The Fort Pierce Jazz & Blues Society Newsletter
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.
Coffee is a “perk” we may lose… by Don Bestor, Jr., President
when we have events, typing a letter, managing and running the website, sharing the answering of the phones on a 5 day week from 9AM – 5PM, etc... I’ve only touched the surface as to what our volunteers do, but, as you can imagine, this can be a very busy and complex issue.
When an organization like our Ft. Pierce Jazz & Blues Society grows a bit, so do the demands associated with that growth. Businesses remedy this by hiring more people to handle the new growth, but because we are a 501 C3, non profit organization, we don’t have the funds to hire people. In lieu of that we add more volunteers when available. However, we have not seen any new volunteers come forward in a long time to help with the snack table, making coffee, keeping the membership up to date, ‘manning’ the booths
Blues Society. 772-460-JAZZ (772-460-5299). Thank you very much in advance!!!!
Volunteering can be an exciting, growing, enjoyable experience. It is truly gratifying to serve a cause, practice one’s ideals, work with people, solve problems, see benefits, and know one had a hand in them.
To the point, we desperately need new volunteers to replace and supplement our current staff. If people do not come forward soon, we will be forced to do away with the snack table, the coffee, and the front door greeters. Do you have some time to donate to this? Would you like to be a part of a very healthy, vibrant music scene that provides so much to the community? Will you help us keep this alive and well in the tradition that we’ve worked so hard to produce every time we have a Jam, or an event and in everything that we do. If so, please call us and give us your name and what help or skills that you would like to share with us, the Ft Pierce Jazz &
– Harriet Naylor
Don’t ever question the value of volunteers. Noah’s Ark was built by volunteers; the Titanic was built by professionals. – Unknown
Volunteers are the only human beings on the face of the earth who reflect this nation’s compassion, unselfish caring, patience, and just plain love for one another.
Yes! We hear you, and we will call to volunteer! site: www.jazzsociety.org
– Erma Bombeck
On-Going Events Tuesday - Jazz Jams
Wednesday - Jazz Jams Saturday - Jazz Market
Every Tuesday through June.
Every Other Wednesday:
Open 8:00 AM – 1:00 PM
May 4, 18 • June 1, 15, 29
Every Saturday - All Year!
Every other Tuesday July – October.
July 13, 27 • August 10, 24
7 - 10 pm • $6 Cover (Members $5)
Live Jazz At The Gazebo returns on
6:30 - 9:30 pm • $5 Cover (Members $4)
the month November-April
Subject to change –
Subject to change – check website for updates and special events!
Funds raised support educational
check website for
Full Bar available
programs and local scholarships.
updates and special events!
Managers Donna & Bernie Bires
It just so happens it was a “milestone” birthday for Don Bestor during jazz week too! Happy Birthday Mr. Don and Happy Birthday to 20 years of the Fort Pierce Jazz & Blues Society!
November 5 • First Saturday of
BLACK BOX 117 S. 2nd St, Downtown Ft. Pierce
2410 Westmoreland Blvd., PSL
Ft. Pierce, along Ind. River Waterfront
published by Ft Pierce Jazz & Blues Society, a 501 (C) (3) Organization PO Box 1086 • Fort Pierce, FL 34954 Publisher: Fort Pierce Jazz & Blues Society Editors: Pauline Berardi, Don Bestor, Jr. Contributing Writers: Don Bestor, Jr., Mark Green, Doc Grober, Al Hager, Gene Hull
Photo Credits: MaryAnn Ketcham, Debbie Bestor
Tuesday, May 24
Advertising: George McDaniel Layout: Jane Caggiano
at the Black Box • starting at 7 PM S. Second Street, Ft. Pierce
Officers & Board of Directors Don Bestor, Jr. President
Executive Vice President
VP, Operations and Logistics
Anita Palma Sperry
Director, Special Events and VP, Administration
Pat Dicesare Chris Dzadovsky Roberta Hanley Maurice Sedacca Mia Batalini
Bill Genson Mark Green Al Hager Gene Hull John E. Hutchison MaryAnn Ketcham AJ Pastor Jim Tucci
Angela Zervos Treasurer
Many thanks to our Advertisers! Corporate funding and sponsorship provided in part by
Support the Arts! The Sunrise Theatre The City Of Fort Pierce Keystone Computer Concepts Fort Pierce Police Department Shann’s Tax Service The Blues Alliance Of The Treasure Coast
We sincerely thank our sponsors for their support and contributions, and our paying advertisers for their display ads throughout the Milestones.
SAVE THE DATE for this event!
20th Annual Scholarship Awards
Al Hager and Ryan Cox win a mARTie Award The mARTies Awards are presented by the Arts Council of Martin County. The Arts Council provides services and programs to visual and performing artists, arts organizations, students and the general public. Communities that are filled with the arts provide a basis where individuals and organizations can flourish. The categories for the annual awards include Lifetime Achievement, Excellence in Arts Education, Corporate Leadership, Arts Leadership, Performance, Visual, Volunteer and Student. Al & Lindsay Hager
Ryan Cox & Al Hager
Al Hager and Ryan Cox (student liaison for the Jazz Society ) won the 2015 Adult and Student Performing Awards.
FPJBS’s Who’s Who: Mark Green, that’s Who!
a young musician. “One minute you’re playing dance music (without printed music), and then you are expected to sight read arrangements to back up visiting entertainers.” In 1969, the Vietnam War prompted Mark to audition for a National Guard Army band. For the next 6 years, he was a bugler in the 199th Army Band, and at the same time was able to continue pursuing his musical career at home. He graduated from Brooklyn College in 1971. Mark grew up in the 1950’s in Brooklyn, NY. His father played the In 1978 he was asked to play lead trumpet in the Broadway show trumpet in his high school band “Runaways” which lasted for nearly and always believed that music a year. After the show closed, was an important addition to an overall education. When Mark was Mark began to travel the country backing up famous celebrities 8, his older brother Steve began taking tenor saxophone lessons at such as Sandler and Young, Mel Torme, Vic Damone, Neil Sedaka home. Mark took it upon himself to correct his brother each time he and many others. Mark met his wife, Lauren, in made a mistake (which was often). This gave his dad the idea to begin NY while she was performing in “Off- Broadway’’ shows in the to teach Mark the trumpet during the summer while Steve was away 1970’s. They would head to South and surprise his older brother once Florida in the winter months since he returned. A twenty-dollar trumpet that’s where Lauren’s family is purchased at a pawn shop was all from. Their first child was born in it took to start the plan in action. 1984, and it wasn’t long before His brother was indeed surprised, Mark entertained thoughts about and began to use Mark a couple of moving to Florida full time. In 1988 years later when he started a small he got an offer to play six nights a combo playing at college dances. week at the famous Breakers Hotel Mark was thrilled with making $5 in Palm Beach. It was time to end and being the center of attention. his snow-bird status and become When Mark became a teenager, a full time Florida resident. he started to play local gigs with After starting his Dixieland band friends; and before long, he was the Rowdy Roosters, as well performing at hotels in the Catskill as a 17-piece big band named resorts during the summer months. FDO-The Big Swingin’ Band, According to Mark, these were Mark became a popular artist on the greatest training grounds for the Treasure Coast. Recently, he Brother Jerry, Dad, brother Steve and Mark.
has been a steady feature at the jazz jams at the Black Box venue of the Sunrise Theatre in Ft. Pierce and featured soloist with The Coffee Beans, a contemporary jazz group. Mark has been an educator for as long as he’s been a musician. He was an adjunct professor of jazz in 1990 at Indian River Community College when he created his popular Green Book. This is a jazz studies method with playalong CD, teaching improvisational techniques on standard jazz tunes. He is the director of the Ft. Pierce Jazz & Blues Society’s Summer Jazz Band Camp for middle and high school students, and his above-menitoned method is part of the curriculum. In 2001 he began teaching at-risk teenagers at a juvenile justice facility in Okeechobee, and in 2004 he was named by the Department of Juvenile Justice and FSU as the State of Florida Teacher of the Year. We are lucky to have Mark here with the FPJBS as a musician, educator, board member, and friend!
Education & Scholarship by Al Hager, Chairman Education and Scholarship Committee
Jazz in the Schools continues to be one of our most productive outreach programs. Schools schedule an hour, usually during their Jazz Band class, to interact with professional musicians. The rhythm section members gain much insight with the oneon-one interaction. Seventeen sessions were presented during the 2015 -16 school year. Eye to Eye is another outreach program offering private lessons to school musicians who might not otherwise seek this kind of instruction because of finances. Band directors contact us for scheduling. Music students are always encouraged to attend the Jazz Jams at the Black Box and the
St. Lucie Botanical Gardens. There is no substitute for gaining jazz knowledge and experience by performing in a combo setting with professionals. Most play in their school jazz bands but don’t often get this kind of performance opportunity. The audience is always encouraging and appreciative. Those applying for scholarship can use the Jazz Jams as practice sessions.
own blues tune which is then performed at one of the summer Jazz Jams. Jazz Education is alive and flourishing in our schools. The Jazz Society’s mission intends to keep it that way by raising the level of musicianship one eighth note at a time.
Three sessions of our Summer Jazz Camp headed by Mark Green will be held June 20-24 and June 27-July 1. Advanced students may apply July 4-7. A highlight of the camp is that each student writes their
Expires: Dec. 31, 2016
The Rowdy Micks
January 2016 Their third year at the Black Box performing for the FPJBS audience.
Ring-A-Ding-Ding Holiday Fling withÂ
FDO-The Big Swingin' Band
With special guest Irish Dancer
at the Endless Summer Winery, Ft. Pierce
Special guest, Padraic King (2013 scholarship winner) sits in.
FPJBS Ensemble performs at the
Taste of the Sea & Sandy Shoes Seafood Festival
performs at the Black Box, and the audience went wild! March 2016
in Ft. Pierce, March 2016
Don Bestor and Al Hager surround David Hull (accomplished songwriter, producer, composer, and sought-after bassist and collaborator) who attended the concert with his father Gene Hull, FPJBS board member.
The Sunrise Party Band performs at the Black Box, November 2015
WATERSIDE BLUES! David Scott and the Reckless Shots November 2015
Lots of dancing and fun!
The Coffee Beans
Dave Scott and the Reckless Shots
WATERSIDE BLUES! The Otis Cadillac Band
Jazz Week 2016! Don C.
The FPJBS Performing Ensemble featuring guitarist James McCreavy & Mike Sagarese on sax
Cyndi Rapp and guitarist Dave Veator perform with the FPJBS Ensemble
Sound Of Vision 9
Jazz Week Evenings ...
FDO - the Big Swinginâ€™ Band
Lincoln Park Academy, Ft. Pierce Ft. Pierce Mayor Linda Hudson
Jason Albert, Director
DeCosa Brothers Trio
Phil Fest with his Brazilian jazz band
Don Bestor, Jr. and Friends
POETRY CORNER Poem by Gene Hull
The 5th Annual Fort Pierce Jazz & Blues Society
Summer Jazz Camp is coming up! Week 1: June 20 Week 2: June 27 Advanced: July 4th* *Short advanced class. *Having this week will depend on sign ups.)
the murmuring pleasantries of a backyard brook the tireless trickles of mountain streams
• • • •
10:00 am – 2 pm Daily. Bring your lunch! For musicians age 13-90 $120/week, or $215 for both weeks.
the angry whoosh of a raging river the crash of waves against a cliff the din of surly stormy seas the gurgles of a drainpipe’s surge the burbles of a boiling pot the sucking swirl of a whirlpool’s spin the thunderous pounding of waterfalls staccato tappings of a heavy rain splatterings of a garden hose rhythmic beats of faucet drips slurps of sipping through a straw gulps of thirst when quenched in haste sprinkles from a watering can the silent shedding of a single tear... each has its part to play in Aqua Magnifica water’s extraordinary orchestra 12
Summer Jazz Camp is taught by professional musicians with emphasis on style and improvisation while learning jazz standards, jam session protocol, jazz theory and more. Included for attendees: the opportunity for a performance with professionals at the Black Box Theatre. CAMP LOCATION: Fort Pierce Jazz & Blues Society Offices 4861 Indianapolis Dr., Fort Pierce 34982 (1 block N of Midway Dr. off of Indian River Dr.)
Technically Speaking ...
mark, musical ideas can end on a note or chord that clearly defines the end of the thought (called resolution) or end with a sense of being unfinished (or unresolved). Much like the spoken language, we learn individual words so that we can put them together Doc Grober’s into meaningful sentences; we do not memorize our sentences but speak spontaneously so as to convey thoughts. Improvised I generally stay away from lines are a jazz player’s sentences technical articles about jazz for and, at the highest level, convey at least two reasons. The first what the musician hears in his is that a high percentage of our head membership are avid listeners but not musicians. Secondly, I am at the moment only self-taught and have never had any formal education in jazz. of creation. But as some interest has been The major point expressed in the ‘magic’ is that when of improvisation, I will at least one accepts the share some of my thoughts concept that jazz regarding that issue. is a language, it follows by implication, that to What is improvisation? Where truly learn a language one must do the notes come from? Are hear it. Native speakers do not they just pulled out of thin air? think about learning their native Are they memorized lines or tongue, it is simply assimilated created spontaneously? How by hearing it. Although there are does one learn to improvise? many approaches to learning the
The starting point for comprehending this rather amorphous topic is to recognize first of all that jazz is a language. It has individual components comparable to letters and words which are put together in sentences to convey meaningful thoughts. Music language is used to communicate musical thoughts. But while a particular word has a definite meaning, a note only takes on meaning when associated with other notes. Much like sentences which may end with a period or a question
technical aspects of playing jazz, every jazz musician would agree that listening is no doubt the single most important part of learning the jazz language. But I’d like to turn now to the more technical aspects of how musicians gain facility in expressing their musical thoughts. The generally accepted idea that improvisation is spontaneous composition and performance without any preparation is patently untrue. The reality is that good musicians spend a
lifetime preparing for every idea that they perform. That is not to say that their solos are memorized. But the improviser must develop an intimate knowledge of scales, chords, harmonies and rhythms. But the knowledge alone is merely the beginning; many hours of practice are needed to develop automatic facility in order to easily execute the ideas they hear. They should build an emotional intensity which many of the early jazz artists learned in a church setting as they learned to build hymns to exciting climaxes as they stirred the congregation. And while the basic ingredients of jazz are melody, harmony and rhythm, there is no question that above all, rhythm is the single most important ingredient. Jazz musicians may take different pathways to developing their skills, but the challenge common to all aspirants is acquiring the specialized knowledge upon which advanced jazz performance depends. The fundamental structure for jazz improvisation is a composed tune with its melody and harmony. The tunes are simply the vehicles that present infinite possibilities. The chord progressions form a type of harmonic road map upon which improvisation is based. Before there were jazz schools and method books, the early jazz artists learned by listening to recordings trying to copy the Continued on next page.
Technically Speaking ... by Doc Grober Continued from previous page.
melody and develop some ideas of their favorite soloists. As they became good enough to sit in with groups and to play with singers, they had to learn to transpose tunes to different keys. That meant they had to hear intervals or the spaces between the different pitches. Perfect pitch is an advantage to the young learner but that is not given to everyone. But all jazz musicians do need a strong sense of relative pitch to facilitate their creativity and ability to transpose. Chords are, generally speaking, a series of thirds based on a particular scale of which there are many. (Some modern music uses intervals of fourths.) This produces different types of chords each with their own special qualities. The basic chords tend to be comprised of 4 notes; but as jazz styles matured, musicians would continue into the next octave continuing the intervals in thirds. For added variations, some of those notes would be flatted (down 1/2 step) or sharped (up 1/2 step). To add interest, the notes of a given chord might be played in varying orders perhaps only using some of the notes or stressing others to add tension and interest. These added notes are called extensions. The sharped and/or flatted ones are called alterations. 14
Beginning improvisers often start by arpeggiating the chords as a first step. But listener and player soon find this somewhat boring. So notes between the chord tones taken from the scale (diatonic) are added, and lastly notes from outside the scale are eventually incorporated. For this to happen ‘automatically’ takes many hours of practice
and is a never-ending process. An additional step might be a chord substitution; i.e. using a chord somehow related (often sharing a 3rd and a 7th ) for added harmonic interest. Or unrelated chords a fourth or half-step away can be used to approach the target chord. Using licks (short phrases) from other artists is almost essential to add to one’s inventory of ideas.
It is not considered stealing as individual musicians incorporate it into their own styles. Sometimes a musician or singer will quote from another tune for both variety and humor. While the basic ingredients are the same, every musician plays with their own unique style. Few would have trouble distinguishing saxophonist Coleman Hawkins from Charlie Parker, or trumpeter Clifford Brown from Miles Davis, or pianist Teddy Wilson from Oscar Peterson. This article, while lengthy, only touches briefly on some of the basic aspects of improvisation. I think the major ‘take-home’ points are to understand that scales, chords and their extensions and alterations, form the harmonic basis for improvisation. Understanding the melody and the mood of a particular tune is essential. But the best note choices and chord voicings will have little meaning without a good sense of time and rhythm. (I have not touched on the infinite variations in rhythms.) Develping technical facility on one’s instrument is essential in order to effortlessly execute creative ideas. I think most advanced improvisers (I am not one) would sum it up by saying two things: “Tell a story,” and “Play what you hear, not what you know.” –Doc Grober’s Jazz Corner
The Passing of Two Local Jazz Legends
by Mark Green
Due to space constraints, all of the information Mark had available could not be included. If you wish, please talk to Mark to learn more about these two gentlemen.
The Treasure Coast, and the music world in general, sadly observed the passing of two jazz legends in March. They were both 90 yrs. old, both World War II veterans, and both well-known to the jazz world.
Bunny (Russell) Carfagno
Joe Holiday, born in Sicily in the 1920’s, emigrated to America with his family when he was a baby. He grew up in Newark, N.J. When World War II broke out, he joined the Coast Guard as a bandsman on tenor saxophone. After the war, the 1950’s saw a new type of jazz known as Be-bop. This was made famous in the clubs of NY by the likes of Charlie Parker and Dizzy Gillespie. Joe eventually made his mark sitting in with these jazz greats as well as others. Holiday’s career lasted only about a dozen years as the early 60’s brought on the age of rock n’ roll; and he, along with many jazz musicians, went looking for another line of work. Joe enjoyed hanging out with our local area musicians and occasionally could be coaxed into sitting in. I was part of a quartet which performed at his memorial service April 3 at the Botanical Gardens, PSL, where friends donated $500 to the FPJBS scholarship fund in his name.
Bunny Carfagno was born in 1925, and grew up in Norristown, PA. Right after high school he enlisted, and left his mark on the US Navy after many years of service as chief arranger for the US Naval Academy Band stationed in Annapolis, Maryland. Bunny and I, both trumpeters, played many gigs together since the late 70’s. It didn’t take long before I realized that I was in the presence of a local musical legend. Everyone loved being around Bunny because your day was guaranteed to turn out brighter after hearing his latest stories. These might include anecdotes of his experiences playing for Frank Sinatra, Doc Severinsen, the Ink Spots, and hundreds of other celebrities. There were also stories of his antics while hanging out with the likes of Dom DeLouise, Burt Reynolds, and Charles Nelson Riley at the Burt Reynolds Theater in Jupiter. Bunny was buried with military honors on March 8, 2016.
The Fort Pierce Jazz & Blues Society
Student Liaison Series featuring The Ryan Cox Student Ensemble This student ensemble appeared at the free-to-the-public Jazz Market event in Downtown Ft. Pierce on April 23, 2016.
S ee them Support them Ryan Cox
FPJ&BS Student Liaison
Enjoy them 15
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y should I I want to be a part of the best Jazz & Blues in Fort Pierce! Wbhec ome member?a Please Check One: o New o Renewal “What’s in it o Benefactor $250 for me?” Please Check One: o Individual $50 o Family $75 o Corporate $500 o Patron $100
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The Fort Pierce Jazz & Blues Society is a nonprofit organization and all donations are tax deductible.
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Thank you for your continued support.
Please mail this form and your check to: Fort Pierce Jazz & Blues Society • PO Box 1086 • Fort Pierce, FL 34954-1086
office: 772-460-JAZZ (5299)