Winter, 2012 The Fort Pierce & Blues Society Newsletter Volume XVI

MISSION: To promote the growth, appreciation and performance of Jazz & Blues – great American music art forms – through scholarships, workshops, clinics, weekly jazz jams and community outreach programs.

Scholarships…a mission, not an option! By Don Bestor, Jr. prospective scholarship applicants to basis requires an extra effort to affect President get involved. Our very well put together positive results. This is just part of what A while ago, one scholarship program, I might add, is goes on “behind the scenes.” None of of our regular fans headed by one of our Board members, this deters our determination to get on approached me Mr. Al Hager, an award-winning educa- with what we’re here to accomplish. and asked if we were still sponsor- tor for more than 25 years! Please allow me to yell the answer ing students on their way to college in To manage an organization like the to the question of us being pro-active in the form of scholarships. That ques- Jazz and Blues Society of Fort Pierce the scholarship program: "YES!" We tion took me by surprise because that is an honor and it is something that remain committed to providing scholar- is why many of us dedicate our time I’m very respectful of. As you may or ships to those high school seniors who to this organization. The Society ac- may not know, many things happen, qualify for our program and we are so tively pursues student applicants with transpire, pop-up and sometimes it can very proud to be able to do that! We a monthly letter to every band director happen every day. Sometimes these in- do not take YOU, our supporter, for and music teacher – sometimes we’ve convenient landmines alter the direction granted as you continue to support our been known to send it to a school of our focus for a short time. Planning, efforts through your attendance to our Principal or two. That letter is dedicated coordinating and executing things that performances, events, etc. to informing and enticing need to be done on a daily THANK YOU!

Dear Supporters of the Fort Pierce Jazz & Blues Society, We would like to thank each and every one of you for your generous contributions and continued support during the past year. As the Holiday Season is here once more, we would like to wish you very much happiness as you celebrate with your families and loved ones. A Very Merry Christmas! Happy Hanukkah! Happy Kwanzaa! \ And to all, we wish you a Very, Very Happy and Wonderful New Year!

Mia Batalini, Vice President

As seen in Luminaries: FPJ&BS Board Members meet to plan upcoming events.

site: www.jazzsociety.org • email: [email protected] • office: 772-460-JAZZ (5299) Support the Arts! Corporate funding and sponsorship provided in part by Scripps Treasure Coast Newspapers The Sunrise Theatre The City of Fort Pierce BLUES ALLIANCE OF THE TREASURE COAST Friends of The Port St. Lucie Botanical Gardens Keystone Computer Concepts Southern Eagle Distributing fort pierce police department Shann’s Tax Service Drummers Only Drum Shop The Blues Alliance of the Treasure Coast CLAUDETTE PELLETIER, ATTORNEY AT LAW We sincerely thank all our sponsors for their support and contributions.

FPJ&BS Membership - We’re glad you’re here! THE LIFE-BLOOD We would like to thank the following new and renewing members for joining the Fort Pierce Jazz & Blues Society. OF JAZZ By Gene Hull Your membership dollars help provide scholarships for students in high school who are committed to furthering their education in an institution of Jazz Improvisation – higher learning. Your contribution also allows us to produce local shows where do the notes come from? which we bring to the community at little or no charge and to provide live music to students of all ages in local schools during the school year. Does the musician memorize them all before? Without you, this would not be possible. Does he embark on undisciplined flights? Patrons and Benefactors - Are the notes all written on invisible scores? Your kind generosity hastens us The answer’s No to all of these. toward our goals! It’s really about a curious fusion.

New Members Nicholas Melnick Some call it a type of mystical union. Paul Amaru Claudette Pelletier It’s a blend of mind and ear and instrument, Victorya Cole Violet Perney Jonathan Cummings Bernie & Janis Quitt expertise developed by years of practice, Deborah Dolin Benetta Rich Carole A. Granger Kenneth Ryder played by those who create anew Doug Johnson Steve & Lenora Satin Cynthia McHenry Joseph & Agnes Schwartz an expression of their point of view. Don & Gerorgia Musante Lance White The musician gleans from all that’s required, Marci Sanders George Zerdian Joann Steinmeyer decides his choices in less than an instant, Joyce Stetzel PatronS Cindy & David Veator Harriet Aronson composing his own musical stories RenewALS David E Boaz Peter Amar Martin Hulka at the very moment he shares them with you. Marie Butt Vianne Nichols Though years of study truly help, Robert & Shirley Cassesso Richard & Rosemary Przybylski Arthur Dilucente Horace & Bunny Webb it’s a special gift given to an exceptional few. Maxine Felski Richard & Maggie Westfall George M Gordon Jane Oster Worldwide appreciated by those who know Janet Hoch BenefactorS without this unique and wonderful “thing,” Marianne F. Martin Shirley R Kosar Barbara J Meadows Norman & Sandy Stevenso Jazz would have died of natural causes.

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Live Jams every Tuesday thruMay experience likenoneother. theaudiencetoaBlues treating emotion, heart-felt music with infusing her conviction andpower, She performswith blues fromtheinsideout. the saxophonist whoknows Pat Pepin isasingerand FEB. 24,2013 Pat Pepin DATES ANDINFORMATION FORALL EVENTSAVAILABLE ONLINE AT: jazzsociety.org On-Going Events On-GoingEvents UpcomingIndividualEvents 117 S.2ndSt,DowntownFt.Pierce • DaveShelley-Jan22. 7 – 10PM•FullBarAvailable • NormKubrin-Jan1 $10 perSpecialEvent, suchas tuesday

Norm Kubrin DaveShelley Blackox ScatmanJack atB.Gardens EVENT!

FREE for updates andmorespecialevents! for updates BLACK BOX BLACK Subject tochange–checkwebsite $5 Reg. Cover, or  -Jazz Jams Fort PierceMarina 1, Avenue A 1:00 – 5:00 PM Waterside Blues Concert saturday LIVE JAZZA Funds raisedsupporteducationalprograms Downtown FortPierce alongthe (A Year RoundEvent-8AM1PM) Managers Donna 1st Saturda ernie Bires& Bernie The JazzMarketpresents: Indian RiverW month Oct and localscholarships. There’s fresh air, 9:00 AM–Noon - Jazz Market Jazz - to thesounds great music, comfortable and groove and plenty T HEGAZEBO of room snacks y ofeach aterfront to get -Ma

y Photo by Rob Smith

volunteer services atWatersidevolunteer services Blues Thank you,IRSCstudents,forallthe

Festival Sunday, November18th

wednesday 2410 Westmoreland Blvd.,PSL Live Jams every Wednesday Subject tochange–checkwebsite Wine andBeeravailable for updates andspecialevents! for updates And kudosto... 6:30 – 9:30PM $3 Cover -Jazz Jams Sponsored byScrippsNewspapers At TheGardens 3 Bernie Goes To Jail On Wednesday, October 31st. work. He had volunteered to Bernie Bires our Jazz Market dial for dollars for Treasure Manager was tracked down Coast Muscular Dystrophy As- outside the Sunrise Black sociation. With help from Box Theatre and arrested for his generous friends and sup- volunteering to do a good porters Bernie raised deed. "You're under the rest," $625 in bail money" which the Fort Pierce Police Officer will help local families said. dealing with MDA. Bernie was locked up and Don Bestor, George proceeded to get right to McDaniel and Mia Batalini

spent some time behind bars keeping Bernie company and singing "We're In The Money." They each dialed a few wrong numbers before decid- ing that stripes most definitely did not suit them! Congratulations Bernie on a fine job well done!

By the way, all charges were dismissed.

4 T H A N K

Y O U

2925 Cardinal Drive, Suite A Vero Beach, Florida 32963 Email: [email protected] Ph: 772-231-1411 Fax: 772-231-6269

F O R

Y O U FL. Reg. ID# 0002837 (772) 283-8405 R 1634 S.W. ST. ANDREWS DRIVE • PALM CITY, FL 34990 www.harrietaronson.com DR. GREGG ROTHSTEIN TREASURE COAST CHIROPRACTIC “ Improve your quality of life and feel better ” 1894 SE Port St Lucie Blvd www.drgreggrothstein.com [email protected] 772 398 1433

S U P P O R T

5 5 WatersideWaterside BluesBlues

Sun., Nov. 18

Our Volunteers enjoying Waterside Blues.

4 6 Early jazz (approximately 1920-1930) Race relations in the United States were Brass bands give way to smaller groups particularly bad at that time. An argu- who take more artistic license. Impro- ment, therefore, is made by some that visation and relaxation of some of the this music was a type of protest music previously stringent rhythmic constraints being promulgated initially by black mu- became more prevalent. This allowed sicians. But it wasn’t long before there greater variety and fostered a more vi- were many fine white musicians who brant spirit than noted previously in rag- devoted their careers to this style These Doc Grober’s time and brass band music. Some of the were small combos playing quicker tem- names from that era include trumpeters pos and complex chord changes. All of Jazz Corner Buddy Bolden and King Oliver, trombon- this required a higher level of instrumental ists Kid Ory and Miff Mole, clarinetist Sid- virtuosity. Some of the big names of this STYLES OF JAZZ ney Bechet and drummer Baby Dodds. period include Stan Getz, Sonny Stitt, The first recordings were made by the Tadd Dameron, JJ Johnson, Bud Powell Although the roots of jazz are based on original dixieland jazz band. Also young and Thelonius Monk. multiculturalism and ethnic diversity and , the father of jazz, (pops) because those elements seemed to gel (1950’s) emerges at this period. on United States soil, jazz is now consid- Possibly as a reaction to bop, some ered to be a uniquely American art form. Swing (1920-1940) musicians responded by play- Much of this happened in New Orleans. With the advent of railroads, New Orleans ing their instruments with a subdued Why that is true will be dealt with in more becomes less important as a commercial tone , minimal vibrato and a very light detail in a future article. hub and jazz musicians begin spreading feel. Countermelodies are common here Outdoor dancing was popular during around the country. Dancing becomes although there is significant overlap be- the 19th century, particularly in the south. very popular producing a favorable eco- tween the bop and so-called “cool” jazz. This required bands large enough to be nomic climate upon which 10-14 piece These musicians were white and included heard outdoors in the days prior to elec- bands can thrive. With larger bands there pianist Lennie Tristano, saxophonists Lee tronic amplification. Stringed instruments was a need for arrangements to hold the Konitz , Jimmy Guiffre, Gerry could not carry over a great area so group together. Musicians were becom- Mulligan, Paul Desmond and Stan Getz, bands often used tubas. However, small- ing more proficient on their instruments the modern jazz quartet trombonists, er bands could be used indoors and they allowing many fine soloists to develop Carl Fontana, Bob , trum- might then include piano, bass, guitar who would later influence subsequent peter and the big bands of and drums along with the horns. Piano forms of jazz. The old ragtime rhythms and Claude players soon began playing around with were replaced by swing rhythms which Thornhill Although I mention the preva- the rhythm of the basic tune and altering were smoother yet quite driving. The lence of white musicians, many listeners it. This alteration or syncopation of the advent of amplification allowed the tuba of that period applied the term “cool” to beat was termed “ragging” or ragtime. It to be replaced by the string bass. The the trumpet playing of . was on this matrix that the seeds of jazz big names of the era included bandlead- Hard bop (1950’s and 1960’s) were formed in the early 20th century. ers Duke Ellington, , Tommy There is not much distinction between Future styles evolved from these now Dorsey and Benny Goodman hard bop and bop. Also, hard bop is primitive musical beginnings. Bop (1940’s) less complex than bop musicians tend For those of you new to jazz I would This was the beginning of so-called mod- to play more original compositions here like to briefly discuss some of the styles ern jazz. Swing musicians were the first rather than the pop repertoire or the and relevant terminology. Keep in mind to develop and be attracted to the new related contra facts. This music is less that art forms are living breathing organ- sounds and rhythms. Saxophonist Char- angular than bop both rhythmically and isms, in a sense, and any attempt to lie Parker and trumpeter harmonically. There is a very contagious strictly categorize them is somewhat (originally big band swing musicians) driving feeling that really swings. There artificial but nevertheless useful didacti- were two of the early prime movers of is a subgroup within this category that cally. Jazz musicians learn their craft this style having borrowed musical ideas is sometimes termed “funky jazz.”. That primarily by listening to other musicians from some of the contemporary classical term simply refers to a blues-inflected so that there is often significant overlap of music composers. These were very new style reminiscent of gospel music. styles and blurring of the lines. At the risk sounds and more complex rhythmic pat- Names often associated with this of being overly simplistic I will now try to terns. This music attracted listeners but it period include pianist Horace Silver, trum- sharply delineate the differing styles. was not particularly appealing to dancers. peter Clifford Brown, saxophonist Sonny

5 7 Rollins, saxophonist Cannonball Ad- communicate meaningfully with each derly and pianists Tommy Flanagan and other, but they are artificial subdivisions Supporting . Art Blakey and Philly Jo that are not drawn with a solid black line. Jones were the popular hard bop era The only true definition is what you Local Talent drummers. hear, jazz is a listening experience and Al Hager, Chairman, Education As I stated at the outset, most musi- any attempt to describe music in words and Scholarship Committee cians play with elements of more than one is meager at best. Listen with your ears style so it is important to keep in mind that wide open. It is the only way to learn and Presenting I offer these categories as being of primar- appreciate our wonderful and unique college scholar- ily historical importance. They have some art form. ships to help relevance in the teaching of major stylistic deserving stu- elements and allow jazz enthusiasts to Dr. Ron Grober dents pursue their music education is a significant THANK YOU FOR YOUR SUPPORT! element of the Fort Pierce Jazz and Blues Society. High school seniors in Indian River, Martin, Okeechobee Home of tHe The Big ARCHIE’S 4-Star Burger Cheese... and St. Lucie Counties are eligible Patty McGee, Owner Est. 1947 On Wheels FUN EVERY NIGHT! to receive one of at least six One No ShoeS M - Bingo Thousand Dollar Scholarships. No Shirt Eleven $1000 checks were presented T - David Goodman No Problem W - Karaoke in May, 2012. Almost half were dona- T - Prime Rib Nite; (772) tions from our generous members. Live Music 461-3352 Because these scholarships are F - Rock ’n Roll 460-3888 presented on merit, there are require- S - Soft Rock www.archiesseabreeze.com ments. Application must be made, a S - Southern Rock 401 S Ocean Dr (So A1A) South Beach, Ft Pierce 34949 short essay written and an audition of two tunes performed at one of the Jazz Jams in April or May. The audi- tion and essay are adjudicated by Board members of the Society. Once the application has been submitted, monthly updates contain- ing helpful tips for the audition and essay are emailed to the candidates. The live audition carries the most weight in the selection process be- cause it’s really “all about the mu- sic.” Singers and instrumentalists perform two selections, usually jazz standards in front of a live audience accompanied by members of the FPJABS Jazz Ensemble. Prospective candidates are encouraged to prac- tice their tunes at any of the regularly scheduled Jazz Jams. The 2013 scholarship winners will receive their checks and perform one of their audition tunes at the Sunrise Black Box Jazz Jam May 28, 2013.

8 We are pleased to announce the First Annual Six-Day JazzJazz && BluesBlues Festival Kicks off with Waterside Blues - Sun., Mar. 24 • 1-5pm - Fort Pierce Marina Square The Festival continues Mon.-Fri., Mar. 25-29 • 11am-2pm Daily with our annual Brown Bag Jazz Lunch Concert Series featuring different local artists every day. six days of FREE outdoor concerts! SUNDAY, 3/24 – Jazz/Blues Festival will open with The Party Dogs - Waterside Blues (1-5pm Sun. only) These 4 musicians mix fun classic rock with hot blues and a bunch of popular hits. MONDAY 3/25 – Ft. Pierce Jazz & Blues Ensemble featuring saxophonist Gene Bruno, Vocalists 3/24 Mia Batalini and Ben DiGeorge. TUESDAY 3/26 – The James McCreavy Band McCreavy is comfortable with many styles and has played with Palm Beach and New York-based society orchestras. WEDNESDAY 3/27 – David Shelley and Bluestone - an eclectic fusion of blues, rock and world rhythms. Hard driving grooves with soulful blues 3/25 guitar and vocals are the heart of their sound. THURSDAY 3/28 – Phil Fest, "Best Jazz Artist" at the Bay Area Music Awards, has just finished a new Brazilian Jazz CD. FRIDAY 3/29 – Scott Klarman and Sound of 3/26 Vision artfully blends contemporary jazz with multi-cultural urban funk and Latin rhythms. Featuring Scott Klarman, Valerio Cantori, and Orlando Machado. FRIDAY NIGHT – Black Box VIP Cocktail Hour with special guests, followed by the 3/27 Doc Grober and the Mudcats Show. Friday Night tickets will be $35 ($29 show only) available at the Sunrise Box Office.

3/28 3/29 9 NONPROFIT ORG. US POSTAGE PAID FT. PIERCE, FL PERMIT NO. 130

PO Box 1086 Fort Pierce, FL 34954

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Milestones is published quarterly by Fort Pierce Jazz & Blues Society, PO Box 1086, Fort Pierce, FL 34954.

Milestones Fort Pierce Jazz & Blues Society Officers & Board of Directors a 501 (C) (3) Organization don Bestor, Jr. Mia Batalini Publisher: Fort pierce Jazz & Blues Society President Vice-President anita Palma Sperry Steven M. Satin Editors: Shirley Kosar, Mia Batalini, Don Bestor, Jr., Secretary Treasurer Contributing Writers: Claudio Berardi • Bill Genson • Al Hager Don Bestor, Jr., Doc Grober, Al Hager, Chris Hulka, Gene Hull Roberta Hanley • Chris Hulka • Gene Hull • George McDaniel Photo Credits: Pauline Berardi, Debbie Liguori-Bestor, Stix Nickson • Bob Sagnella • Jim Tucci Don Bestor, Jr., Ellen Hulka, George McDaniel Advisory Board Printing: Aztec Graphix Layout: Jane Caggiano Pat Dicesare • Chris Dzadovsky • Maurice Sedacca

site: www.jazzsociety.org email: [email protected] office: 772-460-JAZZ (5299)