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
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 recap of the June 2014 workshop is at: http://www.creativemusicfoundation.org/2014-spring-workshop-recap.html
- A seven-minute video featuring highlights of the May workshop can be seen on YouTube: http://www.youtube.com/watch?v=RQJaoh0mTz8&feature=youtu.be.
- A recap of CMS’s October 2013 workshop is at: http://www.creativemusicfoundation.org/fall-workshop-recap-2013.html. It includes a short video featuring testimonials from workshop participants.
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: firstname.lastname@example.org, or click this link to register: https://thriva.activenetwork.com/Reg4/Form.aspx?IDTD=5607674&RF=3709104&Product=13020891.
Full Moon contact info:
Monday-Friday, 9am-5pm (EST)
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
- Farewell and Departure
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.
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.
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.
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.
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 email@example.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.
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.
- $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
- 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.
Full Moon Resort 1 Valley View Road Big Indian, NY 12410
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 firstname.lastname@example.org 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!