MEETING MINUTES / AFM PENSION MISMANAGEMENT LAWSUIT / EVENTS

July 26th, 2017

7/28/17

I. MINUTES OF LAST MEETING (FIRST QUORUM IN 16 MONTHS)

II. LAWSUIT CLAIMS AFM PENSION MISMANAGEMENT

III. EVENTS

…Absolutely guaranteed anonymity – Former Musician’s Union officer

…The one voice of reason in a sea of insanity – Nashville ‘first call’
scoring musician
…Allows us to speak our minds without fear of reprisal – L.A. Symphonic musician

…Reporting issues the Musicians Union doesn’t dare to mention – National touring musician

===========================================

I. UNION MEETING MINUTES MONDAY,  JULY 24TH.

Union meeting Monday – July 24th

For the first time in 16 months the meeting reached a quorum.

Quorum was met at 7:41, surprising for a July meeting.
A vast majority (but not all) were invested either as board or
committee members.

President Acosta talked about building plans and
plans for the union.

The Strategic Planning Committee
John Acosta, President
Rick Baptist, VP
Gary Lasley, Secretary
Booker White, Rank and File Rep – Disney Copyist
David Wheatley, Rank and File Rep
Lydia Reichenbach, Rank and File Rep
Steve Dress, (Acosta listed him as Rank and File Rep,

not bothering to point out that he is also president of

the RMALA.)

Jefferson Kemper, Local 47 organizing coordinator

Their Priorities
DEVELOP EMPLOYMENT
-Generate union work oppor. /Increase Union Density

(composers, Contractors, Producers, Music -Coordinators

Agents

-Tax Credits for recording
-Improved contracts
-Interactive
-1-hour independent film Festival Call
-Benefits only jobs.
Employer Outreach and Education

PROVIDE MEMBERSHIP SERVICES AND BENEFITS
-Online Resources
-Contract Access
-Healthcare
-Pension
-Responsiveness / Efficiency
-Tech

ENGAGE AND EDUCATE MEMBERS
-Survey Memberships to join u
-Create reasons to join union
-New Building Launch
-Perf Space
-New Member Showcase

GETTING MEMBERS TO COME BACK
-New Member Training
-Masterclasses
-Establish Brand
-Foster Volunteerism
-Increase Responsiveness

BUILD / REBUILD ALLIANCES RELATIONSHIPS
-elected officials
-Labor Union
-Personal Outreach
-Educational Institutions
-Community
-Employers
-Alliance of Woman Film Composers
-Composers Caucus

BE POLITICALLY ACTIVE – LAWS PASSED
-Tax Credits
-National Right to work
-ACA / CHC affordable health care
-Musicians pol Action committee
-Encourage Activism
-Support Volunterism

CONTRIBUTE TO COMMUNITY
-Relief Fund
-Musicians Foundation
-Music ED
-Promote Member contributions
-Encourage Volunteerism
-Guidelines for Donating Musical Services.

PRIORITIZE PRIORITIES
-Craft a positive and dynamic Local 47
Mission Statement that aligns with priorities
-1,3, 5 year plan
-Establish Goals for each strategy
-Present it to the members
-Ratify Strategic Plan
-Form Committees to achieve goals.

Various questions from various people.

Members need to get word out to the public and decision makers.

RMA leaders took over meeting for 10 minutes,

until Pres. Acosta said “Thank you”
Their Leaders blew a lot of smoke talking about how
Tax incentives will a bring a lot of work back.
It’s the BACKEND! Everyone knows this.

Members Asked about benefit only projects – Charities,
to enable folks to play for those events. Only charities

mentioned. Pres. – Tough to allow, but need strict requirements.

Comm. Member – to reach a goal you have to know how
you’re going to get there.

Comm. Member – Plan is for the membership.
Need to support the leaders.

Chair makes motion to adopt the plan:
Plan is adopted  – that will do nothing to fix the situation
without taking on the backend.

PRESIDENT REPORT

Lots about the move to Burbank.
3220 Wiwona – are in the back
in two modular buildings.

In Phase I –  all offices, afm offices, rehearsal rooms – Sept 8th.
Building  – 5.5 million budget – says it’s all union labor.
Phase II – Exterior painting – Over 1 MILLION Budget for Phase II
Building cost 13 million.
So total spent is over 18 million. With the total sales of the
building coming to approx – 24 million.

That leaves about 4.5 million

Investment monies left over: $4.5 million left over.

When did the board decide to change the terms.

We were told it would be 10-12 million left over

for investment, now we hear it’s going to be 4.5

million.

[Recap: initial building was going to cost $10,000,000,

plus three businesses to cover the property taxes of

approx. $120,000. The sale was approved on these

terms.

Then, lost that building, wound up paying 13 million

for a building with NO businesses to cover property

taxes. Pig in a poke?]

We believe that money will be gone in less than 5 years,
UNLESS backend payments are reduced or illuminated.

SAG/AFTRA CREDIT UNION now combined with
Local 47 Credit Union.

Will be vending area / Musicians Lounge.
Will be an elevator.
3 big band rooms.

LA Phil, LA Opera, New West, Angelica, San Bernadino,
Pasadena Sym, nego., Dance at the music center, Riverside
ongoing, plus others.

Legal: Prevailed against Magic Castle,.. mostly. Lost on

shift changes

Instrumental Casting – Trashed that group. Discussed

nonunion

gig at Hollywood venue. Charges were filed.
Union protestors were almost arrested at (Instrumental

Casting) protest.

Wordless music, planned non-union job music to film –

filed charges. (More jobs lost to professional musicians

only trying to pay their bills)

Union screws the rank and file again who aren’t the

privileged.

Organizing: Discussed plans.

[EC: Why do these folks keep talking about TAX

Credits as though that will make any difference

at all except for the have’s.

We all know why, don’t we.]

OCTOBER 7th – Will honor Lalo Schifrin to raise

money for the music fund.

VP REPORT
-Oct 16th – golf tournament to benefit music fund.

I’m the chair.
-Going to Central Avenue Jazz Festival will be

honoring Clora Bryant on Saturday.
-Going to NY to nego, live TV contract.
-Went to Cabrillo Music Festival to see Peter

Pan. Dan Redfeld conducted.

Archive: is in storage – 74 Three drawer filing

cabinets of old contracts. Rehearsal rooms –

Talked to groups that rehearse – starting on

Sept 14th: 13 piano, 7 sets, 6 Timp, Will have

mikes and speakers. Can room be rented for

recitals? – Yes, to a degree.

SECRETARY:
General fund: 1st quarter
Revenue $1,643,291
Expenses $1,105,038
Over 500,000 in profit.

Overture is printed 4 times a year, but everyone

month electronically.

Can download app. For your phone.

Music Club
Rev 81,782
Exp. 1150.995
$69,215 dollars in the red

Final sale of building. 24,750,000
Cost of New building 13,431.98
Over $500,000 paid by Music Club

to settle bills.

$43,000 plus for legal
$175,000 lease back
$1,392,751 to renovations
$1,880 for utilities
$3,933 – accounting
$1,280 on elevator repair
$5,074 insurance
$6,464 dollars on office furniture.

Over 5 million put with Merrill Lynch.
$2,400.000 in fixed income
$2,100,000 equities

Investment policy:
First priority: Preserve principal
55% bonds-fixed income / 45% in stocks and mutual.

OLD BUSINESS

Member asked:
April 24 there was no quorum – was the resolution

passed? Was amended version Published?
[Yes]
Did Amended version go through the legislative

process?
A replacement amendment was published.
If so, you cannot amend an outstanding motion.
Parliamentarian: Process at meeting was followed

as per bylaws and Robert Rules of Order.’
[We don’t think they followed proper procedure,

hoping no one would press it.]

NEW BUSINESS

President Acosta Announced: Isabel Baskoff

passed, service Friday at 10 am.

Adjourned 9:30 PM

================================================

II. LAWSUIT CLAIMS MISMANAGEMENT OF MUSICIANS

UNION’S TROUBLED PENSION PLAN
David Robb  July 24, 2017 5:09pm – DEADLINE HOLLYWOOD

UPDATED with statement from the plan’s executive director:

The American Federation of Musicians’ beleaguered $2

billion pension plan, which had a $122 million shortfall

last year, has been hit with a class-action lawsuit that

claims its trustees have made a series of risky

investments that have endangered the pensions of

thousands of musicians. The suit, filed in the U.S.

District Court in Manhattan, seeks the appointment

of an independent fiduciary to administer the plan

and the management of its investments.

Like many multi-employer pension plans, the

AFM plan was hit hard by the recession and

market downturn of 2008. But the musicians’

plan was hit harder than most, losing 40% of

its value in 18 months. A lawsuit filed by musicians

Andrew Snitzer and Paul Livant in New York

District Court claims that the plan’s trustees

and investment committee tried to make up

for this staggering loss by investing in

questionable stocks.

REX/Shutterstock
“With the fund in critical status resulting from

bad investment decisions,” the 66-page suit

claims (read it here), “defendants chased

recovery of lost investment returns by repeatedly

gambling on the hope of high investment returns

from the highest risk asset classes, in breach of

their fiduciary duties under the Employee

Retirement Income Security Act. Defendants

failed to prudently invest hundreds of millions

of dollars of fund assets and monitor and manage

risk tolerance and exposure in the stressed financial

circumstances facing the fund.”

Maureen Kilkelly, executive director of the pension

plan, called the suit “entirely without merit,” saying

that the board of trustees and staff of the fund “have

always taken our fiduciary responsibilities very

seriously. Every step of the way, we have consulted

with respected and experienced investment experts

in the industry, closely reviewed investment options,

and always acted in the best interests of the fund’s

nearly 50,000 participants and beneficiaries.”

According to the lawsuit, “Defendants invested

approximately $243.5 million of the fund’s assets

over the period since 2010 in high-risk, high-cost

international emerging markets equities, gambling

on outsized growth in international emerging markets’

economies and coincident investment returns consistent

with returns in the previous decade. Defendants further

gambled on the investment managers they hired to

outguess the market and produce better returns for

their excessively high costs and fees. As the investment

lost market value, defendants chased recovery of the

lost returns with further fund assets. Defendants

knew, or should have known, this continuing and

increasingly risky gamble exposed the fund to

imprudent and excessive risk when the fund’s

returns were vital to recovery.”

The suit claims that the trustees tried to recoup

losses by investing ever greater percentages of

the fund’s assets in risky emerging markets

equities. “Defendants knew the average pension

plan had 4.5% of total assets invested in emerging

markets equities,” it alleges. “Defendants approved

a policy to invest up to 5% of total Fund assets in

emerging markets equities, and then, following

negative returns, more than doubled the high

risk investment to 11%, only to again double-down

and increase the fund’s investment to an extra-

ordinary 15% of fund assets. Defendants’ process

of chasing recovery of lost returns with increasingly

risky asset allocations, in an attempt to meet or

beat the actuarial return assumption, was imprudent

and resulted in substantial injury to the fund. Like a

gambler chasing his losses, defendants did so

despite the high-risk nature of the asset class,

substantial and continuing declines in the market

value of the investment, increased uncertainty

concerning volatility and growth prospects in

emerging markets, substantial underperformance

by the managers, substantial underperformance

of the fund versus its peers, and the mounting

substantially negative impact of the investment

on the fund’s returns.”
In December, the trustees told participants that

the fund “has now been in critical status for six

years and is projected to remain so for the

foreseeable future…We currently have a plan

that incorporates reasonable measures available

under the law to address our situation. At this

time, we are reliant on the fund’s investment

performance and to a much lesser extent

employer contributions.”

In her statement to Deadline, the plan’s exec

director Kilkelly said the suit “is directed at

the performance of fund investments, but

there are many other causes of the fund’s

present financial predicament. Many

multiemployer pension plans across the

nation are struggling with a similar ‘perfect

storm’ of challenging factors.

These include the volume of Baby Boomers

taking retirement; more benefits being paid

out to retirees and beneficiaries than

contributions coming in from actives;

and significantly longer pay-outs because

participants are thankfully living longer.

Additionally, two major recessions since 2000,

the one in 2008-09 being of epic proportions

and causing the collapse of financial markets

worldwide, have profoundly impacted pension

plans across the nation.”

She said that she and the trustees and the

staff of the fund “have responded prudently

to all challenges and have consistently based

their decisions on the counsel of proven

investment advisors and actuaries. We will

vigorously contest this lawsuit, and expect

to prevail. Our focus will continue to be

on doing everything we can to preserve the

hard-earned benefits of our participants

and beneficiaries.”

FROM DEADLINE HOLLYWOOD

 
===========================================

III. EVENTS
DEAN AND RICHARD
are now at Culver City Elks the first 
Friday of 
every month.
7:30pm-10:30pm,
11160 Washington Pl.
Culver City, 90232
310-839-8891
————————————-
LA WINDS JAZZ KATS 584
NO COVER, NO MINIMUM.
Every 2nd and 4th Tuesday of the month at
Viva Cantina
7:30-10:00.
900 Riverside Drive, 
Burbank.

Free parking across the street at Pickwick Bowl.
Come hear your favorite charts played the way
they 
should 
be. 

We are in the back room called
the Trailside Room. 


Come on down.

Guaranteed to swing.

http://www.responsible47.com

—————————————-

7/29/17

SESSIONS AT THE LOFT

ASHLEY BRODER AND FRIENDS

Event to be held at the following time, date, and location:
Saturday, July 29, 2017 from 7:30 PM to 9:30 PM (PDT)
Sessions at the Loft
2465 Ventura Blvd
Camarillo, CA 91320

———————————–

7/30/17

The BBB featuring Bernie Dresel
(Direct from Italy!)

THIS SUNDAY July 30 from  7:00pm-8:30pm
at Bogies in Westlake Village, CA
(right off the 101 at Lindero Canyon Road exit.)
Big Band Extravaganza!!!
32001 Agoura Road, Westlake Village, CA 91361
Call 818-889-2394 for ticket reservations!!
or Go to: http://www.bogies-bar.com/events/
and click on the RSVP tab for our July 30 show.
or cross your fingers and JUST SHOW UP!
$20 cover charge

Come join The BBB featuring Bernie Dresel,
(13 horns, upright bass, guitar, and plenty of

drums) swingin’ & rockin’ selections from our

brand new album, Live n’ Bernin’.

The club is gorgeous, the food is great, and

the sound system is perfect!  Come welcome

me & Vicky as we arrive back to Los Angeles

from our beautiful honeymoon in Italy!!

Our new album Live n’ Bernin’ will be

available for sale at this show.

(Also available online at CDBaby Amazon,

and ElusiveDisc; as well as downloads on

iTunes, CDBaby and Amazon).

—————————————-

8/2/17

PRESS RELEASE/Wed AUGUST 2, 2017 at

12:10-12:40 pm at the Free Admission
GLENDALE NOON CONCERTS/

Pianist NANCY FIERRO:
Music from the Belle Epoque.

Thank you!
Jacqueline Suzuki
Curator, Glendale Noon concerts
818 -249-5108
http://www.glendalenoonconcerts.blogspot.com

UNTIL NEXT TIME,

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

WINNING FOR LOSING / PENSION ACCOUNTABILITY ROADBLOCK / EVENTS

July 21st, 2017

7/21/17

I. CAN’T WIN FOR LOSING

II. PENSION ACCOUNTABILITY ROADBLOCK

III. EVENTS

…Absolutely guaranteed anonymity – Former Musician’s Union officer

…The one voice of reason in a sea of insanity – Nashville ‘first call’
scoring musician
…Allows us to speak our minds without fear of reprisal – L.A. Symphonic musician

…Reporting issues the Musicians Union doesn’t dare to mention – National touring musician

===========================================

I. CAN’T WIN FOR LOSING

Instrumental Casting, a company owned by Contractor/Violinist

Jennifer Walton, who booked a non-union job for 68 musicians

at the Dolby theater a while back and didn’t hire union musicians

because she knew the Union would show up and target those union

musicians who played the job. She did it to protect them.

Now the AFM/Local 47 is going after her because union members

WEREN’T asked to play. It’s opposite day all over again. Sometimes

you truly cannot win for losing.

Here is a statement from Instrumental Casting:
Jennifer Walton recently contracted a 68 piece orchestra comprised

of non-union musicians, for a non-union client, at a non-union venue.

She knew the union would show up looking for union musicians

playing the gig in violation.  In her hiring emails, she alerted the

musicians that union reps would be present and insisted she’d

not allow any union musicians on the gig in order to protect them

from punishment.  At least one of the musicians she contacted

informed the AFM of her email in which she stated she would

not hire union musicians on this non-union gig.
AFM leafletted the rehearsal for her 68 piece orchestra gig and

also leafletted the patrons at the Dolby Theater where the

concert was held.  Jennifer filed a charge against the AFM

with the NLRB for selective enforcement, slander, and

harassment of the musicians and patrons.
AFM then filed a charge against Jennifer’s business,

Instrumental Casting, under which she contracted the

job, for unlawful discrimination against union players.

Their argument is that union players should decide

whether or not they will accept a non-union gig.

Jennifer Walton, of Instrumental Casting, offers

work for AFM, SAG, Fi-core, and non-union

musicians alike.

===========================================

II. PENSION ACCOUNTABILITY ROADBLOCK

We thank the Musicians for Pension Security for staying on this for us all!

MPS INFORMATION REQUEST TO THE AFM-EPF HITS ROADBLOCK

Dear Plan Participants,

You may have seen the latest AFM-EPF newsletter, stating, “Our trustees take seriously the commitment to more frequent, comprehensive communication” (June 2017, p.3). Last month, Musicians for Pension Security requested a series of documents. In addition, we asked specific questions concerning investments, expenses, lobbying costs and other subjects of vital importance. Not one of these requests
for information was honored.

In response, Executive Director Maureen Kilkelly simply referred MPS to the disclosure document inventory list on the AFM-EPF website. This list includes several years of actuarial and investment management information, and the copying cost to receive these documents. This information, as required by federal law, must be posted to their website. For our remaining requests, Ms. Kilkelly’s response speaks for itself, “We are not responding to the remaining requests.* ”

So what were the requests that the trustees refused to respond to?
•    We asked for the minutes of trustee meetings, as well as minutes of the investment and audit committees. It seems to us that trustees who wish to be transparent would make their minutes available, but they chose not to allow us access to those documents.
•    We also asked for specific information about the losses that occurred in 2007-09 during the financial crisis. How much of these losses were in high-yield bonds, as the trustees have claimed? How much were within the category of alternative investments? How much were corporate stocks? The trustees will not disclose that information.
•    With respect to the financial crisis, we asked whether the trustees considered taking legal action against those responsible for catastrophic investment losses. Tens of billions of dollars have been recovered by peer pension plans against wrongdoers in connection with financial crisis losses. Why didn’t the AFM seek compensation? Again, the trustees will not say.
•    MPS has reason to believe that several AFM-EPF trustees actively supported the Multiemployer Pension Reform Act, MPRA, a law that could give trustees the ability to cut our pension benefits, in 2013 and 2014 (NCCMP).  We asked trustees whether any of our plan money was used to help lobby for this law. In our view, plan money should be used for the exclusive benefit of plan participants, and any money spent on our behalf for lobbying purposes should be disclosed. The trustees, however, choose to remain silent on the subject.
•    Regarding spending, we asked about travel expenses, meeting expenses, and the cost of education for the trustees. After the AFM-EPF spent $250 million of plan money over the last decade on fees and expenses, coupled with extremely poor performance, this is an area of great concern. Transparency of spending during a financial crisis of this magnitude is critical. Our trustees would not share any information on this subject.
•    Trustees will not answer the simple question of whether the Department of Labor performed an expense audit on the plan in the past five years.

So while communications from our trustees may have become more frequent and comprehensive as of late, we anticipate that they will be in one of two categories : either divulging only what is required by federal law, or advancing their own point of view. It seems that trustees will not answer inconvenient or uncomfortable questions that would enable plan participants to seek transparency and accountability.

Sincerely,
Musicians for Pension Security, Inc.
www.musiciansforpensionsecurity.com

*Ms. Kilkelly included a disclaimer on her email that prevents us from sharing it publicly

[EC: There is obviously a lot that stinks here. There is obviously

dishonesty here. Our question is why haven’t the trustees and

particularly Ms. Kilkelly been fired? We’re being fleeced either

by incompetence or design.]

====================================

III. EVENTS
DEAN AND RICHARD
are now at Culver City Elks the first 
Friday of 
every month.
7:30pm-10:30pm,
11160 Washington Pl.
Culver City, 90232
310-839-8891
————————————-
LA WINDS JAZZ KATS 584
NO COVER, NO MINIMUM.
Every 2nd and 4th Tuesday of the month at
Viva Cantina
7:30-10:00.
900 Riverside Drive, 
Burbank.

Free parking across the street at Pickwick Bowl.
Come hear your favorite charts played the way
they 
should 
be. 

We are in the back room called
the Trailside Room. 


Come on down.

Guaranteed to swing.

http://www.responsible47.com

—————————————-

7/29/17

SESSIONS AT THE LOFT

ASHLEY BRODER AND FRIENDS

Event to be held at the following time, date, and location:
Saturday, July 29, 2017 from 7:30 PM to 9:30 PM (PDT)
Sessions at the Loft
2465 Ventura Blvd
Camarillo, CA 91320

—————————————-

8/2/17

PRESS RELEASE/Wed AUGUST 2, 2017 at 12:10-12:40 pm at the Free Admission
GLENDALE NOON CONCERTS/ Pianist NANCY FIERRO: Music from the Belle Epoque.
Photo of pianist Nancy Fierro and a press release are attached.
Thank you!
Jacqueline Suzuki
Curator, Glendale Noon concerts
818 -249-5108
http://www.glendalenoonconcerts.blogspot.com

UNTIL NEXT TIME,

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

BUILDING IS NOW GONE / 47 BATTLES NON-UNION WORK / EVENTS

July 14th, 2017

7/13/17
I.  LOCAL 47 BUILDING IS GONE AS OF JULY 15TH
II. LOCAL 47 BATTLES NON-UNION WORK
III. EVENTS

…Absolutely guaranteed anonymity – Former Musician’s Union officer

…The one voice of reason in a sea of insanity – Nashville ‘first call’
scoring musician
…Allows us to speak our minds without fear of reprisal – L.A. Symphonic musician

…Reporting issues the Musicians Union doesn’t dare to mention – National touring musician

===========================================

I.  LOCAL 47 BUILDING IS GONE AS OF JULY 15TH

Our building will be official gone tomorrow. Many still

don’t buy that the process was legit,.. and there will

always be 1000 ballots unaccounted for.  But no

matter, the building is now history.

Those who didn’t fight to save the building and

sat the process out can now choose to either fight

to make sure the Local gets more responsive to

the non-elites, or let the Local continue to wither

with only the greedy and /or self-interested coming

out ahead.

The choice is yours.

THE COMMITTEE

============================================

II. LOCAL 47 BATTLES NON-UNION WORK
Musicians Local 47 Vows To Battle Nonunion Work

“Done In The Shadows”

From Deadline Hollywood.

Saying that its contracts have been “put at serious risk”

by “work done in the shadows,” Local 47 of the American

Federation of Musicians is preparing to launch a campaign

“to ensure that musicians can earn a livable wage working

in Los Angeles.”

AFM Local 47
In a recent communique with its members, the local’s executive

board said more and more musicians “are being asked to record

music for major, well-funded projects without union contracts.

If union contracts are made irrelevant by work done in the

shadows, the floor for pay will drop for both union and non-union

musicians.”

Read the full message below.

In many cases, union musicians are forced to choose between

working nonunion or not working at all. “These employment

practices are especially divisive and pernicious,” the executive

board said, “because they exert enormous pressure on

individual union members.”

The local’s current contract with the major studios doesn’t

expire until next April, but it’s already gearing up for a tough

round of bargaining. One of the challenges it’s facing is the

trend toward using foreign orchestras to score films and TV

shows that were shot right here in Los Angeles. Another

problem is that the AFM’s multibillion-dollar pension plan

is in “critical” condition.

“The actuary certified that for the plan years beginning April

1, 2016, and 2015, respectively, the plan is in ‘critical’ status

under the Pension Protection Act of 2006,” according to the

AFM Pension Plan’s latest financial report. As such, the

Plan’s board of trustees was required by law to adopt a

rehabilitation plan designed to improve its financial health

and to allow it to emerge from critical status.

 

“We all know what it is like to wonder where your next

call is going to come from or how you are going to pay

your bills,” the executive board said. “No single musician

can stop the forces that undermine our profession, but

as a union we have always been able to push back. We

believe that it is now necessary to take action together.”

Here is the board’s full message to Local 47 members:
To all members of the American Federation of Musicians

Local 47: Our contracts are the heart of our union. Whatever

we achieve through collective action and collective bargaining

is secured because management signs agreements. Our contracts

allow us to make sure employers do what they are obligated to do.

They raise the expectations of all musicians for pay, benefits,

and professional treatment.

Recently, those contracts have been put at serious risk. Members

of Local 47 are being asked to record music for major, well-funded

projects without union contracts. If union contracts are made

irrelevant by work done in the shadows, the floor for pay will

drop for both union and non-union musicians. These employment

practices are especially divisive and pernicious because they

exert enormous pressure on individual union members.

We all know what it is like to wonder where your next call is

going to come from or how you are going to pay your bills.

No single musician can stop the forces that undermine our

profession, but as a union we have always been able to push

back.

 

We believe that it is now necessary to take action together.

We call upon the Federation and other AFM Locals to unite

with our membership in defense of our union and our

contracts. In the coming months we will be launching a

campaign to uphold our contracts, to recapture work

being done in the shadows and to ensure that musicians

can earn a livable wage working in Los Angeles.

Our goals are:
1. To ensure fair pay, benefits, and professional

treatment for musicians.

2. To protect our union’s ability to bargain, administer

and uphold our contracts.

3. To bring more work under union agreements.

We, the Executive Board of AFM Local 47, are committed

to building a stronger, more successful future together.
– AFM Local 47 Executive Board

[ EC: Well there’s Irony for you. Complaining about non-

union work when members of the board and every

committee at the Local do those very same jobs.

 

Put very simply, as per recording, “NO buyouts,

NO work” They need to get that.

 

The world has moved on.

The problem is our recording contracts are obsolete

and wishful thinking that help only a minute fraction

while penalizing 98% of the members, and deteriorating

our industry.

 

Our long time building gone, trading it for a short term

infusion of money while making no changes to the

ridiculous business model that benefits only a fraction

of even the RMA members, means that once they’ve

pissed away that money there will be no more “rich

relatives” or buildings to turn to.

 

Either the Union will be forced to change their ways

with buyout contracts or our union recording industry

will eventually cease to exist. Even the blindest adherent

of the status quo knows deep down that the game is over.

The only question left is, will you allow everyone’s future

in the recording industry to die so some can stuff their

pockets a little longer?

 

As another aside, have you heard the self-congratulations

and back slapping that Local 47 has been giving itself for

securing raises in contracts for area orchestras? Well the

rest of the story is those organizations, when

confronted with the increased fees, simply cut out rehearsals.

In some cases orchestras are now having 1 rehearsal per

concert. So in most cases, with fewer services, the players

are making less than they did before.

 

But that won’t stop the administration for blowing smoke

professing what a great job they’re doing.

The COMMITTEE

 
====================================

III. EVENTS
DEAN AND RICHARD
are now at Culver City Elks

the first 
Friday of 
every month.
7:30pm-10:30pm,
11160 Washington Pl.
Culver City, 90232
310-839-8891
————————————-
LA WINDS JAZZ KATS 584
NO COVER, NO MINIMUM.
Every 2nd and 4th Tuesday of the month at
Viva Cantina
7:30-10:00.
900 Riverside Drive, 
Burbank.

Free parking across the street at Pickwick Bowl.
Come hear your favorite charts played the way
they 
should 
be. 

We are in the back room called
the Trailside Room. 


Come on down.

Guaranteed to swing.

————————————————-

7/11-14/17

SANTA BARBARA JAZZ WORKSHOP

The LA Jazz Society is proud to partner with Kim

Richmond and Kimberly Ford in presenting the

Santa Barbara Jazz Workshop, July 11-14, from

Tuesday afternoon to Friday night.

 

A faculty of Jazz professionals teach instrumental/

vocal master classes, improvisation, Jazz Listening

(How to listen, and who to listen to.), modern Jazz

combo and Big Band playing with concerts
each late afternoon (open to the public) where advanced students sit in

For more information, visit www.santabarbarajazzcamp.com.

Presented by Kim Richmond and Kimberly Ford
at the Marjorie Luke Theater and SOHO Jazz Club.

You can read all previous offerings at:
http://www.responsible47.com

—————————————-

7/19/17

GLENDALE NOON CONCERTS

Wed JULY 19, 2017 at 12:10-12:40 pm at the Free Admission
Duos by Dwight Dixon, Katherine Hoover, Peter Maxwell Davies & Payton McDonald:
Flutist Katherine Marsh & Percussionist Timm Boatman.

Sanctuary of Glendale City Church,
610 E. California Ave. (at Isabel St), Glendale, CA 91206.

Jacqueline Suzuki
Curator, Glendale Noon Concerts
818-249-5108
Flutist Katherine Marsh is an active professional musician and teacher. She is currently the solo piccolo player of the Santa Barbara Symphony, principal flute of the San Fernando Valley Symphony Orchestra, and has performed with the Los Angeles Philharmonic, the Santa Barbara Opera and Master Chorale as well as other numerous symphony and chamber ensembles throughout Southern California. Originally from Bowling Green, Ohio, Katherine received a Bachelor of Music Degree from the Eastman School of Music and a Master of Music Degree from the University of Southern California. Her principal teachers include Bonita Boyd, Samuel Baron, Roger Stevens, and Louise DiTullio. Katherine was accepted into the LA Philharmonic Orchestral Training Program, The Round Top Music Festival, and the Orchestral Institute in Graz, Austria.  She has performed in masterclasses with James Galway and Jean Pierre Rampal. This past November Katherine premiered James Domine’s Flute Concerto with the San Fernando Valley Symphony. Katherine’s piccolo and flute playing can be heard in many Star Wars Video games performing with the Skywalker Orchestra. In addition to orchestral work, Katherine is a member of the California Music Teacher’s Association and is a chamber music coach for Junior Chamber Music.

Percussionist Timm Boatman began his career with the Dallas Symphony and Opera. He has performed with the Los Angeles Philharmonic, including recordings conducted by Mehta, Previn, Tilson Thomas and Bernstein. He performed with American Ballet Theatre, Joffrey Ballet, Dance Theater of Harlem, Royal Ballet of Covent Garden, Paris Opera Ballet, Stuttgart Ballet, Royal Danish Ballet, National Ballet of Cuba, Miami Ballet, New York City Opera, Berlin Opera, San Diego Opera and many others. He played drumset for the ballets The River by Duke Ellington, Fancy Free by Bernstein and the operas Porgy and Bess and Rise and Fall of the City of Mahagonny, which won two Grammys for LA Opera. He played with the LA Opera Orchestra since the first season. He also played on the recent Grammy winning  The Ghosts of Versailles.

UNTIL NEXT TIME,

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

YOUTH ORCHESTRA AUDITIONS / EVENTS

July 3rd, 2017

7/2/17
I.  OLYMPIA YOUTH ORCHESTRA AUDITIONS
II. EVENTS

…Absolutely guaranteed anonymity – Former Musician’s Union officer

…The one voice of reason in a sea of insanity – Nashville ‘first call’
scoring musician
…Allows us to speak our minds without fear of reprisal – L.A. Symphonic musician

…Reporting issues the Musicians Union doesn’t dare to mention – National touring musician

===========================================

I.  OLYMPIA YOUTH ORCHESTRA AUDITIONS

Dear Friends & Colleagues:

It is very important for students to have a good musical education on
top of academics and sports as extra curricular activity during their
school years. The Olympia Youth Orchestra is a high level orchestra
which only performs original standard repertoire as well as works
by contemporary composers. Easy arrangements are seldom included
in the concert programs.

Please kindly spread the word that the Olympia Youth Orchestra will
be holding its annual auditions from now until the end of August.
Interested students should go on the website at
http://www.olympiaphil.org/wp/ and submit the application form
under “youth orchestra”. Audition requirements are scale and solo
piece of student’s own choice plus some sight reading of orchestral
excerpts from the standard repertoire.

Rehearsals are on Sunday afternoons at CSULA. Annual tuition fee
is $650. There are 4 performances each season, 2 on the campus
of CSULA and 2 at the historic San Gabriel Mission Playhouse. Non-
CSULA students will also have an option of enrolling at CSULA for
transferable college credits of the orchestra class for an additional
charge by the university.

Thank you so much!

Fung Ho

====================================

II. EVENTS

 

DEAN AND RICHARD
are now at Culver City Elks the first 
Friday of 
every month.
7:30pm-10:30pm,
11160 Washington Pl.
Culver City, 90232
310-839-8891
————————————-
LA WINDS JAZZ KATS 584
NO COVER, NO MINIMUM.
Every 2nd and 4th Tuesday of the month at
Viva Cantina
7:30-10:00.
900 Riverside Drive, 
Burbank.

Free parking across the street at Pickwick Bowl.
Come hear your favorite charts played the way
they 
should 
be. 

We are in the back room called
the Trailside Room. 


Come on down.

Guaranteed to swing.

———————————————-

7/5/17

GLENDALE NOON CONCERTS

Wednesday,  JULY 5, 2017 at 12:10-12:40 pm
GLENDALE NOON CONCERTS will feature
Mandolinist EVAN MARSHALL.

Jacqueline Suzuki
Curator, Glendale Noon Concerts
818 -249-5108

Evan  J.  Marshall is  an  internationally  renowned
mandolin  virtuoso,  and  is  widely  regarded  as
he  world’s  premier  solo  performer  on  mandolinin
Duo-Style. By  himself,  he  sounds  like  several
of  the  world’s  finest  mandolinists  performing
together. His  stylistic  signature  is  Classical,
with  strong  influences  from  the  Italian and
American  Folk  traditions.  Country  guitar
legend  Chet  Atkins  called  Evan  “A  true
virtuoso,  one  of  the  few  great  musicians
of  our  time.”
Inspired by Atkins  and  violinist  Jascha  Heifetz,
Evan has  created  a  uniquely  recognizable
approach  to  solo  mandolin  performance  that
combines  bass  lines,  chords,  rhapsodic runs
and  tremolo  melodies.  He  started  Classical
violin  studies  at  age  seven,  and  added  the
mandolin  at age 14.

In  addition  to  solo  performances,  Evan  has
been  a  Featured  Guest  Artist in  Pops  concerts
with  a  number  of Symphony  Orchestras,  including
Houston, Phoenix, Long  Beach, Grand  Rapids, Fort
Worth,  San  Antonio,  Jacksonville, and Pensacola.

Two  of  his  solo  mandolin  recordings  have
been  released  by  Rounder  Records:

————————————————-

7/11-14/17

SANTA BARBARA JAZZ WORKSHOP

The LA Jazz Society is proud to partner with Kim Richmond
and Kimberly Ford in presenting the Santa Barbara Jazz
Workshop, July 11-14, from Tuesday afternoon to Friday night.

A faculty of Jazz professionals teach instrumental/vocal master
classes, improvisation, Jazz Listening (How to listen, and who to
listen to.), modern Jazz combo and Big Band playing with concerts
each late afternoon (open to the public) where advanced students sit in

For more information, visit www.santabarbarajazzcamp.com.

Presented by Kim Richmond and Kimberly Ford
at the Marjorie Luke Theater and SOHO Jazz Club.

You can read all previous offerings at:
http://www.responsible47.com

—————————————-
UNTIL NEXT TIME,

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

COMMENT ON MUSICIAN’S STORY/ EVENTS

June 25th, 2017

6/24/17
I.  COMMENT ON ‘ONE MUSICIAN’S STORY’
II. EVENTS

…Absolutely guaranteed anonymity – Former Musician’s Union officer

…The one voice of reason in a sea of insanity – Nashville ‘first call’
scoring musician
…Allows us to speak our minds without fear of reprisal – L.A. Symphonic musician

…Reporting issues the Musicians Union doesn’t dare to mention – National touring musician

===========================================

I.  COMMENT ON ROBERT’S STORY

Hello Editor!

One of our now deceased members once said…”one day you’re  a star and
the next day you’re parking the car.”  Except for those who have “gamed
the business” the moral of the story is CYA (Cover Your Ass)!

Is there anybody that can’t follow the dots from Universal to today?  See
a YouTube interview with SD from 1994…Really a NON-musician put
into place by a selected few and made a fortune making the selected
few a fortune…

Sickening!!!

Hope all those who are trying to earn a living realize the gravy train is
over…even IF they get a retail call.  CYA!

Member (asked to go Beck Status)  Why not?

interview – https://www.youtube.com/watch?v=9NLaVv2ZWt4

====================================

II. EVENTS

DEAN AND RICHARD
are now at Culver City Elks the first 
Friday of 
every month.
7:30pm-10:30pm,
11160 Washington Pl.
Culver City, 90232
310-839-8891
————————————-
LA WINDS JAZZ KATS 584
NO COVER, NO MINIMUM.
Every 2nd and 4th Tuesday of the month at
Viva Cantina
7:30-10:00.
900 Riverside Drive, 
Burbank.

Free parking across the street at Pickwick Bowl.
Come hear your favorite charts played the way
they 
should 
be. 

We are in the back room called
the Trailside Room. 


Come on down.

Guaranteed to swing.

—————————————————————————–

6/25/17

SAXTRAVAGANZA 2017
The members of Saxtravaganza, a local 12-member all-saxophone
ensemble, would like to invite you to their concert this Sunday
evening. This year’s program will take place at

Hart Hall, located
24151 Newhall Ave. (inside Wm S. Hart Park)
Newhall, CA

This is a free concert. Music begins at 7PM.

This year will mark Saxtravaganza’s 18th annual performance
and is the brainchild of Kathleen Maxwell, a saxophonist and
private woodwind teacher in the Santa Clarita area. The group
will perform a variety of music, including marches, rags, tangos,
jigs, movie themes, and fresh arrangements from group members
and area composers.  

Saxtravaganza boasts some of this area’s finest saxophone
students, hobbyists, teachers and professional players who
come together for one week each year, to share their music.
Invite your friends and family to the 18th annual SAXTRAVAGANZA.

For more information about the group, you may contact
Kathleen Maxwell at: (661) 291-1729 or
visit their website at: http://www.saxtravaganza.com/   
or

http://calendar.santa-clarita.com/event/saxtravaganza_2017

Hope to see you this Sunday.
Kathleen Maxwell

———————————————

6/25/17

Dear Doctor Wu Fans,

We will be appearing at the Santa Monica Summer SOULstice Festival
on Sunday, June 25th 2017 from 4:30 to 6:30 PM, where we will play
two sets of your favorite Steely Dan tunes.  Please bring your friends
along and enjoy a great time with us!

Edgemar Courtyard
2440 Main Street
Santa Monica, CA 90405
4:30 – 6:30 PM

We hope to see you there!

The Doctor Wu Band
http://www.doctorwuband.com/
https://www.facebook.com/doctorwuband

————————————————-

7/5/17

GLENDALE NOON CONCERTS

Wednesday,  JULY 5, 2017 at 12:10-12:40 pm
GLENDALE NOON CONCERTS will feature
Mandolinist EVAN MARSHALL.

Jacqueline Suzuki
Curator, Glendale Noon Concerts
818 -249-5108

Evan  J.  Marshall is  an  internationally  renowned
mandolin  virtuoso,  and  is  widely  regarded  as
he  world’s  premier  solo  performer  on  mandolinin
Duo-Style. By  himself,  he  sounds  like  several
of  the  world’s  finest  mandolinists  performing
together. His  stylistic  signature  is  Classical,
with  strong  influences  from  the  Italian and
American  Folk  traditions.  Country  guitar
legend  Chet  Atkins  called  Evan  “A  true
virtuoso,  one  of  the  few  great  musicians
of  our  time.”
Inspired by Atkins  and  violinist  Jascha  Heifetz,
Evan has  created  a  uniquely  recognizable
approach  to  solo  mandolin  performance  that
combines  bass  lines,  chords,  rhapsodic runs
and  tremolo  melodies.  He  started  Classical
violin  studies  at  age  seven,  and  added  the
mandolin  at age 14.

In  addition  to  solo  performances,  Evan  has
been  a  Featured  Guest  Artist in  Pops  concerts
with  a  number  of Symphony  Orchestras,  including
Houston, Phoenix, Long  Beach, Grand  Rapids, Fort
Worth,  San  Antonio,  Jacksonville, and Pensacola.

Two  of  his  solo  mandolin  recordings  have
been  released  by  Rounder  Records:

————————————————-

7/11-14/17

SANTA BARBARA JAZZ WORKSHOP

The LA Jazz Society is proud to partner with Kim Richmond
and Kimberly Ford in presenting the Santa Barbara Jazz
Workshop, July 11-14, from Tuesday afternoon to Friday night.

A faculty of Jazz professionals teach instrumental/vocal master
classes, improvisation, Jazz Listening (How to listen, and who to
listen to.), modern Jazz combo and Big Band playing with concerts
each late afternoon (open to the public) where advanced students sit in

For more information, visit www.santabarbarajazzcamp.com.

Presented by Kim Richmond and Kimberly Ford
at the Marjorie Luke Theater and SOHO Jazz Club.

You can read all previous offerings at:
http://www.responsible47.com

—————————————-
UNTIL NEXT TIME,

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

ONE MUSICIAN’S STORY / EVENTS

June 17th, 2017

6/17/17
I.  ONE MUSICIAN’S STORY
II. EVENTS

…Absolutely guaranteed anonymity – Former Musician’s Union officer

…The one voice of reason in a sea of insanity – Nashville ‘first call’
scoring musician
…Allows us to speak our minds without fear of reprisal – L.A. Symphonic musician

…Reporting issues the Musicians Union doesn’t dare to mention – National touring musician

===========================================

I.  ONE MUSICIAN’S STORY

Robert Matsuda is a violinist who has contributed to film
and television scores since 1996, including the feature
film The Horse Whisperer (1998) and the blockbuster
television series Lost (2004–10)

A member of the Union of Professional Musicians, Local 47, in
Los Angeles, Robert recalls the heyday of motion picture
musicians and describes the ways in which producers have moved
much of the work overseas or resorted to licensed pop songs or
computer-generated music.

QUESTION:How did you get your start with orchestral soundtracks?
Your first film was The Horse Whisperer, correct?

I did a film before that in which my friend put together the musicians
for a Pauly Shore movie called Bio-Dome (1996)
.
Interestingly enough, the residuals for Bio-Dome went on, and on,
and on. At the back end, it actually paid better than The Horse
Whisperer. I’m probably still getting checks for Bio-Dome. It was
officially my first movie project.

QUESTION: How did you get your foot in the door?

When I was a teenager studying the violin, I had a teacher, who
was part of the Fox orchestra back in its heyday. You can see
him in the Marilyn Monroe movie How to Marry a Millionaire
(1953)
.
He would tell me about playing for the movies while I was at
my lessons. It sounded like a really great thing! You’d be playing
your instrument, and it would allow you to make what I assumed
would be a comfortable middle-class living. I knew that was what
I wanted to do when I grew up.

Bio-Dome came out in 1996, and I got that job after about ten
years of going around playing for concertmasters and contractors
and trying to get my foot in the door. When people ask, “How
do you get started?” I have to disabuse them of the notion that
there’s a clear-cut way of getting into this kind of work, at least
what’s left of it. And it’s different for everybody, because it’s
not like applying for a job at an insurance company.

I got the Bio-Dome job because I was a friend of the contractor
who got the job because he was a friend of the composer. They
both attended the same high school when they were younger.

QUESTION: That got you started. What kept your career going?

I had a good stretch of work after Bio-Dome, until 2006. I got
my position on The Horse Whisperer through a connection
with the composer’s family. I had been working with volunteers
for about ten years at the Los Angeles County Museum of Art
(LACMA), and the word got around that I was a violinist.

One of the volunteers was related to the composer for
The Horse Whisperer and she put in a good word for me.
I owe that job to her. Then, once I was playing for him, I started
getting hired to play on his other films and things expanded
from there. It’s critical for instrumentalists to end up on a
contractor’s list. They are responsible for hiring people to
play in the orchestra.

QUESTION: How do you get on a contractor’s list?

It’s a nebulous process. There are so many ways! You play
for people, like the lead violinist, who is called the concertmaster.

Of course, those people have an inflated sense of their own power.
People have to play for them; they’re the gatekeepers who make
recommendations to the contractor. My entrée was through a family
-work connection. The composer then told the contractor to contact
me. And of course people know each other from school, “Oh, I went
to Juilliard with so and so.” They recommend you to the contractor.
People even say there’s a casting couch.

When composers are young and they’re trying to make it, they need
a reel. They need projects to work on, and they often seek out student
filmmakers at film schools. The composers don’t make much money,
which means they can’t pay the musicians much, if anything at all.

Oftentimes they will ask musicians to volunteer: “I don’t have a lot
of money, but I’ll buy you pizza. Can you help me score the short
film I’m working on?” Musicians will agree to do the work in the
hope that the composer’s profile in the industry will rise and that
they’ll take you along for the ride. But that doesn’t always work.
In fact, a major beef with my colleagues is that they’ll play for
free! Worst of all, when people you play for become more successful,
they tend to forget that you once did them a favor. Of course, I
imagine that if there’s a lot of money on the line and if the young
composer has a choice between working and not working, they’ll
say to the contractor: “Okay, fine, just take care of it. I’m sorry I
have to leave Robert and his friends behind, but, this is my chance.”

So, it’s a complex process. By the way, the same can be said about
contractors. They might use you once—if it is helpful to them—and
never hire you again. So the contractor is a central gatekeeper.

They’re like Saint Peter, they are so powerful. In fact, there are one
or two who are enormously powerful and influential. For a long time
during the 1970s, 1980s, and 1990s, there was one woman named
Sandy DeCrescent who controlled access to 90 percent of the work.

She retired, and one of her assistants, Peter Rotter, took over. Then
he controlled 90 percent of the work. At some point after the transition,
Sandy and Peter got into an argument over some business or personal
matter. Now she’s back in the game, and they’re mortal enemies! I’ve
never seen them. To me, they’re like the Wizards of Oz. I’m not in the
90 percent world. I’m in the 10 percent world. And for a good stretch
of time, 10 percent was pretty good. But now, that amount of work
is so much smaller that it breaks down to almost nothing.

QUESTION: Do contractors tend to hire the same people? Do orchestras
stick together from film to film?

Contractors put together an orchestra for each film. And there are
contractors who attach themselves to certain composers. So this
creates a degree of expectation: if you played on one composer’s
film, you will likely play for all of their films.

Composers like to work with people they know and trust; so do contractors.
But there are no guarantees.

QUESTION: When contractors reach out to people, are they asking for
an audition?

No, they know you already. They know they want you. It’s more of a
conversation about money, time, and availability.

QUESTION: When you were working consistently, how often were
you working?

Before I did The Horse Whisperer, I was working at LACMA, so I
didn’t live on my music work. I would do community orchestras,
weddings, and any kind of live music work that I could get.
Even after The Horse Whisperer I still wasn’t getting
enough work to quit the museum, but by that time I had accumulated
so many sick days, vacation days, and free days that LACMA wanted
me to take days off. That was great because I would get a paid day
off and be able to do a movie.

I met my mentor, Harris Goldman, on The Horse Whisperer.

I was very fortunate to meet him; he had great relationships with
many different composers and orchestrators. Orchestrators are
important because they often write the music for a film based on
the composer’s ideas. Orchestrators possess the technical know-
how to translate those ideas into sheet music. Connections to
composers and orchestrators are helpful—obviously they’re both
powerful, and they can make recommendations to the contractors.

Harris introduced me to Graeme Revell, who has since retired. He
also introduced me to a young composer named Michael Giacchino,
who is huge now. I think I did his first non-video-game project,
which was the TV series Alias (2001–6)
.
Alias led to Lost.

For a while, Lost and Alias were on at the same time, and then he
started doing movies—Pixar movies like
The Incredibles (2004), Ratatouille (2007), and others.

So, right there, I had access to Thomas Newman on some good
films. I was doing Pixar movies and any other movie that Michael
Giacchino was doing, and dur ing a brief period, I was doing both
Alias and Lost.

One week I’d go in and do Alias and the next week I’d do Lost.
And then Alias went off the air, but I still had Lost.

QUESTION: Can you describe a typical day?

For episodic television, it’s a short day. An episode of TV for an
hour-long show like Alias or Lost, which is called a single,
usually requires three hours: typically from ten in the morning
to one in the afternoon, with a ten-minute break at the top of each
hour. For a motion picture, there’s more footage that needs to be
scored, so depending on the nature of the film, it could be one day,
known as a double session. That could mean about six hours with
a lunch break, or it could mean a whole week.

QUESTION: Do studio musicians need a second income?

I would say the most successful people have a regular flow of
studio work across film and television. But they also teach and
play in other orchestras, like the opera or the Los Angeles
Chamber Orchestra. However, they always have studio work
at the core of their career.

QUESTION: How much can you make in a recording session?

If it is a standard budget, a rank-and-file musician can make
about $80 an hour. That’s not bad, and you get money on the
back end as well. There is also low-budget, and now something
called low-low-budget, which pays considerably less.

QUESTION: What is the back end?

Some office in Encino tallies it up, and it’s predicated on things
like video sales, DVD sales, and what happens overseas. They
tally all of the projects that you have worked on and your
percentage of royalties, and then you get a check in the
summertime. You get one check for film and television, and a
smaller check the next month for any kind of phonograph work
you’ve done. (They still say “phonograph” even though it’s an
incredibly outdated term.) It refers to work you’ve done on
commercial music, like albums or singles.

With your check, you get a long itemized statement, and it
behooves you to look at it closely to see if they missed anything.
It happens. But it’s also really interesting to see the different
trends across the film and television you’ve done. Like
I said, I’m still getting money from old projects like Bio-Dome.
It’s maybe $10, but it’s money! Other films have a huge drop off.
For instance, Star Trek (2009) made some good money at first,
and then the next year it went down a little, and then
down, down, down, down very quickly. It was a rapid drop.

Both Lost and Alias made a lot of money in international and
ancillary markets.

QUESTION: Over the course of time, how much money could
you expect in residuals?

It was pretty good money. It wasn’t astronomical like it is with
some movies, but it was always a nice check. I don’t recall
exact amounts, but the back end on those shows could pay your
rent for the month. It’s always surprising what pays well on the
back end. Some projects that you think wouldn’t do well end
up paying you the most.

For example, I have a friend who did a sidelining job on the movie
I Love You, Man (2009). He was playing in a quartet at the
wedding at the end. Sidelining means you appear on camera,
almost as an actor. Usually you’re miming to prerecorded music;
you’re just there as a visual. And nobody wanted to take the job!
You had to go up to Malibu every day and be there really early,
and it just didn’t seem like a terribly good job, but because there
was no other scored music— every other song on the soundtrack
was a pop song—they got this large sum of money! Divided among
the four of them, they got really, really good money on the back end.

Another friend, a bass player, had an appearance on a Chili’s commercial.
He was playing the bass with a jazz singer. When he first heard about
the job, he wasn’t going to audition for it, but we convinced him. I think
when everything wrapped up he probably made $10,000 for that, which
is excellent for essentially one day’s work.

QUESTION: When you look at the itemized list of residuals, what have
been some of your biggest surprises, other than Bio-Dome?

A movie that paid very well was The Incredibles. We knew that it was
going to make some good money because it was very successful. But
it was worth thousands of dollars for me! Everybody was asking about it:
“Did you get your check for that?” Because, you know, not everybody
is in that top echelon of musicians, where they’re working for everyone
all the time.

A lot of the musicians in Los Angeles are just like me, waiting for that
elusive studio call, which has become more and more rare.

QUESTION: What happened? You said you started to notice a change
around 2006 or 2007.

What happened was just an acceleration of trends that were already in
place. Costs all come out of the producers’ pockets. I only make scale,
but other people in the orchestra, say a section leader, get double scale.
And if a contractor hires someone we call a doubler—someone who is
hired to play more than one instrument—scale pay is automatically higher.
Plus, the contractor could be making double or triple scale. So it all starts
to add up before you even calculate the back end, which also increases
depending on your scale pay. I think producers began to say, “This is
an unnecessary expense. Let’s go overseas. Let’s go to London.”

They have nationalized health care so there are no benefit costs for
producers. They don’t pay any residuals. There is no union. The musicians
just get paid their hourly rate for their time in the studio.

George Lucas has all of his films done in London. He has always been
virulently antiunion. On the other hand, Thomas Newman has always
been committed to scoring his films in L.A. He comes from a film
music dynasty, so I think he has a strong sense of loyalty to keeping
business in the city. He is loyal to musicians here. His father was
Alfred Newman, his uncle was Lionel Newman, his cousin is Randy
Newman, and his brother is David Newman.

Nevertheless, he got the 007 franchise, and that does not leave England,
so now he has to go over there and use their musicians.

Of course London has a lot of incredibly talented musicians. But if you’re
already in the London Symphony Orchestra, you have that work, so film
jobs are just extra cash. Even if you’re not in the London Symphony
Orchestra, or the four or five other orchestras there, there are lots of
opportunities.

From what I understand, Abbey Road and Air Studios are open night
and day, seven days a week. It’s incredibly busy. Freelance musicians
are scoring films or video game soundtracks. Video games are a huge
market now! Some of them have better production values than motion
pictures. I did some of that ten years ago. I started working on Call of
Duty and Medal of Honor. We basically created motion picture
soundtracks, using a big orchestra. But the video game companies have
become even more tightfisted about residuals and in negotiating with
the unions. They’re basically saying, “We don’t need to do this anymore.”

Whatever pugnacious tactics the unions had unfortunately weren’t
enough to prevent studios from going either overseas or out of state
to find musicians who would accept their terms. I think Seattle was
the first city to break away from the national union.

QUESTION: How pugnacious was the union when this trend started?

I think it was mainly verbal. I don’t think there was a lot of punch
behind it, compared to the other [motion picture] unions. The
musicians’ union doesn’t have as much power. When writers
go on strike, you have no content, so things grind to a halt.
But when musicians go on strike, they say, “Well, we’ll just go
out of town.”

QUESTION: Why is it so easy to go out of town? Don’t directors
and producers want to be closer to the action when they’re in
postproduction, to oversee the development of the soundtrack?

You would think, but then you have to consider the money, and
that’s all the producers and studios are worried about right now.
A studio is just a distribution channel owned by a much larger
global entity. And because they’re multinational corporations,
they have to answer to the bottom line.

The executives who run these multinational corporations likely
have no interest in film music or where it is done. They just
have to answer to shareholders. Accountants have much more
power than they used to. Can you save money by going to
London, or the Czech  Republic, or Macedonia, or Seattle?
If so, we’ll do it!

QUESTION: Where do they go? We know about London and
Seattle.

The Czech Republic is very big.

QUESTION: Why the Czech Republic?

It’s an incredibly musical place. Mozart in his time was
more popular in Prague than in his native Austria. The
country has a rich tradition of symphonic music that includes
Antonin Dvořák and other Czech composers. And the cost
of living is lower there, so wages are lower, and producers
don’t have to pay into health care.

They don’t have to pay the back end. You just have to pay
the musicians for their time in the studio.

QUESTION: What other places?

Well, that’s enough to sink the ship. But London is the biggest,
by far. Dreamworks Animation is 100 percent London. Until
the latest Star Wars, George Lucas did his recording in London.

The new one was done here in L.A., but I don’t know why.

QUESTION: Besides the battle over payments, what else is
making jobs disappear? I think our tastes in music have changed.
When you turn on the radio now and listen to Selena Gomez or
Katy Perry, oftentimes you’re not even hearing real instruments.
Those songs are purely electronic productions done by producers.
People don’t expect strings or real instruments backing up the artist.

Recorded music also has good sampling. A very good producer or
somebody with a suitable keyboard can get what passes for a good
string sound, and the samples are getting better and better. People
don’t expect to hear a natural, acoustic-sounding backdrop when
they hear popular music these days. Those jobs used to be important
sources of money when you weren’t doing film or television work.
Now you only expect to see violins or symphonic instruments,
as a visual. If Michael Bublé is doing something on PBS, you may
see actual instruments and musicians like me. Or if they’re doing
a studio session, I might get a call. But when it comes time to do
it live, they don’t want to see me. Directors will probably try
to get a pretty, willowy, young, white, blond woman to put on the
set. Somebody’s getting the work, at least, but it’s not me.

We had no idea this transition has been afoot. It’s startling,
especially when you consider the significant role that music
plays in most Hollywood films.

Oh, there’s no reason to apologize. Musicians are invisible,
so things can happen to the musicians and the general public
doesn’t know. That’s why I’m so eager and willing to go on
record, or talk to people about changes in our business.

I don’t want to be in politics or anything, but I do want to tell
people that musicians do exist, and I want to emphasize that
when you hear music in a motion picture, it’s played by real
people. Sometimes the music is done so incredibly well,
like with Thomas Newman, that it becomes part of the
narrative. The music is essential for propelling the narrative
of the film.

I think the whole transition has been manipulated in very
clever ways, even through union negotiations. Like I said,
unions don’t have a ton of power, so when they capitulate,
they often turn around to frame it as a benefit. They’ll say,
“We have this new agreement with the studios where a
certain amount of work has to be done in town.” On the
surface that sounds great! But the studios still determine
what work stays and what work goes. So they’ll do a bunch
of films Attack of the Killer Tomatoes: Part VIII in L.A., and
take prestige projects elsewhere. There’s a very tangible
difference for musicians between working on a low-budget
feature versus a big-budget prestige project.

QUESTION: In another interview, you were quoted as saying
that access to job opportunities is now extremely political.
Can you elaborate?

We had various watering holes in our business. I had my
watering hole with a few other animals. Other animals
were at different watering holes. I was at the Thomas Newman
–Michael Giacchino watering hole. It turned out to be a good
watering hole to have, but now these other watering holes,
which provided a lot of work, have dried up and those animals
are coming over to my watering hole, and the more politically
and powerfully connected musicians have the ability to push me
aside, if they want.

QUESTION: What kind of scoring work is still done in L.A.?

Luckily for me, two of the composers who still score here are
Thomas Newman and Michael Giacchino, and there is some
pop music that needs strings. If you Google my name you’ll
see some of the sound—not soundtrack but phonograph—work
I’ve done. I’ll do work for artists like Beck. Beck’s father,
David Campbell, is an orchestrator. So, right there, Beck has
an in-house person to do string arranging for his records. But
that type of work is increasingly rare. Today it’s mostly when a
producer wants some strings to make something more romantic.
They call it sweetening. If a popular artist like Katy Perry does a
ballad, that’s good for us because we might get the call for that,
but again, that doesn’t happen all that often. It’s just not the
predominant sound in popular music. They needed strings more
often during the disco era. My god, you listen to a disco album
that was recorded in the mid- to late 1970s and everything has
strings.

A lot of the work that made for a middle-class living was not
particularly prestigious. It was just work, and there was a lot of it.
For instance making commercial jingles for Safeway, and things
like that. Back then they used real musicians for jingles. The only
time you’ll hear an orchestra on television now is when you watch
The Simpsons (1989–ongoing), Family Guy (1999–ongoing), and
maybe one or two other animated things. Animation seems to require
real musicians.

Desperate Housewives (2004–12) used an orchestra when it was on
the air, but since the demise of Aliasand Lost, I don’t think there’s
been a lot of orchestra work for non-animated TV.

It’s just not looking good for musicians. People are taking early
retirement and taking their pensions. All it requires is that the
musician not accept any work for a year, and then he or she can
start getting pension payments. If work does come in
after that, you can take it, but that means we are essentially
bankrupting our pension fund. My royalty check is being taxed
at 1 percent, which then contributes to the retirement fund, which
is currently in the red. Hopefully the union can rebuild the coffers,
but right now we don’t know if there will be any money left when
my peers and I are ready to retire. I just assume I’m going to
somehow continue working when I’m ninety years old.

Let’s hope I’m able to!

QUESTION: What are you doing today?

I’m lucky that a couple of my friends made a financial intervention.
They took me out to lunch and reminded me that I inherited my
parents’ house after they both died in 2011. Since then, I had
been living in their house and slowly going broke.

They said, “You live in a great house. You have a swimming pool,
a view of the city, and you’re in Los Feliz. Fix up the house and rent
it.” Even though I was still grief stricken, I said, “Okay, I’ll do it.”
I got a loan, fixed up the house, and got a realtor. There were a couple
of offers that fell through and then somebody I had heard about and
liked from the entertainment industry came and loved the house. He
was a novelist for many years prior to becoming a showrunner.
One of his stories got made into a TV show and that totally changed
his life. Now he was working on another show, so he decided to
move to L.A., and he rented my house. I’m not out of the woods,
but at least I’m able to pay for an apartment down the hill from
my house and start paying off my debts. I hope he stays there
forever; he’s a great guy.

So the pressure has eased somewhat. Now I view myself more
as a landlord than a musician sometimes. Some musicians say
you have to do things like that, and a couple of players I know
became real estate agents, but that profession is also subject to
the market’s whims. Some older players have also invested in
property, so I have this little thing with the house and hopefully
there’ll be a point where I’m no longer paying off the debt. I’m
getting money from whatever is left from my movie, television,
and phonograph work. I’m sorry I can’t paint a brighter picture.

====================================

II. EVENTS

 

DEAN AND RICHARD
are now at Culver City Elks the first 
Friday of 
every month.
7:30pm-10:30pm,
11160 Washington Pl.
Culver City, 90232
310-839-8891
————————————-
LA WINDS JAZZ KATS 584
NO COVER, NO MINIMUM.
Every 2nd and 4th Tuesday of the month at
Viva Cantina
7:30-10:00.
900 Riverside Drive, 
Burbank.

Free parking across the street at Pickwick Bowl.
Come hear your favorite charts played the way
they 
should 
be. 

We are in the back room called
the Trailside Room. 


Come on down.

Guaranteed to swing.

—————————————————————————–

6/21/17

Info about upcoming programs through AUGUST 2017
at the Free Admission Glendale Noon Concerts series
(concerts every first & third Wednesday at 12:10-12:40 pm)
are listed at http://www.glendalenoonconcerts.blogspot.com
Thank you for your support in publicizing the Glendale Noon Concerts!

Jacqueline Suzuki
Curator, GNC
818 249 -5108

On Wednesday  June 21, 2017 at 12:10-12:40 pm
the Free Admission Glendale Noon Concerts will feature
violinist Jacqueline Suzuki  and pianist Frank Basile performing
works by Ravel, Mozart and Debussy at the Sanctuary of Glendale City Church,
610 E. California Ave. (at Isabel St), Glendale, CA 91206.
For more information, email glendalesda@gmail.com
or call (818) 244- 7241.

JUNE 21, 2017 Program:
Violinist JACQUELINE SUZUKI
Pianist FRANK BASILE

MAURICE RAVEL Violin Sonata No.1 in a minor, “Posthumous” 
W.A. MOZART Sonata for piano and violin in e minor, K.304
CLAUDE DEBUSSY La plus que lente for violin and piano

JACQUELINE SUZUKI, violin, is a longtime member of the Long Beach and Santa Barbara Symphonies. A native of San Francisco, she began her earliest chamber music studies on scholarship at the San Francisco Conservatory. She has performance degrees from the Mannes College of Music (BM), where she studied with William Kroll, and the California Institute of the Arts (MFA).
As a Los Angeles freelancer, she has performed with many ensembles and in many genres, from rock, jazz, Latin and Arabic, to playing in the pit for the Bolshoi Ballet and onstage with the Three Tenors. She has recorded with diverse artists: Snoop Dogg, Neil Sedaka, Leonard Cohen, Whitney Houston, Bocelli, Lalo Schifrin, McCoy Tyner, Placido Domingo and many others, and appears on recordings by the Long Beach, Santa Barbara and Pacific Symphonies. She has spent summers at the Peter Britt, Oregon Coast, Carmel Bach and Cabrillo Festivals and has performed in a string quartet “in residence” on a raft trip down the Green River in Utah. Tours have taken her many times to Japan, Taiwan, Mexico, Canada, Europe, the Middle East and throughout the US. She initiated and curates the Free Admission Glendale Noon Concerts http://glendalenoonconcerts.blogspot.com and also the Edendale Up Close Concerts: http://edendaleupclose.blogspot.com

Frank Basile is a harpsichordist, pianist, organist, conductor, musical director, accompanist, singer, church musician, composer, arranger, orchestrator, and teacher. His career has brought him to Los Angeles recording studios, the choir lofts of churches throughout the United States and Europe, any number of theaters in Los Angeles, and the stages of Walt Disney Concert Hall and Carnegie Hall. Versatility has been the hallmark of his work, which has included teaching at USC, Loyola Marymount University, Santa Monica College, and Campbell Hall High School. He is a staff accompanist at Santa Monica College and Loyola Marymount University, an adjunct lecturer in Music at LMU, and director of music at St. Bede’s Episcopal Church in Los Angeles. He studied at Yale University, Northwestern University, and the University of Southern California.

——————————————————-

6/24/17

Song of the Angels Flute Orchestra
Saturday, June 24th at 4 p.m. at
La Crescenta Presbyterian church.
http://www.lcpc.net/
with guest arranger conductor Shaul Ben-Meir
and guest soloists
David Shostac and
Gary Woodward

Concert is free!
Donations are encouraged.

Shaul will be conducting his arrangements of:
Faure Pavane
DeFalla Suite,
Mendelssohn Ruy Blas Overature,
Night on Bald Mountain
and
Radetsky March.

David Shostac and Gary Woodward will be
bringing their musical flute colors to perform
Saint Saens –  Benedictus
and
Bach Violin Double (1st movement).

We will also be opening the concert with
John Williams Fantasy Medley and
Basin Street blues arranged and conducted
by our own esteemed
Charles Fernandez….

Whew – This concert will be awesome!!!

——————————-

6/25/17

Dear Doctor Wu Fans,

We will be appearing at the Santa Monica Summer SOULstice Festival
on Sunday, June 25th 2017 from 4:30 to 6:30 PM, where we will play
two sets of your favorite Steely Dan tunes.  Please bring your friends
along and enjoy a great time with us!

Edgemar Courtyard
2440 Main Street
Santa Monica, CA 90405
4:30 – 6:30 PM

We hope to see you there!

The Doctor Wu Band
http://www.doctorwuband.com/
https://www.facebook.com/doctorwuband

—————————————————————————–

7/11-14/17

SANTA BARBARA JAZZ WORKSHOP

The LA Jazz Society is proud to partner with Kim Richmond
and Kimberly Ford in presenting the Santa Barbara Jazz
Workshop, July 11-14, from Tuesday afternoon to Friday night.

A faculty of Jazz professionals teach instrumental/vocal master
classes, improvisation, Jazz Listening (How to listen, and who to
listen to.), modern Jazz combo and Big Band playing with concerts
each late afternoon (open to the public) where advanced students sit in

For more information, visit www.santabarbarajazzcamp.com.

Presented by Kim Richmond and Kimberly Ford
at the Marjorie Luke Theater and SOHO Jazz Club.

You can read all previous offerings at:
http://www.responsible47.com

—————————————-
UNTIL NEXT TIME,

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

I. PLAN PARTICIPANTS / COMMENT / SANTA BARBARA WORKSHOP / EVENTS

June 5th, 2017

6/5/17
I. AFM-EPF PLAN PARTICIPANTS
II. MEMBER COMMENT
III. FROM KIM RICHMOND
IV. EVENTS

…Absolutely guaranteed anonymity – Former Musician’s Union officer

…The one voice of reason in a sea of insanity – Nashville ‘first call’
scoring musician
…Allows us to speak our minds without fear of reprisal – L.A. Symphonic musician

…Reporting issues the Musicians Union doesn’t dare to mention – National touring musician

===========================================

I. OPEN LETTER TO AFM-EPF PLAN PARTICIPANTS:
Response to 5/19 Funding Status Update from the AFM-EPF

Dear Plan Participants,

By now, many of you received an email from the AFM-EPF stating that our
pension fund earned better-than-expected returns in 2016, and we will
not be entering critical and declining status for the next fiscal year
(read that email here). Avoiding critical and declining status means that
our trustees will not be able to file an application to the U.S. Treasury to
cut our hard-earned pension benefits. Under the law, the cuts could be
up to 70% of accrued benefits (use this calculating tool to see the
maximum reduction you could face).

We are not out of the woods, however, and far from it. Our fund

could very well enter critical and declining status this time next year.
In the meantime, it is important that we participants become as
informed as possible as to the inherent problems and solutions.
Musicians for Pension Security (MPS) is requesting that the AFM-EPF
trustees make decisions with input from the participants, and not
be selective about what information they share. They must find a
long-term solution that does not cut accrued benefits without
the fully informed consent of the workers affected, and they must
proceed with complete transparency.

We are aware that certain AFM-EPF Trustees actively support MPRA,
the law that gives them the right to cut our benefits. This law is
controversial as it was passed by Congress in the middle of the
night in 2014 without any debate or hearings. Numerous Senators
and Congressmen on both sides of the aisle, including Bernie Sanders
(D-VT) and Rob Portman (R-OH), believe that MPRA is an unsound
law that hurts workers. They want it repealed, or very substantially
revised. Policy alternatives exist and have been introduced by members
of Congress. These alternative proposals recognize that cutting
accrued benefits without the consent of the workers, particularly
workers who are retiring soon, is morally unacceptable.

We are also aware that our crisis follows a decade of bad investment
management by the trustees. The ten-year investment return for
the fund has been a measly 3.2% net of investment fees, which falls
far short of the trustees own investment goal of 7.5%. To make up
for the poor performance, the trustees are taking more risks with
our investment portfolio. Currently, approximately 32% of Plan
assets are allocated to private equity and alternative investments.
That is $600 million in notoriously risky, illiquid and opaque ventures.
MPS has formally requested the trustees disclose more precise
information regarding the fees and net returns of our private equity
investments. Participants must judge the true performance and arrive
at an informed decision to our prospects going forward.

Many plan participants are unprepared for pension cuts and
face dramatic hardships if they are made. Cutting benefits
without the consent of the workers is not in the interest of the
majority of plan participants. It is something we as a united
majority cannot accept. We as Membership must band together,
speak up and hold our leaders accountable.

In order to stay informed and work with the AFM-EPF, Musicians
for ‘Pension Security has sent a formal request for more plan
information to our Fund Administrator. A copy of that information
request can be found here.

Sincerely,
Members of Musicians for Pension Security

===================================

II. MEMBER COMMENT

Hi there!

Just wanted to alert you to a book that is coming out from University of
California Press that has an chapter-length interview with me regarding
film scoring in Hollywood.  The publisher is sending me a copy, so I don’t
know how it ultimately turned out.  But I did speak VERY candidly about
my story . . . and how many of our colleagues face the same problems.

Funny thing is, since the interview for the book, which I did a few years
back, I’ve been dropped by MG and seem to have been also dropped by TN.

So I’m dead in the water.

Well, at least I had a chance to vent – and it’s there on the printed page!
https://searchworks.stanford.edu/view/11966301

=================================

III. FROM KIM RICHMOND

Dear fellow L.A. Musicians,

A little more than one month from now we will be holding the
1st annual Santa Barbara Jazz Workshop, July 11 – 14, Tuesday
through Friday. This is an intimate jazz clinic, limited enrollment
assuring a more personal learning experience for instrumentalists
and vocalists.

I am co-director with vocalist Kimberly Ford (yes, the 2 Kims),
and this 4 day workshop will be held at the Marjorie Luke Theatre
and SOhO Jazz Club in lovely Santa Barbara. The performances at
the SOhO Wednesday, Thursday and Friday (late afternoons) are
open to the public. The Friday concert (6 PM) will feature the
student combos and the big band.

A faculty of 9 professional jazz performers will teach improvisation,
jazz repertoire and vocabulary, and the students will have opportunities
to play in combos and a big band.

The students are from high school age (21 or younger gets a discount)
to seniors and everything in between.

2017 FACULTY: 9 professional jazz musicians
Saxophone: Kim Richmond (Los Angeles)
Vocals: Kimberly Ford (Santa Barbara)
Trumpet: Jim Mooy (Santa Barbara)
Trombone: Scott Whitfield (Los Angeles)
Guitar: Tom Hynes (Los Angeles)
Piano: John Proulx (Los Angeles)
Bass: Chris Symer (Seattle)
Drums: David Bayles (Milwaukee)
Jon Nathan (Santa Barbara/Pasadena)

Please spread the word. Flyer attached. The website for the Santa
Barbara Jazz Workshop is
santabarbarajazzcamp.com

All the best,
KIM R

====================================

IV. EVENTS

 

DEAN AND RICHARD
are now at Culver City Elks the first 
Friday of 
every month.
7:30pm-10:30pm,
11160 Washington Pl.
Culver City, 90232
310-839-8891

————————————-
LA WINDS JAZZ KATS 584
NO COVER, NO MINIMUM.
Every 2nd and 4th Tuesday of the month at
Viva Cantina
7:30-10:00.
900 Riverside Drive, 
Burbank.

Free parking across the street at Pickwick Bowl.
Come hear your favorite charts played the way
they 
should 
be. 

We are in the back room called
the Trailside Room. 


Come on down.

Guaranteed to swing.

———————————

6/6/17

THE MALIBU FRIENDS OF MUSIC
and the
Montgomery Arts Housefor Music and Architecture
PRESENT

A SPECTACULAR SEASON FINALE CONCERT EVENT
at MAHMA

Click Below:
Take a moment to listen to the sonorous sounds of the
Malibu Coast Chamber Orchestra
under the baton of Scott Hosfeld.

Our own Maria Newman is the viola soloist.

Enjoy gelato & coffee and beautiful ocean views at 7:00pm
just prior to the concert

To make a reservation please call
(310) 589-0295
or make a reservation online at:

www.malibufriendsofmusic.org

Ticket/Donation for our Musical Soirees
is $25.00 per guest (Under 18 is Free)
Donation may be made online or at the door.

The Malibu Friends of Music is a non-profit organization
and operates solely on the generosity of your donations.

Artists, Programming and Dates are subject to change
and/or cancellation without prior notice.

—————————————————————————–

6/7/17

FREE ADMISSION GLENDALE NOON CONCERTS!

PRESS RELEASE/ Wed JUNE 7, 2017 at 12:10-12:40 pm at the Free Admission
GLENDALE NOON CONCERTS/ Richard Strauss Violin Sonata:

Violinist Jacqueline Suzuki
Pianist Brendan White.

Thank you!
Jacqueline Suzuki
Curator, Glendale Noon Concerts
818-249-5108

—————————————————————————–

6/10/17

EDENDALE UP CLOSE CONCERTS
in Echo Park, at the Edendale Branch Library (LAPL).

Fiato String Quartet) – Saturday JUNE 10, 2017 (Noon-1:00pm) performance

Complete info, including upcoming concerts through JAN 2018,
can be found at http://edendaleupclose.blogspot.com
Thank you!
Jacqueline Suzuki
Curator, Edendale Up Close Concerts
818-249-5108

—————————————————————————–

6/13/17

CalStateLA Symphony Orchestra/Olympia Youth Orchestra

Dear Friends & Colleagues:

You are cordially invited to attend the admission FREE concert given
by the CalStateLA Symphony Orchestra/Olympia Youth Orchestra
on Sunday, June 11, 2017 at 3PM at the historic San Gabriel Mission
Playhouse, 320 S Mission Drive, San Gabriel, CA 91776.

The orchestra is composed of young and talented students ages
12 through college age performing standard repertoire for orchestra
from Baroque to Contemporary periods. Students win their positions
in the orchestra through our annual competitive audition. The guest
soloist this concert will be the renowned violinist, Timothy Fain, who
was the recording artist on the sound track of the movie “The Black
Swan”. He will be performing the Mendelssohn Violin Concerto in
E minor accompanied by the orchestra.

Other works will include Wagner Tannhauser Overture, 2nd movement
of the Dvorak New World Symphony, Mozart Adagio and Rondo for
violin and orchestra(performed by our concertmaster, Jeongwon
Claire An), and the 1st movement of the Tchaikovsky Symphony No.4.

Looking forward to seeing every there..

Sincerely,
Fung Ho

—————————————————————————–

6/25/17

Dear Doctor Wu Fans,

We will be appearing at the Santa Monica Summer SOULstice Festival
on Sunday, June 25th 2017 from 4:30 to 6:30 PM, where we will play
two sets of your favorite Steely Dan tunes.  Please bring your friends
along and enjoy a great time with us!

Edgemar Courtyard
2440 Main Street
Santa Monica, CA 90405
4:30 – 6:30 PM

We hope to see you there!

The Doctor Wu Band
http://www.doctorwuband.com/
https://www.facebook.com/doctorwuband

—————————————————————————–

7/11-14/17

SANTA BARBARA JAZZ WORKSHOP

The LA Jazz Society is proud to partner with Kim Richmond
and Kimberly Ford in presenting the Santa Barbara Jazz
Workshop, July 11-14, from Tuesday afternoon to Friday night.

A faculty of Jazz professionals teach instrumental/vocal master
classes, improvisation, Jazz Listening (How to listen, and who to
listen to.), modern Jazz combo and Big Band playing with concerts
each late afternoon (open to the public) where advanced students sit in

For more information, visit www.santabarbarajazzcamp.com.

Presented by Kim Richmond and Kimberly Ford
at the Marjorie Luke Theater and SOHO Jazz Club.

You can read all previous offerings at:
http://www.responsible47.com

—————————————-
UNTIL NEXT TIME,

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

PENSION / AFM-SAG-AFTRA FUND / EVENTS

May 27th, 2017

5/27/17
I. PENSION COMMENT
II. AFM & SAG-AFTRA Fund
III. EVENTS

…Absolutely guaranteed anonymity – Former Musician’s Union officer
…The one voice of reason in a sea of insanity – Nashville ‘first call’
scoring musician
…Allows us to speak our minds without fear of reprisal – L.A. Symphonic musician
…Reporting issues the Musicians Union doesn’t dare to mention – National touring musician

===========================================

I. PENSION COMMENT

FYI:
When our AFM Pension took its stock market dive in 2008,
You recall our L.A. / NY H&W Fund had similar financial woes.
A person in the H&W loop gave me the following info.

(This regards only H&W management, but we can imagine
a similar band of irresponsible folks who “might” have
been ignoring the location/vulnerability of our Pension
money during the stock market crash.

For instance, if those Pension Trustees had been paying
attention to the crisis, they could have switched us to safe
Blue Chip stocks before the worst of it.)

H&W Trustees at the time of the 2008 crash:

Lewis, Vince, exec at Disney, exec at Entertainment
Partners, Gary Hughes (“Management trustee,”) one
more un-named person.

Six total Trustees: 3 from the Union side and 3 from
the music business executive side.
Trustees are volunteers. They serve as a community service.
Trustees are not officially “Trustees” until they meet
together to make decisions.

No Union allows membership to contact Trustees directly.

Very sad.
Again, this is not a list of AFM Pension Trustees.
Then again, maybe some of them were…

=================================

II. AFM & SAG-AFTRA Fund in the Spotlight at ASCAP Expo

The little-known AFM & SAG-AFTRA Intellectual Property Rights
Distribution Fund pays royalties even to oft-neglected session musicians
and backup singers.

Stevie Wonder was the headliner — and closing act — of the ASCAP
I Create Music Expo that concluded this weekend, but musicians and
singers will be interested to know that an obscure fund, jointly run
by the American Federation of Musicians and performers’ union
SAG-AFTRA, also had a moment in the sun at the annual conference
for songwriters, composers, artists and producers.

If those two unions seem like an odd pairing, they aren’t: since its
2012 founding by way of merger, SAG-AFTRA, like AFTRA
before it, has represented recording artists — singers — as
well as actors and others, such as broadcasters.

The joint fund, the AFM & SAG-AFTRA Intellectual Property
Rights Distribution Fund, distributed about $60 million in royalties
in 2016 and thus will be welcome as anything but odd by those
who receive checks from it — a variety of singers and musicians,
including such non-featured performers as backup singers and
session musicians, who otherwise might not receive music
royalties at all.

Although that total is far less than the approximately $1 billion
in residuals that SAG-AFTRA distributes annually, and is also
less than the $90 million to $100 million in audiovisual AFM
residuals that are disbursed each year (which are administered
by yet another organization, the Film Musicians Secondary
Markets Fund), the checks can be significant, ranging up to
$1 million in some cases, said fund executive director Dennis
Dreith.

“We do for non-featured performers what SoundExchange
and AARC do for featured performers,” explained Dreith,
referencing two other music royalty organizations. He spoke
to The Hollywood Reporter after conducting a seminar Friday
for about 100 people at the Expo.

One recipient of a payment from the fund was so unaccustomed
to receiving royalties that she rang up Dreith and asked if she
was really allowed to cash the check. He assured her that she was.

Citing the case of a former Motown session bass player who he said
died impoverished after helping churn out hit after hit (“You Can’t
Hurry Love” by The Supremes, “My Girl” by The Temptations,
and dozens more), Dreith added that the fund helps ensure that
“there won’t be another James Jamerson,” at least in the economic sense.

Where the Money Comes From

Unlike Expo organizer ASCAP, which collects and pays royalties to
songwriters and composers, the joint union fund is for performers.
It was established in 1998, which may give a clue as to its initial
scope: the royalties are collected from U.S. digital platforms, but
not from U.S. terrestrial (conventional) radio, as to which there
is no provision in law for performance royalties. The Fair Play
Fair Pay Act, which the fund and unions vigorously support,
would change that and require AM and FM stations to pay
such royalties, too.

Those for-now digital royalties are paid to non-featured vocalists and
non-featured musicians regardless of their union membership or
affiliations. The fund collects foreign performance royalties for
U.S. non-featured performers as well, but only for members of
AFM and SAG-AFTRA.

That, anyway, is what the sound recording division of the fund
does. Two more recent arms, the symphonic royalties and
audiovisual divisions, represent evolutions beyond digital-only.
The first focuses on royalties for featured and non-featured
performers in symphonic sound recordings, including archival
recordings and radio broadcasts licensed for use on cable,
satellite and digital media. And the audiovisual division
collects royalties — again, for featured and non-featured
singers and musicians — from foreign territories for films
and television programs containing U.S. performers, which
have been broadcast on Spanish and German television,
and motion pictures containing U.S. performers, which have
been exhibited in cinemas in Spain.

There is no word on whether that limited geographic portfolio
might expand.

Like residuals, which inspired this reporter to prepare a
colored chart that Backstage likened to “a periodic table of
elements on mushrooms,” music royalties are complex: a
flowchart in the ninth edition of Harold Vogel’s definitive
Entertainment Industry Economics, which features almost
two-dozen circles, squares and other shapes and a similar
complement of connecting lines, looks like an oil refinery
diagram — except that the latter is easier to understand.
Indeed, turning bauxite into aluminum is apparently simpler
than the way money flows in the music business. But in one
small corner, at least, the AFM & SAG-AFTRA fund has it covered.

===================================

III. EVENTS

 

DEAN AND RICHARD
are now at Culver City Elks

the first 
Friday of 
every month.
7:30pm-10:30pm,
11160 Washington Pl.
Culver City, 90232
310-839-8891
————————————-
LA WINDS JAZZ KATS 584
NO COVER, NO MINIMUM.
Every 2nd and 4th Tuesday of the month at
Viva Cantina
7:30-10:00.
900 Riverside Drive, 
Burbank.

Free parking across the street at Pickwick Bowl.
Come hear your favorite charts played the way
they 
should 
be. 

We are in the back room called
the Trailside Room. 


Come on down.

Guaranteed to swing.

—————————————————————————–

5/28 – 6/2/17
The BBB featuring Bernie Dresel

Mark your calendars and/or get tickets now:
playing TWO daytime shows near LAX (Los Angeles Airport)
this will be the only notice (earlier than usual) for these rare
“west side” shows

1.  LA Jazz Institute Big Band Spectacular
SUNDAY May 28 from 4:30-5:30 at Westin LAX Grand Ballroom
Call 562-200-5477 for $20 tickets or get them at the door.
http://lajazzinstitute.org

2.  LA Audio Show
FRIDAY June 2 from 5:30-7:00 at Sheraton Gateway LAX
poolside deck Single day tickets for the 10am-6pm LA
Audio Show and the 5:30 concert are available for $25
at http://www.laaudioshow.com/register

The deck area offers a variety of amenities from cabanas
to lounge seating and standing room where drinks,
appetizers and snacks can also be purchased. For those
whose preference is indoors, the windows of the
Costero Bar, overlooking the pool, will be opened.
And, for attendees, and others, who have worked up
an appetite for more solid fare, the Brasserie restaurant,
also with windows to the pool, will be serving.

—————————————————————————–

5/27/17
CULVER CITY CHAMBER ORCHESTRA
Music Director/Conductor Arlene Cardenes
Saturday May 27th, 5:00PM
A Culver City Centennial Celebration
This performance will feature a new
fanfare by Cary Belling.
Also
Andres Cardenes, Violinist and COnductor
Turning Point School Auditorium
8780 National Blvd. 
Culver City, CA 90232
Click here for ticket information

—————————————————————————–

6/7/17

FREE ADMISSION GLENDALE NOON CONCERTS!

PRESS RELEASE/ Wed JUNE 7, 2017 at 12:10-12:40 pm at the Free Admission
GLENDALE NOON CONCERTS/ Richard Strauss Violin Sonata:

Violinist Jacqueline Suzuki
Pianist Brendan White.

Thank you!
Jacqueline Suzuki
Curator, Glendale Noon Concerts
818-249-5108

—————————————————————————–

6/10/17

EDENDALE UP CLOSE CONCERTS
in Echo Park, at the Edendale Branch Library (LAPL).

Fiato String Quartet) – Saturday JUNE 10, 2017 (Noon-1:00pm) performance

Complete info, including upcoming concerts through JAN 2018,
can be found at http://edendaleupclose.blogspot.com
Thank you!
Jacqueline Suzuki
Curator, Edendale Up Close Concerts
818-249-5108

—————————————————————————–

6/13/17

CalStateLA Symphony Orchestra/Olympia Youth Orchestra

Dear Friends & Colleagues:

You are cordially invited to attend the admission FREE concert given by the CalStateLA Symphony Orchestra/Olympia Youth Orchestra on Sunday, June 11, 2017 at 3PM at the historic San Gabriel Mission Playhouse, 320 S Mission Drive, San Gabriel, CA 91776.

The orchestra is composed of young and talented students ages 12 through college age performing standard repertoire for orchestra from Baroque to Contemporary periods. Students win their positions in the orchestra through our annual competitive audition. The guest soloist this concert will be the renowned violinist, Timothy Fain, who was the recording artist on the sound track of the movie “The Black Swan”. He will be performing the Mendelssohn Violin Concerto in E minor accompanied by the orchestra.

Other works will include Wagner Tannhauser Overture, 2nd movement of the Dvorak New World Symphony, Mozart Adagio and Rondo for violin and orchestra(performed by our concertmaster, Jeongwon Claire An), and the 1st movement of the Tchaikovsky Symphony No.4.

Looking forward to seeing every there..

Sincerely,
Fung Ho

—————————————————————————–

6/25/17

Dear Doctor Wu Fans,

We will be appearing at the Santa Monica Summer SOULstice Festival on Sunday, June 25th 2017 from 4:30 to 6:30 PM, where we will play two sets of your favorite Steely Dan tunes.  Please bring your friends along and enjoy a great time with us!

Edgemar Courtyard
2440 Main Street
Santa Monica, CA 90405
4:30 – 6:30 PM

We hope to see you there!

The Doctor Wu Band
http://www.doctorwuband.com/
https://www.facebook.com/doctorwuband

—————————————————————————–

7/11-14/17

SANTA BARBARA JAZZ WORKSHOP

The LA Jazz Society is proud to partner with Kim Richmond
and Kimberly Ford in presenting the Santa Barbara Jazz
Workshop, July 11-14, from Tuesday afternoon to Friday night.

A faculty of Jazz professionals teach instrumental/vocal master
classes, improvisation, Jazz Listening (How to listen, and who to
listen to.), modern Jazz combo and Big Band playing with concerts
each late afternoon (open to the public) where advanced students sit in

For more information, visit www.santabarbarajazzcamp.com.

Presented by Kim Richmond and Kimberly Ford
at the Marjorie Luke Theater and SOHO Jazz Club.

You can read all previous offerings at:
http://www.responsible47.com

—————————————-
UNTIL NEXT TIME,

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

PENSION WEBSITE / SITE INFO / COMMENT / EVENTS

May 19th, 2017

5/19/17
I. IMPORTANT WEBSITE – PENSION
II. SOME INFO FROM THE SITE
III. COMMENT
IV. EVENTS
…Absolutely guaranteed anonymity – Former Musician’s Union officer

…The one voice of reason in a sea of insanity – Nashville ‘first call’
scoring musician
…Allows us to speak our minds without fear of reprisal – L.A. Symphonic musician

…Reporting issues the Musicians Union doesn’t dare to mention – National touring musician

===========================================

I. IMPORTANT WEBSITE – PENSION

We received this information from a reliable source.

You need to follow this!:

Hi everyone,

As you all know we have a major problem with the AFM

pension fund. It is actually far worse than we have been

told by the trusties.

A number of very smart dedicated people in the NYC

area have started a committee to address this problem.

They have created a website to inform you of the ACTUAL

situations happening and the timeline in which they have

happened. They have been involving billion dollar multi –

employer hedge fund experts to advise them on some of

these points.

Please read the following website and sign up.

https://www.musiciansforpensionsecurity.com

 

A couple of the group members would like to come

out and address you about this in the next month

or so. I will be working with a couple of people from

SoCal to try and set this up. I will also be attending

the NY meetings as often as possible.

We ALL have to get involved to fix this.

PLEASE SEND THIS TO EVERYONE YOU KNOW

THAT IS INVOLVED WITH THE FUND!

=================================

II. SOME INFO FROM THE ABOVE SITE

Among other valuable info, you’ll find this on the

PENSION SECURITY SITE

As you may have heard, our hard-earned pension benefits
could be slashed to a negligible monthly payout once we
retire. Our Fund Trustees say this is due to a series of
unfortunate events, but it seems more and more clear
that the true unfortunate event is that they are
responsible for a decade of poor performance, and have
been less than transparent about the health of the Fund.

It’s true that in 2008 we incurred catastrophic losses to
our pension fund. That was a terrible year in the market
for all, and during that crash almost every multiemployer
fund suffered substantial losses. But our pension fund
performed much worse … AFM-EPF lost nearly 40%
(AFM website)  of assets spanning the 18 months
surrounding the crash, while other funds suffered an
average of 25%. After that difficult period, the
majority of multiemployer pension funds bounced
back, and 60% of those plans were back in the Green
Zone by 2011 (PBGC). Not ours, however. The AFM-EPF
fund continued to underperform every single year.

Let’s talk numbers here for a minute…
Over the past decade, our fund yielded a 3.2%
net average return. That’s 1.0% below our
already low custom benchmarks (estimated
returns on investments which are calculated
by Trustees and Fund Administration) and
drastically below the industry-wide yield of
6.8% (according to Pension and Investments
magazine). Compared to our peers, we are
underperforming.

Our pension administration spent over $248
million dollars in administrative expenses
and investment fees over the past decade,
while returning only 3.2% (5500s). Last year,
for example, the Fund admitted to losing $10
million in value (AFM-EPF website), but paid
$25 million in administrative costs and
investment fees. Additionally, our Fund’s expenses
have been unnecessarily exorbitant for years.
We spend $190K/month on rent in one of the
most expensive real estate markets in the country,
pay excessively high salaries to Fund administration,
high fees to investment managers (5500s), and
are unnecessarily overstaffed, in comparison to
similar funds. Not only are we paying employees
high salaries, but we are giving them raises almost
every year in the past decade. We are rewarding t
hem for bad performance.

We spent a lot of money to lose money.

We can make a comparative analysis to a peer
pension fund, AFTRA Retirement Fund. AFTRA is
similar to AFM-EPF in size, value of assets, and
personnel (for example, the consultant, accountant,
lawyers, and investment managers are all the same
professionals).  Although we utilize many of the
same resources, AFTRA is under-spending us
dramatically.  Using Form 5500s for the years
available to us, 2009-2014, we created a comparative
fee and expense analysis between AFTRA Retirement
Fund and AFM-EPF. For those six years, AFTRA paid
$103 million in investment fees and administrative
costs, while AFM-EPF paid $153 million in fees and
expenses. The AFM-EPF paid an extra 50 plus million
dollars in fees and expenses more than AFTRA paid
for the same six year period. Despite the fact that
these 2 funds are so similar in size and personnel,
the AFM-EPF paid a third more in expenses and
fees than AFTRA for 2009-2014.

“The Fund will be solvent until 2047.”

Many AFM members didn’t know just how bad things
were with the pension fund until they received a
December 2016 letter  from the trustees saying
that the fund in 2016 spent 25 million dollars in
fees/expenses and lost 11 million dollars for the
year to date. In addition the trustees in that same
letter made it very clear that the fund is in trouble
and could quite possibly be in critical and declining
status in the near future, as soon as this summer.

In this same letter, the trustees let us know that if
we are in critical and declining status that the new
pension law “MPRA” would apply to our fund.  “MPRA”
is a law that allows trustees to cut existing benefits
and gives workers little to no say in the process.

What is hard to explain is the following articles written
in 2015 by AFM trustees and officials just one year
before we received the bad news in that now famous
December 2016 letter about possible benefit cuts
through the new pension law “MPRA.   These articles
all make it seem like the new pension law “MPRA”
doesn’t apply to our fund and we should not be
worried because our fund is projected to be
solvent all the way till 2047.

So what changed in that one year?  Why are the same
trustees just one year later telling us that the new pension
law which allows trustees to make cuts to benefits
could easily apply to our fund now all of the sudden?

We deserve an answer.

AFM President and co-Chair Trustee, Ray Hair, said in
International Musician in January 2015, “the AFM-EPF…
is not projected to become insolvent, and the new law
[MPRA] does not authorize benefit reductions to the AFM-EPF.”

A month later, Local 802 President Tino Gagliardi wrote
In Allegro, “The new spending bill from Congress … includes
a provision that applies to deeply-troubled pension plans
that are near insolvency. As we have stated before … our
pension fund is projected to be solvent until at least 2047,
which is the longest period for which the actuaries have
made projections.”

In the same publication, Local 802’s lawyer Harvey Mars
also stated the fund would be solvent through 2047
and members should “rest secure”.

Tino Gagliardi then agreed with a statement given by
four Union Trustees — Laura Ross, Brian Rood, Bill
Moriarity and Phil Yao — stating again that they believe
the fund with be “solvent through at least 2047”.

UNDERPERFORMANCE AND HIGH EXPENSES

Christopher Brockmeyer, Co-Chair of the AFM-EPF, is
also the Director of Employee Benefit Funds for The
Broadway League. He was actively involved with the
development and passage of MPRA. In Markets Media
in 2014, he said, “I spend a lot more time on investment
issues … than do a lot of the other trustees.” He went
on to say, “Every fund … is primarily motivated by
trying to get its best return, which is typically 7.5%.”
It’s troubling that Brockmeyer, a Trustee of 11 pension
plans in the entertainment industry, and AFM-EPF
Trustee since 2007, believes our return should be
much higher than our 3.2%.  Where is the accountability
for the Fund’s poor performance, after Brockmeyer
claims to be the authority on “investment issues”? And
when our investment performance is failing, shouldn’t Mr.
Brockmeyer and other Trustees, including Co-Chair Ray
Hair, attempt to cut costs?

In 2009, Kilkelly’s salary jumped from $284K to $356K.

The Trustees vote each year on potential salary increases.
Our Fund Administrator and Executive Director, Maureen
Kilkelly, is now paid $422K a year (5500s). Kilkelly has
gotten a raise every year during the past decade, despite
the Fund’s poor performance. To add insult to injury,
in 2009, the year that New York’s Broadway musicians
took a salary freeze, Maureen Kilkelly received a 25.1%
raise. Why did the Trustees vote to raise Ms.Kilkelly’s
salary every year, regardless of the Fund’s performance?

Where is the accountability?

Has the Board of Trustees breached their fiduciary duties
by allowing for excessive fees, poor returns and little to
no transparency for many years?  Our current trustees
seem incapable of or unwilling to rein in exorbitant
costs. Why, after a decade of poor performance, has
there been no change from the Fund’s leadership?

The Trustees must explain the mistakes with full
transparency, improve the administrative performance,
and drastically reduce the high overhead.

===================================

III. COMMENT

Well Hooray for you. You hate my beloved AFM Local 47.
How satisfying this must be to you and your vaunted
“Committee” giggle~ giggle.

[EC: Did it every occur to you, that when the pensions
are slashed to a fraction of what you expected because
of the RMA leadership’s greed over the years (Plus a
touch of technology), and their refusal to talk buyouts,
reducing our membership numbers, dues, pension
and health and welfare, (More taking out than putting
in) with the work going everywhere but here, YOU
are going to be f***ed?

This committee has been trying to SAVE this union
from their damage, whether you realize it or not.

At least direct your anger where it belongs,… those who

caused this situation.

===================================

IV. EVENTS

DEAN AND RICHARD
are now at Culver City Elks

the first 
Friday of 
every month.

7:30pm-10:30pm,
11160 Washington Pl.
Culver City, 90232
310-839-8891
————————————-
LA WINDS JAZZ KATS 584
NO COVER, NO MINIMUM.
Every 2nd and 4th Tuesday of the month at
Viva Cantina
7:30-10:00.
900 Riverside Drive, 
Burbank.

Free parking across the street at Pickwick Bowl.
Come hear your favorite charts played the way
they 
should 
be. 

We are in the back room called
the Trailside Room. 


Come on down.

Guaranteed to swing.

—————————————————————————–

5/20-21/17

CENTER STAGE OPERA PRESENTS
The Best of Broadway Volume III
Performing Arts Center (on the campus of Reseda High School)
Reseda, CA

May 20th – 7:30 PM
May 21st – 3:00 PM

Music from
Camelot, Cabaret, Guys and Dolls, A Chorus Line,
Snoopy the Musical, Company, Sweet Smell of success,
Miss Saigon, Woman of the Year, Avenue Q, The Wiz, 70 Girls 70
and Annie

Featuring
Nick Navarra
Stephanie Fredericks
Kate Bass
Dylan F. Thomas

—————————————————————————–

5/21/17

SONG OF THE ANGELS FLUTE ORCHESTRA
Founder, Frederick Staff
Music Director, Charles Fernandez

JAZZY FLUTES!

Sunday, May 21st 7pm at the
First Lutheran Church in Torrance

Guest artists
Ali Ryerson
David Shostac
Fred Seldon
and Billy Kerr

for tickets go here:

Concert Tickets

—————————————————————————–

5/28 – 6/2/17
The BBB featuring Bernie Dresel

Mark your calendars and/or get tickets now:
playing TWO daytime shows near LAX (Los Angeles Airport)
this will be the only notice (earlier than usual) for these rare
“west side” shows

1.  LA Jazz Institute Big Band Spectacular
SUNDAY May 28 from 4:30-5:30 at Westin LAX Grand Ballroom
Call 562-200-5477 for $20 tickets or get them at the door.
http://lajazzinstitute.org

2.  LA Audio Show
FRIDAY June 2 from 5:30-7:00 at Sheraton Gateway LAX
poolside deck Single day tickets for the 10am-6pm LA
Audio Show and the 5:30 concert are available for $25
at http://www.laaudioshow.com/register

The deck area offers a variety of amenities from cabanas
to lounge seating and standing room where drinks,
appetizers and snacks can also be purchased. For those
whose preference is indoors, the windows of the
Costero Bar, overlooking the pool, will be opened.
And, for attendees, and others, who have worked up
an appetite for more solid fare, the Brasserie restaurant,
also with windows to the pool, will be serving.

——————-

6/21/17
DON’T MISS
THE PHIL NORMAN TENTET
in West Los Angeles
Sunday, May 21st @ 2:30pm
(doors open at 2pm)
Contrapuntal Hall in Brentwood
655 N. Bundy Drive
Los Angeles, CA 90049

For Tickets:
http://www.brownpapertickets.com/event/2951454
limited seating; please reserve early

Hear the Performance of
“THEN  AND  NOW”

Remembering the classic sounds & variations of
12 jazz legends to include:

The George Shearing Quintet
The Dave Brubeck Quartet
The Modern Jazz Quartet
The Cal Tjader Quintet
the Ahmad Jamal Trio
Miles, Dizzy and more

—————————————————————————–

5/24/17

TALL AND SMALL

Wednesday, May 24th, 2017 8 pm – 10 pm

featuring:
Pete Christlieb & Linda Small
Pete Christlieb tenor sax; Linda Small trombone
saxophones Tracy Knoop, Travis Ranney,
Jeff Kashiwa, Bill Ramsay
trumpets Mike Mines, Jared Hall
piano: David Joyner
bass Clipper Anderson
drums Tim Malland

Cover Charge: $5
B SHARP COFFEE HOUSE
706 Opera Alley
Tacoma, WA 98402
Directions

—————————————————————————–

5/27/17
CULVER CITY CHAMBER ORCHESTRA
Music Director/Conductor Arlene Cardenes
Saturday May 27th, 5:00PM
A Culver City Centennial Celebration
This performance will feature a new
fanfare by Cary Belling.
Also
Andres Cardenes, Violinist and COnductor
Turning Point School Auditorium
8780 National Blvd. 
Culver City, CA 90232
Click here for ticket information

—————————————————————————–

6/13/17

CalStateLA Symphony Orchestra/Olympia Youth Orchestra

Dear Friends & Colleagues:

You are cordially invited to attend the admission FREE concert given by the CalStateLA Symphony Orchestra/Olympia Youth Orchestra on Sunday, June 11, 2017 at 3PM at the historic San Gabriel Mission Playhouse, 320 S Mission Drive, San Gabriel, CA 91776.

The orchestra is composed of young and talented students ages 12 through college age performing standard repertoire for orchestra from Baroque to Contemporary periods. Students win their positions in the orchestra through our annual competitive audition. The guest soloist this concert will be the renowned violinist, Timothy Fain, who was the recording artist on the sound track of the movie “The Black Swan”. He will be performing the Mendelssohn Violin Concerto in E minor accompanied by the orchestra.

Other works will include Wagner Tannhauser Overture, 2nd movement of the Dvorak New World Symphony, Mozart Adagio and Rondo for violin and orchestra(performed by our concertmaster, Jeongwon Claire An), and the 1st movement of the Tchaikovsky Symphony No.4.

Looking forward to seeing every there..

Sincerely,
Fung Ho

—————————————————————————–

7/11-14/17

SANTA BARBARA JAZZ WORKSHOP

The LA Jazz Society is proud to partner with Kim Richmond
and Kimberly Ford in presenting the Santa Barbara Jazz
Workshop, July 11-14, from Tuesday afternoon to Friday night.

A faculty of Jazz professionals teach instrumental/vocal master
classes, improvisation, Jazz Listening (How to listen, and who to
listen to.), modern Jazz combo and Big Band playing with concerts
each late afternoon (open to the public) where advanced students sit in

For more information, visit www.santabarbarajazzcamp.com.

Presented by Kim Richmond and Kimberly Ford
at the Marjorie Luke Theater and SOHO Jazz Club.

You can read all previous offerings at:
http://www.responsible47.com

—————————————-
UNTIL NEXT TIME,

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

GEORGE S. CLINTON MASTERCLASS / EVENTS

May 12th, 2017

5/12/17
I. GEORGE S. CLINTON MASTERCLASS!
II. EVENTS
…Absolutely guaranteed anonymity – Former Musician’s Union officer

…The one voice of reason in a sea of insanity – Nashville ‘first call’
scoring musician
…Allows us to speak our minds without fear of reprisal – L.A. Symphonic musician

…Reporting issues the Musicians Union doesn’t dare to mention – National touring musician

===========================================

I. ASMAC PRESENTS GEORGE S. CLINTON!

5/13/17

ASMAC presents

A MASTER CLASS WITH GEORGE S. CLINTON
MODERATED BY:  Sylvester Rivers
Valley College – Music Building
5800 Fulton Ave., Valley Glen, CA
Corner of Fulton & Oxnard  

Saturday, May 13, 2017
10:30 am –  CHECK-IN – Coffee/Refreshments
11:00 am – 2:00 pm – Master Class

“Scoring Comedies: Comedy is Serious Business
– The Scoring Art & Technique.”

Join us for an informative – and entertaining – Master Class.

Mr. Clinton is an award winning composer who has
scored over 100 films, most notably “Austin Powers
International Man of Mystery” and it’s blockbuster
sequels;  Disney’s hit “Santa Clause” sequels;
“Mortal Kombat” 1 & 2;  “Wild Things”,  “Red Shoe
Diaries”,  John Water’s “A Dirty Shame”  and the
Emmy Award winning “Bury My Heart At Wounded Knee.”

He began his professional musical career as a
singer/songwriter/arranger in Nashville while
earning degrees in music and drama. Upon
moving to LA, he became a staff songwriter
for Warner Brothers Music with songs recorded
by the likes of Michael Jackson and Joe Cocker
and continued working as a session musician
and arranger. It was the music from Clinton’s
solo album  “The George Clinton Band Arrives”
that attracted the attention of Cheech and Chong,
giving him the chance to score his first film “Still Smokin”.

In addition, Mr. Clinton is an advisor at the
Sundance Composers Lab, serves on the Music
Executive Branch of The Academy of Motion
Picture Arts and Sciences (The Oscars), is on
the boards of the Society of Composers and
Lyricists and the Alliance for Women Film
Composers, is a member of ASMAC and the
Television Academy, and was Chair of Film
Scoring at the Berklee College of Music 2012-2015.

Awards include a Platinum record for his score
to Mortal Kombat, Grammy and Emmy nominations,
the SCL Ambassador Award, the Spirit of Tennessee
Award, and nine BMI Film Music Awards, including
their highest honor, the BMI Icon Award.

MODERATED BY:  SYLVESTER RIVERS
Composer, arranger and pianist Sylvester Rivers
has recorded with numerous hit artists including
Lionel Richie, Diana Ross, The Jacksons, Sammy
Davis Jr., Dionne Warwick, Nancy Wilson, Kenny
Rogers, Johnny Mathis, Aretha Franklin, New
Edition, Smokey Robinson, The Temptations,
Gladys Knight & The Pips, Barry White, Marc
Bolan & T Rex, Ray Parker, Jr. & Raydio, Deniece
Williams, The Fifth Dimension and many others.

Rivers has composed, arranged and orchestrated
for television and film as well, such as the television
series “Fame,” songs for the Kevin Bacon/Laurence
Fishburne film “Quicksilver,” “Breakin’ 2: Electric
Boogaloo,” “The Arsenio Hall Show” and numerous
others; and  has been prolific in producing music
throughout a wide spectrum.

Valley College – Music Building

Sat., May 13, 2017
11:00 am – 2:00 pm
(Check-in & Refreshments – 10:30am )
Free parking in lot on corner of Fulton and Oxnard.
ASMAC Members and Students – $25
Non-Members – $40

=================================

I. EVENTS
DEAN AND RICHARD
are now at Culver City Elks the first 
Friday of 
every month.
7:30pm-10:30pm,
11160 Washington Pl.
Culver City, 90232
310-839-8891
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LA WINDS JAZZ KATS 584
NO COVER, NO MINIMUM.
Every 2nd and 4th Tuesday of the month at
Viva Cantina
7:30-10:00.
900 Riverside Drive, 
Burbank.

Free parking across the street at Pickwick Bowl.
Come hear your favorite charts played the way
they 
should 
be. 

We are in the back room called
the Trailside Room. 


Come on down.

Guaranteed to swing.

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5/13/17

SAN FERNANDO VALLEY SYMPHONY

Saturday, May 13th, 2017
AGOURA HILLS/CALABASAS COMMUNITY CENTER
8:00 pm
27040 MALIBU HILLS RD
CALABASAS, CA
Price: $25
Saint-Saens: Bacchanale from “Samson and Delilah”
Tchaikovsky: Romeo and Juliet Fantasy-Overture
TWO PREMIERES!
Tuttle: By Steam or By Dream Overture 
Inaugural Performance
Egizi: Orchestral Suite “In memoria di mio Padre”
Inaugural Performance
To purchase tickets for this concert, click here.
For information on the pre-concert dinner, click here.
(Program subject to change

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5/14/17

LOS ANGELES SYMPHONIC WINDS
Sunday, May 14th, 2017 – 2:30 pm
Calabasas Performing Arts Education Center
22855 Mulholland Hwy, Calabasas, CA 91302

Extraordinary Women – A Mother’s Day Concert to Remember
The LA Winds pay tribute to remarkable women who helped
shape the course of human history. Featured works will
include Giuseppi Verdi’s stirring “Overture to Joan of Arc”,
Mark Camphouse’s powerful “A Movement for Rosa”,
and Eric Coates’ regal “The Three Elizabeths”.

For tickets contact:
Mary Gallegos at mgallegos2@aol.com

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5/17/17

FREE ADMISSION GLENDALE NOON CONCERTS

On Wednesday  May 17, 2017 at 12:10-12:40 pm
the Free Admission Glendale Noon Concerts will feature
the Calico Winds performing duos and trios by
Heitor Villa-Lobos, Malcolm Arnolf and Joseph Canteloube
at the Sanctuary of Glendale City Church,
610 E. California Ave. (at Isabel St), Glendale, CA 91206.
For more information, email glendalesda@gmail.com
or call (818) 244- 7241.

HEITOR VILLA-LOBOS Bachianas Brasileiras No. 6 for Flute & Bassoon
MALCOLM ARNOLD Divertimento for Flute, Oboe and Clarinet
JOSEPH CANTELOUBE Rustiques for Oboe, Clarinet and Bassoon
Theresa Treuenfels (bassoon)
Rachel Berry (horn)
Ted Sugata ( oboe)
Kathryn Nevin (clarinet)
Eileen Holt (flute)

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5/20-21/17

CENTER STAGE OPERA PRESENTS
The Best of Broadway Volume III
Performing Arts Center (on the campus of Reseda High School)
Reseda, CA

May 20th – 7:30 PM
May 21st – 3:00 PM

Music from
Camelot, Cabaret, Guys and Dolls, A Chorus Line,
Snoopy the Musical, Company, Sweet Smell of success,
Miss Saigon, Woman of the Year, Avenue Q, The Wiz, 70 Girls 70
and Annie

Featuring
Nick Navarra
Stephanie Fredericks
Kate Bass
Dylan F. Thomas

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5/21/17

SONG OF THE ANGELS FLUTE ORCHESTRA
Founder, Frederick Staff
Music Director, Charles Fernandez

JAZZY FLUTES!

Sunday, May 21st 7pm at the
First Lutheran Church in Torrance

Guest artists
Ali Ryerson
David Shostac
Fred Seldon
and Billy Kerr

for tickets go here:

Concert Tickets

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5/27/17
CULVER CITY CHAMBER ORCHESTRA
Music Director/Conductor Arlene Cardenes
Saturday May 27th, 5:00PM
A Culver City Centennial Celebration
This performance will feature a new
fanfare by Cary Belling.
Also
Andres Cardenes, Violinist and COnductor
Turning Point School Auditorium
8780 National Blvd. 
Culver City, CA 90232
Click here for ticket information

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7/11-14/17

SANTA BARBARA JAZZ WORKSHOP

The LA Jazz Society is proud to partner with Kim Richmond
and Kimberly Ford in presenting the Santa Barbara Jazz
Workshop, July 11-14, from Tuesday afternoon to Friday night.

A faculty of Jazz professionals teach instrumental/vocal master
classes, improvisation, Jazz Listening (How to listen, and who to
listen to.), modern Jazz combo and Big Band playing with concerts
each late afternoon (open to the public) where advanced students sit in

For more information, visit www.santabarbarajazzcamp.com.

Presented by Kim Richmond and Kimberly Ford
at the Marjorie Luke Theater and SOHO Jazz Club.

You can read all previous offerings at:
http://www.responsible47.com

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UNTIL NEXT TIME,

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47