Archive for March, 2017

PENSION NOTICE / ACLU BENEFIT / CALL FOR SCORES / EVENTS

Thursday, March 30th, 2017

4/1/17
I. DID YOU RECEIVE THIS? – PENSION FUND

II. BENEFIT FOR THE ACLU APRIL 3RD
III. NORTH/SOUTH CONSONANCE CALL FOR SCORES
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. DID YOU RECEIVE THIS? – PENSION FUND

The purpose of this notice is to inform you that, on June 28,
2013, the actuary for the American Federation of Musicians
and Employers’ Pension Fund (the “Plan”) certified to the U.S.
Department of the Treasury, and also to the Plan’s Board of
Trustees (“Board”), that the Plan is in critical status for the
Plan year beginning April 1, 2013. Federal law requires that
you receive this notice.

Critical Status
The Plan is considered to be in critical status because it
has funding problems. More specifically, the Plan’s
actuary has certified that the Plan is in critical status
because the Plan is projected to have an accumulated
funding deficiency over the next nine years due to
a projected funding deficiency for the Plan year
ending March 31, 2019.

Rehabilitation Plan and Possibility of Reduction in Benefits

Federal law requires pension plans in critical status
to adopt a rehabilitation plan aimed at restoring
the financial health of the plan. This is the fourth
year the Plan has been in critical status. The law
permits pension plans to reduce, or even
eliminate, benefits called “adjustable benefits”
as part of a rehabilitation plan. On April 30,
2010, you were notified that the Board had
adopted a rehabilitation plan (the “
Rehabilitation Plan”) that reduced or eliminated
adjustable benefits. As of June 1, 2010, the
Plan is not permitted to pay lump sum benefits
(or any other payment in excess of the monthly
amount paid under a single life annuity) while
it is in critical status. If the Board determines
that further benefit reductions are necessary,
you will receive a separate notice in the future
identifying and explaining the effect of those
reductions. Under current law, any reduction of
adjustable benefits will not reduce the level of
a participant’s basic benefit payable at normal
retirement, and the reductions apply only to
participants and beneficiaries whose benefit
commencement date is on or after June 1, 2010.

The Board has not made additional changes in
benefits since the adoption of the Rehabilitation Plan.

Adjustable Benefits

The Plan previously offered the following adjustable
benefits that could be reduced or eliminated as part
of any rehabilitation plan adopted by the Board:

Post-retirement death benefits/guarantees
Early retirement benefit or retirement-type subsidy

Benefit payment options other than a qualified joint-and
survivor annuity (QJSA) Post-normal retirement age subsidy
As noted above, the Rehabilitation Plan eliminated
adjustable benefits as described in the notice entitled
Important Notice of Benefit Changes, which was sent
to you April 30, 2010 and is available at
http://www.afm-epf.org/Portals/2/AFMDocuments/204h%205-1-2010.pdf
or by written request to the Fund Office.

Notice of Critical Status
American Federation of Musicians and Employers’ Pension
Fund For Plan Year Beginning April 1, 2013 and Ending
March 31, 2014

Employer Surcharge

The law requires that all contributing employers pay to
the Plan a surcharge to help correct the Plan’s financial
situation until the bargaining parties amend their
collective bargaining agreement to include terms
consistent with the schedules set forth in the Rehabilitation
Plan. The amount of the surcharge is equal to a percentage
of the amount an employer is otherwise required to
contribute to the Plan under the applicable collective
bargaining agreement. With some exceptions, a 5%
surcharge was applicable in the initial critical year
(Plan year ended March 31, 2011) and a 10% surcharge
was applicable for the Plan year beginning April 1, 2011
and remains applicable for each succeeding Plan year
thereafter in which the Plan is in critical status. Further
information regarding the employer surcharge can be
found in the Rehabilitation Plan and the Rehabilitation
Plan Questions and Answers (dated April 30, 2010).

These documents are available at www.afm-epf.org or
by written request to the Fund Office.

Where to Get More Information
For more information about this Notice, you may contact
the Fund Office at 1-800-833-8065 (extension 1311)
or email us through the “Contact Us” link on the Fund’s
web site (www.afm-epf.org).

You have a right to receive a copy of the Rehabilitation
Plan which is available on the web site at
http://www.afm-
epf.org/Portals/2/AFMDocuments/REHABplan.pdf
or by written request to the Fund Office.

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

II. BENEFIT FOR THE ACLU APRIL 3RD

The Broadway national tour for ‘ An American in Paris’
is organizing a benefit for the ACLU that is taking place on April 3rd at
the Prospect Theater at 8pm.  Please try to come if you can!

More info below.

A NIGHT OF LIGHT
presented by the national tour of
An American in Paris
to benefit the ACLU

https://www.facebook.com/aaip4aclu/

6356 Hollywood Blvd
Los Angeles, CA 9002
Phone number (323) 469-0040
Get Directions

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III. NORTH/SOUTH CONSONANCE CALL FOR SCORES 2017

All composers are eligible for consideration
Solo, chamber ensembles and chamber orchestra works
up to 18 performers will be considered

Vocalists, percussion and/or electronics are acceptable

One work will be selected for recording on the North/South label

$30 (US Dlls) non-refundable fee per composition submitted required

Online Submissions at

http://www.northsouthmusic.org/Score-Submissions

Complete submission guidelines at

http://www.northsouthmusic.org/Call-For-Scores

Be part for our 38th Season!

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

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

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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.

——————————————

4/1/17

USC THORNTON WIND ENSEMBLE:
Made in America

7:30 PM Bovard Auditorium, USC
3551 Trousdale Pkwy
Los Angeles, CA 90069

H. Robert Reynolds and Sharon Lavery lead the USC Thornton
Wind Ensemble in a celebration of American composers,
featuring faculty member James Walker in David Mairs’
“American Flute Salute.” Other pieces include Morton
Gould’s “American Salute,” Mason Bates’ “Mothership,”
Leonard Bernstein’s “Prelude, Fugue and Riffs,”
Stephen Cabell’s “Seep,” and Darius Milhaud’s
“La création du monde” (“Creation of the World”).

PROGRAM:
Morton Gould – “American Salute”
Stephen Cabell – “Seep” (winner of the Student
Wind Ensemble Composition Contest)
David Mairs – “American Flute Salute” (featuring James Walker, flute)
Mason Bates – “Mothership”
Leonard Bernstein – “Prelude, Fugue and Riffs”
Darius Milhaud – “La création du monde” (Creation of the World)

Free and open to the public. Seating is first-come, first-served,
and RSVPs are not available.

———————————————-

4/2/17

21ST CENTURY COMPOSERS
Sunday, April 2nd, 5pm

Neighborhood Unitarian Universalist Church
of Pasadena
301 Orange Grove Blvd.
Pasadena, CA 91103

With David Raiklen, Nick Gianopoulos, Roberto Garza Gamez,
Blair Whittington, Marina Manukian, Bryan Pezzone, Mark Gasbarro,
Filippo Voltaggio and Jeremy Gilien.

Performed by Sara And on, Marina Manukian, PeterKent,
Robert Matsuda, Alan Busted, Maksim Velichkin, Simone
Viticci, Bryan Pezzone

Master of Ceremonies – Filippo Voltaggio

Admission is free. Reception to follow.

——————————————

4/29/17

DEAN AND RICHARD HOUSE CONCERT
is happening April 29th at 7:30

DEAN AND RICHARD “the Two Will Give You 20 Duo.

In our last concert we brought out tunes rarely done, so
we will be tapping into decades of music including the
60’s, 70’s (maybe even the 80’s!), along with a tribute
to Chuck Berry

As always, there will be lots of food and drink

http://mapq.st/1KWwYZb

Directions are at the above link (Remember not to park on the south side of Bassett)

You can read all previous offerings at:
http://www.responsible47.com
UNTIL NEXT TIME,

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

NEA / BILL GREEN BRUNCH / ASMAC EVENTS / EVENTS

Sunday, March 19th, 2017

3/18/17
I. HELP THE NEA
II. BILL GREEN BRUNCH
III. ASMAC EVENTS
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. HELP THE NEA

Dear Colleagues,
The Trump administration’s
Federal budget proposal was released on March 16, 2017
cutting the National Endowment for the Arts
as well as many valued social services.
What can we do now?

1) First of all, the League of American Orchestras

has created a guide to what actions to take to speak up

and defend the NEA:

https://www.votervoice.net/LAO/newsletters/25214

 

2) Here is a link for contacting members of Congress,

that you may forward to others, of language drafted

by the American Federation of Musicians, to reiterate

your support of the NEA.

(AS SOON AS POSSIBLE) http://www.afm.org/2017/02/nea/#.WMqiXPxWhOE.facebook

 

3) If you would like to get involved further to

support the NEA in conjunction with other

musicians and artists, contact

jefferson.kemper@promusic47.org

4) https://actionnetwork.org
This  site provides free online organizing tools
to help get the word out effectively.

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

II. Los Angeles Jazz Society’s  – BILL GREEN MEMBERSHIP BRUNCH
Sunday, March 19th – STARTS AT NOON

If you are planning to attend the
Los Angeles Jazz Society’s
Bill Green Mentorship Concert/Brunch

It will now start check-in and lunch at 12noon,
NOT 11am as previously noted
— and we have TRAFFIC issues
due to the LA Marathon.

Music will start at 1pm with two sets of VERY talented
young musicians plus a set with our amazing Mentor
Band.  If you haven’t already, please call CATALINA’s
at 323-466-2210 to reserve your seats… enjoy a
great lunch and some Sunday Jazz at Catalina’s!

PLEASE NOTE:  The LA Marathon takes place this
Sunday and goes through Hollywood on HOLLYWOOD
BLVD. PAST HIGHLAND until it reaches Orange…
then it goes South to Sunset and travels west.
Most of the participants will be through Hollywood
by noon and some streets will start opening up,
but access routes will be limited… coming from
the North (no access from Highland, Vine or
Gower until after 12noon)

This Sunday, March 19th
12noon Check-in and Music starts at 1pm
Three Sets (two student bands and The Mentor Band)

Catalina Bar and Grill
6725 Sunset Blvd., Hollywood
For Reservations, call 323-466-2210
Parking off McCadden (corner of Sunset –
1 block east of Highland)

$15 admission Charge – plus Food

We have an amazing concert waiting for you –
please plan to give yourself enough time…leave early
and check traffic.

www.lajazz.org
Proceeds benefit the David L. Abell Jazz Education Fund

Los Angeles Jazz Society, All rights reserved.
You’re receiving this email because you joined our list
when you became a member of the ASMAC or participated
in one of our events.

Our mailing address is:
Los Angeles Jazz Society
5903 Noble Ave.
Van Nuys, CA 91411

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III. UPCOMING ASMAC EVENTS

Special ASMAC ‘First WEDNESDAYS’ presentation
———-
(Due to a scheduling conflict, there will not be an event
at Local 47)

“Live at M.B.’s Studio”

Studio virtuoso percussionist – drummer M.B. Gordy,
will present an intimate show and tell demonstration
of his large ethnic and rare percussion instrument
arsenal that has been featured in countless motion
pictures, television shows and recordings.

This interactive evening taking place at MB’s state
of the art percussion studio in Tarzana and will
also include discussion of the instrument usage
possibilities, various sounds, notation and much
more. (Event will run approx 2 hours)

Bring all your percussion questions !
Limited audience capacity,
multiple dates to accommodate all reservations,

others may be added.

1st session..Wed. April 5 – 7:30 PM
2nd session..Tues.April 11 – 7:30 PM

FIRM Reservations required
– limited availability each date.

Free for ASMAC members

Additional sessions will be set to accommodate overflow reservations.

Drums And Percussion
M.B. received his Bachelor’s Degree from Glassboro State College and his Master’s Degree from California Institute of the Arts with extensive study of ethnic percussion. He has been working as a freelance musician and producer in the L.A. area for many years. His film credits include: The Crow, Stigmata, The Siege, Negotiator, Titan AE, Happy Texas, Heartbreakers, Scream 2 & 3, Shipping News, Collateral Damage,Scary Movie, Eight Legged Freaks, Not Another Teen Movie, Wonder Boys, Country Bears, Scorpion King, Men in Black II, High Crimes, Red Dragon,Terminator 3, X-Men II, and Blade II, Transformers I and II, Alvin and the Chipmunks, 3:10 to Yuma, Die Hard 4, the King of California, Cats and Dogs 2, Marmaduke, Spiderman 1, 2 and 3, Transformers, Alvin and the Chipmunks, Get Him to the Greek, 40 year old Virgin, American Reunion, Diary of a Wimpy Kid 2 and 3, Secretariat, Too Big to Fail, White Out, The Lions, We are Marshall, Cowboys and Aliens, Loony Tunes and many more.

Television credits include: King of the Hill, Angel,King of Queens, Any DayNow, The Tonight Show, Good Morning America, American Dreams, Battlestar Galactica, Eureka, Sarah Connor Chronicles, The Mentalist, The Tudors, Caprica,Human Target, Trauma, The Unit, Buffy The Vampire Slayer, Eureka, Mad Men, Black Sails, Da vinci’s Demons, Defiance, Reign, Castle and many more.

M.B.’s recording credits include: Bill Withers, Green Day, Anna Visi, REO Speedwagon, Phillip Keveren, Jaguares, My Chemical Romance, the Doobie Brothers, John Tesh, Neil Diamond, Juan Gabriel, Kenny Lattimore, George Kahn, Brandi, and Guns and Roses,Teddy Pendergrass, Barry Manilow, Green Day, Eva Avila, David Boswell, Jada Pinkett, and Josh Groban to name a few. He has had the fortune of working with noted producers including Peter Asher, Don Was, Mat Wallace ,Rob Cavallo and Scotty Morris, among others.   From 2001 until April of 2005, M.B. was the percussionist/drummer for the Doobie Brothers and from 2005 to 2011 played with Rita Coolidge as well as freelancing in Los Angeles.

M.B. is currently endorsed by Yamaha, Remo, Pork Pie, Vic Firth, Toca, Vaughncraft, Rhythmtech and Paiste. For the past 25 years he has also been involved with the Yamaha Education Division as a clinician and education consultant.

For more information on ASMAC and upcoming events:
(818) 994-4661 www.asmac.org

CLICK HERE TO RESERVE NOW

•   SAVE THE DATE   •

ASMAC LUNCHEON!

Wednesday, April 19 – 11:30am
ASMAC Luncheon – with Special Guests

Monica Mancini & Gregg Field
@ Catalina’s in Hollywood

____________________________

STUDENTS:

For information on applying for ASMAC’s
Bill Conti Big Band Composing & Arranging Competition,
please visit www.asmac.org
___________________________________________________________

Also, while on our website, check out the ASMAC store,
our blog, and upcoming events.

VOLUNTEERS NEEDED FOR ALL COMMITTEES
PLEASE CALL 818-994-4661 FOR MORE INFORMATION

STUDENTS/MEMBERS
HELP OUT AT AN EVENT — AND GAIN FREE ADMISSION!
EMAIL:  info@asmac.org   (Subject – Volunteering)

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

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

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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.

———————————-

—————————
3/18/16
SFV SYMPHONY ORCHESTRA
Mar. 18, 2017 –
Agoura Hills/Calabasas Community Center
Tuttle: By Steam or By Dream Overture
Inaugural Performance
Prokofiev: Symphony #1 in D major (Classical)
Ben-Haim: Pastorale Variée for
Clarinet, Harp and Strings
Geoff Nudell, clarinetist
Beethoven: Romance for Violin and Orchestra
Ruth Bruegger, violinist
++++++++++++++++++++++++++++
Other concerts in the series

May 13, 2017 – Agoura Hills/Calabasas Community Center

Saint-Saens: Bacchanale from “Samson and Delilah”
Tchaikovsky: Orchestral Suite No. 2 in C major
Egizi: Orchestral Suite 
“In Memoria di Mio Padre”
Inaugural Performance

Programs subject to change

——————————————

3/19/17

The Adam Cohen Band at TRIP Santa Monica

MARK HOLLINGSWORTH – SAX
BILL FULTON – KEYS
ADAM COHEN – BASS
DAVE ANDERSON – DRUMS
Featuring music original music from Adam’s acclaimed
solo CD Ritual
Adam Cohen is a California based solo artist and session
bassist and composer who has worked with such artists
as Ray Charles, Taylor Dayne, The New York Voices,
Engelbert Humperdinck, David Benoit, Ernie Watts,
Maxine Nightingale, Phil Upchurch, Eric Benet, and
Mark Isham.

ADAMCOHENMUSIC.NET
MARCH 19TH 8PM
2101 Lincoln Blvd
Santa Monica, CA 90405
TRIPSANTAMONICA.COM

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3/19/17

LILI MARLENE,
the new Musical by Michael Antin
will open on March 19 at
5 pm at
the Brickhouse theatre,
10950 Peach Grove, North Hollywood

and will run through April 16 (Fri and Sat
eves at 8pm; Sunday matinee at 2pm).

——————————————

3/22/17

THE PHIL NORMAN TENTET

Herb Alpert’s Vibrato Grill Jazz
2930 Beverly Glen Circle
Los Angeles, CA.90077
Resevations call 310-474-9400

MARCH 22nd @ 8:00pm

Click here to visit Herb Alpert’s Vibrato Grill Jazz

PLAYING THE MUSIC OF JAZZ GREATS

Stan Kenton, George Shearing, Quincy Jones
Gerry Mulligan, Dave Brubeck,
Horace Silver, Dizzy
and other jazz giants

Performed by some of Los Angeles
finest musicians

————————————-

3/23/17

The BBB featuring Bernie Dresel

THIS THURSDAY March 23 from
8:30pm-11:23pm (20:30-23:23)

at Joe’s Great American Bar & Grill
Continues our celebration of the 23 enigma!
No cover charge at Joe’s!  No reservations necessary!!
21 and older (in fact let’s make it  23 and older)
4311 W. Magnolia Blvd.  Burbank, CA 91505

This is the 2nd of 3 shows on the 23rd of the month:
February 23 – Thursday
Joe’s Great American Bar & Grill in Burbank, CA 8:30-11:23pm
March 23  – Thursday
Joe’s Great American Bar & Grill in Burbank, CA     8:30-11:23pm
April 23 –  Sunday
Bogies in Westlake Village, CA    7:00-8:23pm

Come join The BBB featuring Bernie Dresel, 23 horns
(ok…13), slap bass, guitar, and plenty of drums
swingin’ & rockin’ selections from our brand new
album, Live n’ Bernin’.

CD and downloads are available at CDBaby, Amazon,
and iTunes.
There will be 23 CDs and 23 Blu-ray Audio available for
sale at the show.
Added treat:  The hilarious comedy of Steve Mittleman
and Howard Berger will open before our 1st set for 23 minutes!

So…….23 skidoo out of the house, try and bring 2or3 people,
and come hang THIS THURSDAY!

———————————

3/25/17

The Musicians at Play presents
Patrick Williams Big Band Live at the Moss
with special guests Arturo Sandoval and Peter Erskine
Saturday- March 25th, 2017 8:00PM


Click “Buy Tickets” to reserve your tickets up to 12:00 p.m. on the
day of the show (Remaining tickets will be available at door at show time.)

Award-winning composer Patrick Williams presents The Big Band Live!
featuring special guests Arturo Sandoval and Peter Erskine.

VIP – Doors 7:00 p.m. early entry – refreshments

General & Premium – Doors open 7:30 p.m.

Concert starts: 8:00 p.m. (there will be a brief intermission)*

www.musiciansatplay.org

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3/26/17

LOS ANGELES SYMPHONIC WINDS
Subscription Concert 3 – Agoura Performing Arts Education Center
Stars of the Los Angeles Symphonic Winds
Revel in the artistry of some of the LA Winds’ most
acclaimed performers.
-Geoff Nudell and Parker Gaims (now a member of the US Marine Corps Band) play Felix Mendelssohn’s virtuosic Two Concert Pieces.
-Oboist Jessica Wilkins will be featured on Rimsky-Korsakov’s
Variations for Oboe and And Orchestra
– The World Premiere of  Charles Fernandez’
Frolic for Tuba and Concert Band featuring Tubist
Michael Hart.
• Sunday March 26, 2017
• 2:30 p.m.  Agoura Performing Arts Education Center

——————————————
You can read all previous offerings at:
http://www.responsible47.com
UNTIL NEXT TIME,

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

PENSION? WHAT PENSION? / REPORTS / COMMENTS / EVENTS

Thursday, March 9th, 2017

3/10/17
PENSION? WHAT PENSION?….
Reports from New York and Los Angeles

I. PENSION MEETING REPORT – NEW YORK
II. PENSION MEETING REPORT – LOS ANGELES
III. Member Comments and Commentary

…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 MEETING REPORT – NEW YORK

My experience of the local 802 meeting instigated by the Broadway
musicians was as follows: The club room of local 802 was packed
with people standing in the halls trying to get in. Union cards were
checked at the door to make sure that only musicians attended.
Never the less, I saw two AFM staff members at the meeting,
because they had union cards.

Ray Hair, local 802 president and IEB member Tino Gagliardi
were present as were various pension fund trustees. Their
presentation lasted over an hour and had many charts
and graphs. The upshot of their presentation was that the
two economic downturns and the increasing longevity of
the members has put the pension fund in it’s present condition.
Part of their presentation was as justification of the funds
paid to staff and consultants, showing that it was in the main
stream of the investment industry standards.

When musicians finally got to ask questions, the answers
were often less than satisfactory and the crowd sometimes
yelled out, “Answer the Question”.  One of the best questions
asked was, “Why did the pension fund say in 2015 that the
fund was solvent until 2040 and then say in 2016 that the
fund was critical”?  There never seemed to be an adequate
answer to this question.

That’s about it.  Below is an email from a local cellist Scott
Ballantyne. He’s been analyzing the pension fund performance.
I’ll send you some of his other emails.  He says it’s alright to
quote him.

+++++++++

Dear Friends,

A brief note on two topics from yesterdays meeting. Note that
I  haven’t seen the video yet, but have had many reports on
what transpired. It sounds like the members represented
themselves very well.

Topic One: Pension Fund Comparisons.

It is absurd for our fund managers to use other pension fund’s
lack of performance to justify their own. Your descriptions of
this reminded me very much of the auto industry in 2008.
Our managers sound a lot like the ones from Detroit who
spent years justifying their terrible performance by comparing
themselves to the terrible performance of other U.S. car makers.
But these comparisons weren’t realistic, and as we all know,
the auto industry ended up begging for government intervention,
just as our pension fund has indicated they might do.

The only standard that makes any sense is to pick some kind
of stock index, and see how you do next to that. Much better
investors than our managers do this as a matter of course.

Topic Two: Index Fund Strategies

A quick word on exactly what an index strategy is. An index
is a list of stocks, like the index to a book. Index funds just
invest mechanically in every stock on the list. The larger the
company, the more shares are purchased. They purchase
smaller mounts of smaller companies. This requires no
expertise. It doesn’t require the highly educated and
expensive geniuses at The Fund. All you really need is a
highly trained chimpanzee with a computer. Seriously.
I truly think you could teach a Chimp to do this.

At the meeting, I am told that the Plan’s managers had
the following objections to index fund comparisions and/or use:

1) Index funds have a different fiscal year than the fund,
so comparisons are not fair.
2) They don’t allow the kind of diversity that the fund seeks,
so the fund would be more risky.

Objection one is easy to fix, and objection two is simply
not true. I will agree that the previous chart I sent out
was quick and dirty, and did not fully show the advantages
to our fund of using indexing. I’ll fix all this here.

To fix the fiscal year issue is easy: between 2013-2016,
let’s use quarterly data to compare the exact same point
in time for Index funds and the Pension Fund. There aren’t
quarterly figures available before that, so I made certain to
compare the end of year data from the index fund with the
corresponding figure 3 months later from the fund. While
not perfect, in practice this turns out to be extremely close.
And the comparison is 100% accurate for every point from
2013 on to the present.

To address the diversity issue, I selected a basket of diversified
index funds, covering stocks (domestic and international),
real estate via REITS, and some bond funds. I make this available
to the fund for free. That’s just the kind of guy I am.

Here’s the list:

VFIAX: US Large Cap Stocks
VVIAX: US Large Cap “undervalued” Stocks
VTMSX: Small Cap, with an eye to reducing friction from
taxable gains (this last not an issue for the fund)
VSIAX: Small cap, “undervalued” stocks
VGSLX: REIT (real estate) index fund.
VTMGX: Developed market (non-US).
VTRIX: International “undervalued” developed and emerging
market stocks.
VFSVX: Small cap non-U.S.
VEMAX; emerging markets (i.e. Brazil, Russia, Taiwan, China, others)
VGRLX: International real estate, including (but not only) international REITs.
VSVSX: Short Term U.S. Government Bond (non-inflation protected).
VSIGX:  Mid-term U.S. Government Bond (non-inflation protected).
VTAPX: Short-Term inflation procted U.S. Government bonds.

I do not believe the fund is more diversified then this, arguably, it is less.

The final issue  we need to deal with is to show the
effect of the re-invested savings that truly make
index funds shine.  As I have said, we don’t need
the high priced geniuses at the fund, we can use a
chimpanzee instead. I took a conservative approach:
I took the entire $11 million that the fund currently
spends on outside  investing “talent”,  added $4
million to that to get $15 million and used that as
our cost savings. That gives us $20 million left to
pay the chimp, so clearly this is being conservative.
We start with this figure, and reinvest it each year.
The compounding of this savings leads to a truly
dramatic result, one which I am sure we would all
be happy with today:

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

II. PENSION MEETING REPORT – LOS ANGELES

Hi Editor,

Thanks for posting the informational slides and graphs
from the pension fund meeting!

Member Observer Notes:

Really ….it was a warning meeting.

Assets ( contributions / investments) v. Liabilities (benefits).

On the panel…the folks we pay to assist the “Trustees”.
They did try to provide history and context…and justify the
cost of their services.

Upshot from the panel:  WE need YOU…”the membership”
to work together…make all YOUR  work Union…
WE need the money!

One member analogized the problem the treatment of a
medical disease.
We have three basic components, 1) Expenses 2) Rate of Return
3) Multiplier that has been way too high. The member asked the
panel…’ How do we prolong our life?’

While the panel claimed too much is unknown at this time to say
what will happen at the end of the March bookkeeping…If the
fund found in “Critical and Declining” status…a reduction in
current and future benefits may be imposed.
(except for those over age 80)

As one member commented, “a haircut today or decapitation
tomorrow.”

One of the few younger members present addressed the panel
…future looks “bleak” no matter how many dollars are added.

Another comment received via e-mail:

the ‘genius’ of the chosen is coming back to haunt them.  In
spite of their heavy contributions, the health & pension
funds are primarily financed by the vast majority of members
who have no hope of receiving any benefit. And since the
1%ers have over many years have systematically
disenfranchised the 99%, as the 99%ers go away, so does
the golden egg.

Another member reflected on the meeting by observing that
in our Local many musicians are finding themselves replaced
by USC and Colburn students…thus new membership for
contribution and freezing pension liabilities of the no
longer working older players.

Long Time Member

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

III. Member Comments and Commentary

Some is up in Seattle either doing a video game or some
trailer music, but prob. a game.
– and what’s up with that current video game contract?
oh wait – Ray hair doesn’t quite get the game industry
yet – 6 years later – fellas – I’m gonna keep sending
these until I see you guys and the AFM address the
runaway from LA recording sessions done by Angeleno
composers that cannot work in this town! and I’m gonna
start posting these everyday on Facebook and call
out the parties that are not doing anything about it –

BTW – this is LA’s work John and Rick and it’s downright
depressing…and the real reason the AFM EPF fund is
upside down – so….still think things are cool?

——————————————————————-

Pretty demoralizing, and there really isn’t a viable solution. However,
despite yours and others warnings, unfortunately I think this was
imminent and bound happen regardless, and I don’t think that
simply getting rid of backend will magically return all the film
recording work to LA, and to think buyouts would return it to
pre-2000 levels is very wishful thinking. And it would take a
LOT more buyout sessions to make the equivalent of what was
paid out on the backend, so as much as hate hate the stranglehold
monopoly RMA has on film recording, it’s not entirely reasonable
to ask anyone, RMA or not, to just lightly agree to a buyout
after decades of an established business model enjoyed by
every other performing union that also gets backend, even
key grips at IATSE. It also makes the AFM look so pitifully
desperate and weak, which, well, it is, but would only add
to fuel to that fire, and allow the AFM to be further taken
advantage of.

“HELP! PLEASE! WE NEED WORK! EVEN CHEAP WORK! ANY
WORK! WE’LL EVEN TAKE A BUYOUT ON MEDIA WORK!!
WE’LL WORK FOR LESS THAN LONDON! REUSE IT AS
MUCH AS YOU WANT! WE DON’T CARE! WE CAN’T
AFFORD TO CARE!!”

You can never negotiate well from a position of weakness,
and I don’t foresee enough of a return in work volume
to compensate for giving up what literally would add
up to millions in future backend payments, (even a
decreased amount of future backend payments.)

And what if AFM did agree to changing all sessions to
buyouts? Eliminating backend is no guarantee of a
return to huge  amounts of work, and let’s face it,
gone are those glory days. As you suggest,
backend is only one factor. There’s no escaping
technology, and with the ease and low overhead
of home studio recording eliminating the human
factor. Thus, simply eliminating backend is a very
chancy speculative solution to saving the Union’s
sinking ship, would probably only cause a very
marginal uptick at best in Union-sanctioned
recording at this point, and a dubious guarantee
it would save the pension fund from insolvency.
Once you try changing all recording work to a
buyout, there is definitely NO going back. Union
producers and studio signatories NEVER give
something back that a Union agrees to give up
which is why SAG-AFTRA, WGA, DGA, and IATSE
fiercely hold on to their backend no matter what
and with the help and support of their sister
performing unions. Unfortunately, the AFM
doesn’t get that same kind of fellow-union support
and most composers really don’t have the clout
(or the balls) to demand LA recording.
(Some could fight a little harder, frankly.)

So what happens if agreeing to a buyout doesn’t
result in an appreciable increase in live recording?
It spells a lose-lose. I don’t care how much some
employers claim they’d record here if they didn’t
have to pay backend. Talk is cheap. Prove it-
make this argument less speculative. Lets see the
PGA put forward an actual musicians session
buyout proposal requiring their scoring be
recorded on an AFM contract if they’re serious
that they would discontinue outsourcing recording
sessions to Europe under a buyout agreement.
Let’s not wait for the AFM to propose amount.
Let’s FIRST find out what the PGA proactively would
be willing to pay on a supposed buyout that
would be low enough to incentivize for them a
serious return to record all of the London, etc.
work to LA or at least the US. If they all claim
they’d record more here if there were no backend,
why don’t we see real specifics proposed and
negotiated and put their money where their
mouth is?  Because proposing a buyout based
on raw NUMBERS, FACTS and REAL PROPOSALS
vs. get rid of buyouts first and just “hope-for-the-
best SPECULATION” later  would most likely expose
that a buyout scale producers would even begin
to consider would be so low as to be unacceptable,
amounting to little more than a fraction of what
musicians are currently earning between session
fees and backend. Even if one might complain
that a disproportionate number of members make
the lion’s share of backend, a drastic paycut
ultimately helps no one, including rank and file.
I think it is a fallacy to believe that an increased
volume in 3 hr. session buyouts would be enough
to make up for the amount of earnings musicians
are being asked to give up.

For all the cynics in our community about LA LA Land,
(which I happened to like apparently more than most
all my music colleagues,) we should be grateful
for it’s success, employing over 100 LA musicians,
and vocalists, and should be cheerleading the success
and popularity of this film in order to encourage studios
to do more of the same. More large-in-scope “original
movie musicals” employing 100’s of musicians for
many recording hours, arranging, orchestrating,
music prep, etc., would be nice. Somehow Chazelle
and composer Hurwitz managed to convince a studio
to do this, despite their thin resumes, and without any
crying over backend payments from their producers.
So let’s cheer for it’s success rather continually artistically
bashing it. It’s self-defeating.

As far as buyout, simply put, no one can make a decent
living on session wages alone even if the volume were to
marginally increase by eliminating backend. Would more
sessions on a buyout mean more work for more members?
I doubt it. Maybe more work, but not more income,
considering how paltry an agreed upon buyout wage
would probably have to be to producers. The only
members who could actually make a living under a
buyout model would still have the lion’s share of the
work going to  that same relative few rather than
diluted and spread amongst many. There still wouldn’t
be enough work to open it up for 1000’s of rank and
file musicians even when you remove the backend
payments. The amount of such buyout sessions would
simply be too low in pay and still too infrequent to
keep enough members busy enough to make living wage.

At least that’s how I see it, and I’m sure many disagree.
To be clear, this is not me defending the Union by no
means. They have to answer for where we are.
(I didn’t see any reference to salary cuts as a cost-saving
measure in their presentation, for example.) It’s more
about asking ourselves the question, “will getting rid
of backend really make anything better for everyone,
or just hurt those members who are backend
participants?”

[EC: If the filmmakers are saving the money it would
take to travel to another country, it would be more
likely they would record here. And MANY currently
non-union sessions going on are paying above scale.

It comes down to this. Change nothing, you can say
you’re protecting the system as you DON’T work. Or
change the system and definitely increase work.

The best solution would be a new contract that says,
perhaps, “Any film considered BIG BUDGET by the AFM
signatories (Perhaps above 80 million) Must be done
union IF they are done here, which is no guarantee.
Anything below that should have a buyout option,
with higher pay up front. If they DON’T go overseas
anyway that could make some of the current none
union work union.

As to the pension. There are thousands more taking
out than putting in. If we have the hope of even
slowing down the demise of the AFM, there must be
more work. In Los Angeles that leaves only one option.
Buyouts. without them no increase in union recording
work is possible and everyone’s pension is screwed
within a decade.

And who can you blame for the loss of work?

You know who.

THE COMMITTEE]

—————————————

Far less than 20 years much quicker than that it’s
in the next five most likely

—————————————-

I got up and blasted the investment advisors and
proposed the AFM EPF do a trial basis of INDEX
funds only for a few years to see if they can match
or outperform the actively managed investment
advisors – I basically looked right at them and
said they were not providing a good return on
investment in the biggest bull run since AFTER
the great collapse from the late 1920’s – INDEX
funds have low fees and costs and mirror the
market –

we’re spending 11 mil a year for underperformance? –
i said sorry guys – if we can do index funds we wont
be  needing you for awhile – I received a round of
applause from the audience – ask anyone that was there –

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

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.

———————————-

3/15/17

Free Admission GLENDALE NOON CONCERT
Wed MARCH 15, 2017 at 12:10-12:40 pm

ARTHUR OMURA Harpsichord Recital.
Thank you!

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.

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

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

—————————
3/18/16
SFV SYMPHONY ORCHESTRA
Mar. 18, 2017 –
Agoura Hills/Calabasas Community Center
Tuttle: By Steam or By Dream Overture
Inaugural Performance
Prokofiev: Symphony #1 in D major (Classical)
Ben-Haim: Pastorale Variée for
Clarinet, Harp and Strings
Geoff Nudell, clarinetist
Beethoven: Romance for Violin and Orchestra
Ruth Bruegger, violinist
++++++++++++++++++++++++++++
Other concerts in the series

May 13, 2017 –

Agoura Hills/Calabasas Community Center

Saint-Saens: Bacchanale from “Samson and Delilah”
Tchaikovsky: Orchestral Suite No. 2 in C major
Egizi: Orchestral Suite 
“In Memoria di Mio Padre”
Inaugural Performance

Programs subject to change

——————————————

3/22/17

THE PHIL NORMAN TENTET

Herb Alpert’s Vibrato Grill Jazz
2930 Beverly Glen Circle
Los Angeles, CA.90077
Resevations call 310-474-9400

MARCH 22nd @ 8:00pm

Click here to visit Herb Alpert’s Vibrato Grill Jazz

PLAYING THE MUSIC OF JAZZ GREATS

Stan Kenton, George Shearing, Quincy Jones
Gerry Mulligan, Dave Brubeck,
Horace Silver, Dizzy
and other jazz giants

Performed by some of Los Angeles
finest musicians

————————————-

3/25/17

The Musicians at Play presents
Patrick Williams Big Band Live at the Moss
with special guests Arturo Sandoval and Peter Erskine
Saturday- March 25th, 2017 8:00PM


Click “Buy Tickets” to reserve your tickets up to 12:00 p.m. on the
day of the show (Remaining tickets will be available at door at show time.)

Award-winning composer Patrick Williams presents The Big Band Live!
featuring special guests Arturo Sandoval and Peter Erskine.

VIP – Doors 7:00 p.m. early entry – refreshments

General & Premium – Doors open 7:30 p.m.

Concert starts: 8:00 p.m. (there will be a brief intermission)*

www.musiciansatplay.org

——————————————

3/26/17

LOS ANGELES SYMPHONIC WINDS
Subscription Concert 3 – Calabasas High School
Stars of the Los Angeles Symphonic Winds
Revel in the artistry of some of the LA Winds’ most
acclaimed performers.
-Geoff Nudell and Parker Gaims (now a member of the US Marine Corps Band) play Felix Mendelssohn’s virtuosic Two Concert Pieces. Also on the program will be two works by the LA Winds’ resident composer,
– Charles Fernandez
• Sunday March 26, 2017
• 2:30 p.m.  Performing Arts Education Centers.

——————————————
You can read all previous offerings at:
http://www.responsible47.com
UNTIL NEXT TIME,

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

MEMBER LETTER TO BOARD / EVENTS

Friday, March 3rd, 2017

3/3/17
I. LETTER TO LOCAL 47 BOARD
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. LETTER TO LOCAL 47 BOARD

Below is a letter sent to the Local 47 Executive board by
a long standing member:

To: The Executive Board of Local 47, Musicians Union
– April 28, 2016

You have asked me to write a letter on the reasons
why I went fi-core (Beck status) due to the expense
of my charge through the NLRB. On the surface, my
reasons were purely an emotional response to
John Acosta’s words “The union is for everyone”
which I whole heartedly agree with but I find sorely
lacking today.

The fact is the musicians’ interest has not been
addressed in well over a decade. The contracts
(mp,tv,video games) that are made today, with
another group’s input, are mostly centered around
the secondary market fund. One example of this
(and showing who controls the union) was when
the first video game contract came out. The
musicians were happy (a living wage), the
companies were happy and the composers (the
lifeblood of musicians) were happy. But it was
shut down due to the fact there was no secondary
market fund attached. The result of this was
companies who were willing to deal with the
union now want nothing to do with the union.
The composers were estranged. As for the
musicians, it doesn’t matter what the contracts
are. No companies mean no composers which
mean no music therefore no jobs. All because
a select few want their secondary markets fund.

The union is for everyone?

An Interesting point is the secondary market
fund used to be known as special payments
and was based on single scale. This meant
everyone shared equally on a project. This fund
was initially set up by the studios in lieu of health
coverage for the musicians. What we have today
is everyone connected with the project, except
the musicians is taking the bulk of the secondary
market funds. If this is untrue, please show me
the breakdown of the fund.

Another indication of the controlling faction
in the union was centered around the movie “UP”
in 2009. Michael Giacchino won the Academy
Award for his score which was done in Los Angeles.
This was a great win for Local 47 and Los Angeles
or so one would think. However, the union’s paper
had no mention of his award or that year’s Academy
Award orchestra which Michael Giacchino conducted.
If the union is for everyone why did this happen
(besides the fact certain people had no part in this
movie)?

My final reason for going fi-core is I was continuously
upset and depressed over seeing great musicians and
friends constantly having to look over their shoulders
for the crime of simply trying to support their families.

I honestly did not want to go after the union but I felt
I could no longer standby and do nothing. I expressed
my feelings to the NLRB agent and Rick Baptist and made
it clear none of the charges that I stated (a: being
threatened and intimidated from going fi-core;
b: the selective enforcement of the unions own bylaws)
were done to me. This led to the charges being dropped.

There were two reasons why I rejoined the union. When
I talked with Rick Baptist, (whom I have known for 30
years and wanted him to understand why I went fi-core),
I was led to believe that things are changing for the
better. The second reason was the Supreme Court’s
almost deciding in January 2016 against California’s
unions. I firmly believe that a strong Union is needed
now more than ever.

I must add when I started working in this town,
about 35 years ago, I thought I had the greatest
job ever. The workplace has gone through many
changes including a very dark time when if you
laughed or smiled you were considered unprofessional.
To see younger people think that this antiseptic,
lifeless, tinged with fear approach to music is the
way to play in the studios makes me very sad.

How can music possibly flourish under these
conditions?

This letter and my actions are simply an attempt
to preserve, for future generations, the same
attributes of creativity, love, enjoyment and
equality which has made my career fulfilling. I
would have never had the financial life I have
been so fortunate to have in LA if it wasn’t for
the union and the people in it before me.

[Follow-up from the member]

Hi, don’t know if you have posted that letter
yet but if you haven’t please add this.

” The author of this letter gives permission
to post this because he has found nothing
has really changed with the union. Why the
union continues not to change reminds him
of the saying “all they are doing are rearranging
the deck chairs on the Titanic”. It doesn’t have
to be like this.

He hopes it does change for the Union’s sake.

[COLLEAGUES: Now we have yet ANOTHER member
pointing out exactly what the committee has
been saying all along. Certainly, there will be
those who say, “Oh, Fernandez wrote that”, but
the Local 47 board knows exactly who wrote it.]

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

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.

————————-

3/4/17

IT’S A ROCKIN’ MALIBU BEACH PARTY!

LENNY SMITH and THE OLD NEW
at Casa Escobar
22969 Pacific Coast Hwy
Malibu, CA 90265

Saturday, March 4th – Downbeat 8PM

Reserve a table at 310 456-1999
Great Mexican Food and Terrible Bar
Valet Parking

Features:
Jon Woodhead, Jerry Peterson, Tom Canning,
Charlie Pollard – Horns
Dennis Kenmore, Dave, John Watkin and
The Martinez Family Singers.

—————————

3/4/17

TALL AND SMALL IN TACOMA!
Tacoma Jazz Walk
Saturday, March 4th, 2017 9 pm-Midnight

Pete Christlieb & Linda Small
with the Ray Ohls Trio
Pete Christlieb -tenor sax; Linda Small Christlieb -trombone
Ray Ohls -piano; Derrick Polk -bass & Tim Malland -drums
B SHARP COFFEE HOUSE
706 Opera Alley
Tacoma, WA 98402x

—————————

3/5/17

Song of the Angels Flute Orchestra
in concert!

Our next concert, “Celebrating Spring” is quickly approaching!
Conductor: Charles Fernandez

Concert location:
Pasadena Neighborhood Unitarian Universalist Church,
310 N. Orange Grove Blvd., Pasadena 91103

Tickets are now available online at the usual location:

Concert Tickets

Concert program includes:
•    Gounod – Petite Symphonie (1st movement only)
•    Bloch – Prayer for a Jewish Life (David Shostac)
•    Blavet – Concerto (1st movement, Debbie MacMurray)
•    Mozart – Flute and Harp Concerto (David Shostac & Naomi Alter)
*** Intermission ***
•    Vaughan Williams – Thomas Tallis Theme
•    McIntosh, – Romance for Bassoon (Charles Fernandez)
•    Alter – Introspective Blues (David Miller)
•    Gluck – Dance of the Blessed Spirits (Frederick Staff)
•    Fernandez – Quiet House and a Mouse
•    Selden – When I Fall in Love (Fred Selden)
•    Encore: Fernandez – Closer Walk with Thee

—————————

3/5/17

CULVER CITY SYMPHONY ORCHESTRA

FINDING SPACE
Frank Fetta-Conductor-Bio
Aubree Oliverson-Violin-Bio
Sunday, March 5, 2017, 4:30PM
Memorial Auditorium, 4117 Overland Avenue at
Culver Boulevard, Culver City. Free parking in
lots along Culver Boulevard and metered parking
along Overland Avenue.

Before or after the concert, there are numerous
restaurants in Culver City for you to enjoy.
Downtown Culver City is near to Veterans Memorial
Building, head east on Culver Boulevard,  and
is known for its selections of restaurants.

You can find a list here: LINK

—————————–

3/15/17

Free Admission GLENDALE NOON CONCERT
Wed MARCH 15, 2017 at 12:10-12:40 pm

ARTHUR OMURA Harpsichord Recital.
Thank you!

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.

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

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

—————————
3/18/16
SFV SYMPHONY ORCHESTRA
Mar. 18, 2017 –
Agoura Hills/Calabasas Community Center
Tuttle: By Steam or By Dream Overture
Inaugural Performance
Prokofiev: Symphony #1 in D major (Classical)
Ben-Haim: Pastorale Variée for
Clarinet, Harp and Strings
Geoff Nudell, clarinetist
Beethoven: Romance for Violin and Orchestra
Ruth Bruegger, violinist
++++++++++++++++++++++++++++
Other concerts in the series

May 13, 2017 – Agoura Hills/Calabasas Community Center

Saint-Saens: Bacchanale from “Samson and Delilah”
Tchaikovsky: Orchestral Suite No. 2 in C major
Egizi: Orchestral Suite 
“In Memoria di Mio Padre”
Inaugural Performance

Programs subject to change

——————————————

3/25/17

The Musicians at Play presents
Patrick Williams Big Band Live at the Moss
with special guests Arturo Sandoval and Peter Erskine
Saturday- March 25th, 2017 8:00PM


Click “Buy Tickets” to reserve your tickets up to 12:00 p.m. on the
day of the show (Remaining tickets will be available at door at show time.)

Award-winning composer Patrick Williams presents The Big Band Live!
featuring special guests Arturo Sandoval and Peter Erskine.

VIP – Doors 7:00 p.m. early entry – refreshments

General & Premium – Doors open 7:30 p.m.

Concert starts: 8:00 p.m. (there will be a brief intermission)*

www.musiciansatplay.org

——————————————

3/26/17

LOS ANGELES SYMPHONIC WINDS
Subscription Concert 3 – Calabasas High School
Stars of the Los Angeles Symphonic Winds
Revel in the artistry of some of the LA Winds’ most
acclaimed performers.
-Geoff Nudell and Parker Gaims (now a member of the US Marine Corps Band) play Felix Mendelssohn’s virtuosic Two Concert Pieces. Also on the program will be two works by the LA Winds’ resident composer,
– Charles Fernandez
• Sunday March 26, 2017
• 2:30 p.m.  Performing Arts Education Centers.

——————————————
You can read all previous offerings at:
http://www.responsible47.com
UNTIL NEXT TIME,

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47