I. WE ALL LOSE ANOTHER ONE - Don James Passes
II. RMA TAKES CUE FROM THE COMMITTEE
III. FLORIDA MEMBER SEARCH REQUEST
IV. COMMENTS (THE ANTI-COMMITTEE EDITION)
V. CONCERTS AND EVENTS

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

I. WE ALL LOSE ANOTHER ONE - Composer/Arranger Don James Passes

June and July thus far have been a tough time for losing colleagues.
Composer/Arranger Don James Passes away just a few days ago.

Don James was born in Chicago, Ill. in 1938. He attended Hyde Park High
School where his classmate and best four-hand jamming friend was
Herbie Hancock. He graduated from the Chicago Musical College
of Roosevelt University as a music composition major and piano
minor. Don later studied in Paris at the Ecole Normale de Musique
with an emphasis on counterpoint, dechiffrage (sight-reading),
piano and composition. His teacher was Nadia Boulanger with
whom he studied on a bi-monthly basis.

Upon returning to the United States Don worked with Cy Touff for
over a year at the Happy Medium in Chicago and began his recording
and arranging career. After a two year period in the Army as a Band
Training Instructor, Don returned to Chicago where he worked as a
conductor/pianist/arranger for many record dates and industrial shows.
In 1969 Don returned to France where he co-composed the music for
the Lido de Paris with a French team. Three more shows followed and
he then moved to Los Angeles to begin composing, arranging and
orchestrating for the Ice Capades doing 13 seasons from 1974 -
1986 with another show in 1992.

Don returned to Paris doing 4 shows for the Moulin Rouge. He then
returned to the United States to work on many Television Variety shows
where he won two Emmy Awards. One for Ben Vereen - His Roots and
Baryshnikov on Broadway. This was followed by work on the Tim Conway
Show as dance arranger for the Don Crichton Dancers and the dance
arranger for the “Mermaids” on Love Boat.

Animation music work followed for DIC and Hanna-Barbera. Some of
the shows include The Smurfs, Paddington Bear and The Wizard of
Oz (animated).

Don had worked on about 25 feature films as arranger, orchestrator
and, at times, ghost composer. Some of the films include Assassination,
Messenger of Death, Crime and Punishment, The Fifth Monkey and
Those Lips, Those Eyes.

He will be dearly missed by the musical community.

THE COMMITTEE

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

II. RMA TAKES CUE FROM THE COMMITTEE

Now that the RMA has taken over the AFM, they’re taking a
cue from the COMMITTEE by starting their own blog.

Now, along with the LOCAL 47 Overture, and potentially
the International Musician, they’ll be using their blog to
spread their propaganda and sing the praises of those they
support (and in most cases, control) and try to pretend the
Presidency and IEB are not now solely owned subsidiaries of
the RMA.

Of course, if one or more of the IEB besides Joe Parente grows
a spine and stands up for the membership over the RMA
leadership, we’ll let you know.

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

III. FLORIDA MEMBER RESEARCH REQUEST

Scheherajazz / Swingin’ with Prince Igor orchestra arrangement
recorded by Skip Martin in 1959 and recently released as 101
Strings. The Charlotte Symphony Orchestra in Punta Gorda
Florida has been looking for the orchestral arrangement.
Any suggestions?
sales@charlottesymphony.com

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

IV. COMMENTS (THE ANTI-COMMITTEE EDITION)

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.

————————————

I really don’t know all about the politics of the union and I
know the RMA hasn’t really done anything for me except cost me
money and ask for more. However, the most terrible thing Lee
did at the afm was to charge all of us folks that get special
payments extra fees…… The industry, from what I have seen gets
worse every year. Let’s
hope this new group of musician-politicians does better……but from
what I have seen those two never go together well

————————————

FROM THE RMA POSTER…

Why does your website not offer a link to the RMA or RMALA but
to all other important AFM groups? Isn’t that unfair? Do you
hate them that much? Why not let people make an educated
decision about RMA and read for themselves and give them a
chance?

[EDITOR'S COMMENT: Most AFM members who used to record
need only look at their check books and date books to know
who their real enemy is. And it certainly isn't us.}

------------------------------------

And another from the same poster...

You state:

Since the elites don't have enough work themselves, having to invade
orchestras, demo sessions and church gigs from those who used to do
those jobs, what could they have possibly offered the gullible in
Nashville, New York and Boston to drink their Kool-aide? It cannot be
work, the RMAers themselves don't have enough.

Dear Committee:

Would you consider it "elitist" to ask the committee to back up
its statements? I say it is simply fair.

Please indicate to your readers the names of the "orchestras"
elites you say have invaded. When you specify, I will comment
later on each orchestra.

Regarding demo sessions and church jobs, you are well aware
that the contractors of these jobs have the freedom to call
whomever they want. If they want to call what you call an
"elite" player, that is their perrogative. Do you not agree?

You say they are "invading" demo session and church jobs
because they don't have enough work. Even if part of what you
were saying were true--that the "elites don't have enough work
themselves" and as a result of that would be ostensibly
available for demos and church gigs, (not "invading" these
jobs as you characterize it) why would you blame the "elites"?
They have "invaded" nothing. Your beef should actually be with
the contractors who hire them.

But honestly, can you fault an "elite" for accepting a work
call? And what does it say about these so-called "elite" players
when they are called by contractors for work over others that
you say "used to do those jobs"? Why are these contractors not
calling the ones they used to call? Hmmmmm. Could it possible
be that your so-called "elites" are better players? Hmmmmmmm.

[EDITOR'S COMMENT: Not 4 years ago those same elites who are now
doing those demos, churches and orchestras (and dark dates - don't
kid yourself) looked at the very people doing those jobs as
hobbyists and amateurs. THEY are now the hobbyists. Thanks to
the RMA leadership that has them all scared to say a word or
lose what work is left.

You conveniently leave out that it was the RMA leadership's
intransigence and greed that has put their own members in
the position to have to do those jobs they so recently
turned their noses up at. Those same RMA players whose leaders
have lost 60% of LA recording work in last 8 years and chased
work away with their Simpsons video game stunt are now working
under that contract they thought was so bad.

Your leadership has cost members federation-wide millions of
dollars of work to protect their July checks.

You didn't just do it to yourselves, you did it to all of us.]

—————————————-

And yet another from the same RMA poster…

Can you please inform your readership how you (and others)
have arrived at the 150 “elite” number of “RMAers” you claim
do all the studio work and is that just for Los Angeles or
for the whole AFM jurisdiction? Once again, please justify
this number.

[EDITORS COMMENT: Add up all the members of the RMA,
LA: A little over 800; NY: we're told there are about 40; Nashville:
a couple of hundred. ALL of them and it's no more than 1,100 to
1,500 depending on the number of members in the other chapters.

The number of people working in recording regularly in Los Angeles
is a very well known number from reading the contracting lists of those
who play the sessions. Oh yes, we get those too. That's what you'd call,
number justification.

Perhaps we'll have to start putting a limit on the number of comments
per person on the mailings. There are two more from the same poster
after this one. Things must be slow on the Matter and Observer blogs.
At least here differing opinions are welcome.]

—————————————

And a 4th from the RMA Poster…

Could you please offer the names of the two individuals
you call the “dynastic duo”? Who are these people. We all
want to know!!!!!

—————————————

And a 5th…

It’s bad enough that you continue to slam the RMA but
now you slam the rest of the country (other locals) calling
them “gullible”. It’s obvious to me that you think only
smart people in the whole AFM are part of THE COMMITTEE!

[EDITOR'S COMMENT: Anyone whose reads our mailings knows that
that is not true. But, you can only make informed decisions
when you have all the facts, and that is why the COMMITTEE
exists, to make sure people hear something other than
the RMA side.

A last note. As long as the RMA works toward the destruction
of everyone's recording work other than their own and prevents
anything that will help bring work back for anyone other than
themselves, we will indeed slam them. As long as they continue to
corrupt any Local they can infiltrate we will continue to slam
them. Our dedication to the true idea of the AFM calls for no less.

We hope the other locals who find their existence and/or officers
affected will either let us know, or create their own voice to
inform their brethren.

Knowledge is power, but only if you do something good with it.]

—————————————

This is a democracy and we have free speech. If you don’t identify
who you are, everything you say is at the very least hearsay.
jerry redmond, member local 47 musicians union

[EDITOR'S COMMENT,

Our record of accuracy stands, anonymous or not. This is why
we say, "don't believe us, read it for yourself," then supply the
page and column of the Overture, should it be concerning Local 47.
Our statements are easy enough to verify if you know enough
musicians of different kinds in Los Angeles or elsewhere.]

—————————————

[what could they have possibly offered the gullible in
Nashville, New York and Boston to drink their Kool-aide?]

A strange question since the RMA actually started in NY
over 40 years ago. As usual, the COMMITTEE is factless,
clueless and a victim of your own imagination. Talk about
Kool-aide…….

[EDITOR'S COMMENT: Compare the membership numbers and power base.
And didn't one of the RMA-NY minions say at a New York meeting, "New
York has never been a recording town" and "95% of recording is done in
Los Angeles" (Not nearly true). Power Base and Numbers.

---------------------------------------

I think the above writer makes a very good point and I am also
fascinated by your reference to the 'elites'. This business is
a meritocracy. Are the players in the LA Philharmonic, the
Metropolitan Opera Orchestra, and the New York Philharmonic
among the 'elites'.?

I don't call these people 'elites' because they have jobs that
I would like the opportunity to play. I don't call them
'elites' because a player from the Philharmonic would rather
share a stand with one from the Metropolitan Opera than me. I
would love to play with the Philharmonic or the Met. But while
I was learning Jerome Kern songs, these people were learning
Strauss tone poems. They are talented musicians who put in the
hours, took auditions or got recommended for things and developed
reputations as great players. They deserve the work they get.
And why wouldn't anyone want them on a film score, phonograph
recording, church job, demo, or anything else? Isn't that the
way it works in music? Nobody calls the union and says: 'get
me anyone listed in the book as a violinist'. They want the
best players they can get at the time.

I guess if you work hard, practice, study, get good jobs, and
develop a good reputation, the 'Committee' puts you in a certain
category and calls you 'elite' as if you have done something
wrong. I suppose that if the 'Committee' folks are not getting
the jobs they would like, they have to put the blame somewhere.

[EDITOR'S COMMENT: A meritocracy?? If any symphony orchestra
ran their hiring practice the way the incestuous LA contractors
run theirs for major film scoring dates, they'd be laughed (or
sued) out of the business. Do you think for one minute that the
RMA would even BEGIN to consider "blind" auditions as is the
norm with many if not most symphony orchestras (where auditions
are conducted behind screens so the age, sex, and identity of the
player is hidden)? Auditions where your PLAYING is what gets you
the job, not who you know, who you suck up to, etc etc? Never.
Not a chance.

Film scoring dates are nowhere close to a meritocracy because of the
blatantly biased and preferential hiring practices. And where does
that leave a newcomer musician who has the talent for the job but
may not be as "politically connected" as other established players?
Nowhere. Might as well be flipping burgers.

While blind auditions would be a great way to level the playing
field as they have contributed to doing for symphony orchestras,
the next time you want to see many RMAers shut their mouthes
immediately and slink away quietly, suggest blind auditions for
film scoring jobs. A true meritocracy, as you suggest, would be
considered by many of the RMA elites a mortal threat to their
recording careers because it just might reveal that more than
a few of these "top call" players, no matter how well connected
politically, simply don't measure up talent-wise.

Most businesses have a "who you know" aspect, that's simply a
reality. The problem here is not so much the work they are
protecting for themselves, but the damage to everyone else
because of the outdated buggy-whip contracts that have so
severely damaged recording prospects in America and Canada.
Many locals at the convention said they can't even get started with
recording because no clients will work with the AFM contracts.
The RMA will leave everyone and anyone else out the dry for their
own pocketbooks, and that is not unionism, that is not brotherhood.
That is simple greed.]

———————————-

Praise the Lord–our long fraternal nightmare is over. I was at
the Local 47 meeting when Tom Lee spoke to the members.
His words and his behavior made it clear that he simply didn’t
consider us important to his plans. I’ve never been in the
presence of a man who appeared so untrustworthy, except
once when I was buying a car. I’m so happy that the RMA
members were able to organize enough support to persuade
delegates not to vote against their own self-interest.

I found this site when Googling the words “Tom Lee” and
“finally.” I had forgotten about “The Committee” since I shut
off the puerile emails. Like the Palins of the world, he will learn
that overheated passion in pursuit of a misguided cause is not
enough to alter reality.

———————————-

It may be time for a new website - The Committee for a More
Responsible Committee for a More Responsible Local 47.

You are so much smarter than us ignorant local officers.

———————————-

You say: “The RMA has been the major cause of over 60% of our
recording work in the last 8 years.” So you mean that the RMA,
who you profess to despise, was responsible for 60% of recording
work? Or does your rant contain even more grammatical error than
usual?
Give up, you lost to a democratic election. If you really are a musician
then do some practice, some auditions and try and get a job.

[EDITOR'S COMMENT: Please insert in the first sentence above after
the word "of" - "the loss of". That will fix the sentence's intended meeting.
But you already know that, don't you.]
———————————-

[Gone is the possibility of real forward looking contracts that will
bring work back to everyone.]
EVERYONE?? There’s never been a time in the AFM’s history when
EVERYONE had work. As the previous poster states - practice your
axe and try to get a job….

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

V. CONCERTS AND EVENTS

———————————

MESSAGE FROM BILLY MITCHELL

Dear friends and fellow educators,

The SAPPA program continues to open programs
for youngsters in underserved areas. We are
in need of orchestra instruments (violins and
violas, any size, any condition).

If you have any instruments that you would like
to DONATE please contact me at
626-574-5040.

Thank you for your support!
MITCH
BILLY MITCHELL-SAPPA
www.sappa.net
www.youtube.com/sappaprogram
sappaprograms@gmail.com

———————————–

7/3-4/10

LISA HALEY AND THE ZYDECATS

SATURDAY 7/3/10-SUNDAY 7/4/10 LONG BEACH, CALIFORNIA -
QUEEN MARY BBQ, BREWS AND RED, WHITE & BLUES FEST
-WE PERFORM 6-9PM EACH DAY
1126 Queens Highway, Long Beach, CA 90802-6390 - INFO: (562) 435-3511
HAPPY 4TH OF JULY! FIREWORKS! DANCE WITH US!
http://www.queenmary.com/?page=fourthofjuly

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

Other upcoming concerts

THURS 7/08/10 LAKE ARROWHEAD, CA -
ARROWHEAD ARTS MUSIC FESTIVAL - 6PM
Festival Grounds, Tavern Bay Beach Club -
850 Willow Creek Rd, Lake Arrowhead, CA 92352
http://www.arrowheadarts.org/events.html

SAT 7/10/10 MILWAUKEE, WISCONSIN - BASTILLE DAY
FESTIVAL - WE PERFORM 4PM & 9PM
CATHEDRAL SQUARE MAIN STAGE with Candy Kayne!
http://www.easttown.com/categories/4-bastilledays

SUN 7/11/10 PETOSKEY, MICHIGAN - BLISSFEST - WE
PERFORM 4PM & 7:30PM
Main Stage with John Hiatt, Richie Havens, Fishtank Ensemble
http://www.blissfest.org/festival.html

TUES 7/13/10 ANAHEIM, CALIFORNIA -
MAJOR LEAGUE BASEBALL ALLSTAR FANFEST!
ANAHEIM CONVENTION CENTER - TWO SHOWS 8:30AM AND 2PM
A fabulous! day of fun for family and friends!
http://mlb.mlb.com/mlb/events/all_star/y2010/index.jsp?content=fanfest

HOLDING: ADDITIONAL SHOWS IN CANADA, NW, GREAT LAKES, MIDWEST U.S.

———————————–

7/7/10

Canoga Park Bowl and the
San Fernando Valley Symphony Orchestra present
Concerts at the Bowl

Wednesday Evenings at 8:30pm
In the Royal Room

July 7th
The Blues Bandits
David Reo, guitar; Jimi Dee, guitar
Gary Herbig, saxaphone; Scott Firestone, drums;
Larry Muradian, bass; and Friends

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

other concerts in the series…

July 14th
Brazilian Jazz
Geoff Nudell, clarinet; James Domine, guitar,
Larry Muradian, bass; Chuck Birkenshaw, drums

July 21st
The Symphomaniax
Ruth Bruegger, violin; James Domine, guitar;
Glen Grab, cello; Larry Muradian, bass

July 28th
TBA

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

———————————

7/22/10

2010 ASMAC Golden Score Awards
at the Universal Hilton is July 22, 2010.

We hope you’ll all join us.
The Golden Score Awards (previously scheduled for April 29th) will
now take place on Thursday, July 22, 2010. We are honoring Marc
Shaiman and Sammy Nestico (yes - they’ll both be with us), and have
already reconfirmed Rob Reiner as our host. Our other guest participants
are all being reconfirmed at this time and will be announced shortly.

The event will include personal and musical tributes for our honorees,
a silent auction, and amazing live entertainment. All funds raised will
benefit ASMAC’s educational programs, workshops, master classes,
and fund several scholarships

If you’ve already reserved, your reservations are still confirmed.
If you haven’t yet, please SAVE THE DATE and participate in the
event through sponsorship, reservations or a tribute ad to our
honorees. We will be sending out NEW PRINTED MATERIAL
shortly, but for more information, please call our office at
818/994-4661.

In advance, please accept our warmest thanks and appreciation
for your support.
Please make reservations by July 15th @ 818/994-4661
or by email to asmac@theproperimageevents.com

Check us out at www.asmac.org

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

UNTIL NEXT TIME,

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

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