REVIEW: I Went Down to the Crossroads…Blues Camp in the Catskills
Eric Gales
“Certainly we want the campers to learn a bit more about how to become better players in a variety of ways, but we also want to give them the opportunity to have proximity to their heroes.”
When I first learned of the Music Masters Collective retreats at Full Moon Resort in Big Indian, NY, roughly two hours southwest of Albany, as a young musician, it was something I knew I wanted to partake in. For one reason or another, I never made it to one — that all changed when the opportunity arose to attend the inaugural Catskill Crossroads Blues Camp for a day.
The camp’s lineup was an embarrassment of riches for anyone familiar with the genre. From Charlie Musslewhite & Bobby Rush, to Eric Gales & Jon Cleary, with an eclectic lineup within the genre, there was someone for everyone. The Collective’s hospitality was abundant from the first email exchange; I was able to spend the entire day, eat meals, and be privy to everything the camp had to offer.
Disclaimer: the camp organizers weren’t too keen on attendees sharing much on socials, in the name of keeping things exclusive and really experiencing the event. In that spirit, I am going to do my best to pull the curtain back without giving everything away.
As I arrived for the first master class of the day, Eric Gales was presenting in what they call the Pavilion. The gorgeous building wasn’t what I would consider a pavilion, fitted with a stage and professional sound; it was clear that this resort was truly a musical paradise in the middle of the Catskill Mountains. Introduced by co-organizer Joel Harrison, Gales took the stage.
Before he even picked up his guitar, he was moving the room with his candor. Everyone knew what Gales the performer was all about, but by the time he started playing, everyone got to know Gales the artist and human. It was a really special way to spend a late Thursday morning and it set the tone for the day. He of course would eventually pick up his custom gold Kiesel S-style guitar and blow our minds with not only familiar songs, but his patented flow state (which was on full display later, but we’ll get to that).
For the rest of the day, and seemingly the way each day was structured, there were events split between the Pavillon, and the other buildings known as the Barn, and the Roadhouse. Having spent a lot of time in the Pavillion already, I decided to stretch my legs a bit and make my way over to the Barn for co-organizer Luther Dickinson’s class. Dickinson is not only the son of renowned Memphis producer Jim Dickinson, he also co-founded the North Mississippi All-Stars, spent time as the Black Crowes guitarist, and played with Phil Lesh and countless other legends — he’s on his way to claiming that status himself by the time he’s all said and done.
Into the barn I went where he was sitting in a chair, just ripping away on his guitar with a slide, which was appropriate as he was preparing to talk about “Mississippi Blues.” As each new person walked in, he offered a warm greeting — even giving the opportunity to start asking him questions before the class formally started. With only about 30–40 campers in total, split between two buildings, we were treated to a very intimate discussion ranging from slide, to guitars, to the history and nuances of the blues in Mississippi.
Being on the job, I had to pull myself away to head down to the Pavilion once more. Poor me; I had to go and see Grammy-winning artist, Ruthie Foster, who was joined by keyboardist extraordinaire, Bruce Katz (Gregg Allman Band). The room was treated to stories and songs and one of the most powerful voices I'll probably ever get to hear in such an intimate setting. One of the coolest parts again was the ability to ask questions and have very real back-and-forth exchanges. With some vocal students in attendance, the subject matter ranged from how Foster cares for her voice, to pre-show routines, and how to find the confidence to go for it.
At the conclusion, lunch was being served in the pavilion. There wasn’t much thought on my part as to who might be having lunch, but seeing Cleary walk by, get in line and begin chatting with campers, it hit me. You really get almost complete access to all of these incredible artists, even sharing meals with them. Looking around the room, I noticed Gales, Foster, and others sitting and eating. This aspect of the camp is something that Full Moon Resort co-founder, Michael Densmore says is, “like having a backstage pass for three days.”
On stage in the Pavilion, the “Talkin’ Guitars” class featured a special combination of blues legends and heroes, including Gales, Duke Rubilard (formerly of Roomful of Blues and The Fabulous Thunderbirds), Dickinson, Harris, and Jontavius Willis. An incredible lineup of guitarists representing the past, present, and future of the blues offered the rare opportunity to hear stories and players jam together that you normally wouldn’t. One of the coolest moments was Dickinson getting the opportunity to ask Gales to confirm a Memphis legend — that Gales jammed with Stevie Ray Vaughan when he was 15.
“Man, we were in the studio recording my first record and all of a sudden I heard this LOUD guitar coming from down the hall. There was no mistaking who that was; I looked at my brothers and said, ‘That’s Stevie Ray, man,’” Gales confirms. “I got myself in there somehow and Stevie had heard of me somewhere along the way of my record being shopped around, and we ended up jamming ‘Riviera Paradise’ on acoustics. True story.”
Once again I was faced with the difficult task of leaving one incredible class for another. I made my way over to the barn for Katz, Andy Hess (formerly of Government Mule) on bass, and Marco Giovino (formerly of Robert Plant) on drums for the tail end of their Rhythm Section course. This one was for the folks representing the backbone of music. While the guitar and blues are synonymous, there are non-guitarists out there and what an extraordinary opportunity to hear them chat from the perspective of the rhythm section, something that can even help lead players learn how to co-exist and listen better.
When that was over, I stuck around the barn for one of my favorite musicians joining Harris for a chat about blues and jazz. In walks Cleary, the New Orleans music icon and incredibly talented pianist, guitarist, and vocalist. He just sat down at the keyboard and immediately started playing for the five or six of us that were there waiting. Some folks even gathered around him and took it in as intimately as they’ll maybe ever get the chance to.
Harris joined him to discuss the relationship between blues and jazz music and how to spice up your rhythm playing and songwriting with different chord substitutions and positions on the fretboard and keyboard. Harris is such a great facilitator and it was on display with the way he was able to simultaneously engage Cleary in a meaningful way, while keeping the campers in on the conversation. It might have been the highlight of the courses that day.
I then had my chance to chat with Harris as we made our way from the barn and it was a delight. He is a true student of music and the guitar, with an incredible ability to take very complex topics and make them relatable. The blues being such a foundation of so many genres of music, there is a lot to explore, but there is of course the duality of objectives too.
“Certainly we want the campers to learn a bit more about how to become better players in a variety of ways, but we also want to give them the opportunity to have proximity to their heroes,” he told me.
Once Harris had to continue on with his booked itinerary, I took time to sit on the deck of the resort’s main building and found myself joining some folks who I would end up spending the rest of the day with. It was a reflection of the vibes; everyone seemed to get along and bonded over the shared love of music and the blues. We made our way into a gorgeous surf and turf buffet laid out for everyone, before it was time for that night's all-star performances.
We were treated to one of the most legendary voices and harmonica players in the genre, Charlie Musslewhite being supported by Dickinson, Willis, Katz, Hess, and Giovino who played for an hour straight — having only just rehearsed between the masterclasses and dinner. They had everyone in the place dancing and grooving along. Then it was time for Gales to perform as a trio with Hess and Giovino. It was one of the most incredible experiences I've had in my life. He’s the closest thing to Hendrix you’ll ever get to see, while being as technically sound as his hero Eric Johnson, and has the blues like Buddy Guy. Standing in front of the stage with 30 people witnessing that was beyond special.
Finally, it came time for the last open jams of the week. I was very excited to see my new friends take the stage, alongside the likes of Harris, Katz, Rubbelard, and Willis. However, it was a special moment led by Harris when he had Scott “Woolly” Williamson play. A Navy veteran who was given five months to live almost a decade ago recently found out that his cancer is back. A veteran of the USS Iowa incident, he has experienced tremendous loss through that tragedy and others. Woolly has made a name for himself in the blues scene down in Virginia, and volunteered to come up and help the camp, with his main role running the nightly open jams in the barn. Harris led an improv blues inspired by his fight through adversity and living. Having been a fly on the wall for much of the day, it was so cool to see how close everyone became over the course of the week. Truly an unforgettable experience.
Be sure to check out the Music Masters Collective for all of their incredible camps, including the return of the Crossroads Blues Camp in 2027. Coming up soon though, are Rhett Miller’s Songwriting is Magic camp and the Masters of The Telecaster the last two weeks of September, respectively.
