I. FEATURED COMMENT FROM CANADIAN LOCAL BOARD MEMBER
II. FEATURED COMMENT: HIGHER STANDARDS
III. FEATURED COMMENT: ANOWAC
IV. ASMAC LUNCHEON FEATURING BRUCE MILLER
V. COMMENTS
VI. EVENTS

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

I. FEATURED COMMENT FROM CANADIAN LOCAL BOARD MEMBER

Greetings from your North-Eastern Neighbours,

I have been following the various debates in the Committee newsletter for several
years. Some of it I have agreed with, some of it I have not. I may not agree with
all of the politics, and there were admittedly times when I found the repeated
bashing of a given individual or group to be unprofessional and devoid of any
purpose from my perspective, but I believe wholeheartedly in freedom of expression.
To date, I have never responded to any of your articles or the comments of your
readership, as I am clearly not a member of Local 47 or the RMA, but after the last
newsletter I felt it was time to chime in and “express” a bit myself (with apologies
for the length of my dissertation).

First, regarding the recent Pete Anthony saga and his purported non-union work in
the UK: just because it’s not happening here, doesn’t necessarily make it a “non-union”
session, as we aren’t the only professional musicians’ union in the world. In the EU
they have the Musicians’ Union (http://www.musiciansunion.org.uk/) which purportedly
represents over 30,000 musicians. Has anybody checked to see if the musicians on the
fabled Nanny McPhee session were members of that organisation (or any other union,
for that matter)? If they were, how do THEY feel about their work going to somebody
from outside of their union? Was/is there an agreement in place between the MU and
the AFM? Is one needed?

Second, to the comment on “Hobbyist Locals” from one of your readers: AFM Local
815, of which I am a member, is a small Local, representing the Canadian province
of New Brunswick. On behalf of our membership, I say, “we’re insulted!” We are
not a “Hobbyist Local,” least of all because of our relative size. Yes, we have a
relatively small membership (which generally has hovered between 200 and 250
musicians for the past couple of years), but most of our members are either symphonic
musicians (many performing with the union orchestra, “Symphony New Brunswick,”
for example), recording musicians (performing extensively with the Canadian
Broadcasting Corporation or for other TV/Radio/Film scoring, or just recording
independently), touring musicians, and/or freelancers. We don’t attract a lot of
“hobbyists” per se; there are thousands of casual players in our jurisdiction, to be sure,
but precious few would be willing to pay annual dues or give up any portion of their
income as work dues just to claim to be members of our illustrious organisation. They
come to us when they’re ready to get serious. Hence, we represent the pros that we have.
That’s our job!

That is not to say that all of our members are full-time musicians; many do maintain
day-jobs or teach in order to survive, if only because there isn’t always enough
performance/recording work to go around, as I am sure can be said for thousands
of members in larger Locals (and I believe a lot more RMALAers are going to have to
get used to doing the same if they continue business as usual). Given the golden
opportunity to live off of lucrative film scoring sessions and residuals, I am sure
most of our members would abandon their day-jobs in a heartbeat. Lack of work
doesn’t make them any less professional in their attitudes, behaviours, or abilities;
they declare income, they pay taxes and work dues, and they generally present
themselves with a respectful demeanour and even a degree of humility. What’s more,
the vast majority of our members are incredibly capable - I dare say, comparable to
the calibre of many of the RMA elite of LA, NY, and Nashville - and, despite the
ramblings of a few malcontents in the RMA, more than deserving of the coveted
recording work that has been rapidly fleeing RMA centers of operation. In fact,
many stay here (rather than move to a larger Local) in an effort to raise the standards
for local music and hopefully improve the local music industry for future generations.

The truth of the matter is that just because your Local is larger does not mean the
musicians are better or more professional, any more than being rich makes anyone
better than those who are poor; in a lot of cases, it just means they’re more fortunate.
I’m not saying LA/NY/Nashville didn’t work hard to build their music industries - clearly
they worked very hard indeed - just that they have relied on good fortune easily as
much as talent for a long time, and fortunes change. They now face being deposed by
other parts of the world that have worked even harder. That’s LIFE. The sooner the
larger Locals and the RMA get it through their heads that they’re working in a GLOBAL
marketplace - yes, that includes all the other countries, even the ones where the
AFM and RMA have never been heard of - the more likely they’ll be able to avoid bankrupcy.

Elitism is not a salable commodity, so it’s time to stop treating it as a valuable export.
The trophy bucks have almost all fled for greener pastures and no-hunting zones, so
if you want to eat, you’re going to have to learn to hunt smaller game like the rest of us.
Don’t expect us to make it easier for you out of pity; we grieve for your loss, but we
plan to keep eating, too! In the mean time, as long as you insist on driving work away
from LA/NY/Nashville by asking for more money than your product is worth in the Global
economy, we’ll gladly take it off your hands; any film scoring that can be legally recorded
(under AFM Contracts and Agreements) here in Eastern Canada will be more than welcome.
We’ll happily set up a “larger-game” preserve to help keep the work in the AFM (as long
as it can be done without violating existing contracts, agreements, or bylaws)! I believe
we can do the job quite well; you’ll be amazed to discover that musical instruments can
sound as beautiful without any of the players raising their noses or chins in the air.

Regardless of whatever else the future may hold, you can rest assured that we “Hobbyist
Locals” will continue to hold our ground against ANYBODY who tries to tell us that we
aren’t entitled to adequate representation or aren’t allowed to make our living within the
bounds of the bylaws of the AFM.

With that, I’ll let you all go. Perhaps I’ll get a chance to meet some of you if I’m fortunate
enough to represent our Local in Las Vegas this year. Remember, regardless of our politics,
we are all musicians, brothers and sisters united by similar skills, goals, and aspirations.
I wish every success to all of my colleagues throughout the AFM. Yours in solidarity,

Greg Marks
executive board member / office administrator
New Brunswick Musicians’ Association, AFM Local 815

FOLLOWUP COMMENT FROM MR. MARKS

Hello Again,

As I was looking at the last newsletter once more, something else occurred to me
regarding the comment on “Hobbyist Locals” that I hadn’t mentioned in my earlier
response. Is the commenter lacking some basic mathematical skill? It is asserted
in the comment that if we were on a 1-vote-per-member system, then things would
be “far different.” The commenter tries to imply that the majority (part-time musicians)
wouldn’t be able to vote down the minority (full-time musicians). Regardless of whether
votes are 1-per-member or not, the minority is still outnumbered; it is inherent in the
very definition of the word.

Even in the larger Locals, the part-timers outnumber the full-timers (and I suspect
some of the smaller Locals have a much larger percentage of full-timers than the
larger Locals do. It would be interesting to run an AFM census to find out). Unless the
commenter is implying that the delegates should cast votes in a manner that is not
representative of the interests of their respective constituencies - a true “perversion
of democracy,” if ever there was one - I fail to see how the minority could benefit
from this arrangement. Take another look at those numbers; you may well discover
that you’re better off the way things are.

[Mr. Marks,
Bravo! As a small addition to your thoughts above. As we all now know, the elites who
just a few years ago said anyone who didn't make their full living from recording are
amateurs or hobbyists are now doing demos and in many cases non-union dates
here in Los Angeles. We've now confirmed that some of those same elites are playing
student film scoring classes at USC and UCLA. Those are important to be sure, but a
few years ago these folks would have said playing such things is "beneath" them.
Still, the RMA tries to blame Tom Lee for what they've done to all of us.

As we're fond of metaphors, here's another: It's like someone slamming their car
into a brick wall while they're the only one wearing a seat beat, then trying to
blame the dealership for the damage.

(And the AFM is not Toyota or Lexus!)]

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

II. FEATURED COMMENT: HIGHER STANDARDS

The Bylaws TECHNICALLY apply to all equally. Technically because the
unwritten “don’t ask, don’t tell” standard is that union officers are held
to a higher standard. This unwritten standard has actually been cited in
Local 47 hearing board cases. So, the president of the RMA should be held
to a higher standard than a rank & file member.

The vast majority of AFM members do a combination of union and cash gigs.
It is a sad truism that most AFM members cannot survive on AFM gigs alone.
The AFM and Local 47 fully realize this and look the other way, most of the time,
unless you are their outspoken political opponent. Then you will find union
business representatives, who never go out of the building, showing up at your
gigs. Or you will be audited by the Health & Welfare Fund.

Retaliation anyone?

There is another issue about London in particular that deserves some more
investigation. It is a major recording center for all genres of recordings including
film scores, frequently used by everyone from John Williams on down. And, there
is a British musicians union. I would be very surprised if the major London recordings
(that we think of as run-away recordings) were done as dark dates. They are most
probably on a British musicians union contract. I don’t know if it is still in effect today,
but several years ago the British innovation that stole so much work away from us
was that the employer had the option to either use the regular union contract, or pay
double for a buyout with no backend money or paperwork. Employers quite often
chose to pay double.

There is no formal relationship between the British musicians union and the AFM.
We can’t expect the Brits to solve the problem until they are pressured to do so.
Every time the Yanks come to town the cash register rings. Why do you suppose
that the RMA has not put pressure on Local 47 to put pressure on the AFM to solve
the problem? They are outraged about Seattle non-union recordings. They are quietly
outraged about a Canadian content law that makes recording film scores in Canada
economically attractive. (They can’t protest too loudly because Canada is part of the
AFM.) One of the RMA presidents claims that the law is so liberally applied that if say
a Star Trek movie asked to be classified as Canadian content, the authorities would
find a phrase used by Spock that would suggest that his great great great grandfather
was from Manitoba. Bingo, come on up and record your film score. Canada, mostly
Toronto, does do film score recording, but not on any scale that would threaten
L.A. When Local 47 found out that a dark date film score was done in San Diego a few
years they moved heaven and earth to prosecute the offenders.

But there seems to be a blind spot about London. Isn’t that interesting?

Years ago VP Schubach proposed a modified buyout contract patterned after London,
with the double scale AND a one-time payment into the Special Payments Fund. The
thing about Special Payments is that the continuing contributions on the vast majority
of films drop off dramatically after the first couple of years anyway (with the exception
of the elusive blockbuster). It would seem that a contract like this Modified Buyout would
increase the amount of work staying in L.A., and increase overall contributions to Special
Payments for more members, not mention the Health and Welfare and Pension. This idea
should be reconsidered.

In the meanwhile I hear London is lovely at this time of the year.

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

III. FEATURED COMMENT: ANOWAC

Hello Committee,

Please feel free to reprint this entire email to use in your newsletter.
Below is a letter similar to one that I am sending out to RMA members.
I also have a letter published in this month’s Overture.

Please consider joining this National effort to stop U.S. companies
outsourcing American jobs to foreign countries.

This is not just a Union or RMA or anything else problem.
This is an American problem and it would be much better to be fighting
over 200-300 U.S. scored films per year rather than under 100.

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

Dear Musical Colleagues,
Recording work has left Los Angeles and the U.S.. Many believe it is lost forever!
I believe it is not too late to get our work back. Musicians are not alone. The foreign
outsourcing problem has affected almost every job in the U.S.. Over the past two
years I have been formulating a plan and have started an organization that will
unite all Americans on this one issue. Let’s tap into what a quarter-billion
Americans are feeling and form one cohesive consumer block! There is no difference
between a film’s music scored in Europe and a customer service job moved to
India. We are all Americans fighting for our jobs.

Please take the time to look at www.ANOWAC.org
and see an organization that has a mission, is fully staffed, and ready to make
a difference for America. Join us and tell everyone you know.
Darius Campo

[Mr. Campo,

We're more than happy to print this for you, but we're sure
our readers will have questions.

1) Exactly who is on your board.
2) You say you are already fully staffed, who is your staff?
3) Exactly how will your money be spent?
4) Who will most directly benefit from your efforts? Only musicians, or non-musicians as well?
5) Considering your position in the RMA, there will be those who will worry that this
might be an attempt to build a lobbying wing of the RMA using non-RMA member money,
6) Can you assure us that your group has no connection whatsoever with the RMA, not
even to the level of Webmaster?

I'm sure you realize our readers will want to know more specifics before assisting with
funding. We wish you every good luck.

THE COMMITTEE]

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

IV. ASMAC LUNCHEON FEATURING BRUCE MILLER

ASMAC presents a Luncheon with
Composer, Arranger, Music Director
Bruce Miller
Wednesday, March 17, 2010 - 1:30am
at Catalina’s Jazz Club

A native of Detroit, Bruce cut his teeth on the local jazz and R & B scene as
a guitarist and saxophonist in his teens. It was a result of his participation
in a show band backing Paul Anka that Bruce found himself breaking out of
Detroit to go out on the road with Anka as his guitarist, eventually serving
as his musical director

After moving to Los Angeles, Bruce Miller’s broad musical knowledge led him
to doing orchestral arrangements for a long list of R & B artists including The
Commodores, The Temptations, Rose Royce, and The Four Tops, as well as
contemporary artists like Joss Stone and Rod Stewart. His first big break in
scoring for television came when he offered to write an updated arrangement
for the “Knots Landing” theme song - his new version won over the producers
who kept it for the rest of the series, and eventually included him in the composer
roster for the show for the next five years. His television credits include “Becker”,
“Designing Women”, “Wings”, “The John Larroquette Show”, NBC’s hit show
“Frasier”, two “Bonanza” movies of the week, and many more.

His work with the Thomason’s (”Designing Women,” “Hearts Afire”) has
continued throughout his television music career and expanded into the political
arena with documentary projects in 1992, 1996 and 2000 for the DNC and
Clinton campaigns.

In June 1997, through Thomason, Bruce Miller got involved as Musical Director
with the G8 Summit in Denver, CO. Started in 1975, the Summit is an annual
conference where the eight great economic super powers of the world assemble
to discuss affairs that affect the international community as a whole. The
conference music program “Saturday Night at the Summit”, featured Miller as
arranger/conductor of the 45 member orchestra with performers including
Michael Bolton, Lyle Lovett, Amy Grant, Eartha Kitt, Chuck Berry, Crystal
Gayle, Jennifer Holiday, and the Preservation Hall Jazz Band.

He has been nominated for two Emmy Awards - 1989 for Best Arranger (Music
Direction) for the “Sammy Davis Jr. 60th Anniversary Celebration”, and in 1994
for Best Theme for “Frasier”. In addition, he has sixteen BMI TV and Film awards
and a SESAC award. Miller also boasts various gold and platinum records for
work with The Mighty Clouds of Joy, The Temptations, The Commodores, Rev.
James Cleveland, David Ruffin, Lenny Williams from Tower Of Power, Diahann
Carroll, and Rod Stewart, among others.

Bruce Miller continues to be active in the LA music scene and has become
increasingly more involved in collaborations with his son, Jason. In addition
to his busy television scoring schedule, he is again becoming increasingly
active in the record industry, writing and arranging for artists of various styles.
He has no plans of slowing down any time soon.

11:30 cocktails/networking; 12noon buffet lunch; 12:45 Guest Speaker

Catalina Bar & Grill

6725 West Sunset Blvd., Hollywood, CA 90028
1 BLOCK E OF HIGHLAND - north side of street - cor of McCadden)
Cost: ASMAC Members & Students $30 - Guests and all walk-ins $35
Parking: Valet $3.00 - Enter on McCadden - west side of Catalina’s - lot at back
Please make reservations by Tuesday morning, March 16TH - 818/994-4661

OR by email to asmac@theproperimageevents.com
Check us out at www.asmac.org

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

V. 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.

————————————

Bravo! To VP JOHN ACOSTA a for calling on our H&W Trustees:
-to reinstate our SELA,
-punish the guilty, and
-stop punishing those who have done no wrong.

Pray! for the Trustees to listen before the DOL/IRS are dragged
into this whole mess by the hotheads who are planning destruction.

Espeically if SELA were back in force by beginning of May 2010
busy season for fests and fairs, it would avoid an ugly battle and
we can all get BACK TO WORK.

————————————

Mr. Finck:

Joshua Bell and the late Leonard Bernstein is/was not the president
of an AFM conference supposedly dedicated to the craft of film scoring
which represents approximately 1000 musicians. The mission of this
conference is to keep work in AFM jurisdiction.

Basically, Mr. Anthony is trying to feed at both ends of the table.
Pick one. he is also an educator at USC..what does he tell the film
composer students about all this? There must be a former student
willing to write in and explain his justification.

And maybe the production company for Nanny McPhee WOULD have
chosen to come to America to record, with different recording contracts.
who knows? Think about THAT. When money is the only factor
that matters, peformance quality is at best a distant second.

(anonymous)

————————————

Interesting how this guy Finck tries to say that AFM members doing
jobs outside the US are not working “non-union”.

The spinmeisters and the liars are hard at work, now trying to parse
the meaning of “non-union” to somehow excuse the shameful act of the
LA RMA President working on a non-union (as in, non-AFM), buyout
cash gig in London. The message that financial choice by Pete Anthony
sends is clear: non-AFM cash buyout gigs for non-American film companies
are OK.

The bottom line:

* If “top” orchestrators like Pete Anthony and “top” composers refused
to go to London, far fewer films would be recorded in London and would
instead be recorded AFM. Make no mistake - it is the CHOICE and GREED
of these people in taking cash, buyout jobs that enables them to happen,
and certainly takes work away from AFM players.

* Non-union means non-AFM, whether done inside the US or outside the
US. There is no “free ride” for people to record outside the US as
employees, and our leaders set the examples for the rank and file to follow.

————————————

The fact that Pete Anthony goes to London to orchestrate and conduct
does not help the RMA’s case for keeping Special Payments.

————————————

I would like to know if anyone is actually using the rehearsal
rooms at the union anymore. They have been cracking down so
vigilantly on bringing anyone one in who is not a union member.
I guess it’s OK to go to London to conduct on a NON UNION/BUYOUT
feature film, but bring one non union singer into a rehearsal
room and all hell breaks loose!

[We know the rooms are still used for Big Band Rehearsals on most
weekdays, plus other various groups, but we also have been told
that the use of them is down. This we cannot confirm.

This 'Beck' fixation by our Local, and created by the Local Officers
lack of support for the rank and file, has really done a number on our
Local with ridiculous rules causing pointless problems and needless
animosity.]

————————————

FROM DAVID FINCK

Mr. Fernandez,

It is interesting to see that Mr Fernandez feels so strongly about the AFM
bylaws but at the same time doesn’t seem too interested in paying AFM
scales–even the super low ones. He won’t pay scale AND takes his US
money and US work overseas. Pete Anthony on the other hand, was hired
by a British company to work on an British film that was funded by British
money. Unlike Mr. Fernandez, Mr. Anthony didn’t take any employment
away from any AFM musicians at all. In fact, he took some work away from
British musicians. I guess Mr. Fernandez hand picks his bylaws for his
arguments and then doesn’t follow any of them.

Fernandez has written that he chose to go to London to record his music.
He writes that wouldn’t record in Seattle out of loyalty to his fellow Los
Angles musicians. Is recording in London somehow a little MORE loyal
to his L.A. colleagues than recording in Seattle? The interesting thing is
that research tells us that Mr. Fernandez has recorded in Seattle as well………
more than once. So who is being hypocritical here?

Additionally, the film agreement has no jurisdiction outside of North America.
So if a British film company wants to record in London with British money,
they may. And if they want to hire a qualified American musician like Pete
Anthony to work on their film, they may. He is free to accept the employment.
And so are you, Mr. Fernandez. Just don’t accuse others of being hypocritical
while your actions are textbook examples of it.

David Finck

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

Response from Charles Fernandez -

Committee,

My response stands.

Isn’t it interesting though that it has to be a guy from New York
defending the President of the RMALA Pete Anthony’s alleged
Foreign work, and not someone from LA.

Charles Fernandez

————————————

Since Article 15 of the AFM bylaws is largely unenforceable, the attacks
on RMALA President Pete Anthony posted on this website are nothing but
its anti-RMA agenda. Seattle contractor Simon James, a Vancouver AFM
member operating as an IGSOBM member in Seattle, is NEVER mentioned in
the Article 15 context here. But he is held up as an example of
“runaway production” caused by the RMALA.

In Finck’s words: Shame on you for your duplicity!

[EDITOR'S COMMENT: In the thinking of a vast majority of the AFM members,
the RMA's agenda is anti-AFM and anti rank-and-file. THE COMMITTEE'S
actions pose no danger to the existence of the AFM, yours does and has.
If the Bylaws are not to be followed, they should be removed, lest they be
used only against political opponents.]

————————————

For a few years now, I have been reading the emails as they come in about
the fight between the powers that be at Local 47 and RMA. Although I don’t
belong actively to the RMA, I may be one of those elites who worked in the
studios for many years and pumped more work dues to the system in one
week than a multitude of part time casual musicians.

I remember when I first joined the union in ‘54 that studio musicians were
being fined (punished)for working to many dates(totally unconstitutional);
actually being punished by their own union for their talents. and later on, after
I worked my way up the ladder to be a studio musician being forced by a union
rep. to wait a full hour at a 12 noon commercial date under the stupid idea that
someone else could have my 1 o’clock. I think the Communist’s call it, “Spreading
the Wealth”. We know how that worked out !!

The Musicians Union has always had a historic paternal attitude towards their
own Union members. I always sensed a built in prejudice RE: closing the voting polls
at 5pm sharp so the studio guys couldn’t get to vote. It happened more than once.
When I complained the old rep said “hey, kid. You’re lucky to be working”. And don’t
ever believe the Union board will stick up for you in a dispute. Also, not once in 50
years did I ever get a job through Lo.47!! I got the studio work & every other gig
I ever played on my own, but they loved my work dues The Local 47 hierarchy may
think they are right, but history proves otherwise.

Max Bennett -life member of Lo. 47

[Mr. Bennett, the RMA has had control of this Local for years now. Do you find this
situation more palatable? Has it improved or hurt the Local?]

————————————

S.A.G. just did a commercial that required a large orchestra and apparently had
trouble finding people from within its own union that would qualify. I understand
they used the Taft Hartly Act to get some Local 47 members on the job, which is
great but it was only because they couldn’t find enough people who could fake
playing an instrument from within their own union. I think it should have been
done under an AFM contract using real musicians. The producers of the commercial
actually reduced the size of the orchestra for the commercial as a result of not
being able to find enough qualified people. Ironic, isn’t it?

————————————

TENS OF THOUSANDS?? Methinks the COMMITTEE needs a new abacus. Of the
current AFM membership of 70,000+ (90,000 is a myth), perhaps 10-15,000 work
full-time in the music profession. Terms such as “tens of thousands” and “vast
majority” used so often on this and other blogs are nothing more than sloganeering
and propaganda.

————————————

Comment:
We should not be fining and scolding members for working, we should be finding a
way to make all jobs fall under union juristiction…namely, a non-back-end option.
Again I will state, if there was an option where a higher rate could be paid up front
in exchange for no back end payments, then composers could CHOOSE to record here
without needing producer to sign the agreement…the composer could do it themselves.
Don’t get rid of the back end, just give another option…and if certain players decide
not to play on a no back end session, then fine, there will be enough work for everyone.
THEN, down the road, when producers see that they can actually get MORE for LESS
money by taking a chance on back end with lower up-front fees, I bet that we’ll end
up at about 50/50 between the 2 agreements, but there will be no more dark dates
and everyone will be getting their pension and H&W. Good for LA and good for
all of us!

————————————

You may already know this, but the PMG’s web site is no longer.
404 error page not found.

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

VI. CONCERTS AND EVENTS

———————————–

3/5/10

The Malibu Friends
of Music
and the
Montgomery Arts House
for Music and Architecture
present

THE LOST ART OF THE RECITAL
Andrew Shulman, cellist
Wendy Prober, pianist
Dr. Annette Kaufman, speaker

Friday, March 5th, 2010 at 7:30 pm
join us at 7:00 for refreshments

In the early and mid parts of the 20th Century, cello and piano
teams traveled the globe performing recitals for a public that
thirsted to hear and meet their favorite artists. Almost as though
it were “written” all over the airwaves, fans were able to recognize
these superb musicians by the quality of their individual sounds
and the uniqueness of their musical language.

Dynamic cellist, the award-winning Andrew Shulman, joins esteemed
pianist Wendy Prober for a recital of exquisite gems of the
classical repertoire.

Program
Fantasy Pieces, Op. 73 - Robert Schumann
Trifollis (World Premiere) - Maria Newman
Duo for Violin and Cello - Erwin Schulhoff
Sonata for Piano and Cello in C Major - Op. 102, No. 1 - Ludwig van Beethoven
(Mr. Shulman will be joined by violinist Maria Newman in the perfomances of the
Erwin Schulhoff Duo)

Enjoy the Artwork of:
Chrissy O’Grady Martin
at MAHMA
March 2nd, 2010
March 5th, 2010
before and after the performances!
Doors open at:
6:30 pm on Thursday
7:00 pm on Friday

To make a reservation
please call
(310) 589-0295
or visit our website at
www.malibufriendsofmusic.org

—————————–

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

—————————–

3/10/10

Canoga Park Bowl and the
San Fernando Valley Symphony Orchestra present

CONCERTS AT THE BOWL

Wednesday Evenings at 8:00pm In the Royal Room

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

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

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

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

—————————–

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 .

—————————–

3/17/10

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

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

UPCOMING CONCERTS IN THE SAME SERIES

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

—————————–

3/21/10

“Mozart Clarinet Concerto - Bradley Cohen Soloist” on Sunday,
March 21 at 3:00pm.

Event: Mozart Clarinet Concerto - Bradley Cohen Soloist
“Brentwood/Westwood Symphony - Alvin Mills Music Director”
What: Concert
Start Time: Sunday, March 21 at 3:00pm
End Time: Sunday, March 21 at 6:00pm
Where: Paul Revere Middle School

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3/26-27/10

The Los Angeles Sonic Odyssey (LASO)

Upcoming Concerts
Friday and Saturday, March 26-27, 8 PM
Neighborhood Unitarian Church, 301 N Orange Grove Blvd., Pasadena,
CA 91103
Visit http://www.lasonicodyssey.org for directions, program, and
ticket information.

NOW IS THE RIGHT TIME

Tickets (suggested donations): General: $20 | Student: $10 | Senior (62+): $15
PARKING IS FREE.

The Los Angeles Sonic Odyssey (LASO) presents elegant and provocative
concert electronic and instrumental music with works by leading composers
of the medium in which works of varying sonic languages push the boundaries
of expression through classical, jazz, and electronic concert music.

With 12 loudspeakers surrounding the audience, composer Jennifer Logan
performs a live spatial interpretation of each work, enveloping the audience
inside moving architecture of organized sound.

For the upcoming concerts, we are pleased to feature legendary pianist Mike
Lang, who will be giving the world premiere of Planetarium, a new work by
LASO Director Jennifer Logan for improvised piano with electronics. We are
also proud to present the live performance world premiere of Moonlit Night:…
in blossoms’ shimmer by Mike Lang for solo piano, performed by Ms. Logan,
who will also perform her Serenades and spreading shadows for solo piano.

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

UNTIL NEXT TIME,

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

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