Archive for May, 2016


Saturday, May 28th, 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


[EC: And this was 11 years ago,.. the situation is far more dire now.]


Total direct production expenditures of U.S. economic runaways
[Note that creative runaways are not included] # =

• Total expenditures to produce a film / show
(Baseline; Variety; Hollywood Reporter)


Direct spending recaptured by the U.S. =
• #Payments made to U.S. companies and citizens were allocated
back to the U.S. since the money returns to the U.S. economy

• #Payments include principal actors and director salaries and post
production (Production Executive Interviews, Sample Budgets,
Monitor Analysis)


Total direct spending lost from the U.S. #=
• Total production cost net of spending returned to the U.S.
Multiplier effect of direct spending lost = #
• A multiplier of 3.1 was applied to wages and salaries (Bureau of
Economic Analysis) #
• A multiplier of 3.6 was applied to goods and services (Bureau of
Economic Analysis)


Tax revenue lost #=
• Tax rates of 30%, 8.5%, 10% and 7.2% were used for federal
income tax, state income tax, payroll tax and state sales tax,
respectively (IRS, Sales Tax Institute, Dept. of Labor and


Total economic impact #
• The total amount of money not realized by the U.S. economy as a
result of U.S. economic runaway
Furthermore, when a production runs away, the payroll, income and
sales taxes on the direct spending and multiplier spending are also
lost to the U.S. National and state average tax rates were applied to
calculate the total tax revenue lost to the U.S. at the Federal and state
level in addition to the direct spending and multiplied spending lost.
The lost tax revenues totaled $1.9 billion in 1998.

$2.8 billion in direct expenditures were lost to the U.S. in 1998 from
both theatrical films and television economic runaways. This figure is
almost six times the annual impact on the U.S. in 1990.

Future Impact

The study also sought to assess the likely future impact of U.S.
economic runaway production through 2001. A number of future
scenarios were evaluated, reflecting several potential environments
for production volumes. For example, positive U.S. economic growth,
a slowing of U.S. economic growth, and relative strength/weakness in
key foreign exchange rates and production incentives were considered
in gauging the likely future impact of U.S. runaway economic
production. Note that these scenarios assume no major U.S. response
to the economic runaway problem.

Under these scenarios, without major intervention to address the
causes outlined in Section III, the level of runaway production will
remain significant. The total number of U.S. economic runaways could
range from 327 to 476 by 2001, but will not likely decline from the 285
economic runaway productions in 1998. The annual economic impact
on the U.S. could range from $10 billion to $15.1 billion by 2001. By
2001, lost full-time equivalent positions could total between 22,500
and 36,000 annually.

Foreign Tax Incentives

Not surprisingly, Canada has led the charge by offering federal rebates
since 1996 of 11% on spending for all Canadian labor involved in a
production, regardless of content. Provincial governments were quick
to supplement these incentives, creating a total of a 22% to 46%
rebate on Canadian labor expenditures (see Exhibit 21). Some
advantages of these incentives are that they are available to all
productions, have no annual limits to the number of rebates being
offered, greatly simplify paperwork, and are structured as direct
rebates, not tax credits. Several companies have entered into the
business of filing paperwork and providing advances on the incentives
to producers in exchange for a fee, helping producers address cash
flow issues.

Unlike other countries, Canada has gone out of its way to ensure that
producers are aware of the incentives and their subsequent savings.

It is not uncommon for Canadian government officials and film
commission representatives to fly to Los Angeles, New York City, or
other U.S. production centers to attend events or meet directly with
film and television producers to advertise their incentive structure.
For example, representatives of Revenue Canada (the Canadian IRS)
were at the recent “Locations `99” show in Los Angeles, promoting the
Canadian incentives. Canadian labor and industry representatives
have indicated that incentives are geared to attract foreign
productions. Recent initiatives in Canada to discontinue the incentives
for foreign producers have been met with strong opposition from
Canadian labor and government officials, who note that these
productions represent several thousand jobs and millions of dollars in
economic impact, more than offsetting the money paid in incentives.
Once production is completed, additional savings can be realized by
applying for tax rebates associated with Canadian labor spending.
The exact amount realized is determined by the amount of Canadian
labor used. In a typical case, the incentives would increase the total
budget savings to 25% – 26%.


U.S. Studios make sizeable infrastructure investments in locations
outside U.S.

Viacom (Paramount)

June, 1994 — Viacom establishes Viacom Canada, which will spend $1
million a year over five years on “Canadian culture.” It is rumored the
investment was a “sweetener” to encourage the government to pass
the CAVCO tax credit #
September, 1995 — Paramount opens production support companies in
Vancouver and Toronto to service the equipment rental needs for
Paramount and other Viacom holdings

June, 1997 — Paramount Studios invests over $10 M to construct four
sound stages and production office space in Vancouver. The facility is
166,000 square feet.


October, 1996 — Disney purchases a 12,600square-foot multimedia
studio in Victoria, British Columbia
December, 1996 — Walt Disney Animation Canada opens a 17,000-
square-foot studio in Vancouver


May, 1997 — MGM and Bridge Studios jointly open 25,000-square-foot
Studio 5/6 in Vancouver. The BC government invested C$3.5 million.
Warner Brothers
1988 Warner Roadshow studio opens in Queensland, Australia (76,347
sq. ft)

Fox builds $125M water-tankbased studio in Rosarito Beach, Mexico
Fox Studios Australia opens in Sydney, valued at $130.5M

At least 4 of 9 major studios have publicly stated their intention to
increase production abroad; the increased globalization of
entertainment companies is likely to stimulate further runaway

Source: Annual Reports; Variety; Screen Digest; Film Commissions #

How Large Is The Gap To Be Closed?

Clearly the U.S. faces major challenges in stemming the tide of
runaway production. The solutions will not be simple because the
causes are several and very complex. However, the cost gap to be
closed to retain production in the U.S. may not be the entire 25%
production cost disadvantage. Several producers interviewed
mentioned that if the budgets for U.S. productions were brought to
within 10% to 15% of costs in Canada, then they would make the
argument to keep that production in the U.S. Producers generally
want to work where they live, and most live in the U.S. production
clusters. Furthermore, these clusters contain all the resources
required, as well as access to financing, development, and distribution
resources, which provide a distinct advantage to producers. Obviously,
certain productions cannot afford even a 10% cost disadvantage;
recapturing these productions will be the greatest challenge.
It is important to note that U.S. film and television economic runaway
activity is at a high level, and that large productions are running away.
The significantly lower total production costs achievable abroad are
compelling to producers. The experience that foreign production
crews, actors and directors have gained in filming U.S. runaway
productions represents an ongoing source of advantage that for these
producing locations. Similarly, infrastructure investments abroad
represent permanent improvements that will continue to draw
productions out of the U.S. Without a meaningful response (or some
unforeseen development abroad), production employment
opportunities and associated economic benefits will continue to leave
the U.S. at a significant rate.




DEAN AND RICHARD are now playing every third Friday
at Culver City Elks 7:30pm-10;30pm,
11160 Washington Pl.
Culver City, 90232



Every 2nd and 4th Tuesday of the month at Viva Cantina
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.



Please pass the word that the annual auditions for the CalStateLA
Symphony Orchestra/Olympia Youth Orchestra for the 2016-2017 season
will begin in June through mid August immediately after the season is

Qualified students may submit the form on line at the website

under “youth orchestra”.

I will be in touch to set up a time during the summer. The next
season begins late September of this year through early June of 2017.

The orchestra consists of talented students age 12 through college
age. Rehearsals are at CSULA on Sundays at 4:30-7PM. Tuition is $650
for the entire year. Scholarship is available on a need or merit
basis depending on instrument and individual student. The orchestra
students will also be able to take optional transferable college
credits from CSULA, perform with college music students in 4 on and
off campus concerts.

This is a great orchestra with lots of talented students taking part.
I look forward to hearing from students learning all orchestral

Thank you!

Fung Ho
Music Director & Conductor
CalStateLA Symphony Orchestra/Olympia Youth Orchestra



ASMAC FIRST WEDNESDAYS features Jack Smalley

Wednesday, June 1st 7PM at the AFM Local 47 Auditorium

Jack Smalley, film and television composer, mentor of mentors
and mentor of composing legends will share valuable film and
television scoring techniques. Learn more about Jack during
an interview by special guest Perry Botkin, Jr.  followed by Jack’s in depth demonstration which includes printed scores, study material and audio examples.
After the war (WWII), Jack took the G.I. bill back to Europe and studied composition with Darius Milhaud at the Conservatoire de Musique in Paris France for almost 4 years. While in Paris, he performed with guitarist Django Reinhardt, and American singer Annie Ross.
Back in the states, he worked a bit with Vido Musso, Gerry Mulligan, Alvino Ray and Ray Conliff, then over five years with the Page Cavanaugh trio and he studied serial composition with George Tremblay in Los Angeles.
Smalley’s television work included composing for episodes of Streets of San Francisco and Barnaby Jones, and then he joined Jack Elliott and Allyn Ferguson working on Swat, Love Boat, Starsky and Hutch, and five years of Charlie’s Angels. In the meantime, Smalley wrote episodes for Knight Rider and Murder She Wrote and also orchestrated many films such as The Gladiator, Last of the Mohicans, and Conan the Barbarian.
Professor of Film Composition at USC for 20 years, and member of the permanent faculty at the Aspen Summer Music Festival, Jack was also on the faculty at the Dick Grove Music Workshop, and headed up  the composition program at the Henry Mancini Institute.
Authored “Composing Music for Film“, “Lyrics Lyrics Lyrics” which are both available at
Also authored a biographical book about his first year in France called “The Music Came First” available at


Perry Botkin grew up in California and graduated from North Hollywood High School moving on to the University of Indiana and U.S.C as a trombone major. He joined the Army in 1953 and, after two years of service in the West Point Band, moved back to California and began his professional career.
In 1955, he joined the Rock group “The Cheers” as a singer, trombone player, and arranger. The Cheers had a hit record – Leiber/Stoller’s “Black Denim Trousers and Motorcycle Boots”. Perry left the group in 1956 and began his career as a freelance group singer, arranger, songwriter, and composer. He wrote arrangements for dozens of artists in Pop Rock and the “American Song book” world.
In the 70’s and 80’s were movies and TV.  He won a Grammy for Best Instrumental Arrangement (Nadia’s Theme) and was nominated for a Best Song Oscar (Bless the Beasts and Children). He is currently composing Avant/Garde electronic music. Perry also plays an important role, musically and personally, in a Documentary film about the creation of Hip Hop. “Sample This” is the title…. It was released in art theaters in New York, Chicago, Los Angeles, and San Francisco. More info at




The Corbin Bowl and San Fernando Valley Symphony Orchestra
Present Concerts at the “Bowl” in the “Corbin Lounge”
Wednesday Evenings at 7:30 pm

June  1
The SFVSO Jazz Band
Performs standards from the Great American Songbook, featuring
Jimi Dee, guitar; Ron Singer, saxophone/flute; Adrian Miller, trumpet/
flugelhorn; Larry Muradian, bass and Chuck Burkinshaw, drums


June  8
The Symphomaniax
Perform music from baroque to contemporary by Bach, Domine, Vivaldi,
and others, as well as a selection of “pop” classics, featuring James Domine,
guitar; Ruth Bruegger, violin; Glenn Grab, ‘cello and Larry Muradian, bass

June 15
The Screaming Clams
Rock ‘n’ Roll with music of the ’60s and early ’70s, featuring
Jimi Dee, lead quitar and vocals; Joel Domine, keys and guitar;
Larry Muradian, bass; Nick Scarmack, drummer and Rebecca Ray,
vocalist extraordinaire

June 22

The Blues Bandits
Play and sing the “Blues,” featuring David Reo, guitar and vocals; Jimi Dee,
guitar and vocals; Larry Muradian, bass and Chuck Burkinshaw, drums

June 29
The Screaming Clams, part 2
Rock ‘n’ Roll with music of the ’60s and early ’70s, featuring
Jimi Dee, lead quitar and vocals; Joel Domine, keys and guitar;
Larry Muradian, bass; Nick Scarmack, drummer and Rebecca Ray,
vocalist extraordinaire

“Lounge” at the Corbin Bowl
19616 Ventura Boulevard, Tarzana

Free Admission/ONE Drink Minimum
Persons under 21 years of age not admitted




Info about the next and upcoming programs through the end of 2016
at the Edendale Up Close Concerts series:
Free hour long concerts performed by professional musicians
take place 7 times a year at this Saturday noon concert series hosted by the Edendale Branch Library in Echo Park.

Thank you for your support in publicizing
the Edendale Up Close Concerts!

Jacqueline Suzuki
Curator, Edendale Up Close Concerts
818 240 -5108

On Saturday JUNE 4, 2016 at Noon-1:00pm
the free admission Edendale Up Close Concerts series
will feature the Don Rader Jazz Quartet
performing the American Songbook
in the Community Room of the Edendale Branch Library in Echo Park,
2011 W. Sunset Boulevard
Los Angeles, CA 90026
Free parking in the library lot (enter lot from Alvarado).
For more information call (213) 207-3000

The American Songbook
Don Rader – trumpet
Gary Solt – guitar
Dave Parlato – bass
Timm Boatman – drums
Interesting interview with Don Rader:




Dear Friends & Colleagues:

I am pleased to announce that the CalStateLA
Symphony Orchestra/ Olympia Youth Orchestra will
be giving its 2nd annual performance of
this season on Sunday, June 5, 2016 at 3PM at the
historic San Gabriel Mission Playhouse,
320 S Mission Drive, San Gabriel, CA

This concert is Admission FREE.

This time, we will be featuring Taiwanese violinist
Chien-Tang Wang, Gold Medal Prize Winner of the
2015 Osaka International Competition in Japan,
performing the Sibelius Violin Concerto. Angela Che
and Jeongwon Claire An, the concertmaster and
co-concertmaster of the orchestra, will perform the
Navarra for 2 violins by Sarasate.
A brand new composition by Sharon Hurvitz will be
receiving its world premiere performance, and the
Tchaikovsky Swan Lake will close the program.

Please invite your friends and family to come and
join us to witness the talents of these fine young

Looking forward to seeing everyone there.

Fung Ho



ASMAC Master Class: Telling a Story with Music

Saturday, June 11th, 2016 11am – 2pm
Valley College Music Department Recital Hall
5800 Fulton Ave.
Van Nuys, CA 91401

Opportunities in Ballet, Opera, Theater and Concert Music
There are many projects that can benefit from your talents
and skills.
How to find and pitch a project;
How to get funding and produce.

Guests will show examples and discuss a variety of
approaches and techniques to inspire composers,
arrangers and orchestrators.


Jack Van Zandt
Jeannie Pool
Raymond Torres-Santos
Marlene Hajdu
$25 members (ACF members and NACUSA members included)
$40 non-members.



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


You can read all previous offerings at:



Saturday, May 21st, 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


[E: And this was 11 years ago,.. there are myriad more options now.]


The Directors Guild of America (DGA) and Screen Actors Guild (SAG)
retained Monitor Company, a leading management consulting firm, to
conduct an investigation into the phenomenon of “runaway” film and
television production from the U.S. The Guilds (on an anecdotal basis)
had been noting an accelerating runaway phenomenon, and the need
to create an objective quantitative analysis led to the study being
commissioned. Partial funding for the study was provided by a grant
from SAG-Producers Industry Advancement & Cooperative Fund. The
study has two objectives – quantify the extent to which runaway
production has been occurring since 1990, and identify the major

U.S. runaway productions are those which are developed and are
intended for initial release/exhibition or television broadcast in the
U.S., but are actually filmed in another country. There are two major
types of runaway productions – “creative” runaways, which depart
because the story takes place in a setting that cannot be duplicated or
for other creative considerations, and “economic” runaways, which
depart to achieve lower production costs. The study’s focus was on
these “economic” runaways. Note that the study’s scope included
theatrical films, films for television, television mini-series, and thirty
and sixty minute television series. Other types of productions such as
commercials, and news and sports programming were not included.

What Is The U.S. Runaway Production Problem?

The study results show that economic runaway film and television
productions are a persistent, growing, and very significant issue for
the U.S. In 1998, of the 1,075 U.S.-developed film and television
productions in the study’s scope identified by Monitor Company, 285
(27% of total) were economic runaways, a 185% increase from 100
(14% of total) in 1990. When these productions moved abroad, a $10.3
billion economic loss (lost direct production spending plus the
“multiplied” effects of lost spending and tax revenues) resulted for the
U.S. in 1998 alone. This amount is five times the $2.0 billion runaway
loss in 1990.

Of these 285 economic runaways in 1998, 100 were theatrical
productions, and 185 were television (films for TV, TV series, and miniseries)
productions. The most prevalent type of economic runaway
television productions were movies for TV. A total of 308 movies for
TV were produced in 1998; 139 (or 45%) of these ran away for
economic reasons in 1998, up from only 30 productions in 1990. Out of
a total of 534 theatrical productions in 1998, 100 (19%) were economic
runaways, up from 44 in 1990. In terms of economic impact on the
U.S., economic runaway TV films have the largest ($2.7 billion) impact,
followed by feature films with budgets larger than $25 million ($2.4
billion impact), and with budgets smaller than $25 million ($2.3 billion
impact). It is noteworthy that feature films have such a significant
economic impact.

Conventional wisdom held that economic runaways are a television
movie phenomenon and that larger productions would tend to remain
in the U.S. since the infrastructure required to produce them wasn’t
available abroad. This data may indicate the leading edge of a trend
with larger-budget productions running away.

To Where Do These Productions Run Away?

Canada captures the vast majority of economic runaways, with 81% of
the total. Australia and the U.K. capture another 10%. In 1998, 232
productions ran away to Canada, up from 63 in 1990. TV movies have
had the highest propensity to runaway to Canada, with 91% of the 139
TV movie economic runaways landing there. The 127 U.S. economic
runaway TV movies filmed in Canada in 1998 is more than five times
the 23 in 1990. The study found that countries other than Canada,
Australia, and the U.K. have a small share of U.S. runaways, although
recent high-profile runaway productions in Mexico such as “Titanic”
highlight the need to monitor developments in selected other
countries on an ongoing basis.

These productions are leaving at a time when U.S. domestic
production has been growing, so the runaway phenomenon has gone
relatively unnoticed. Although the number of U.S.-developed feature
productions grew 8.2% annually since 1990, the number of U.S.-
developed features that ran away to Canada grew 17.4% annually.
Similarly, the number of U.S.-developed television programs produced

in the U.S. grew 2.6% annually since 1990, but the number of U.S.-
developed television productions that ran away to Canada grew 18.2%
annually during that time.

What Is The Impact of U.S. Economic Runaway Production?

The labor impact of these economic runaways is profound. In 1998
more than 20,000 full time equivalent jobs were lost; 11,000 were
positions usually filled by SAG members (such as supporting actors,
stunt and background performers) and 600 usually by DGA members
(directors, assistant directors, unit production managers, associate
directors and stage managers). The balance were jobs in other
production skills or trades, such as camera, sound, production design,
wardrobe, makeup, set construction and drivers.

When the effects of these employment and spending losses are
totaled, the impact on the U.S. of film and television economic
runaways in 1998 was $10.3 billion: $2.8 billion in lost direct
production spending, plus $5.6 billion in multiplier effects and $1.9
billion in lost tax revenues. The economic impact extends beyond the
entertainment industry, affecting local merchants and hotels. In 1998,
economic runaways represented almost 15% of the $74.3 billion total
impact of U.S.-developed film and television productions in the scope
of the study.

There have been notable regional impacts as well. Production
expenditures in core production centers such as LA and New York City
have been growing, but at slower rates than those of Canadian
production centers. Other U.S. production centers have experienced
declines in production expenditures since 1995 – North Carolina (-
36%), Illinois (-20%), Washington state (-37%) and Texas (-31%).
Forecasts of future U.S. runaway production show that under all basic
scenarios examined, without actions to stem economic runaways,
economic runaway production remains significant, potentially
increasing in impact to $13-$15 billion annually by 2001. A scenario
with slower U.S. growth and a stronger Canadian dollar keeps the U.S.
impact at approximately $10 billion annually. Many foreign production
infrastructure investments have been made by U.S. studios; these
investments will serve to continue attracting additional productions
abroad. Furthermore, the increased globalization of the entertainment

industry and incidence of international co-production arrangements
will also likely stimulate U.S. runaway production.

What Are the Causes?

Why have productions been leaving at an accelerated rate since 1990?

The location decision for a production balances factors such as
expected revenues with the cost of production (labor, services, etc.)
as well as with the quality of talent, directors, and production crews.
Historically, countries such as Canada and Australia had limited
production capabilities, making them fundamentally unattractive
despite potential savings. Recently, however, the quality of Canadian
and Australian crews has improved to a point where most productions
can be filmed in these countries without a major difference in

As foreign crews and infrastructure have improved through experience
and direct investment, their ability to handle larger, more complex
productions increases. For example, British Columbia and Ontario
combined have well over 1 million square feet of sound stage space,
as much as the space in New York and North Carolina combined.
Canadian film commissions have also been very aggressive in
promoting their locations to the U.S. entertainment industry.

In addition, the value of Canadian, Australian and U.K. currencies all
have declined by 15% to 23% since 1990 relative to the U.S. dollar,
reducing production costs abroad. Factor costs (wages/rates) in these
countries, which were generally lower than those in the U.S. in the
early 1990’s, have also increased at a slower pace than in the U.S. As
a result, producers realize at least a 15% reduction in production costs
from lower labor costs and costs of goods and services when filming in

Very visibly (for example, by having Revenue Canada (the Canadian
IRS) representatives at the recent Locations ’99 trade show in Los
Angeles), foreign federal and regional governments have also been
offering rich tax incentives/rebates on production activity in their
jurisdictions. Canada offers federal and provincial tax credits of 22%
to 46% of labor expense (yielding up to a 10% reduction in overall
production expense), and Australia offers more than a 10% labor tax
credit in some cases. Note that these are not credits for national or
cultural content productions; they are available to any qualifying
production employing foreign nationals. In addition, Canada, Australia
and the U.K. offer up to a 100% tax credit for qualifying “national”/
“cultural” productions, and many other countries offer generous tax
credits to producers.

The combined result of the exchange rates, lower costs and
government incentives allows the producer of a typical TV movie
(production budget of $3 million) to reduce production costs by 25% or
more by choosing to film in Canada. Similar percentage savings are
available to the producer of a $20 million feature who chooses to film
in Canada.

It is important to note that Canada has followed an integrated
approach to launching its film/television production-oriented initiatives
during the past several years. This approach begins with a relatively
undeveloped production industry, and launches a series of (usually tax
credit-centered) initiatives to attract production activity/investment,
but often creates qualifying requirements for those incentives that
stimulate hiring of local personnel. As a result, local production
crews, actors, production managers and assistant directors gain
valuable experience/training and are therefore more capable and
attractive to other producers. At the same time, investments in
physical infrastructure are sought so that more and more productions
can be accommodated. As these production capabilities expand,
other tax incentives such as those for local labor expenditures are
offered to further stimulate demand for local production resources.
Ominously, this approach to capture productions is readily replicable
by other countries; in fact, Australia is moving along a very similar
path to that pursued by Canada.




Sunday, May 15th, 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

***** LOCAL 47 MEETING THIS MONDAY at 7:30 PM *****



Alameda Building is off the table again.

Greetings Colleagues,

Well, once again the Alameda Building is off the table, this time
for good it would seem.

Our building has been sold and on Thursday surveyors were
on the property taking measurements.

According to reliable sources, we’ll be able to rent back the
building for $1 a month for the next 8-9 months. After that?
If we do not find a building, it’ll be store front time, unless
we can extend the dollar deal.

Our iconic building is gone.

More as it comes in.



resulting from unusable contracts.

[E: And this was 11 years ago,.. there are myriad more options now.]

The Pro Arte Orchestra
“The quality of top musicians in London is legendary and the
players (of the Pro Arte Orchestra) are among the best in
the world” –
Composer, Jim Parker

This is a commercial recording orchestra made up from a select
pool of London’s finest orchestral session musicians run by the
highly respected contractor Colin Sheen, in association with
Tadlow Music.

BUSTER – Anne Dudley
DÉJň VU – Michael Gibbs
EVITA: THE MOVIE – Andrew Lloyd Webber/Tim Rice
GOLDEN GATE – Elliot Goldenthal
HOWARDS END – Richard Robbins
MADEMOISELLE – Philippe Sarde
THE REMAINS OF THE DAY – Richard Robbins
THE STUPIDS – Christopher L. Stone
TOM JONES – Jim Parker
TREASURE ISLAND – Christopher L. Stone
WALKER: TEXAS RANGER – Christopher L. Stone
WILT – Anne Dudley

The Pro Arte Orchestra has also appeared on albums by THE
S-CLUB SEVEN plus numerous albums of Library Music for KPM



Destiny had it all worked out. The acronyms of the Bratislava
Symphony Orchestra – BSO – made it inevitable that it would turn into
one of the most sought after European orchestras in Spain for
recording film soundtracks. It suffices to mention their “sounding” role
in films such as:
“800 Balas” (800 Bullets) by Roque BaĖos;
“En la Ciudad sin Límites” (In the city without limits) by Victor Reyes (both
nominated for the prestigious Spanish film awards – The Goya – in the
category of best soundtrack for 2002);
“Al Sur de Granada” (South of Granada), by Juan Bardem (winner of the
Goya award as best soundtrack for 2003);
“Hotel Danubio” (Hotel Danube), by Pablo Cervantes, or “Los Reyes Magos”
(The three kings), by José Battaglio and Kaelo del Río.

The Bratislava Symphony Orchestra may well be one of the most versatile
orchestras around, since besides its obvious dedication to the classical
repertoire, it also dedicates an important part of its activities to playing
and recording styles as different as music for cinema, pop, copla, or
music for video games. A peculiarity that contrasts with this stylistic
and cultural variety to which BSO has become dedicated is the fact
that all of its musicians are Slovak.

Slovakia is also one of the countries which have recently joined the
European Union, a fact which will likely maintain and possibly
increase the musical demand on the city and the activities of the
Bratislava Symphony Orchestra.

The availability of Spanish orchestras for recording film music is
practically nonexistent. The reasons for this situation are many, but
the fact is that it forces Spanish composers of film soundtracks to
look for orchestras abroad and carry out their recordings thousands of
miles from away. David Hernando is very well acquainted with this
situation; he sums it up as follows: “I think the main reason why
composers seek to record outside of Spain is in the quality and
experience that foreign orchestras such as the BSO can offer. This
doesn’t mean that Spain has no quality orchestras, but it’s rather a
tradition that has become lost with time. After the Spanish civil war
there were several orchestras in Madrid that were dedicated to this
type of work, but with time they disappeared.

For more information: To contact the orchestra:
[email protected] To contact David Hernando, BSO conductor
[email protected]


The City of Prague Philharmonic Orchestra

The City of Prague Philharmonic Orchestra are an exclusive
recording orchestra comprising of the cream of musicians from
the various Czech orchestras, including many from the world
renowned Czech Philharmonic.

Recording with the orchestra could not be simpler as there is
just one basic fee per musician per session with no hidden
extras like doubling, porterage, or management fee*. Also,
permanently housed in the studio is all standard orchestral
percussion plus grand piano, harpsichord and organ.

So you would have access to some of the finest orchestral
players in the world at a very affordable price: from €15 (£10) (10 years ago)
per musician per hour for Film & TV Score Recording and
from €20 (£13) per musician per hour for Album Recording.

What the Composers Say:
“The rendition of THE MATRIX is really excellent …this is high
quality music recording” (Don Davis) “Better than the original
soundtrack” (Dennis McCarthy)

“I just played the new recording of my score to THE VIKINGS:
Bravo! Bravissimo!” (Mario Nascimbene)

“You’ve got a good score? Go to the City of Prague Philharmonic,
they’ll bring the best out of it. They love to play good music all the
time” (Frank Peterson, Composer, Arranger and Producer of the
last 6 Albums by Sarah Brightman)

“Bravo on your fine recordings and performances on SPACE3. I
thought the renditions were fresh and well realised…keep up the
good work” (Basil Poledouris)

“A wonderful orchestra, full of enthusiasm in their performance and
with a big, rich symphonic sound. I was impressed with the speed
of their sight-reading and the high level of musicianship that brought
my scores to life.” (Adam Saunders)

“Apart from their fine playing, the Prague musicians have a
refreshing attitude to their work. They are always willing to give
the best performance and cope with the unpredictability of film
sessions with as much versatility as any other group.” (Nic Raine)

“Nowhere beats the cost/quality ratio of Prague. A fantastic place
to record if you haven’t got the budget of a major studio picture.
I come back time and time again. That says it all.” (Julian Nott)

“I have recorded over 160 hours with the CPPO, so I have
obviously been happy with my results to keep returning. Everything
runs smoothly, and I have had no technical problems with recording
to picture. I have become so comfortable that I forget that I’m talking
to the musicians in a different language. I highly recommend the City
Of Prague Philharmonic Orchestra.” (David Michael Frank)




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IV. ASMAC “Honors Our Own”: Duane Tatro and Glenn Jordan

@ Catalina’s Jazz Club – Wed., May 18, 2016 – 11:30am

Please join us as ASMAC ‘Honors Our Own’,

Duane Tatro and Glenn Jordan
A few times each year, ASMAC takes the time to highlight two of our outstanding members – composers, arrangers, orchestrators – individuals who have created works in any single or multiple arenas.  This May, we honor two highly talented and respected individuals who have also served as Board Members of ASMAC.

has composed extensively for television and film as well as writing live concert media works for orchestra, wind ensemble, chamber ensembles, and electronic instruments. In his early career, he worked professionally as an instrumentalist; playing clarinet, saxophone and bassoon.

His film and television credits include: Hotel, Dynasty, Loveboat, Matt Houston, Glitter, Hawaii Five-O, Barnaby Jones, Tales of the Unexpected, Most Wanted, Super Star, Manhunter, Cannon, Streets of San Francisco, Cades County, M.A.S.H., Mission Impossible, Mannix, Australia, A Timeless Land, and many Movies of the Week.

Mr. Tatro has participated in Meet the Composer programs at both San Diego and New Mexico State Universities, where he lectured on 20th Century music and composing for films.

His few of his concert works include:

“Concerto for Amp. Guitar and Chamber Orchestra”, which premiered at Los Angeles County Museum of Natural History (1977), Charles Blackman, Conductor.

“Serenade and Aubade”, for string orchestra, premiered (1981), Southeast Symphony, Charles Blackman, Conductor.

“Tuba Quartet”, (1989) performed by the Los Angeles Tuba Quartet.

“Fantasia”, for concert band, premiered at the Society of Composers, Inc. Conference, University of Hawaii (1999), Grant Okamura, Director, “Untitled Lament” for Mixed Chorus and Chamber Orchestra (1999).

“Capriccio” for flute, viola, harp (2000)

Mr. Tatro studied with composers Arthur Honegger, Darius Mihaud, Halsey Stevens, and George Tremblay. He received his Bachelors Degree from the University of Southern California, with additional studies in Paris France. He is listed in the International Who’s Who in Music (1975), the Encyclopedia of Jazz (1955), and the Dictionary of International Biography (1976).

On May 18th we will also be bringing out the birthday cake for Duane – as he celebrates his 90th birthday with us!!!


is an award winning songwriter, composer, producer, singer and performer whose music is heard every day by millions of people.

Glenn’s credits as a composer include scoring and providing music for over a thousand episodes of television programs and films in the last 15 years, including The X-files, Millennium, Biography, Doug, 101 Dalmatians, Catdog and Something About Mary.  As composer/musical director of Pee-wee’s Playhouse, Glenn was nominated for 4 Emmys and won the Emmy Award in 1991.  As composer on Audubon’s Animal Adventure’s he won the Genesis Award in 1996 in recognition of his work to increase awareness of the plight of endangered species.

He scored 9 feature length documentary films for Enduring Freedom Productions over the last 5 years.   The latest 4 are Betty White: Champion for Animals, The Clintons: An American Odyssey, The Reagan Legacy, and JFK Remembered: 50 Years Later for Warner Brothers.

As a former member of the group Sha Na Na he toured the world, and performed for audiences as large as 135,000 people.

His orchestral works have been performed by the Indianapolis and Denver symphonies. His theme park commissions includes “Supersonic Flight” for Six Flags/Great Adventures and “Interactive Wonderland” part of the “Spaceship Earth” attraction at Epcot.

Glenn is one of only 9 people in the world who is qualified and licensed to teach The Equal Interval System of Music Composition created by Lyle “Spud” Murphy.
Visit the ASMAC website –
See the new master class, luncheon and interview DVD’s in the ASMAC store
Van Alexander, Ray Charles,
Johnny Mandel, Jorge Calandrelli,
Bill Ross, Jack Feierman,
Sammy Nestico and more),
Download ASMAC luncheon podcasts, and check out the ASMAC blog!

Master Class DVD featuring
June 1 – 7pm
Jack Smalley
w/Perry Botkin
“Composing for Film & Television

July 6 – 7pm
featuring acapella sensation: ACCENT!
August 3 – 7pm
Sean Callery
with Glenn Jordan
 Stay tuned for location info and upcoming event dates.