Archive for March, 2016


Saturday, March 26th, 2016


…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



In 2005, a highly placed group of musicians, frustrated with the
destruction of work in recording, put forward this proposal.
Even then the damage to recording because of the unusable recording
contracts forced down the throats of AFM Members because of the
RMA leadership was losing us major work – and that was almost 11
years ago.


MAY 2, 2005

Recording music for film, TV and video games is a commercial business. While
the music itself is a creative art form utilizing many talents – negotiations with
producers, directors and composers, in addition to the preparation of budgets
and contracts is nothing less than running a business.

Recorded music becomes a product for sale, a commodity. What does the
market demand and what will it bear? How can the musicians who record this
music be fairly compensated, without giving away or compromising their product?

How can their product result in a steady revenue stream while competing in a
global economy that has changed the way we do business forever? These are
the questions we must face and respond to when considering and ultimately
proposing monumental changes to the national AFM Motion Picture Agreement.

The rapid and dramatic decline of motion picture union recording projects in the
U.S. during the last 10 years coincides with a substantial and devastating
increase in recording projects outsourced in non-union environments as well as
foreign unionized countries. The historical pattern of how and why we got to this
point must be reviewed and analyzed. We must then make an organized and
thoughtful effort to recapture and reinvent our recording opportunities by creating
a new business model.

The current longstanding business model – reflected in AFM recording
agreements – has failed to maintain a regular flow of recording opportunities for
the majority of our rank and file recording musicians. The agreements are
outdated and woefully inadequate to compete in today’s global market.

Producers consistently seek a buyout alternative so they can close out their
books once the music is recorded. In addition, many composers confined with
package deals and a restricted budget are forced to go non-union or with a
foreign orchestra “buyout”, rather than face the unknown back-end charges
associated with our current motion picture agreements.

There is a significant financial burden placed on our locals and the AFM due to
policing and enforcing the secondary market issues on these outdated contracts,
not to mention the consuming hours of labor in order to impose compliance.
Money and time would be much better spent on lobbying for more work for our
musicians through federal and state tax incentive legislation.

The complexity of the agreements themselves consistently turn off producers
because they are difficult to read and the terms and conditions challenging to
understand. A more user-friendly and concise agreement is necessary.

We have just witnessed video game recording – a new and explosive opportunity
for recording soundtracks – fly right out of California, where most of the larger
video game companies reside, and go directly to Seattle and London. It is a fact
that only one video game score has been recorded on an AFM contract in the
U.S. since early December 2004, compared with 14 projects recorded last year.

The business model that resulted in the outsourcing of motion picture production
and recording – a process over the last 15 years – is the same model in its
infancy used for video game projects, which are running away at warp speed. It
has taken just four months for this new industry to be almost completely

This broken business model – with new use provisions attached – is driving work
away at an amazingly accelerated speed. This recording work must be recaptured
immediately or we will be lamenting about these runaways for many years to come,
just as we are now looking back at years of motion picture scores being recorded

As long as other viable options (i.e. non-union; buyout agreements in foreign
countries) exist for film producers, the U.S. will never see a substantial amount of
work return to this country without adopting a “buyout” option in our agreements.
A successful business model, offering attractive economic incentives must be
procured to bring back work to our U.S. recording centers and to help foster new
relationships with film producers and composers.


A successful business model takes an idea and converts it into an
economically viable business. It defines how an entity is positioned
in a specific industry and market, and how its value can be maximized
and sustained. A consistent and successful generation of revenue is
related to strategy, economics, operations, finance, innovation and

“The classic business model that has dictated the structure of every
company from General Motors to Microsoft is so at odds with contemporary
economic currents that it must and will disappear. The old principles no
longer work in the new age. Businesses have reached the old model’s limits
with respect to complexity and speed. The real problem is a ruinously
dysfunctional mismatch between today’s business environment and the
classic business model… Quite simply, the wrong model may transform a
company into the vehicle of its own death.” 1

The successful entities of the future need to harness the full potential of
the entire organization in the rapidly changing business environment.
“The world is going to be too tough and competitors too ingenious as companies
are shaken loose from traditional ways of conducting business. The winners
will be the unbridled firms that are responsive to challenges and adroit in both
creating and capturing opportunities.” 1 Consistent ineffectiveness in how we
have been doing business requires new strategies and thoughtful innovation.


A sustainable competitive advantage that positions our recording industry in
the market to effectively maintain a steady flow of business, while surviving
against the competition over a long period of time needs to be implemented.
This requires constant reinvention of the terms and conditions of our agreements
and resources, adaptability of ever-changing global market conditions and
the creation of value-added incentives for new and sustained business.

Now is the time to take advantage of favorable economic conditions in the
U.S., when the British pound is strong and the dollar’s purchasing power
is considerably diminished in other countries. In addition to the proposed
changes to the Motion Picture Agreement, there should be continuous lobbying
for taxincentives through federal and state legislation to keep production in this

Foreign governments have been extremely aggressive in this area, in order
to attract U.S. businesses and keep them returning. In some instances, there
are partnerships (government and production company) encouraging foreign
investment in the local economy.

We would prefer to maintain a national agreement that represents ALL recording
musicians, rather than shift to the current and popular idea of negotiating
separate local agreements in individual cities. Now is the opportunity for us
to leverage our negotiating power and lead our recording industry into a
new level of sustainability and prosperity in the U.S.

…and London



Dear Editor,

Contrary to the initial reasons offered by the Local to sell Vine Street, e.g.
the need of a new roof, electrical upgrades, and the desire for ADA
compliance, the real reason to sell Vine Street appears to be about
having enough money to continue doing business as usual.  To get
the referendum passed, the Local spent thousands of dollars of its
resources beyond the the costs of promotional materials and mailings
charged to the “Club”.  The Local by their own admission generated
20,000 phone calls encouraging members to vote YES.

What the membership might not know, is that the Union hired a person
by the name of Erick Cruz at the beginning of the referendum process in
October.  Erick, who only one month prior, looks to have been an employee
of the same company that was hired by the Local to promote the sale of
Vine Street.

Erick Cruz was assigned to help the Election Board and indeed was the
person identified by the Election Board Chair as the person who helped
scan the ballots.

Erick Cruz’s LinkedIn profile identifies his job description at Bridge Street
as “Social Innovation Organizer” and subsequently Local 47 “Campaign
Manager.” Does anyone see a problem with this?

A partisan with his hands all over the ballots? In what universe does the
administration reside in thinking this is appropriate?

An attempt to speak with Erick Cruz on the day of the referendum count
concerning his participation was thwarted by the gruff intentional intrusion
by the Local’s attorney. Not only was the conversation interrupted
but, the attorney physically removed him from member inquiry.

In an event that appears to be related, the Board minutes of 2/16/16
reflect the resignation of a member of the Election Board.  As a member
observer at that Executive Board meeting, I can attest to the naming
of Erick Cruz and that certain of Cruz’s actions were disturbing. 

Member Observer

[EC: What was the attorney afraid of? More and more questionable
conduct,… and the board says nothing. do ethics mean anything



The local put in a formal bid several weeks ago.
I don’t know what that was or whether or not they
received a response yet.

Using the facts that are known and methods of deductive
thinking, 47 has some real challenges going forward.
Acosta stated in this month’s electronic newsletter that
they will not sell the Vine street property until the new
property is secured first. That means that for all practical
purposes they will have to put up some cash as deposit on a
new property to secure it.

So, how much money would it take in deposit to secure a
$10M property, and does 47 have that cash?

I think what really has not been available is full disclosure
to the membership. What I’m not sure about is how much of that
is being deceitful and how much of that is ignorance, It seems
that nobody on that Board knows what to do, let alone just what
is going on.

[EC: According to the record of the 2/9/16 EC Meeting, Acosta
accepted an offer on the Vine Street building (We further heard
that the bid was for 25 Million). We’ve also been told that the
Alameda building is still in play, but no word that it has been
definitely secured. So did he misrepresent the situation to the
membership? If the bid was accepted before a building was
secured, it’s just another example of the President printing
untruths in his articles. and yet the membership just sits idly by.]



…another result of our unusable contracts

Info from Postcard….

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Saturday, March 19th, 2016


II. FIRST WEDNESDAYS with Eliot Deutsch and Patrick Williams

…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


“we need to hear from you”

Did you vote “Yes” on the sale of the Local 47 building
but now feel duped by the process and would vote differently
if you had the chance?

Please write and let us know ASAP:
[email protected]

We want to hear from you!



French Horn
December 1951 – March 2016
Memorial service:
Saturday March 26, 2:00-3:00 PM

Lutheran Church in the Foothills
1700 Foothill Blvd.
La Canada Flintridge, CA 91011
There will also be a Musical Celebration of Brian’s Life at
Local 47 in June. Stay tuned for further details.
In lieu of flowers, please contribute to the UCLA Neurology
Foundation.  You may send a donation by check or money
order to:
Attention: Luba Skoropad
Department of Neurology Finance Office
David Geffen School of Medicine at UCLA
710 Westwood Plaza
Los Angeles, CA 90095-1769
Make check payable to: UCLA Foundation
Please indicate on the memo line:
“For the research of Dr. Linda Liau.”



Eliot Deutsch and Patrick Williams

Wed. April 6, 2016 – 7:00pm

 Wednesday April 6, 2016   7:00 p.m.- 10:00 p.m.
Free Event for members of Local 47 and ASMAC, $10 for guests
AFM Local 47, 817 Vine St. Hollywood CA 90038

Elliot Deutsch is a rising star among young arrangers in
Los Angeles. Patrick Williams is one of the most accomplished
and in-demand arrangers today. They will each present an
arrangement that they have written and recorded and talk
about their process. Come and learn how an accomplished
arranger conceives of his or her unique vision through the
scope of a familiar tune.


Having composed the music for over 65 feature films,
100 television films, 25 television series, as well as 19
albums and 30 concert works, Patrick Williams has established
himself as one of the most accomplished and prolific
composers in the music industry today. He has received
four Emmy awards with twenty-two nominations and two
Grammy awards with twenty-one nominations, two of
which come from his latest release, “Home Suite Home”. 
He has also been nominated for both an Academy Award
and the Pulitzer Prize in music. He is a recipient of the
Richard Kirk Award from BMI and the Golden Score Award
from the American Society of Music Arrangers and

Born in Missouri, Williams grew up in Connecticut and received
a degree in history from Duke University. His first love, however,
was always music, and when he went on to Columbia to study
music composition and conducting, his passion became
his profession. He quickly became busy as an arranger in New
York, and then in 1968, he moved to California to pursue work
in the film and television industry while continuing to write
and arrange jazz albums. Proficiency in composing for
symphony orchestras as well as jazz bands has offered
Williams an opportunity to create a wide variety of works.

Among his critically acclaimed compositions are An American
Concerto, a piece featuring a jazz quartet and symphony orchestra,
for which he received a 1977 Pullitzer Prize nomination; Gulliver,
featuring a symphony orchestra with narrator, for which he received a
Grammy nomination (narration by Larry Gelbart and performed by Sir
John Gielgud); Suite Memories, which features a solo trombone with
symphony orchestra and won a Grammy award; Theme for Earth Day,
an overture, recorded by the Boston Pops; Spring Wings, a double
concerto written by saxophonist Gerry Mulligan and pianist Dave
Grusin with symphony orchestra; Romances, a concerto for jazz
saxophonist Tom Scott and orchestra; A Concerto in Swing for big
band and clarinet, which was dedicated to and premiered by Eddie
Daniels; Adagio for Orchestra composed in 2004; and August
composed in 2005. He recently completed a ballet, “Ziji”, with
choreographer Edgar Zendejas to honor the 60th Anniversary of the
College of the Fine Arts at the University of Utah.

Some of Williams’ big band recordings are considered classics of
contemporary big band instrumentals, such as Threshold for which
he received a Grammy in 1974; Too Hip for the Room, for which he
received a Grammy nomination in 1983; Tenth Avenue which received
a Grammy nomination in 1987 and Sinatraland, a big band tribute to
Frank Sinatra for which he received a Grammy nomination in 1998. In
2006, he received two Grammy nominations for the album Elevation
with Tom Scott and Eddie Daniels.In September 2001, he won an
Emmy for his song, “A Dream That Only I Can Know,” from the film,
Yesterday’s Children. In 2002, he received an Emmy nomination for
his score for “We Were The Mulvaneys” and a Grammy nomination for
“The Theme from Blonde” from the sountrack album for the TV
miniseries Blonde, a portrait of Marilyn Monroe. In 1992, Williams
won the Emmy for the mini-series “Jewels”. He has composed and
arranged themes and scores for television series including The
Streets of San Francisco, Lou Grant, The Days and Nights of Molly
Dodd, the Mary Tyler Moore Show, the Bob Newhart Show, Columbo,
Slap Maxwell, The Tony Randall Show, and the Magician. Recent
television projects include Hercules, starring Sean Astin, The Perfect
Husband: The Laci Peterson Story; When Angels Come To Town and
Finding John Christmas starring Peter Falk; James Patterson’s First to
Die; Power and Beauty;The Thin Blue Lie; The Three Stooges with
Michael Chiklis and A Cooler Climate starring Sally Field and Judy
Davis. Of the 65 plus films Williams has scored in his career, a few
include Breaking Away, for which he received a 1978 Oscar
nomination; All of Me, The Best Little Whorehouse in Texas, Swing
Shift, Cuba, Violet’s Are Blue, Casey’s Shadow, The Cutting Edge,
Cry-Baby, and The Glass Harp. Williams is also an accomplished
arranger with extensive credits. The album, For Ella featuring Patti
Austin, which he co-produced and arranged, was nominated for a
2003 Grammy for Best Jazz Vocal album. He was chosen by Frank
Sinatra to act as Musical Director/ Arranger- Conductor for his final
studio recordings, Duets and Duets II. He has arranged recordings for
Michael Bublé, Jack Jones, Andrea Bocelli, Paul Anka, Peter Cincotti,
Natalie Cole, Neil Diamond, Gloria Estefan, Michael Feinstein, Vince
Gill, Amy Grant, Thomas Hampson, Barry Hay, Monica Mancini, Barry
Manilow, Bette Midler, John Pizzarelli, Brian Setzer, Barbara Streisand,
Traincha, and Russell Watson.

Williams has been a leader in the music education field for many
years, holding posts as Visiting Professor and Composer in Residence
at the University of Utah and the University of Colorado, which
awarded him an Honorary Doctoral Degree. He has performed and/or
lectured at many colleges including Berkeley College of Music,
Cornell University, Duke University, Indiana University, Texas
Christian University, (1993 Green Honors Professor), UCLA, USC, and
Yale University. In May 2001. he was awarded an Honorary Doctorate
of Fine Arts from Duke University. He served as Artistic Director of
the Henry Mancini Institute from 2001 to 2006.


Elliot Deutsch is a busy composer and arranger of large ensemble
jazz music. In its tenth year of performing, the Elliot Deutsch Big
Band has released two albums, played in every major jazz venue in
Los Angeles, and hosted an impressive list of guest stars including
Cheryl Bentyne, Janis Siegel, Ron Stout, and many others.  Deutsch
has written for Arturo Sandoval, Bill Watrous, Jane Monheit, Take 6,
Terence Blanchard, and many others. In 2015, Deutsch arranged
several songs for the Kennedy Center Gala “It Don’t Mean a Thing… A
Celebration of Swing” under the musical direction of John Clayton. 
His compositions and arrangements are published by Alfred and
Walrus Music.

Deutsch is also a busy educator, serving on the faculties of Cal Poly
Pomona and Long Beach City College. Deutsch has written numerous
commissions for school jazz bands including USC, Caltech, CSULB,
Cal Poly Pomona, Esperanza High School, and many others. He
lectured on arranging for Middle School Jazz Ensemble at the 2016
Jazz Educators Network National Conference.

Wednesday April 6, 2016 – 7 PM 

FREE for ASMAC/Local 47 members
$10 for guests and students
Free parking.

Meet-up & Check-in: 7:00-7:30 PM.
Program: 7:30-10:00 PM.
AFM Local 47 – Auditorium
817 Vine St.
Hollywood, CA 90038

* ASMAC Members who would like to share music at a
Contact [email protected]  Attn: Milton Nelson


Wed. April 20, 2016
11:30am – 2:00pm
Special Guest

Check out the ASMAC website –
to see the new master class, luncheon and interview 
DVD’s in the ASMAC store, to download ASMAC
luncheon podcasts, and more!

Special Interview with the renowned composer/arranger 



The Pacific Northwest Film Scoring Program
At The
Seattle Film Institute

is still accepting applications to the One year

Master of Music (MM) in Film Composition

Recently rated as the #4 school for film scoring education
in the world by Music School Central and the #2 school
for earning a Masters of Music degree in Film Composition

Study with program creator and lead instructor

Hummie Mann

2 Time Emmy Award Winning film composer of
“Robin Hood: Men in Tights” and featured in
Variety Magazine’s article “Leaders in Learning”

Click here to listen and watch student scores from previous years

Applications are now being accepted for the 2016
school year We offer rolling admissions – applying
early is recommended Scholarship support is
available to early applicants



Russell Garcia:   Russell wrote his auto-biography
“I Have Hundreds Of Stories, Some Of Them True”  
before he passed away at age 95 in New Zealand,
on 20 Nov 2011.  The book is out now.

Russell was a world renowned composer-arranger-conductor
who wrote music for over 100 films.  He is known for his
innovative music score for the film “Time Machine”.  Garcia
is also known in both the TV and recording fields and has
composed music for countless TV shows such as, Rawhide,
Twilight Zone, Laredo, The Virginian.  He has recorded many
CDs  in his own right, as well as with stars such as, Louis
Armstrong, Ella Fitzgerald, Vic Damone, Judy Garland,
Oscar Peterson, Julie London, to name a few.  

Garcia has also written 2 best-selling text books The Professional
Arranger-Composer “ Book I and Book II, which have been translated
into 6 languages.  He is known also for his symphonic and classical
works which have been performed by the New Zealand Symphony,
Munich Symphony, the Vienna Symphony, plus countless Radio
Symphony Orchestras throughout Europe.  He was often a guest
lecturer at many universities around the world on Symphonic
Composition Techniques.  Russell and his wife Gina made New
Zealand their home in 1971 while continuing to work in the Music
and Film Industry.  He was awarded the Queens Service Medal
for his service to music in 2009.



Saturday, March 12th, 2016


…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



The founder of Kaleidoscope responded to the member
comment on a couple of Facebook pages, so we thought
we’d share it as well, just to make sure our readers are aware.

See below…


A friend made me aware of this blog and the post about
Kaleidoscope. As the founder of the organization, I wanted
to address some of the concerns. I’ve been happy to talk
with John Acosta in the past and receive his support for
what we’re doing, and I have the greatest respect for
our union and all the musicians who are part of it.

Firstly, our highest priority is raising money to pay
musicians as much as possible as soon as possible.
Aside from playing in the streets or using synthesizers
instead of timpani, we are prioritizing paying musicians
above everything else. Building an audience and raising
money is extremely challenging with a new organization,
and we’re doing everything we can to raise money and
give back to musicians as soon as possible. If anyone
reading this would like to help or recommend others
who could be a help to us, I would love to hear from you!

As a long-term goal I would like to see us become one
of the highest paid orchestras in the US and a destination
orchestra for the finest musicians who choose to live
in Los Angeles… but that will not happen overnight.
We would not exist without many incredible musicians
being extremely generous with their time when they can,
wanting to play together, and believing in our potential.
I’m completely donating my time and spend at least 20
hours a week helping organize things in addition to
playing clarinet. We’ve also had musicians turn down
subbing work with LA Phil, San Diego Symphony,
and many other groups to play with us.

Why would some musicians turn down paid work with the
LA Phil to play with a new group and donate their time?
That’s a very personal decision that everyone has to answer
for themselves. How much money do you need to be happy
and how much artistic satisfaction do you need in your life
and where do they intersect? What do you personally consider
artistically satisfying?

Kaleidoscope offers something unique among orchestras
in LA, where every musician has an equal say in the artistic
process of each rehearsal. It’s something that we usually
only experience with chamber music, and I think Kaleidoscope
is more similar to a string quartet with how it functions in
most ways than a traditional orchestra. We’re not anti-
conductor, but performing without one allows a very different
process and dynamic in rehearsals. We all have to know the
score much better, watch and listen to each other and
communicate at a higher level with more trust, and when
it comes together, it’s really magical. It’s a group of people
who want to put the music first, invest in the process, and
spend as much time as they can getting into the details.

If we were only focused on the artistic side I think there
would be plenty of reason to exist, but we’re equally
interested in how we can engage with the community
and enact positive social change. Right now all of our
concerts are free for everyone under 18 and we also
perform many other free concerts at schools, hospitals,
homeless shelters, and other underserved parts of the
community. The first time we performed at a homeless
shelter, I met a man there whose father played clarinet
in the San Francisco Symphony many years ago. We’re all
connected and someone who ends up at a shelter in the
future could be one of our children…

The musicians who have generously donated their time
to be a part of Kaleidoscope have made our city a better
place for all of us, just like a doctor donating their services
to an AIDS clinic, or a lawyer doing pro bono work for a
woman who can’t otherwise afford their help. Does the
lawyer or doctor donating their expertise and time cause
their professions to race to the bottom? I’m more interested
in our personal race to our top artistic potential, finding
new ways to inspire audiences and my colleagues, and
how we can make the world a little better for all of us.

For anyone reading this who thinks great musicians deserve
to be paid whenever they play (which I completely agree with),
where do you think the money should come from? Who is
responsible for paying us to perform? Tickets sales, individual
donors, corporate sponsors, foundations and grants? All of
these sources come back to individual people, and people
deciding to support the arts with their money. It takes a long
time to build relationships and an audience and most groups
cannot rely on ticket sales for much of their budget. Major
donors and corporate sponsors often take years to cultivate.
Most foundations and grants do not consider organizations
until they’ve been around more than three years, and we’re
nearing the end of our second season now… There’s no
magic bullet and we’re going after all these things as much
as we can, but we can only do so much with the limited
resources we have.

Thank you everyone for your understanding and for the
many generous musicians who have been a part of
Kaleidoscope and for the many others who have been
incredibly supportive in other ways!



As we reported last week, at the last staff meeting
John Acosta informed the staff that “the Alameda
Building is not available”.

Apparently, the Burbank property is now back on the
table and there are new realtors involved on are side.

This does not change the fact that President Acosta
announced to the staff the building’s unavailable

Don’t let anyone tell you otherwise.




composer/producer/multi-keyboardist SCOTT HEALY
MARCH 16, 2016 – 11:30AM
Los Angeles-based Scott Healy is a Grammy-nominated
composer, producer, pianist and multi-keyboardist who
multitasks across the musical spectrum. He is best-known
for playing in the house band for Conan O’Brien: first
on Late Night in NYC, then moving out to LA in 2009
for The Tonight Show with Conan O’Brien, and now 
Conan on TBS, where he holds down the keyboard chair in
the Basic Cable Band. He released Hudson City Suite, by
the10-piece Scott Healy Ensemble, in 2013, to worldwide
praise, stellar online and print reviews, national jazz radio
airplay, and a 2014 Grammy nomination for Best
Instrumental Composition. His recent CD, Live at Kilbourn
Hall by Scott Healy with the Eastman Chamber Jazz Ensemble,
was released in October, 2014. Healy was featured on the
cover of the February, 2015 issue of Keyboard Magazine,
and he was also featured in an “Indie Life” article in the
March, 2013 issue of Downbeat Magazine.

In addition to his composing, recording, and nightly
TV gig, Healy works as a hired-gun on piano, organ,
electronic keyboards and accordion for film and TV.
He has recorded and performed with many of the
greats in rock, blues, R&B and jazz: Bruce Springsteen,
Bonnie Raitt, Al Green, BB King, Jackson Browne, Levon
Helm, Son Seals, Hubert Sumlin and Tony Bennett,
among others. He has worked as an arranger for
major label releases, including scoring the big band
arrangement for the 2001 Ricky Martin hit “She Bangs”.

Healy’s work reflects his classical piano, composition,
conducting and orchestration training, as well as his
years in the studio and on the stage, whether it be on
the podium, in the band or behind the glass. Other
composing, arranging and scoring credits include
the Portland Symphony, the Aspen Contemporary
Ensemble, the Mel Lewis Orchestra, Christina Aguilera,
and music for film and TV. He he recently received a
commission for a extended jazz work from the Chelsea
Music Festival, to be premiered by his ensemble
in NYC at the festival’s closing concert in June, 2016.

Record producing credits include albums by his
own groups—the Scott Healy Ensemble, NYC electronica
supergroup The Coalition, jazz piano trio, big band and
quintet music.

Healy is a contributing editor to Keyboard Magazine,
where he wrote a long-running advice column, “Session
Sensei”, and to which he continues to contribute feature
articles and lessons. His blog, ProfessorScoSco, explores
various aspects of composing, listening, and arranging.
He organized and leads the ongoing Ellington Study
Group Los Angeles, an informal workshop in jazz
composition and theory. He has taught master
classes and seminars at Eastman School of Music,
Brown University and Boston University.  In addition
to the Grammy nomination, he has received awards
from BMI, The National Endowment for the Arts,
and the “Distinguished Artist” award from the
New Jersey State Council on the Arts.

Join us for an entertaining and informative luncheon
with one of the busiest musicians around!

Wed. April 6, 2016 – 7:00pm

Wed. April 20, 2016
11:30am – 2:00pm
Special Guest

Check out the ASMAC website –
to see the new master class, luncheon and interview 
DVD’s in the ASMAC store, to download ASMAC
luncheon podcasts, and more!

Special Interview with the renowned composer/arranger 



Appreciating the persistence you put into your website and in
depth of information you provide.

It’s good to come across a blog every once in a while that isn’t
the same out of date rehashed material.

Great read! I’ve bookmarked your site and I’m adding your RSS feeds
to my Google account.

[EC: Thank you for your support! Do others find the blog helpful?
Please let us know, pro or con.]


“The Burbank property is unavailable”

I guess they’re going to have to change their spin
to: “The Time Was Then.”


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Monday, March 7th, 2016

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Saturday, March 5th, 2016


…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



After a long battle with cancer, Hornist and Educator
Brian O’Connor passed away a few days ago.

He was an excellent musician, excellent teacher and
extraordinary person.

For over 30 years, he recorded in Los Angeles as a first call
French Horn player for over 2,400 movies, hundreds of TV
series and shows, thousands of records and jingles and many
Live TV shows including the original Carol Burnett Show
and 20 Oscar performances. He Principal Horn on over 800

From 1998 until 2009, Brian taught Horn at UCLA and a
number of his former students are now working in high
profile professional Horn jobs including the LA Studios,
Symphony and Opera Orchestras and Military Bands.

His battle with cancer and the surgery he underwent
was documented in a film some years ago.

He will be missed.




Well placed member comment….

Yesterday, (March 2, 2016) at approximately 11:30 AM,
the staff at Local 47 was called together in the main
office and told by President Acosta that “The Burbank
property is unavailable” and he would them keep them

Should anyone be surprised?



Really, how great is this…? There’s an orchestra that does not
have to be paid …and they’re working!!!

Two things…
1) obviously there are many very excellent and qualified
unemployed musicians…

2) willing to work for free…?

Talk about…”race to the bottom”…and there are Local 47
Executive Board members listed on their roster!!

This is just another way to “clear the decks”…when all the
locally supported community orchestras are put out of business…
here comes the new community service model.

Young inexperienced musicians will be told that playing
for free with Kaleidoscope will be a viable resume credit.

Just a visceral response to seeing this.

[EC: We’ve spoken to a number of folks who’ve been
asked to play upwards of 6 services for free per concert
(no paid services). A number of those in the group are
well placed, even some working to be on the “inside” at
Local 47.

Adding insult to injury they of course charge the public to
hear them.

The union wants to bust any non-union session or gig
they find, unless there are well politically placed members
playing for free, in which case Acosta et al do nothing.
The word dunsel comes to mind.

So then…. if all these well placed people can donate their
time for nothing, when you’re asked about something
you’re doing you can say the same. “I’m donating my time
to a friend… back off!” This should be the new mantra.

Until the Local enforces the rules equally to all members,
they should enforce nothing. Will that happen? Of course
not, they’ve got their ship coming in… and the elites to
answer to…. except they’ve (and we’ve) got no ship to go
to…. see below. We knew there should be a requirement
in the referendum that they actually buy a building with
the proceeds.]