FEATURED COMMENTS EDITION

Colleagues,
As you know, we sometimes have featured comments. This past week
has seen so many worthy comments that we decided to feature six
of them in one mailing.

I. FEATURED COMMENT ONE: THE MENTALITY WE’RE UP AGAINST
II. FEATURED COMMENT TWO: MR. FINCK SPEAKS
III. FEATURED COMMENT THREE: STAN LEE PRODUCTIONS
IV. FEATURED COMMENT FOUR - CALLING OUT ANOTHER MEMBER
V. FEATURED COMMENT FIVE: SEATTLE RECORDING
VI. FEATURED COMMENT SIX: CONCERNING PETE ANTHONY
VII. COMMENTS
VIII. EVENTS

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

I. FEATURED COMMENT ONE: THE MENTALITY WE’RE UP AGAINST

We received a comment that perfectly encapsulates the elitist
attitudes of those sympathetic to the RMA ideology.

“As is obvious to all full-time working musicians, the 50-vote cap
places an inordinate amount of power in the hands of the “hobbyist
locals”, allowing the election of officers more politically beholden
to them rather than to the minority of AFM members who actually make
their livings in the music profession. This is a perversion of
democracy. Had we a one-member-one-vote structure, the AFM would be
a far different organization than it is now.”

[HOBBYIST LOCALS?] There it is folks. Regardless of the tens of thousands
of professional musicians who make there living in orchestras throughout
the country from those “Hobbyist Locals”; Regardless of the tens of thousands
of professional musicians who make their living playing in operas and
live theater throughout the country from those “Hobbyist Locals”; Regardless
of the tens of thousands of professional musicians who use a combination
of the jobs above PLUS freelancing; you are nothing but hobbyists to
these elitists who see only themselves as “real” musicians.

It is these folks and their attitudes that will be working to take over our
Federation at the next AFM Convention. Bullies only succeed if they’re not
stood up to.

Gather your troops, work out your stratagies and be prepared to fight for the
survival of our Federation against these folks. You know they’re preparing.
You, our true AFM Backbone, have to be ready to fight for all of our rights,
all of our futures and the future of the AFM against this destructive,
divisive block of musicians.

NON-UNION YO-CATS

One final note here: It has just been confirmed to us that many of the YO-CATS,
the very ones who call everyone else hobbyists, have recently done a NON-UNION
recording session or sessions here in Los Angeles. Was this one busted? Of course
not. If we found out about it certainly the Local did. They dare to look down on
and condemn everyone else when even they are doing non-union jobs?.
That’s cajones.

THE COMMITTEE

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

II. FEATURED COMMENT TWO: MR FINCK SPEAKS

Once again, the readership can thank ‘The Committee’ for setting a
new standard in irresponsibility and recklessness in reporting the
goings on in the recording industry.

The British film that RMALA president Pete Anthony worked on in
London is called Nanny McPhee and the Bing Bang. Universal is
an international company with offices in Great Britain, France,
The United States, Germany, Brazil, and other countries. This
particular project was filmed entirely in the United Kingdom
with a British cast and apparently was partially financed with
the help of U.K. tax credits.

The United States has not been part of British Empire since
July 3rd, 1776 so I don’t think this particular film would fall
under AFM jurisdiction. The British have no obligation to us
and we have none to them. In other words, this was NOT a non-
union session. It was an English recording session; a British
film financed with British money being recorded in Britain -
not an American film being scored overseas.

And if the folks in London wanted to hire an American musician
to work on their film, it is a GOOD thing. Mr. Anthony did not
take any union jobs away from anyone in the United States;
he actually took gigs away from a British orchestrator and
conductor.

Is ‘The Committee’ outraged if Joshua Bell records with the
London Symphony? Is ‘The Committee’ outraged when a Brazilian
film company records a score in Sao Paulo but invites an American
saxophonist to play on it? How do you feel about former AFM member
Leonard Bernstein having recorded with the Vienna Philharmonic,
or Berlin, or Tel Aviv orchestras? How dare he do that!

It is reckless of you to spin this into an RMA versus AFM issue
to satisfy your agenda. You should be ashamed.

David Finck

+++++++++++

Mr. Finck,
Please do your research.

Is Mr. Anthony a member of the AFM?… then
LET’S GO TO THE AFM BYLAWS, Shall we?

ARTICLE 15-RECORDING
(All forms of recorded music-audio and/or visual)

SECTION 1(a). No AFM member shall take engagements or employment
or become engaged or employed in the rendering of musical services
of any kind (e.g., the making of sound tracks, “sidelining,” etc.)
for any type of recorded product (audio and/or visual) unless the
person, firm, or corporation providing the engagement or employment
shall have previously entered into an appropriate written agreement
with, or approved in writing by, the AFM.

…and this…

SECTION 3(a). No AFM member may perform services (whether as composer,
arranger, copyist, proofreader, instrumentalist, leader, contractor,
cutter, editor, or in any other capacity): (1) where the product of
the services is intended to result in, or be embodied in, recorded
music made outside of the United States and Canada and the possessions
of either; or (2) for the purpose of producing, editing, or dubbing
recorded music except where expressly authorized and covered by a
contract with the AFM or when expressly authorized by the AFM.

…not to mention this (Which the RMA dynastic duo wanted enacted
to counter runaway production)…

SECTION 3(b). Any member violating Section 3(a) shall be subject to a fine
not exceeding $50,000 and/or expulsion.

This last one has cost us quite a few members.

Mr. Finck, we can see hoisting and petards, can’t you?

So then, Mr. Finck, who should be ashamed of their utter hypocrisy?; their
intellectual fraud? Not us.

…and it’s Nanny McPhee and the Big Bang, not BING BANG.]

THE COMMITTEE

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

III. FEATURED COMMENT THREE: STAN LEE PRODUCTIONS

COMMITTEE,

I’m forwarding this e-mail player request because in light of
the Pete Anthony episode you might find this request for non-union
student players an especially galling footnote to the death-knell
of film scoring in L.A. As a teacher (who cannot file SELA contributions
because teaching is a job for which local 47 finds it impossible to
establish a CBA and scale structure) I appreciate the opportunity
for young players to gain experience. (For what jobs?) As an under-
employed film scoring musician I am dismayed and saddened.

HERE IS THE LETTER ABOUT THE STAN LEE MATTER:

To Whom It May Concern;

I am writing to you from the offices of the Stan Lee Documentary WITH
GREAT POWER - THE STAN LEE STORY. We are contacting you about
participating in a (90) piece scoring session! We have (78) of (90)
musicians and we are looking for the final twelve. If you think you have
any student who would be interested please forward this email to them.
We expect the positions to be filled by within the next week.

The scoring session will take place in late-March. We would like to
know if you are available and interested in working with us on the
scoring session. Remember, you must be skilled at your craft, be
non-union and can sight-read music. And if you know of any other
proficient non-union musicians who would be interested in this project,
have them contact us as well. We are assembling a (90) piece non-union
orchestral scoring session for a 1 day session at Warner Brothers’
Eastwood Stage which has been placed on hold for us in late-March!!!

If you are interested, please send us an e-mail at:
stanleescoringsession@gmail.com

As most documentaries do, we are operating on an extremely low budget
and we are asking musicians to come on board for a 1 day scoring session
pro-bono/gratis/free.

We will be on a professional scoring stage - The Clint Eastwood Scoring
Stage at Warner Brothers Studios in Burbank. Eastwood has scored more
than 20 of his films here.

The orchestra will consist of (90) non-union musicians. We will have a
(6) hour session. (2) three hour blocks with a lunch served in the
middle. Lunch will be provided, and of course you would be credited in
the film’s end crawl. Also when the project is complete you will
receive a complimentary DVD of the program.

If you are a talented musician who can sight-read but does not have a
lot of experience on a scoring stage and is looking to gain more, then
this is a remarkable chance for you! If you were ever, or are now, a
big Stan Lee fan that read his comics growing up or you enjoy and
appreciate the comic book movie blockbusters Hollywood is churning out
based on Stan’s characters, then this event will be priceless! Come and
be a part of honoring Stan The Man! Be a part of history!

All musicians, besides being credited on an amazing project, will
receive a free copy of the DVD when it comes out!

Thank you for your time, and we look forward to hearing from you soon.

+++++++++++++++++++++++++++

Committee, Here is a copy of an e-mail sent to the Stan Lee Documentary
producers

To the producers of the Stan Lee documentary.
As a professional teacher and AFM member and Recording musician I find
your request for us to pimp out our students for your scab date disgraceful
and disgusting. How would you like us to replace YOU in your profession
with a scab worker? I could find students to learn your job in two weeks.
You don’t have enough years left to learn to do OUR job and acquire
our skill set. Shame on you!

Tim Emmons

[Editor's Comment: BRAVO TIM!]

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

IV. FEATURED COMMENT IV - CALLING OUT ANOTHER MEMBER

We received this comment:

Mr Charles Fernandez, an unabashed advocate of the Committee, has
advertised recordings of his own made with English symphony orchestras.

A selection from his website, advertising his own “non union ” activity:

“He has performed as bassoon soloist with orchestras in London, England;
Brighton, England and New Ulm, West Germany , in addition to having his
works and arrangements performed in these locales”.

OK for Mr Fernandez, but not Mr Anthony it would seem. Another example
of shoddy fact finding to support a very weak argument.

+++++++++++++++++

We sent the above comment to Mr. Fernandez and here is his reply:

COMMITTEE,

Thanks so much for sending me this comment.

Yes, I absolutely recorded with the Royal Philharmonic Orchestra in 2000,
2001 and 2004. I was not paid to do so; I was no one’s employee; it wasn’t
for a film; it was not for a music company. It was my own totally self funded
personal project as a composer, unlike RMA President Pete Anthony allegedly
being paid as an employee to conduct and orchestrate for a feature film.

The fact is I could not afford to record a CD here in Los Angeles. At
the time, long before the economic crash, for what it would have cost
me to record one day here (Two 3-hour sessions) using the Limited Pressing
Scale, I had the Royal Philharmonic Orchestra, one of the best in the world,
for twice that time (Four 3-hour sessions). I certainly will not apologize for
Los Angeles being twice as expensive, nor my inability to spend twice as
much.

I would not use Seattle or Prague because of loyalty to my fellow musicians
here in Los Angeles. However, since I attended and received a performers’
certificate from the Royal College of Music in London, and since the Royal
College is an Alma Mater of mine, I decided I could justify recording there.
It was more expensive than either Prague or Seattle, by the way.

As for playing as bassoon soloist, I absolutely did, on tour with the
Los Angeles Baroque Orchestra in the 90’s (not a recording) and in
New Ulm, Germany (not a recording). In cases of European performance
it was live, not for a recording, except on my own project.

Sorry to whomever thought they could make points. The committee mailing
was concerned with recording, not live performances on tour.

It is amusing to me that someone would go to all the trouble of scouring my
website to try to come up with some valid defense for Mr. Anthony’s alleged
actions, rather than confronting the RMA president with his seeming double-
standard, being the president of the very group that has done a great deal to
drive the work out of town to begin with. Where is Rod Serling when you need
him? (Look up ‘Twilight Zone’ for those too young to remember.)

I suggest a more apt comparison might be those doing the same in London
(or elsewhere) on the same terms as Mr. Anthony. A quick trip to the IMDB
website would be very enlightening for those who care to check.

Orchestrators need to go where the jobs are to pay their mortgage, and you
won’t find me criticizing them for having to do so. If the work hadn’t been
driven out they’d have done it here. Most composers have to go where their
clients tell them, and composers don’t have a union. Of course, none of
those others are the president of the RMA, which I think is the committee’s
main point, the obvious hypocrisy involved if Mr. Anthony did the jobs.

Thank you to the committee for allowing me to answer the writers’ comment
in your mailing and keep up the good work. If not for the committee and their
mailings, the membership of this federation would have no clue as to the
storm coming, those involved, nor a fraction of what goes on behind the
scenes.

CHARLES FERNANDEZ
www.charlesfernandez.com

P.S. -
Both of my CD’s are available at all the usual internet outlets and on CD Baby.
“Should be on everyone’s shelf.”, excerpt from the American Record Guide
review of my most recent “Sentimental and Animated” CD.

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

V. FEATURED COMMENT FIVE: SEATTLE RECORDING

if you think Seattle is not taking a large market share of our sessions - think again
Check out their lists,… and not just the movies.

Simon James
http://www.simonjamesmusic.com

David Sabee
http://www.seattlemusic.com

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

VI. FEATURED COMMENTS SIX: CONCERNING PETE ANTHONY

Re: Pete Anthony conducting in London again.
I would like to hear from Pete Anthony himself. What does he have to
say about taking a non-union buyout job? How does he explain this to
his fellow RMA members after so vigorously defending the no buyout
policy of the RMA? I guess by standing up for no buyouts you get to
take what little union work is left in town AND take some of the work
that is going away. You get to keep those special payments & stay
busy too!

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

VII. COMMENTS

The comments below and elsewhere in this mailing represent the
typically uncensored views of the readers and not necessarily those
of the COMMITTEE. In the faith that freedom of expression allows
for the birth and ascendancy of the most beneficial ideas, all sentiments
expressed are welcome, subject to the bounds of good taste and
decorum. If you disagree with an opinion expressed by any contributor,
we encourage you to rebut it here.

————————————

why don’t you post Mr Finck’s comment up with the other comments
so that everyone can see it. He’s right you know.

[SEE ABOVE]

————————————

Speaking of complaints, I send this one every year: how about sending
just one copy of the dues invoice?!?!?! All the wasted paper is outrageous.
Plus…….that threat about being suspended if you don’t pay in time is
needless-especially to your life members.

————————————

Why is IATSE and TEAMSTERS so strong still…….??

They allow their members to work off contract with the premise that while
they are on that job, they have to deliver one of their union packets or
get a meeting with production on that non union job so they can be pitched
union -

IATSE an TEAMSTERS understand making a living regardless because they
are forward thinking of making a relationship for possible future contracts
coming in on those original non-union jobs…..hmmmm

The AFM is a knee jerk REACTIVE organization unlike IATSE and TEAMSTERS -
AFM searches out and fines members for non-union work - they (we) need
to be like IATSE and TEAMSTERS - they are still strong and are not hurt by
non-union jobs - they look at those as a possible way to start a relationship -
this is FORWARD thinking

We here in LA - have pushed away many employers because of our AFM
boiler plate contracts -

————————————

Danny Elfman is just now off to London to record his next film score.
Apparently he too feels that LA is not so user friendly.

————————————

Hello,

Thanks for what seem to be well informed info
you’ve been sending out. I, not being very active
in the city, find it encouraging to continuing receiving
this info as to what is going on. All of our times are
very trying! It’s very heartful to know, feel that you’re
telling it like it is!

Thanks,

————————————

Has anyone considered that Locak 47 collects at least $1.6 million a
year in yearly dues alone? This does not include work dues but for us
poor ‘freelancers’ isn’t some of that money supposed to be spent on us?

We are paying our membership for a reason right? It is a non-profit isn’t
it? I’m a little frustrated that we don’t slam local 47’s management
with the fact that us ‘freelancers’ if nothing else give Local 47
that kind of money to start with… for what?

————————————

PREVIOUS POST

The arguments about AFM voting are interesting, but nothing speaks
like the facts, which I’ve summarized as follows, according to AFM ByLaw
Article 17, Section 4:

Locals are allowed to send delegates to the AFM Convention based on
membership size - 1 to 200, 1 delegate; 201 to 400, 2 delegates; 401
to 1,500, 3 delegates; 1,501 to 3,000, 4 delegates; 3,001 to 5,000,
5 delegates; 5,001 to 8,500, 6 delegates; 8,501+, 7 delegates.

On all matters except elections, each delegate is entitled to 1 vote;
however, upon the demand of 30 delegates or 15 Locals, a roll call
vote shall be taken in which each Local receives one vote per member.

For election of AFM Officers and AFL-CIO Delegates, each Local is
entitled to 1 vote per 100 members, rounded off to the nearest 100,
except that no Local is allowed less than 1 vote nor more than 50 votes.

ANSWER TO PREVIOUS POST

Interesting Review
The number issue is fairly obvious here.
1-200 members = 1 Delegate
201 - 400 members = 2 Delegates
401 - 1,500 members = 3 delegates
3,001 - 5,000 members = 5 delegates
9,000 - 10,000 members = 7 delegates

The second 4,000 - 5,000 members = 2 delegates

Do you see a problem there?

For Election of AFM Officers and AFL-CIO Delegates, each local is entitled
to 1 vote per 100 members, etc. except no less than 1 vote and no more
than 50. That means that any local with more than 5,000 members
does not get a vote count commensurate with the size and financial
input of their local.

A local with 5,000 members gets 50 votes and locals with 9,000 - 10,000
members get 50 votes.

Do you see a problem there?

In the case of Local 47 and Local 802, that means that almost half
of their locals are not represented in the vote count, yet a Local with
1 person would get 1 vote, etc. How do you like that “democracy?”

Do you call these items “number gerrymandering?” Those “facts”
don’t speak too well to a great number of AFM members.

Committee for Responsible Representation

[The construction of the voting is to keep a few large locals (i.e.
Los Angeles, New York and Nashville) from banding together
and fixing national policy for their own narrow interests and to
the exclusion of everyone else - as has been the case in Los
Angeles for quite some time.]

————————————

AFM member Leonard Slatkin, the Music Director of the Detroit Symphony,
is listed as one of the conductors for the current Mel Gibson movie EDGE
OF DARKNESS (budget: $60 million). Originally the film was scored by
John Corigliano, then replaced by Howard Shore. The film was shot entirely
in Massachusetts and produced and distributed by Warner Brothers.

The Detroit Symphony even mentions on their website that their MD
was going to London to record a non-AFM score.
http://imdb.com/title/tt1226273/
http://tinyurl.com/ydd78xb

“DETROIT, (Apr. 6, 2009) - Leonard Slatkin will be in London this week,
recording the soundtrack for the upcoming film starring Mel Gibson, “Edge
of Darkness.” The score is being written by Slatkin’s long time friend, John
Corigliano. Their collaborations have extended back more than 30 years.
Mr. Slatkin recorded the composer’s First Symphony, which won a Grammy
in 1996. Most recently, a recording of Corigliano’s “Dylan Thomas Trilogy”
has been issued on Naxos Records, with the Nashville Symphony and chorus.
Mr. Slatkin performed Corigliano’s 3rd Symphony with the DSO last season,
and next season he will collaborate with Sir James Galway in a performance
of “The Pied Piper Fantasy.”"

Not sure what remains in the film, here is an article about the original scoring,
with pic:
http://tinyurl.com/ydabdlg

****

In addition, Iron Man 2 was also just scored in London (shot in California–produced
at least in part and distributed by Paramount)
http://tinyurl.com/ydexmkf

All of this to say that there will never be any real repercussions for scoring non-AFM,
signatory or not. the AFM has proved it will not do anything to anyone. If they don’t
go after the signatory companies, they cannot and should not penalize the rank and
file worker either (but to be honest, it doesn’t look like they are). They should just
find a simple solution to take back some of the work being done non-AFM, and at least
provide health insurance and pension for those projects.

And get rid of unenforceable, illegal by-laws that the AFM continues to ignore. Why even
have them if they can’t/won’t adhere to them? to scare people? uh, it’s not working. .

Tom Lee, are you listening? how do you explain these projects leaving AFM jurisidiction?
(and include Batman: Dark Knight too)…

(name withheld)

[EDITOR'S COMMENT - They wouldn't look elsewhere to begin with if the financial terms
weren't so untenable.]

————————————

I wish the RMA would catalog all of these new services…..maybe they
would start to see reality - someone should compile a list….and
compare it to the number of films being scored in LA….maybe they’d
appreciate us indie film composers more and give us a contract.

————————————

As regarding the campaign for Paul Hodes, I think it’s just appropriate for everyone
to know that our members our free to spend their own money on whatever issues
they care to.. as long as no members’ funds are not being used. (I’d love to audit
those books of the International…. ha ha..) I just resent the idea of them selling
our email addresses for a campaign to elect a partisan politician. I haven’t seen
them soliciting funds for a Republican Senate candidate from Arkansas, Gilbert Baker,
who is a musician and former percussion instructor from U of A. Just be aware of
what Congressman Hodes has stated in the past and make your decisions based
on the record and not what Tom Lee will serve the union better.

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

VIII. CONCERTS AND EVENTS

———————————–

2/26/10

AGNES SZEKELY SCHWARTZ,
winner of the 2009 CSUN Concerto Competition
will perform the

Violin Concerto by BELA BARTOK (1937-1938),

With the CSUN Symphony Orchestra
Dr. John Roscigno, Conductor

FRIDAY, FEBRUARY 26, 2010 at 7:30 P.M.
PLAZA del SOL Performing Arts Center, California State University,
Northridge, Nordhoff Street and Zelzah Avenue,
parking in G4, Northridge, CA 91330
Ticket information: (818) 677-2488

———————————–

2/27/10

Los Angeles Pierce College Department of Music Presents
The San Fernando Valley Symphony Orchestra
Under the baton of Maestro James Domine

Saturday, February 27, 2010, at 8:00PM
The Performing Arts Building
Los Angeles Pierce College
$25 general admission, $20 students and seniors, $15 children under 12

STRINGS SPECTACULAR!

Mozart - Sinfonia Concertante
with Ruth Bruegger, violin and Nancy Roth, viola

Handel - Selections from “The Water Music”
Beethoven - Symphony No. 3 in E-flat Major (Eroica)

More Information (818) 347-4807

———————————–

2/28/10

LOS ANGELES PIERCE SYMPHONIC WINDS
Under the direction of STEPHAN PIAZZA

FABLES, LEGENDS and FANTASIES
A dazzling afternoon of musical magic including:
the Tolkein-inspired “Lord of the Rings” by Johann de Meij,
Sochinski’s “Legend of Alcobaca” and
Stravinsky’s “Firebird”

This concert will also feature the debut of Duane Tatro’s “Soliloquy”
- Sunday, February 28, 2010
- 1:00 PM and 4:00 PM
- Pierce College Performing Arts Building
Los Angeles Pierce College
$25 general admission, $20 students and seniors, $15 children under 12

———————————–

2/28/10

Youth Orchestras stage L.A. area’s first-ever Youth Orchestra Day

At a time when multicultural diversity and understanding is vital to
our community, 350 student musicians from four of the Greater L.A.
area’s top youth music groups —

Los Angeles Youth Orchestra conducted by Russell Steinberg,
Verdugo Youth Orchestra conducted by Samvel Chilingarian,
Pasadena Young Musicians Orchestra conducted by Jo Stoup, and
Olympia Youth Orchestra conducted by Fung Ho —

are teaming up in a new spirit of cooperation and creativity for Youth
Orchestra Day, a first-of-its-kind musical and educational experience,
ON

FEBRUARY 28th, 2010
Starting 3:30 pm
Sexson Hall at Pasadena City College
1570 East Colorado Boulevard,
Pasadena, California 91106..

“This is going to be an exciting and important event in the history
of L.A.’s music community,” says Dr. Russell Steinberg, founding Artistic
Director of the Los Angeles Youth Orchestra. “It will be the very first
combined concert, setting the stage for a new era of musical creativity
and artistic development.” Honoring the concert, Mayor Bill Bogaard of
Pasadena has declared February 28, Youth Orchestra Day and the L.A.
City Council is considering doing the same.

Youth Orchestra Day will feature musical performance by each of the
four orchestras individually. Then all 350 players will combine for a
World Premiere commissioned performance of: The Net of Indra,
composed by Steinberg for this event. Also on the program, Educational
Panels of conductors, professional musicians, and students, moderated
by LA Philharmonic violinist Mitchell Newman.

“Playing with a group of people together, in harmony and unity. It’s the
best way of communication,” says Minoo Simantob, whose two sons
play in the string section of Los Angeles Youth Orchestra.

Tickets are available at the door:
Adults: $10, Students and Seniors: $5, Children 12 and under: free

THE PROGRAM WILL INCLUDE

Los Angeles Youth Orchestra conducted by Russell Steinberg:
Night on Bald Mountain by Mussorgsky
Bacchanale by Saint-Saens

Olympia Youth Orchestra conducted by Fung Ho:
La scala di seta: Overture by Rossini
La Traviata: Prelude to Act III by Verdi

Pasadena Young Musicians Orchestra conducted by Jo Stoup
Capriccio Espanol by Rimsky Korsakov

Verdugo Youth Orchestra conducted by Samvel Chilingarian
Csardas, by Monti
Radetzky March, by Johann Strauss the elder

and

World Premiere commissioned for the event: The Net of Indra by
Russell Steinberg performed by all four orchestras together (350 musicians)

Also on the program:
Educational Panels of conductors, professional musicians, and students,
moderated by LA Philharmonic violinist Mitchell Newman

February 28, 2010 at 3:30 pm
Pasadena City College
Pasadena Community College Auditorium
Pasadena, CA 91106

For tickets or more information: www.LosAngelesYouthOrchestra.org .
Tickets also available at the door.

This event honors all Los Angeles Area Youth Orchestras and is dedicated
to the Los Angeles Philharmonic Education Department that helped to bring
all of us together.

—————————–

3/3/10

GLENDALE NOON CONCERTS

RELAX DURING YOUR LUNCH HOUR WITH LIVE MUSIC
Light lunch created by ANGELA’S BISTRO available for $6.
LOCATION: The Chapel at FIRST BAPTIST CHURCH OF GLENDALE
209 N. Louise St. (at Wilson)
Glendale CA 91206
818 242 2113

Map & venue info http://www.fbcglendale.net
More info email teena.frazier@fbcglendale.net
(every FIRST & THIRD WEDNESDAY at 12:10-12:40 pm

MARCH 3, 2010
Solo works for violin
HIROMI IGARASHI-WARREN - violin

UPCOMING CONCERTS IN THE SAME SERIES

MARCH 17, 2010
Singer-songwriter
LINDSAY TOMASIC
http://www.lindsaytomasic.com

APRIL 7, 2010
FIATO String Quartet

Carrie Kennedy - violin
Ina Veli - violin
Charles Hebenstreit - viola
Ryan Sweeney - violoncello

APRIL 21, 2010
SUEZENNE FORDHAM CHAMBER JAZZ LA
http://www.suezennefordhamchamberjazz.blogspot.com

CONCERT UPDATES:
http://www.glendalenoonconcerts.blogspot.com

—————————–

3/3/10

Canoga Park Bowl and the
San Fernando Valley Symphony Orchestra present

CONCERTS AT THE BOWL

Wednesday Evenings at 8:30pm In the Royal Room

March 3rd
Pierce College String Ensemble plays
“Amsuite Serenade” and “Serenata de Jalisco”
by James Domine

Admission Free
20122 Vanowen Street, Winnetka, CA
Persons under 21 years of age not admitted.

++++++++++++++++++++++

NEXT CONCERTS IN THE SERIES

March 10th
Jennifer Bliman plays
the “Horn Concerto #1″
by Mozart

March 17th
The Screaming Clams go Hawaiian
featuring Polynesian & Surf Music

March 24th
The Symphomaniacs
with Ruth Bruegger, violin; James Domine, guitar;
Glen Grab, cello & Larry Muradian, bas

March 31st
The Blues Bandits
with David Reo, Jimi Dee & Gary Herbig

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3/7/10

Ginger & Scott return to JB’s Lounge from 5-8pm in the Red Lion Hotel
with Mike McMullen, Joe Gilman, Paul Klempau, and Tim Metz.
1401 Arden Way, Sacramento, CA 95815. (916) 723-5517 OR
http://www.myspace.com/savannasundayjazz

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3/11-15/10

Thursday-Monday, March 11-15:
Ginger & Scott will be touring Southern California with the Stan Kenton
Alumni Band directed by Mike Vax. (Palm Springs High School March
11, Chapman University March 12, Glendale Community College March
13, Typhoon March 15, possibly more to come!)

For more details, www.mikevax.net OR www.bigbandjazz.net .

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

UNTIL NEXT TIME,

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47
Visit us at www.responsible47.com

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