…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

The recent RMA recruitment letter inspired one member to send in
a commentary. You will find it below.
A future you can depend on

Recently described by the RMALA as the “NEW AFM” still embodies the
“OLD” RMALA, nothing has transformed for professional recording
musicians in Los Angeles.

What many “New” recording musicians don’t know yet, monies collected
for membership on behalf of the RMALA, is used to defeat it’s own
membership preventing opportunity to earn a career as a recording
musician while spending your money to support and sustain their “inner
circle” life style. Those who continue to advocate for the RMALA are the
ones who have or still are benefiting from the system, a small portion of
the total membership. This was calculated and intentional.

Prior to the formation of the RMALA the recording musicians of Los
Angeles always had AFM representation as did New York musicians in
negotiations. So why was it necessary for LA to form RMALA?

Back during the transition to the RMALA there was a plan, only kept to
those who would eventually benefit the most financially through creation
and support of a contractor’s most entrusted employees? They never
thought they could get away with it. It ultimately succeeded by “RMALA’s
entrusted employees”, removed most of the obstacles reducing the
workforce and robustly removed barriers. They cleaned house and fooled
everyone by voting the RMALA line. Getting them to turn on the AFM. This
was encouraged by a contractor who played into the hands of
management to create a single orchestra supported by the RMALA
founders to control a majority of work, eliminate studio contractors, take
control over all MPTV contracts and reign in residuals to a relative few of
the total RMALA work force. They abandoned the union principles while
building walls to keep out everyone who got in their way while using
union empowerment when it was to their advantage.

Nothing has changed. RMALA continues to use the membership resources
to capitalize on as much residuals to the inner circle. Your money to the
RMALA with the help of persons who were behind this deliberate
transformation of employment will be used again to strengthen their
position to take whatever action they see fit to keep you from your
recording career goals. It is now being passed on to the next generation.

Membership dollars will also strengthen the RMALA resolve to continue to
breach opportunity for all freelance recording musicians by keeping the
AFM out of RMALA’s business in L.A. to maintain dominance for the
RMALA inner circle.

Your dollars also buys contractors that hire you. The RMALA inner circle
got so use to being hired over everyone else by their contractor that
when their contractor retired they lost their grip and instituted other
contractors to follow in a similar manner. You had to hire who was on the
RMALA inner circle list or you didn’t gainfully work as a contractor in LA.
This was an implied condition with their contractors and the list they
were provided.

So what is the “NEW AFM” position?

As long as we give the RMALA what they want the AFM continues to
collect their monies from Los Angeles recording work. It doesn’t matter
whether the inner circle are selected by the RMALA most of the time or
hundredths of individual musicians, the AFM still collect the same amount
of L47 recording money from the same work. You’ll may hear that there
were thousand of jobs for musicians where in reality the inner circle was
used over and over again the ones who were the only recipients of most
work, the ones who blindly supported the RMALA to enrich themselves.
Even if they disagreed with RMALA policy it worked to their favor to be
silent. They did what they were told!

What else does your membership money buy you?
RMALA classification “A”,”B”, or “C” orchestras!

To make selling the RMALA inner circle, they presented themselves as the
“A” list. Since their contractor had direct access to producers when
booking the ‘RMALA assigned  “A” classification orchestra it was
discouraged to use any one but their orchestra or producers were
instructed to record elsewhere that included and encouraged to record
outside of Los Angeles altogether rather then use another contractor or
hire another LA orchestra. What the RMALA “A” list employed was to
permanently eliminate and defeat competition to avoid diluting there over
scale musicians salaries when another orchestra could have provided the
producers movies with the same quality performance.

These techniques using letters purposely differentiated there imposed
inner circle from the rest of what they referred to as the B & C riff raft
inexperienced orchestras. These B, C orchestras were RMALA members,
the very membership who they ask for your money to promote their inner
circle desperate to remain relevant and first. Devised from a previous
music contractor and a close inner circle of employees were to undermine
employment in Los Angeles, this became a very effective way of doing
business. Most musician’s careers were directly affected leading to an end
of an era of freely hired union freelance recording musicians. Today is a
shadow of the past.

The RMALA Players Conference is another debacle your dollars buy. Used
to solidify and represent working recording musicians RMALA is in reality
a non-equal opportunity employer. Unless your talking about the inner
circle repeatedly hired to deliberately keep from anyone gaining enough
musical influence, voting eligibility on contracts endangering their
claimed work, became RMALA’s way a self instituted “economic
protectionism”. How else do you get the reputation of being the best? By
default, there’s no one to compete because the RMALA went out of his or
her way to keep the rest of the RMALA membership out of work or barely
working. Many recording musicians lost their homes while the RMALA
inner circle bankrolled employment and residuals.

So what else does your dollars buy? The RMALA even when they were told
to stay out of the sale of L47 building insisted to comment by RMALA’s
president who implied at a L47 meeting and on sessions, that somehow,
you may not get a work call from (RMALA’s) contractors, if you don’t vote!
As we know now RMALA would have won either way you voted. Some may
call this collaboration for benefits they will reap at a latter date, just
another advantage to your contributed membership dollars.

You can’t deny that the RMALA’s machine does everything it can do to
strengthen there resolve to have good representation at the bargaining
table, forcing the hand of AFM to doing exactly what it wants, to control
the contractors, the MPTV contracts that control employment and
ultimately keeps the vast majority of non-RMALA & RMALA freelance
recording musicians from going anywhere near their inner circle
residuals. Yet the International RMA President, a residual of the LA’s past,
continues to solidify this by maneuvering on there behave by keeping
most of his regulars employed and why he remains in power. Other
unaware musicians are encouraged to continue to support the president
in order to sustain this elected officer.

Your hard earned dollars also contribute to the RMALA’s cart blanche as a
member of the Players Conference. Unfortunately they use the Player’s
Conference status and behave in ways no other music player’s conference
does. The result brings the RMA legitimacy where there isn’t any.  It’s
essential the RMALA have this status to justify the benefits and
recognition it tries to emulate in order to sustain its overwhelming
recording interests and dominance in LA.

RMA Night is another add on to what your membership dollars buy where
they will take anyone’s money for a ticket to the event to advance its self
interests and remain financially relevant. Even lure composers where they
have intentionally alienated from being union members so the inner circle
can get their a larger share of residuals.

Membership and RMA Night together has brought in millions of dollars
over its existence, how was this money spent? Are LA’s freelance
recording musicians any better off today since the RMALA took control of
Los Angeles years ago? Their meddling in LA employment collectively
decimated LA’s work force made possible by shortsightedness, self
imposed ignorance, greed, dictated by entitlement. A result  that took
place back in the 80″s making deals with management behind the AFM
and L47 back to advance their own inner circle agenda at the expense of
their membership.

This is but a glimpse of what RMALA membership can buy. Undeniably a
real investment into your future you can depend on!

This link is to an article about the ongoing struggles of the
Fort Worth Symphony musicians.
What Went Wrong… with the Media’s Discussion of the FWSO Strike?
Posted on September 9, 2016






DEAN AND RICHARD are now at Culver City Elks

the first 
Friday of every month.


11160 Washington Pl.

Culver City, 90232





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


900 Riverside Drive,


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


Come on down. Guaranteed to swing.




Event to be held at the following time, date, and location:
Friday, September 30, 2016 from 7:00 PM to 10:00 PM (PDT)
Sessions at the Loft/The Wine Closet
2465 Ventura Blvd.
2423 Ventura Blvd.
Camarillo, CA 93010



Sunday, October 2nd
7:30 pm (doors open @ 6:00 pm)
Catalina Jazz Club
6725 Sunset Boulevard
Hollywood, California 90028
Reservations call 323-466-2210

Click this link to make a reservation online: Catalina Bar & Grill

Remembering the classic sounds & variations of
12 jazz legends to include:

The George Shearing Quintet
The Dave Brubeck Quartet
The Modern Jazz Quartet
The Cal Tjader Quintet
the Ahmad Jamal Trio
Miles, Dizzy and more




On Wednesday October 5, 2016 at 12:10-12:40 pm
the Free Admission Glendale Noon Concerts will feature
Violinist Elbert Tsai and
Pianist Jennie Jung

in a program, “The Performer as Composer as Transcriber,”
featuring works by Mozart, Kreisler and Mason Bates
at the Sanctuary of Glendale City Church,
610 E. California Ave. (at Isabel St), Glendale, CA 91206.
For more information, email [email protected]
or call (818) 244- 7241.

Elbert Tsai leads a multifaceted career as virtuoso violinist, sought-after pedagogue, and orchestral musician. As a soloist, one of his musical missions is to revive the art of the virtuoso violin recital, which celebrates the short showpieces and gems of the instrument’s 450-year musical history. Since 2007, he has performed with the San Francisco Ballet orchestra and San Francisco Symphony, touring with the symphony domestically and to Europe and Asia. Elbert has taught violin and chamber music at Center Stage Strings, the Luzerne Music Center, San Francisco Conservatory of Music, SFCM Pre-College Division, and the Crowden School. He holds degrees from University of Southern California, Rice University, and Oberlin College.

Jennie Jung made her debut with the Pittsburgh Symphony Orchestra at the age of eleven and has since been active as both a soloist and collaborator in North America. Dr. Jung has performed with the Republic of Tatarstan Symphony, Korean Philharmonic, Taejon Symphony, Korean-Canadian, University of Toronto, Hart House, and Cathedral Bluffs Symphony Orchestras. She has attended festivals including the Taubman Institute of Piano, the Banff Centre for the Arts, and the Music Academy of the West, Santa Barbara. As a collaborative pianist, Dr. Jung has performed in North America, Asia, Africa, and Europe, and has been on staff at the Mozarteum in Salzburg, Austria, Aspen Summer Music Festival, Gregor Piatigorsky Seminar for Cellists, and the Banff Centre for the Arts. Dr. Jung has participated in master classes and studied with artists such as Dalton Baldwin, Anne Epperson, Peter Frankl, Margo Garrett, Martin Katz, Anton Kuerti, Robert MacDonald, Karl Ulrich-Schnabel, and Arie Vardi.
Dr. Jung is a member of the Jung Trio with her sisters Ellen (violin) and Julie (cello). The Jung Trio was the Grand Prize winner at the 2002 Yellow Springs Chamber Music Competition and was awarded the Bronze Medal at the 2002 Fischoff Chamber Music Competition. The Trio has attended numerous festivals and workshops, including the Great Lakes Chamber Music Festival, Norfolk Chamber Music Festival, the Orford Arts Centre Festival, and the Banff Centre for the Arts. Past performances include recitals in Korea, Los Angeles, New York, Philadelphia, Chicago, and Toronto, and a concert tour of Kenya and Mauritius as representatives of the Korean Kumho Cultural Foundation. The Jung Trio has performed Beethoven’s Triple Concerto with orchestras in Russia, Korea, Toronto, and Los Angeles. Their recording of Dvořák’s Piano Trio in F Minor was recently released by the Groovenote Label on LP and SACD. In 2009, the Trio made its European debut in Berlin, Germany, and at the Mozarteum in Salzburg, Austria. In October, 2009, the Trio presented its second benefit concert for the Susan G. Komen for the Cure, and in March, 2010, organizedPromise for Haiti, a concert raising funds for Promise Child and its Haiti mission.
Dr. Jung has received degrees from the University of Toronto, Yale University, and The Juilliard School. She maintains a private piano studio and is on faculty at the Claremont Graduate University, Pomona College, and the Colburn Community School of Performing Arts.




SFV Symphony Orchestra 
Nov. 19, 2016 – Agoura Hills/Calabasas Community Center

Bizet: Carmen Suite #1
Bizet: Symphony in C major

Fernandez: Oboe Concerto
 – Francisco Castillo, oboist

Sibelius: Violin Concerto in D minor, 1st mvt.
 Thompson Wang, violinist

Contact: Roberta Hoffman, publicist ([email protected])


Other concerts in the series



Jan. 21, 2017 – Tutor Family Center at Chaminade West Hills

Schumann: Manfred Overture

Mendelssohn: Symphony #3 in A minor (Scottish)

Belling: Music Madly Makes the World Go Round

Inaugural Performance

Cary Belling, violinist


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

Domine: Frankenstein Fantasy
 – Ruth Bruegger, violinist


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



You can read all previous offerings at:


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