a few more tunes. He was supposed to leave for an early morning recording session but stayed much later than he had planned, transfixed by the next group: Karl Berger’s Improviser’s Orchestra, made up of all the participants. As always, Karl deftly found new sounds, colors and combinations, masterfully found ways to showcase every participant in a guided collective improvisation that lasted about an hour. It was a gorgeous, fitting ending to a week in which minds were blown, hearts were open, ears were cleaned out and new notes (and friendships) were made.

Thanks to all the Guiding Artists, the participants, the staff at Full Moon resort (especially Amy Carpenter and the chef!), videographer Don Mount for his tireless efforts, sound engineer Matthew Cullen for his ears and good humor, and especially to Karl and Ingrid for their continued inspiration and wisdom.

– Rob Saffer
CMS Executive Director

Participant Testimonials from CMS Spring Workshop 2014:

 

“It’s a chance to nurture ones’ musical self, and be thoughtfully guided to touch on key aspects of music making skills – additive rhythm, body, voice, and instrumental skills. It’s an opportunity to focus on playing with other sophisticated musicians who appreciate music as an endless exploration.”

 

“I feel like I’ve been given the key to a special language shared by a few select musicians and artists in the world. I will always remember and use this special gift whenever possible. Thank you!”

 

“CMS workshops are rare and treasured events.  I’m not aware of any other opportunity for a musician (or other artist) to meet, work and live with and learn from such an array of creative, generous people.  At each CMS workshop I’ve attended, I’ve come away inspired to delve more deeply into a couple of areas to which I conclude I haven’t been paying the proper amount of attention — this time it was polyrhythms and Marilyn Crispell’s compositional strategies, but next time I’m sure it’ll be something different.   Participation in the workshops has enhanced my confidence and willingness to trust myself; it’s extremely rewarding to take chances and try new things with such talented, supportive musicians, and to be able to communicate and connect on such a deep level.”

 

“It’s a dream workshop.”

 

“This is a workshop that teaches concepts related to performing improvised music. Using the format of “free” improvisation, one learns and is challenged by listening and rhythmic concepts related to improvisation, without necessarily being restricted by technical or theoretical knowledge.  It is suitable for beginners as well as experienced improvisers.  The interaction with the guiding artists and other participants provides an opportunity to exchange ideas regarding the process of learning to improvise.”

 

“The basic teaching is illuminating because it is so profoundly insightful and deceptively simple. One’s capacity for moment-by- moment attention is at issue in the teaching.  Anyone who has meditated knows how constantly the mind interferes with being present in the moment – and that presence is just what is required in musical improvisation.”

 

“The workshop is innovative, exciting and filled with possibility to experience yourself in a whole new light. I learned to take chances, and that  I don’t always have to play it safe.”

 

“Sitting with Henry Threadgill for lunch was amazing. I learned volumes about music history for black musicians in the 50’s and 60’s that I could never have gotten anywhere else. The lesson he led with the group was full of profound insights.”

 

“The CMS workshop is a place where improvising musicians get to explore a unique way of approaching musical expression. By working together with peers, mentors, visiting artists and guiding artists, we gain access to a philosophy and methodology that can only be found in the nurturing atmosphere that is CMS.”

 

“CMS is a very unique and complete way to immerse oneself into music.  The perfect balance coming into focus – bodywork, gamalataki – and new ideas, and group practice – in a perfect setting, the natural environment and seclusion from all the other daily challenges, is extremely special.”

 

“CMS is very good for someone who already is a professional musician, to rethink musical concepts, tune in with the meaning of the music, get to a deeper level of practice.  I think it is really critical to attract more musicians at a high level.”

Karl Berger and Ingrid Sertso lead the OMI Improvisers Orchestra
On Sunday, June 20, 2014 Karl Berger and Ingrid Sertso lead the OMI Improvisers Orchestra, a unique ensemble of international soloists in an event held at Helsinki Hudson in Hudson NY. The Music Omi 2014 fellows, selected from all five continents for this year’s OMI Music Residency, will perform, for the first time ever, as an improvising orchestra. Karl and Ingrid will work with the Music Omi fellows to create this very special one-night only Improvisers Orchestra of voices, strings, horns and percussion (see www.artomi.org). Helsinki Hudson is located at 405 Columbia Street in Hudson NY. The concert starts at 7pm and is free (reservations not required).
Karl Berger just returned from Berlin/Germany where he participated in a live radio production dedicated to the music of Eric Dolphy: www.so-long-eric.de

Marty Ehrlich, John Hollenbeck, Steve Gorn and Badal Roy Join Karl Berger and Ingrid Sertso As Guiding Artists for the Creative Music Studio’s Fall 2014 Workshop — Kirk Knuffke, Theo Bleckmann, Ken Filiano and Kenny Wessel Join Artist List

September 29 – October 3 Workshop Features Intensive Workshops, Jam Sessions and Intimate Concerts in a Spectacular Mountainside Setting

REGISTER NOW!

Daily Schedule
Guiding Artist Biographies
About Full Moon Resort
FAQ
Pricing and Registration
Directions/Transportation

Composer/multi-reedist Marty Ehrlich, composer/drummer John Hollenbeck, Indian music masters Steve Gorn (flute) and Badal Roy (tabla) will join Creative Music Studio Artistic Directors/Co-founders Karl Berger and Ingrid Sertso as Guiding Artists for the CMS Fall Workshop intensive, September 29 – October 3, at the well-appointed Full Moon Resort in Big Indian, NY.

CMS’s Fall 2014 Workshop will feature a new format designed to create more opportunities for participants and Guiding Artists to interact directly. This workshop, during the height of autumn when the Catskill leaves are most colorful, features one Guiding Artist(s) working with participants in two workshops each day versus past CMS workshops that offered multiple workshops with three or more Guiding Artists each day. As in the past, there will be daily CMS basic practice (body movement, breath work, rhythm and vocal training), as well as 90 minutes each day with Karl Berger leading orchestra of improvisers.   Additional Guiding Artists will be on hand to work with participants on a more personal level, informally coaching, playing and tutoring daily.  These include Kirk Knuffke (cornet), Theo Bleckmann (vocals), Kenny Wessel (guitar), Ken Filiano (bass) and others soon to be named.

“Surveys with past workshop participants provided insights we needed to tweak the workshop format,” said Rob Saffer, Creative Music Foundation’s executive director.   “Participants wanted to go even deeper so that Guiding Artists have chances to really know the participants’ playing. By simplifying the format, we hope to give participants greater access to Guiding Artists in both formal workshop settings and more intimate informal settings around meals.”

CMS Workshop Guiding Artists in 2013 and 2104 included: Vijay Iyer, Dave Douglas, John Medeski, Henry Threadgill, Joe Lovano, Oliver Lake, Don Byron, Tyshawn Sorey, Peter Apfelbaum, Tony Malaby, Cyro Baptista, Marilyn Crispell, Steven Bernstein, Jason Hwang, Kirk Knuffke, Kenny Wessel, Steve Gorn, Mark Helias, Tom Rainey, Thomas Buckner, Judi Silvano, Harvey Sorgen, Tani Tabbal, Ken Filiano, Omar Tamez, and John Menegon, in addition to Creative Music Foundation co-founders Karl Berger and Ingrid Sertso.

CMS Workshops feature four days of intensive workshops, master classes, intimate concerts and informal jam sessions that inspire active listening, personal expression, improvisation and musical exploration. Musicians of any instrument, including voice, are welcome as are non-musicians.  Adults who played music earlier in their lives can benefit from this lifelong learning opportunity that offers participants a once-in-a-lifetime experience to learn from and play with music masters, and to simply spend time with them in an informal, personal setting.   The non-traditional atmosphere of the Creative Music Studio Workshop encourages participants to experiment, push beyond limits, genres and categories, to take risks, and to develop their own deeply personal musical expression.

“This workshop will be much different than others we’ve done,” said Karl Berger, CMF’s artistic director. “The new format is one change. The other is that we’re asking Guiding Artists to focus less on jazz, more on crossover work featuring more classical and world music influences. Badal and Steve will devote an entire day to exploring Indian rhythms and scales while Marty and John will explore crossover composition.”

A typical day at the CMS Workshop is:

8:00 – 9:30                   Breakfast

9:30 – 10:00                 Body Awareness

10:15 – 11:00               Rhythm/Voice Awareness, including GaMaLa Taki  rhythm practice

11:30 – 1:00                 Master Class/Workshop

1:00 – 2:15                   Lunch

2:30 – 5:00                   All Instruments Workshop

5:15 – 6:30                   Improvisers Orchestra

6:30 – 7:00                   Listening Meditation

7:00 – 8:15                   Dinner

8:30 – 10:00                 Concert with Guiding Artists

10:00 – ?                      Participant concerts and jams, unscheduled sessions

Late night consists of playing music, unscheduled sessions, conversations, bonfires, or simply stargazing at Full Moon’s gorgeous location in the heart of the Catskill Mountains, with the historic Esopus Creek running through the expansive property.

CMS’s parent nonprofit, the Creative Music Foundation, is fundraising in order to offer full and partial scholarships for the workshop. For more information and online registration, please call the Full Moon Resort, 845-254-8009, email: music@fullmoonresort.com, or click this link to register: https://thriva.activenetwork.com/Reg4/Form.aspx?IDTD=5607674&RF=3709104&Product=13020891.

Full Moon contact info:
E-mail: music@fullmoonresort.com
Telephone: 845-254-8009
Monday-Friday, 9am-5pm (EST)

 

 

Daily Schedule (subject to improvisation)

Monday, September 29

5:00 – Meet and Greet with Open Bar and Hors D’Oeuvres

5:15 – Opening orientation in the main building, hosted by Karl Berger, Ingrid Sertso and other Guiding Artists

  • Introduce featured artists, special guests
  • Brief review of daily workshops, activities, performances

6:30 – Dinner

8:30 – Opening night performance in the “Roadhouse” performance space

10:00 – Late night jams among participants  

 

Tuesday Sept. 30, Wednesday Oct. 1, Thursday Oct 2

8:00 – 9:30                   Breakfast

9:30 – 10:00                 Body Awareness

10:15 – 11:00               Rhythm/Voice Awareness, including GaMaLa Taki  rhythm practice

11:30 – 1:00                 Master Class/Workshop

1:00 – 2:15                   Lunch

2:30 – 5:00                   All Instruments Workshop

5:15 – 6:30                  Improvisers Orchestra

6:30 – 7:00                   Listening Meditation

7:00 – 8:15                   Dinner

8:30 – 10:00                 Concert with Guiding Artists

10:00 – ?                      Participant concerts and jams, unscheduled sessions

 

Friday, October 3

  • Breakfast
  • Farewell and Departure

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Guiding Artist Biographies

Marty Ehrlich  – composer, multi-instrumentalist 

Marty Ehrlichis celebrating thirty-five years in the nexus of creative music centered in New York City. He began his musical career in St. Louis, Missouri, while in high school, performing and recording with the Human Arts Ensemble. He graduated from the New England Conservatory of Music with honors in 1977, where his teachers included George Russell, Jaki Byard, Joseph Allard, and Gunther Schuller.  Since that time, he has made twenty-five recordings of his compositions for ensembles ranging in size from duo to jazz orchestra. These groups include his Dark Woods Ensemble, Traveler’s Tales Group, Rites Quartet, and the Marty Ehrlich Sextet. He has recorded a CD-length work for twenty-two musicians entitled The Long View, and has two acclaimed recordings in Tzadik’s Radical Jewish Culture series. In 2013 New World Records released “A Trumpet in the Morning”, a Jazz orchestra recording of 5 long form compositions by Ehrlich.

As a multi-instrumentalist passionate about improvisation and interpretation, he has performed with a who’s who of contemporary composers including Muhal Richard Abrams, Ray Anderson, Steven Bernstein, Anthony Braxton, John Carter, Andrew Cyrille, Jack DeJohnette, Anthony Davis, Mark Dresser, Peter Erskine, Michael Formanek, Don Grolnick, Chico Hamilton, Julius Hemphill, Andrew Hill, Wayne Horvitz, Robin Holcomb, Leroy Jenkins, Myra Melford, James Newton, Bobby Previte, David Schiff, Wadada Leo Smith, and John Zorn. He appears on more than 100 recordings with these and other composers.

Ehrlich has performed with the Chicago Symphony, the BBC Symphony, the New York City Opera, Chamber Music Society of Lincoln Center, Chamber Music Northwest, and other classical ensembles. He has worked with the Jose Limón and Bill T. Jones dance companies, among others. He is currently presenting a concert program for twelve musicians entitled “Julius Hemphill: A Composer Portrait.” His honors include a Guggenheim Fellowship in Composition, the Peter Ivers Visiting Artist Residency at Harvard University, composition grants from Chamber Music America, the NEA, and NYFA, “Clarinetist of the Year” from the Jazz Journalist Association, and a Distinguished Alumni award from NEC. He is currently Associate Professor of Jazz and Contemporary Music at Hampshire College.

www.martyehrlich.com

 

John Hollenbeck – composer, drummer 

It’s traditional, when paying compliment to drummers, to draw comparisons with the octopus, implying agility beyond the means of a paltry pair of human hands. But when considering John Hollenbeck, the multi-limbed creature that seems most appropriate to invoke is the mythical hydra; for while Hollenbeck is certainly no stranger to rhythmic intricacy, it’s ideas that seem to spring forth like so many heads, two more arising as one falls away.

Hollenbeck is a composer of music uncategorizable beyond the fact of being always identifiably his. A conceptualist able to translate the traditions of jazz and new music into a fresh, eclectic, forward-looking language of his own invention, intellectually rewarding yet ever accessibly vibrant. A drummer and percussionist possessed of a playful versatility and a virtuosic wit. Most of all, a musical thinker – whether putting pen to paper or conjuring spontaneous sound – allergic to repetition, forever seeking to surprise himself and his audiences.

The prolific and unpredictable nature of Hollenbeck’s output has been evident since he first emerged as a leader in late 2001, releasing four completely different albums within a matter of months. Three of them (Quartet Lucy, the duo CD Static Still, and no images, featuring several different configurations) introduced the partnership of Hollenbeck and iconoclastic vocalist Theo Bleckmann, who continue to collaborate in a variety of offbeat settings. Along with keyboardist Gary Versace, they form the Refuge Trio, as boundary-free a small group as one is likely to find.

The last of that initial burst of creativity was the self-titled debut of the Claudia Quintet, Hollenbeck’s longest-running ensemble. Over the course of its seven CDs, Claudia has cemented its reputation as one of the most innovative and adaptable units in modern jazz, so deftly attuned to one another that Hollenbeck’s most dizzying compositional leaps are taken with an air of playfulness and skewed humor. The group was named “Rising Star Jazz Group” in DownBeat Magazine’s 2012 Critics’ Poll, received a grant from the Chamber Music America New Jazz Works: Commissioning and Ensemble Development program to compose a suite which can be heard on 2009’s Royal Toast, and received a grant from USArtists International to travel to Brazil for performances in the spring of 2002 and to Kathmandu, Nepal in the fall of 2013. The quintet was commissioned by the University of Rochester to set the work of Kenneth Patchen as part of their 100th birthday celebration of the groundbreaking poet. Those pieces can be heard on Claudia’s 2011 release, What Is the Beautiful?, featuring vocals by Bleckmann and Kurt Elling. Claudia’s latest release, September, pays homage to a time of year when Hollenbeck seeks the isolation and creative focus of artist residencies.

Hollenbeck has also rethought the big band via his Large Ensemble, which topped the “Rising Star Big Band” category in DownBeat’s 2011 and 2012 Critics’ Poll. The JHLE trades the gale force blowing of most such bands for a multi-hued palette of tonal colors and rich, evocative atmospheres.  Both of the ensemble’s releases have been nominated for Grammys, A Blessing in 2006 and eternal interlude in 2009. His large-band pieces have also been recorded by Austria’s Jazz BigBand Graz on 2006’s critically acclaimed Joys and Desires. In 2010, the CMA/FACE French-American Jazz Exchange Program awarded Hollenbeck a grant to develop work with Daniel Yvinec and the Orchestre National de Jazz of France, resulting in the release of Shut up and Dance (Bee Jazz), named as one of the top five albums of the year by Le Monde, and nominated for a Grammy for Best Instrumental Composition for Falling Men in 2011. And in 2014, Hollenbeck earned another Grammy nomination for his arrangement of Jimmy Webb’s “The Moon’s a Harsh Mistress”, from the album “Songs I Like a Lot”, commissioned and recorded by the Frankfurt Radio Big Band, featuring vocalists Kate McGarry and Theo Bleckmann, and pianist Gary Versace.

If these projects can safely be termed “jazz” (at least by those comfortable with the label’s more progressive interpretations), they should by no means be taken as indicating that Hollenbeck’s output is limited to even that genre’s most elastic borders. His growing body of commissioned compositions relate just as obliquely to the “new music” tag, exemplifying his ability to not so much defy categorization as to evolve beyond its necessity. One of Hollenbeck’s earliest appearances on record was as the composer of “The Shape of Spirit,” a work for wind ensemble issued on the Mons label in 1998. The following year he composed “Processional and Desiderata” for wind ensemble and orator (released by Challenge Records in 2001), written for and featuring the voice and trombone of Bob Brookmeyer, with whom Hollenbeck studied composition under a National Endowment grant in 1994.

His piece “The Cloud of Unknowing,” commissioned by the Bamberg Choir in Germany, fit comfortably alongside works by J.S. Bach, Igor Stravinsky & Paul Hindemith when it was released in 2001 on the Edel Classics label, while his 2004 chamber piece “Demütig Bitten,” commissioned by Germany’s Windsbacher Knabenchor, was released on the Rondeau label along with works by Giovanni Gabrieli, Josquin des Prez and J.S. Bach (again).  In 2002, his IAJE Gil Evans Fellowship Commission piece, “A Blessing,” featuring Theo Bleckmann’s stunning vocals, was performed to critical acclaim at the IAJE Conference; and in 2003 his IAJE/ASCAP Commission, “Folkmoot,” was premiered in Toronto, Canada. A self-released collection of commissioned works, Rainbow Jimmies, showcased several of his chamber pieces. Hollenbeck’s most notable works include commissions by Bang on a Can and the People’s Commissioning Fund; Ethos Percussion Group funded by the Jerome Foundation; Youngstown State University; Melbourne Jazz Festival; Edinburgh Jazz Festival; University of the Arts, Philadelphia; and Ensemble Cairn, Paris, France.

Hollenbeck received degrees in percussion and jazz composition from the Eastman School of Music before moving to New York City in the early 1990s. He quickly struck up relationships with some of the leading lights of jazz (Fred Hersch, Tony Malaby, Kenny Wheeler) and new music (composer/choreographer Meredith Monk, for whose works “Magic Frequencies,” “Mercy,” and “The Impermanence Project” he composed and performed percussion scores). His awards and honors include winning the Jazz Composers Alliance Composition Contest in 1995 and 2002; Meet the Composer’s Grants in 1995 and 2001; a 2007 Guggenheim Fellowship; the 2010 ASCAP Jazz Vanguard Award; the top spot as Rising Star Arranger (2012, 2013) in the Down Beat Magazine International Critics Poll; and a 2012 Doris Duke Performing Artist Award. Since 2005, he has been a professor of Jazz Drums and Composition at Jazz Institute Berlin.

 

Kirk Knuffke – trumpet, cornet, composer 

Originally from Colorado, trumpeter/cornetist Kirk Knuffke has been based in New York City since 2005. Kirk has proven himself to be a versatile, energetic and tenacious artist.  A largely self-taught musician, Kirk has also studied improvisation with great jazz artists such as Ornette Coleman, Art Lande and Ron Miles. He leads several of his own groups, including the Kirk Knuffke Quartet and trio, which play at venues across New york City. As a leader or Co-leader Knuffke has 10 recordings for labels: Cleanfeed, SteepleChase, Not Two, Relative Pitch, and No Buisiness.

Kirk stays very busy as a member of the celebrated Matt Wilson Quartet, touring the US, performing and teaching.  Recent concerts with Mr. Wilson brought Kirk to play at the New Port Jazz Festival and Jazz at the Lincoln Center’s Rose Hall with guest saxophonist Marshall Allen. The Matt Wilson Quartet plus John Medeski recorded a new CD for release in early 2014 on Palmetto Records. For 6 years Kirk enjoyed a fruitful and educational collaboration with the late Butch Morris resulting in 4 recordings and several European tours. As a sideman Knuffke also plays in The Mark Helias Quartet, the Andrew D’angelo Big Band, Josh Roseman’s Extended Constellations, The Jeff Davis Band, Ideal Bread, Brian Drye’s Bizingas Kenny Wollesen’s Wollesonic and Bill Goodwin’s Orntette. Kirk has also made appearances in venues outside the traditional New York jazz scene, including work with pop artist Josh Ritter on Sony Records.
Since arriving in New York, Kirk’s prolific work has included recordings and gigs with groups featuring, among others, Roswell Rudd, William Parker, Uri Caine, Myra Melford, Karl Berger, Jeff Lederer, Jamie Saft, Bob Stewart, John Tchicia, Graham Haynes, Mark Helias, Allison Miller, Vijay Iyer, Chris Speed, Jim Black, Tim Berne, Daniel Carter, Steve Swell, John Zorn, Tony Malaby, Dave Douglas, Billy Hart, Michael Formanek, Trevor Dunn, Angelica Sanchez, Joe Bonner, Chris Lightcap, Ted Nash, Steven Bernstein, and Mary Halvorson. Internationally, he has played with ensembles at jazz festivals in Saalfeldan Austria, Willisau Switzerland, The North Sea Jazz festival in Holland, The Moers festival as well as festival dates in Italy and France.

“Big Wig” was Kirk’s debut recording as a leader. Released in May of 2008 on Clean Feed Records, it was greeted with strong international reviews including the New York Times. Building on this success, in 2009, Kirk received a Jerome Foundation Composers grant though Roulette in New York City; the commissioned works of which were performed by a  trio with Kenny Wollesen and Lisle Ellis. The recording of that concert, entitled “Chew Your Food”, is now available on No Busisness Records. His second Clean Feed CD entitled “Amnesia Brown” featured a trio with Kenny Wollesen and Doug Wieselman. After its release in February 2010, it received 4 stars in Downbeat Magazine, where it was reviewed by Peter Margasak stating, “Over the last couple years, New York trumpeter Kirk Knuffke has quietly emerged as one of the most exciting and flexible hornmen on the scene.”

In 2011, Kirk and pianist Jesse Stacken released “Orange was the Color”, a collection of music by Charles Mingus, on SteepleChase Records;  Matt Wilson, Mary Halvorson and Kirk Knuffke came together to form the new collaborative trio “Sifter”, which was featured in the NYC Winter Jazz Festival;  and Sifter recoded their debut CD, that is due for release in fall 2013 . During 2011, Kirk also recorded steadily for several new records including: The Kirk Knuffke/Ted Brown quartet for SteepleChase records; another recording with Jesse Stacken entitled “Like A Tree”, this time joined by Kenny Wollesen on drums; duets with drummer Mike Pride for NotTwo Records in Poland; Other new projects for  are the new Mark Helias Quartet with fellow sideman Tim Berne and Mark Ferber; and Merger, a collaboration with Saxophonist Andrew D’angelo, Kenny Wollesen and Ben Street.

Other new recordings planned for release: Kirk Knuffke Quartet (with Michael Formanek, Billy Hart and Russ Lossing) ESAU duets with Jamie Saft,  Jeff Lederers Swing n’ Dix (with Matt Wilson and Bob Stewart), “Denver General” (wih Jeff Davis and Jonathan Goldberger).

 

Theo Bleckmann, vocalist/composer 

A jazz singer and new music composer of eclectic tastes and prodigious gifts, GRAMMY® nominated Theo Bleckmann makes music that is accessibly sophisticated, unsentimentally emotional, and seriously playful, leading his work to be described as “from another planet” (New York Times), as “magical, futuristic,” (AllAboutJazz), “limitless” (Citypaper, Philadelphia) “transcendent” (Village Voice) and “brilliant” (New York Magazine).

Bleckmann, who has been residing in New York City since 1989, has released a series of gorgeous and irreverent albums on Winter & Winter, including recordings of Las Vegas standards, of Weimar art songs, and of popular “bar songs” (all with pianist Fumio Yasuda); a recording of newly-arranged songs by Charles Ives (with jazz/rock collective Kneebody); his acoustic Solos for Voice “I dwell in possibility”, and his highly acclaimed “Hello Earth – the Music of Kate Bush.” 2014 finds Bleckmann touring Europe with Ambrose Akinmusire and recording with Julia Hülsmann’s trio, for a 2015 release on ECM and the touring that will follow.
 Bleckmann has additionally collaborated with musicians, artists, actors and composers, including Ambrose Akinmusire, Laurie Anderson, Uri Caine, Philip Glass, Ann Hamilton, John Hollenbeck, Sheila Jordan, Phil Kline, David Lang, Kirk Nurock, Frances MacDormand, Ben Monder, Michael Tilson Thomas, Kenny Wheeler, John Zorn, the Bang on a Can All-Stars, and, most prominently, Meredith Monk, with whom Bleckmann worked as a core ensemble member for over fifteen years. He has been interview by Terry Gross on NPR’s Fresh Air and appeared on the David Letterman show with Laurie Anderson. Bleckmann will premiere his commission for the American Composers Orchestra on November 21st at Carnegie Hall.

Bleckmann’s recent accolades include NPR’s 2012 Top 10 Jazz Albums of the Year for Hello Earth! The Songs of Kate Bush, top-five spots in the 2013 and 2014 DownBeat Critics’ Polls for Best Male Vocalist, Bleckmann received the prestigious JAZZ ECHO award from the Deutsche Phono-Akademie in his native Germany.

 

Badal Roy – Indian percussion/tabla 

Badal Roy (born: Amerendra Roy Choudhury) is one of the world’s leading tabla players. Although his musical roots reflect the influence of Indian classical music, Roy has taken the Indian hand drum from its traditional role and placed it in the realm of jazz and improvisational music. In addition to recording with John McLaughlin and the late Miles Davis, Roy has performed with such stellar jazz and world music players as Herbie Mann, Dave Leibman, Don Cherry, Pharoah Sanders, Dizzy Gillespie, Lonnie Liston Smith, Andreas Vollenweider, and Yoko Ono. Since 1988, Roy has been a member of Ornette Coleman‘s Prime Time. A native of Pakistan, Roy emigrated to the United States in 1968, to seek his fortune as a musician. Arriving in New York with eight dollars and his tabla, he quickly attracted attention with his virtuosic playing. Although he found a job as a busboy and waiter at an Indian restaurant, he caused a sensation when he began performing for customers. The invitation to record with Miles Davis followed soon afterwards. Since the mid-’90s, Roy has collaborated with Brazilian guitar duo Duofel.

 

Steve Gorn – Indian Flutes 

Steve Gorn, whose flute is featured on the 2011 Grammy winning recording, “Miho – Journey to the Mountain,” with the Paul Winter Consort, and the Academy Award winning Documentary film, Born into Brothels, has performed Indian Classical Music and new American Music on the bansuri bamboo flute, soprano saxophone and clarinet in concerts and festivals throughout the world. He is also featured on Angelique Kidjo’s Grammy nominated cd, “Oyo”

His unique blend of Indian music and contemporary world music can be heard on recordings with Paul Simon, Glen Velez, Jack DeJohnette, Paul Winter, Krishna Das, Jai Uttal, Tony Levin, Adam Rudolph, Layne Redmond, Richie Havens, Alessandra Belloni, Badal Roy, Simon Shaheen, Deepak Chopra, Robert Bly, Coleman Barks, and numerous Indian musicians. His numerous recordings include Luminous Ragas, the landmark Indian-Jazz fusion recording, Asian Journal, Pranam a jugalbandi with Barun Kumar Pal playing hansaveena, and Samir Chatterjee, tabla. His latest recording are Rasika, with tabla by Samir Chatterjee, and Illumination, with Nepali flutist, Manose.

 

Karl Berger – PhD, Founder Creative Music Foundation, composer, vibraphonist, pianist 

Founder and director of the nonprofit Creative Music Foundation, Inc., and creative leader of the legendary Creative Music Studio, Karl Berger is dedicated to the research of the power of music and sound and the elements common to all of the world’s music forms. In addition to his composing and playing, Karl is known around the world for educational presentations through workshops, concerts, recordings, and with a growing network of artists and CMS members worldwide.

Karl Berger is a six time winner of the Downbeat Critics Poll as a jazz soloist, recipient of numerous Composition Awards (commissions by the National Endowment for the Arts, the New York State Council on the Arts, the Rockefeller Foundation, European Radio and Television: WDR, NDR, SWF, Radio France, Rai Italy. SWF-Prize 1994). Professor of Composition, Artist-in- Residence at universities, schools and festivals worldwide, PhD in Music Esthetics.

Karl Berger became noted for his innovative arrangements for recordings by Jeff Buckley (“Grace”), Natalie Merchant (“Ophelia”), Better Than Ezra, The Cardigans, Jonatha Brooke, Buckethead, Bootsie Collins, The Swans, Sly + Robbie, Angelique Kidjo and others; and for his collaborations with producers Bill Laswell, Alan Douglas (“Operazone”), Peter Collins, Andy Wallace, Craig Street, Alain Mallet, Malcolm Burn, Bob Marlett and many others in Woodstock, New York City, Los Angeles, Tokyo, London, Paris and Rome.

He recorded and performed with Don Cherry, Lee Konitz, John McLaughlin, Gunther Schuller, the Mingus Epitaph Orchestra, Dave Brubeck, Ingrid Sertso, Dave Holland, Ed Blackwell, Ray Anderson, Carlos Ward, Pharoah Sanders, Blood Ulmer, Hozan Yamamoto and many others at festivals and concerts in the US, Canada, Europe, Africa, India, Phillippines, Japan, Mexico and Brazil.

His recordings and arrangements appear on the Atlantic, Axiom, Black Saint, Blue Note, Capitol, CBS, Columbia Double Moon, Douglas Music, Elektra, EMI, Enja, Island, JVC, Knitting Factory, In&Out, MCA, Milestone, Polygram, Pye, RCA, SONY, Stockholm, Vogue and others.

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Ingrid Sertso  – voice, poet, co-founder, Creative Music Foundation 

Through her work with such avant-jazz musicians as Don Cherry and Karl Berger, Ingrid Sertso established herself as a captivating, adventurous vocalist, capable of blending jazz, African, South American and other worldbeat influences into a distinctive, hypnotic sound.

Although Sertso didn’t become well-known until the release of Dance with It in 1994, she spent over 20 years honing her art. During the late ’60s, she lived in Europe, leading her own trios and performing with the likes of Eric Dolphy, Don Cherry, Steve Lacy, Karl Berger and Leo Wright; she also worked as a music teacher at several institutions in Europe. In 1972, she became a permanent resident of the United States and she released her first album, We Are You, on Calig Records. Over the next few years she taught, while she performed in North America and Europe with the likes of Cherry, Ed Blackwell, Lee Konitz, Sam Rivers, Jimmy Giuffre, Bob Moses, Dave Holland, Perry Robinson and Jumma Santos. In 1974, she released Kalaparush on Trio Records in Japan. It was followed in 1975 by Peace Church Concerts on India Navigation/CMC Records.

In 1975, Sertso became a faculty member at the Naropa Institute in Boulder, Colorado. She stayed there through 1975 and 1976, before moving to the Banff Centre of Fine Arts in Calgary, Canada. She had two residencies at Banff before moving to the Creative Music Studio in Woodstock, New York, where she became the co-director. While working at the Creative Music Studio, she began singing in the Art of Improvisation with Berger and David Inzenon. In 1979, she toured major European cities as a solo artists, supported by the Woodstock Workshop Orchestra. She also released an album on MPS Records that year.

During the early ’80s, Sertso remained a co-director at the Creative Music Studio, while continuing to record and perform with a variety of musicians, including such mainstays as Don Cherry and Karl Berger, as well as Paulo Moura, Nana Vasconcelos, Steve Gorn, Dan Brubeck and Mike Richmond. In 1984, she performed with the Music Universe Orchestra at the Kool Festival in New York and released a duet album, Changing the Time, with Berger on Horo Records in Italy. She also toured Europe twice during this time and she also toured West Africa with Olatunji and Aiyb Dieng.

Sertso’s career picked up momentum during the latter half of the ’90s. She held a series of concerts and workshops in Rio de Janeiro, Brazil and she regularly tour the US on club and festival circuit. Sertso also toured Europe twice and sang solo vocals on Berger’s orchestral ballet, The Bird. She was one of the co-leaders of Rhythm Changes, who released the Jazzdance album on ITM Records. During these five years, she also performed and recorded with a variety of artists, including Pauline Oliveros, Lee Konitz, Frank Luther, Anthony Cox, Leroy Jenkins, Jimmy Cobber, Linda Montano and Karl Berger.

In 1990, Sertso catapulted back into the mainstream jazz spotlight through her version “Until the Rain Comes” on Don Cherry’s Multi Kulti album. Shortly afterward, she began working on a new album, but she became sidetracked by collaborating with Karl Berger and guitarist Paul Koji Shigihara. The trio blended original compositions with Sertso’s poetry, improvisations and interpretations of traditional tune. Sertso also regularly performed poetry readings at the Tinker Street Cafe in Woodstock and the Knitting Factory in New York, and she also regularly played clubs along the Northeast coast. In 1994, she released her comeback album Dance with It, which earned postitive reviews. – Stephen Thomas Erlewine (All Music Guide)

 

Kenny Wessel – guitar, composition 

Ken Wessel is a versatile, sensitive and soulful guitarist and composer. A vital and personal voice on the jazz guitar, Wessel has been involved in projects playing jazz, ranging from straight-ahead to free music. Ken is also very interested in creating and investigating points of intersection between jazz and Indian music and has performed and recorded with musicians from various parts of the globe. He has performed in 26 countries at major jazz festivals, concert halls and in radio and television appearances.

Wessel worked with revolutionary jazz artist Ornette Coleman for over 12 years (1988-2000), touring the world as a member of Prime Time, Ornette’s groundbreaking ensemble. Ken can be heard on Ornette Coleman’s critically acclaimed Polygram/Verve CD, Tone Dialing. Performing “Skies of America,” Ornette Coleman’s seminal work for symphony orchestra and jazz ensemble, Ken has appeared with Kurt Masur and the New York Philharmonic and London’s Philharmonia Orchestra.
 He has worked with artists from different shades of the jazz spectrum, including John Abercrombie, David Liebman, Gloria Lynne, Arthur and Red Prysock, Karl Berger, Steve Gorn, Adam Rudolph, Hamid Drake, Donald Fagen, Steve Turre and Johnny Hartmann.

Ken has a strong interest in world music, particulary with North Indian music, and he has performed with Debashish Bhattacharya, Karaikudi Mani, V.M. Bhatt, Samir Chatterjee and others. Wessel co-leads a trio with jazz tabla master Badal Roy and bassist Stomu Takeishi. Their CD, Daybreak, was included in JAZZIZ magazine’s Top 10 Critic’s Picks of 1998. They have performed together extensively throughout North America. In 1995, Ken and Badal toured India and the U.S. with their composition, “Testimony,” which was commissioned by the Battery Dance Company. As a U.S. Jazz Ambassador, Ken has toured South Asia and South America, visiting India, Thailand, Sri Lanka, Bengladesh and Venezuela in 2002-03.
 He is an active composer (he has received numerous “Meet the Composer” grants) and his original music has an organic and evocative quality. Ken’s quartet with Joel Frahm (sax), Brad Jones (bass) and Kenny Wolleson (drums) has a CD in the works which will be released soon. His recent trio recording, Jawboning (CIMP), with bassist, Ken Filiano and drummer, Lou Grassi investigates the boundaries between freedom and structure. A dedicated jazz educator, Ken is currently on the faculties of the Music Conservatory of Westchester and Rutgers University. He has given clinics and Master classes at numerous institutions in the U.S. and overseas, including Yale University, Manhattan School of Music, Mahaidol University in Thailand, Music Academy in Oslo, and Columbia University.

 

Ken Filiano – bass 

Bass player, composer, improviser, Ken FIliano has been performing throughout the world for thirty years, collaborating with leading artists in multiple genres, fusing the rich traditions of the double bass with his own seemingly limitless inventiveness. Ken leads two quartets, Quantum Entanglements, and Baudalino’s Dilemma (Vinny Golia, Warren Smith, Michael TA Thompson), and is a co-leader of The Steve Adams/Ken Filiano Duo and TranceFormation (Connie Crothers, Andrea Wolper.) His extensive discography includes a solo bass CD, “subvenire” (NineWinds), and “Dreams From a Clown Car” (Clean Feed), which presents his compositions for his quartet, Quantum Entanglements (Michael Attias, Tony Malaby, Michael TA Thompson). Ken has performed and/or recorded with Karl Berger, Bobby Bradford, Anthony Braxton, Connie Crothers Quartet, Bill Dixon, Ted Dunbar, Giora Feidman Quartet, Vinny Golia ensembles, Taylor Ho Bynum, Jason Kao Hwang, Joseph Jarman, Raul Juanena, Joelle Leandre, Frank London, Tina Marsh, Warne Marsh, Dom Minasi, Barre Phillips, Roswell Rudd, ROVA Saxophone Qt., Paul Smoker, Fay Victor Ensemble, Pablo Zielger, and many more. Ken is on the teaching roster at the New School in New York, and is a guest artist lecturer at School of Visual Arts and Hunter College (New York). He teaches master classes in bass and improvisation, and has a private bass studio in Brooklyn.

 

REGISTER NOW!

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About Full Moon Resort

Full Moon, located one half hour west of Woodstock, New York, “the most famous small town in the world,” is a year-round mountain resort located in the heart of the “Forever Wild” Catskill Forest Preserve.  Dedicated to the celebration of nature, music and the arts, this one hundred-acre wonderland of mountains, fields, and streams is a world of its own.

Full Moon is an alternative to more traditional country inns and resorts – with educational, recreational and artistic workshops, weekend-long destination country weddings, cutting-edge music camps, and art exhibits all part of its magical landscape.

“Music and art in nature” is a central theme at Full Moon Resort. Music is always in the air with the Music Masters Camp series, a special mid-week interactive musical experience with world renowned artists – complete with superb dining, comfortable country inn accommodations, and camping options.

Lovingly prepared, fresh, healthy cuisine served by a friendly, professional staff is the trademark of Full Moon Catering.  The menus offer a full range of possibilities – hot buffet breakfasts and lunches, down-home country barbeques …tantalizing hors d’oeuvres and formal gourmet dinners in the Tent Pavilion.  Fresh, natural ingredients (often organic) are the common thread throughout.

Accommodations are charming in their simplicity, with guest rooms available in a variety of lodges  – some in a simple B&B style with shared hallway baths and others with private bath options.

In all, Full Moon Resort, with its picturesque grounds, cozy guest accommodations, excellent cuisine and friendly, professional staff, sets the stage for highly memorable experiences for those attending the Music Masters Camps.

Full Moon contact info:
Telephone: 845-254-8009
Monday-Friday, 9am-5pm (EST)

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FAQ

When will my deposit be run?
 Your deposit will be run at the time of your registration.

What gear do I need?
 Bring your instrument(s) if they fit! Amps are not required. For more information, email music@fullmoonresort.com to see what will be provided.

Can I still come if I’m not a musician? 
Non-musicians are more than welcome and encouraged to attend.

What skill level is required to attend? 
Classes and curriculum are developed to accommodate all ranges of playing. All classes are optional and open to everyone.

Is there an age requirement?
 No. Minors are required to submit a parent/legal guardian consent form.

Are meals included?
 Yes, three gourmet meals a day and snacks are included in your tuition.

If I want to bring my spouse, but they don’t want to attend classes, can I?
 Yes. In order to bring a non-participant, you would need to purchase a “single occupancy” package. Non-participants have access to all meals, and can observe classes or workshops.

When is check in and check out?
 Check in is at 3pm on arrival day and check out is at 11am on departure day. Due to Full Moon’s busy event calendar, it is generally not possible to check in early or check out late.

How do I get there?
 Please see the ‘Directions/Transportation’ section below.

Is there cell phone reception at camp?
 There is no cell phone reception at Full Moon Resort.  Complimentary phone service for all calls within the U.S. is available at all times at the Inn. Also, there is complimentary Wi-Fi available throughout the facility.

How do I make my final payment?
 Your final payment will be automatically run on the credit card on file on the due date noted in your registration form. You may provide an alternative method of payment as long as it is received before the due date.

Can I take photos, video or audio recordings? 
Yes. You may be required to sign a waiver stating all recordings, footage and/or photos will be used strictly for personal use and not commercially. CMS will videotape the proceedings for its promotional and fundraising efforts.

What is the weather like at camp?
 Weather in the Catskills varies. In the spring and fall, you can expect warm days (50s to 70s) and cooler nights (lower 40s to lower 60s).

What do you suggest I bring with me?
 Audio recording devices
. Camera
 Clothes & Toiletries (toothbrush, soap, shampoo etc.)
 Tent Campers- don’t forget towels, sleeping bags, tarps, etc.!
 Insect Repellent
. Swimwear
. Flashlight
. Writing Utensils & composition note Paper
. Water bottle
. Cash (There is no ATM on-site.)

Do you provide equipment storage for tent campers? 
This can be arranged on an as needed basis.

Can I select my own roommate?
 Yes – if that person is signed up as well. We cannot hold a spot for someone unless they have already registered.

How does the facility select my roommate?
 Full Moon Resort selects roommates based on age and gender. You will always be placed with a same-sex roommate.

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Pricing and Registration

CMS Workshop Packages are All-Inclusive!

Monday to Friday you will have access to all workshops, seminars, gourmet meals, performances, and camp activities. The only thing you have to do after signing up is get here!

All camp activities will be held at Full Moon Resort. Full Moon features an eclectic array of comfortable, rustic country-inn accommodations including simple B&B style guest rooms with shared hallway baths and guest rooms with private baths. “Primitive” campsites are also available. All accommodations are just steps away from daily music camp activities. The grounds offer one hundred acres of meadows, forests and streams providing a natural backdrop for an unforgettable, enriching experience.

Guest rooms at Full Moon do not have telephones, TV’s, air conditioning or daily housekeeping service. Wi-Fi, cable television and complimentary phone service are all available at the Inn (please bring a phone card for international calls).   Enjoy the spring-fed swimming pool, on-site access to the Esopus Creek, and explore the splendors of the Catskills on the nearby network of hiking trails.

Please Note: There is no cell phone reception at Full Moon Resort or in Big Indian.

Package Pricing
  Note: Prices do not include applicable taxes

Full Moon Resort Accommodations:

Note: Prices include Full Moon Resort lodging, food and CMS workshops. Prices do not include applicable taxes.

Rates:

  • $695 Tent Camping
  • $895 Double Occupancy, Shared Bath
  • $995 Double Occupancy, Private Bath
  • $1,295 Single Occupancy, Shared Bath
  • $1,595 Single Occupancy, Private Bath
  • $495 Non-participant rates for spouse/children

Registration, Payment and Cancellation Terms and Conditions:

Your decision to register for Full Moon Resort Music Masters Camps constitutes your acknowledgement of and consent to all of the registration, payment and cancellation terms and conditions listed below.

Registration and Payments:

  • All rates are per-person
  • All rates are subject to a 2% county tax, 8% New York State Tax and a 1.5% online registration fee
  • Upon registration, a non-refundable deposit of $350 is charged to your credit card
  • 100% of the remaining balance due is automatically charged to the credit card on file on August 29, 2014.
  • Any registrations received after August 29, 2014 must be paid in full at the time of registration 

Cancellation:

  • All payments and deposits are non-refundable, except when approved by the Creative Music Foundation.
  • Cancellations received before August 29, 2014will not be charged the remaining balance
  • Cancellations received after August 29, 2014 will be charged the full remaining balance

Due to the nature of our events and strict cancellation policies, Creative Environments, LLC DBA Full Moon Resort strongly suggests purchasing travel insurance.

REGISTER NOW!

Full Moon contact info:
Telephone: 845-254-8009
Monday-Friday, 9am-5pm (EST)

 

Directions/Transportation

Full Moon Resort 
1 Valley View Road  
Big Indian, NY 12410

By Car:

Car parking is complimentary to all participants.

From Albany and points North:
Take the New York State Thruway (I-87) South towards New York City
Take Exit 19, Kingston (see below)

From New York City and Points South:
Take the New York State Thruway (I-87) North/West to Exit 19, Kingston
After toll, merge slightly right onto Route 28 West (towards Pine Hill)
Travel approximately 30 miles on Route 28 West to Big Indian/Oliverea
Turn left onto County Route 47 (just after a brown sign on Route 28 which says Oliverea 3 miles)
Proceed 5 miles on County Route 47 (Oliverea Road)
You will see signs for Full Moon on the right-hand side.

By Plane:
The closest airports to Big Indian are one hour and thirty minutes away:
Albany International Airport and Stewart/Newburgh International Airport

Albany International Airport (ALB):
737 Albany Shaker Rd
Albany, NY 12211
(518) 242.2222

Stewart-Newburgh International Airport (SWF):
1180 1st Street
New Windsor, NY 12553
(845) 564-2100

JFK and LaGuardia Airports in New York City are approximately two and a half hours from Big Indian.

Airport Car Services:Woodstock Town Car: (845) 679-6656 / INFO@WOODSTOCKTOWNCAR.COM
Black Diamond Transportation: (845) 338-8426

By Bus:Adirondack Trailways buses run from NYC and Kingston, NY. There is a stop on Route 28 at the Big Indian post office just five miles from Full Moon Resort. Email us to arrange a pick up from the Big Indian bus stop to Full Moon Resort.

NYC buses depart from the Port Authority bus terminal in Manhattan at 9.30am, 12.30pm and 3.30pm (EST) daily and take approximately three hours to reach Big Indian. One way fare is approximately $35, return is approximately $70.
For additional schedule information and bus stop locations, call 1-800-776-7548

Big Indian Bus Stop Located At the Big Indian Post Office:
8279 State Route 28
Big Indian, NY 12410

*Email music@fullmoonresort.com to let us know when you will be arriving and we will be sure to have a shuttle waiting to bring you to camp!

By Train:
 The closest train station is in Rhinecliff, NY which is approximately one hour away from Big Indian.

Rhinecliff Amtrak Station (RHI)
Hutton St. and Charles St.,
Rhinecliff, NY 12574
Phone: 1 (800) 872-7245
Station and Service Hours: Open 7 Days a Week: 5:30am-10:30pm

**Carpooling is suggested!


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Karl Berger Trio Premieres “Gently UnFamiliar”

Karl Berger’s upcoming trio record, “Gently UnFamiliar,” will be premiered in a live concert at the Falcon in Marlboro, NY, on September 17. The trio, featuring Harvey Sorgen on drums and Joe Fonda on bass, will play music from its upcoming CD release on John Zorn’s Tzadik label.

These three international recognized improvisers come together in support of this trio’s new release, “Gently Familiar.”  Karl Berger’s influence on jazz and improvised music has been undeniable for more than five decades. Along with Joe Fonda and Harvey Sorgen, this trio creates a blended, open sound that goes beyond the jazz genre.

For more information on the concert, please visit http://www.liveatthefalcon.com.

Karl Berger Begins 80th Year with Residency at The Stone NYC September 2-7 — Weeklong Residency Features Solos, Duos, Small Ensembles and The Karl Berger Improvisers Orchestra

With guest artists such as William Parker, Tyshawn Sorey, Kirk Knuffke, Steven Bernstein and Others

CMF co-founder and artistic director Karl Berger turns 80 in March and begins celebrating over five decades making music with a weeklong residency at The Stone, John Zorn’s lower east side music club.  Through performances ranging from solos and duos to small ensemble and orchestras, the September 2 – 7 residency will showcase Berger’s diverse musical interests and talents. Unusual pairings with improvisers such as William Parker, Tyshawn Sorey, Kirk Knuffke, Jason Hwang, Peter Apfelbaum, Steven Bernstein and Berger’s musical partner, Ingrid Sertso, will highlight the residency.

“I wanted to use this time at the Stone to share a broad array of my musical interests and projects, from small, intimate settings to the large improvising orchestra,” said Berger, who co-founded the Creative Music Foundation along with Sertso and Ornette Coleman over 40 years ago and continues actively with workshops and recording projects. “I wanted to showcase music I’m making now, rather than go backwards and delve into past work.”

The schedule for Karl Berger’s Stone Residency, September 2 – 7, is:

Tuesday, Sept. 2
8 and 10 pm
In the Spirit of Don Cherry
Karl Berger (piano, vibes) Steven Bernstein (trumpet) Peter Apfelbaum (sax) Mark Helias (bass) Tani Tabbal (drums) Ingrid Sertso (voice)
Music by Don Cherry and originals related to it

 

Wednesday , Sept. 3
8 pm
KIKK
Karl Berger (piano, vibes) Ingrid Sertso (voice) Ken Filiano (bass) Kenny Wessel (guitar)

10 pm
KIKK with Kirk Knuffke
Karl Berger (piano, vibes) Ingrid Sertso (voice) Ken Filiano (bass) Kenny Wessel (guitar) Kirk Knuffke (cornet)
Duos with Karl and Kirk followed by a quintet

 

Thursday, Sept. 4
8 pm
KIKK and Jason Hwang
Karl Berger (piano, vibes) Ingrid Sertso (voice) Ken Filiano (bass) Kenny Wessel (guitar) Jason Hwang (violin)

10 pm
KIKK with Jason Hwang
Karl Berger (piano, vibes) Ingrid Sertso (voice) Ken Filiano (bass) Kenny Wessel (guitar) Jason Hwang (violin)
Duos with Karl and Jason followed by a quintet

 

Friday, Sept. 5
8 pm
TZADIK NIGHT—Strangely Familiar
Karl Berger (solo piano)

10 pm
TZADIK NIGHT—Gently Unfamiliar
Karl Berger (piano) Joe Fonda (bass) Harvey Sorgen (drums)
CD Release Party

 

Saturday, Sept. 6
8 and 10 pm
KIKK with Graham Haynes and Warren Smith
Karl Berger (piano, vibes) Ingrid Sertso (voice) Graham Haynes (cornet) Kenny Wessel (guitar) Ken Filiano (bass) Warren Smith (drums)

 

Sunday, Sept. 7
8 pm
Close Encounters
Karl Berger (vibes, piano) William Parker (bass) Tyshawn Sorey (drums) Ingrid Sertso (vocals)

10 pm
The Karl Berger Improvisers Orchestra
Karl Berger and his orchestra of strings, horns, percussions, vocals

The Stone is located in NYC at the corner of Avenue C and 2nd Street. More information is available at www.thestonenyc.com

CMS Kickstarter Campaign Nears September 7 Deadline — Matching Funds Double Donations

 

As the Kickstarter crowd-funding campaign to help fund the Creative Music Studio Archive Project nears its September 7 deadline, a CMS donor has stepped up and is offering to match donations dollar-for-dollar for the first $1,000 raised.  The campaign aims to raise $6240 to finish preserving, restoring, re-mastering, and digitizing recordings of over 400 concerts that took place at the Creative Music Studio in the 1970s and 80s.

In 2012 and 2013, the nonprofit fundraised and successfully completed preserving 300 tapes. In the past year, it has raised $22,000 from the Grammy Foundation and other sources to preserve 74 of the remaining 100 tapes. CMF needs $6,240 to finish the final 26 tapes.  The Kickstarter ‘crowd sourcing’ campaign, https://www.kickstarter.com/projects/1283522323/creative-music-studio-archive-restoration-project-0, will last 60 days, beginning July 10 and ending September 7, 2014.  Donations are tax-deductible to the fullest extent of the law.

Some of the artists in the CMS Archive include: Jimmy Giuffre, Ed Blackwell, Don Cherry, Oliver Lake, Olu Dara, Colin Walcott, John Cage, Lee Konitz, Frederic Rzewski, Anthony Braxton and Cecil Taylor, as well as CMF co-founders Karl Berger and Ingrid Sertso, among hundreds of others. The tapes of these concerts are old and brittle; some are no longer playable. It’s a race against time because over time, the tapes deteriorate. The sooner CMF can digitize and re-master them, then the risk of losing this historically and musically important archive will be minimized.

The CMS Archive Project has three goals: 1) to restore, preserve and digitize the tapes for posterity; 2) to return the re-mastered versions to the musicians who made them, free of charge; and 3) to share the music with fans, musicians and scholars around the world by producing a series of 3-CD box sets, the Creative Music Studio Archive Selections Series, which is being packaged and distributed by the American Composers Forum/Innova Recordings.

CMF is offering the following incentives to people who donate money on Kickstarter.com:

$25              Limited edition ‘surprise’ CD by a CMS guiding artist

$50              Second edition of 3-CD box set

$100            Autographed second edition of 3-CD box set

$250          Donor’s name on the packaging as a member of the ‘producer’s circle’ plus autographed 3-CD set

$500           Copy of the entire CMS Archive catalog and a choice of any single recording plus all of the above perks

$1,000      All of the above, plus a personal coaching session with Karl Berger in his Woodstock studio or via Skype

The Creative Music Foundation has partnered with Columbia University’s Library to preserve the CMS Archive for posterity. CMS is giving Columbia the full archive of recorded tapes, along with memorabilia and photographs from CMS. CMS co-founder Karl Berger and audio engineer (and former CMS participant) Ted Orr are going through each tape, digitizing and re-mastering them, a time consuming process that’s as much a labor of love as it is technical.  The digitized, re-mastered recordings will be available at the Columbia University Library for scholars or others who want to enjoy and learn from them.

As part of its nonprofit mission, CMF is offering Guiding Artists who made these rare recordings a digitized version for their unrestricted use free-of-charge.  At the discretion of the Guiding Artists, selections of the re-mastered, digitized recordings will be made available in CD compilations to help raise money for the Creative Music Foundation and its music education programs. CMF is partnering with American Composers Forum and its Innova recording label to release these compilation recordings. Each volume will feature three compact discs full of rare recordings divided into small ensemble, orchestral and world music performances. The first edition went on sale in spring 2014 and is available on iTunes and Amazon.com. It featured performances with Ed Blackwell, /Charles Brackeen; David Izenson, Karl Berger, Ingrid Sertso, James Emery/Leroy Jenkins, Ursula Oppens/Fred Rziewski, Oliver Lake; Olu Dara; Roscoe Mitchell, Foday Musa Suso, Nana Vasconcelos and  Ismet Sirel.

More information about the CMS Archive Project can be found at: www.creativemusicfoundation.org/archive-project.html.

The Creative Music Foundation, a 501C(3) nonprofit corporation, makes it possible to profoundly experience and express our deep connection with the transforming energies of music, our universal language. CMF programs focus on the common elements of all music, emphasizing keen awareness, personal expression, intensive listening and cross-cultural communication, and providing unique opportunities for musicians, students and listeners from different backgrounds and traditions to explore together, share, develop, and broaden their musical understanding and sensitivity. CMF pursues its mission through workshops, residencies, coaching, concerts, recordings and archival projects that engage both listeners and musicians in the USA and around the world.