AFM-SAG-AFTRA FUND / ASA EVENT / COMMENTS / EVENTS

May 4th, 2017

5/4/17

I. AFM & SAG-AFTRA Fund
II. ACADEMY OF SCORING ARTS

II. ACADEMY OF SCORING ARTS EVENT

III. MEMBER COMMENTS

V. EVENTS

 
…Absolutely guaranteed anonymity – Former Musician’s Union officer

…The one voice of reason in a sea of insanity – Nashville ‘first call’
scoring musician

…Allows us to speak our minds without fear of reprisal – L.A. Symphonic musician
 

…Reporting issues the Musicians Union doesn’t dare to mention – National touring musician

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I. AFM & SAG-AFTRA Fund in the Spotlight at ASCAP Expo
from the Hollywood Reporter

by Jonathan Handel

The little-known AFM & SAG-AFTRA Intellectual Property
Rights Distribution Fund pays royalties even to oft-neglected
session musicians and backup singers. Stevie Wonder was
the headliner — and closing act — of the ASCAP I Create
Music Expo that concluded this weekend, but musicians
and singers will be interested to know that an obscure
fund, jointly run by the American Federation of Musicians
and performers’ union SAG-AFTRA, also had a moment
in the sun at the annual conference for songwriters,
composers, artists and producers.

If those two unions seem like an odd pairing, they aren’t:
since its 2012 founding by way of merger, SAG-AFTRA,
like AFTRA before it, has represented recording artists
— singers — as well as actors and others, such as
broadcasters.
The joint fund, the AFM & SAG-AFTRA Intellectual Property
Rights Distribution Fund, distributed about $60 million
in royalties in 2016 and thus will be welcome as anything
but odd by those who receive checks from it — a variety
of singers and musicians, including such non-featured
performers as backup singers and session musicians,
who otherwise might not receive music royalties at all.

Although that total is far less than the approximately
$1 billion in residuals that SAG-AFTRA distributes annually,
and is also less than the $90 million to $100 million in
audiovisual AFM residuals that are disbursed each year
(which are administered by yet another organization,
the Film Musicians Secondary Markets Fund), the
checks can be significant, ranging up to $1 million
in some cases, said fund executive director Dennis Dreith.

“We do for non-featured performers what SoundExchange
and AARC do for featured performers,” explained Dreith,
referencing two other music royalty organizations. He
spoke to The Hollywood Reporter after conducting a
seminar Friday for about 100 people at the Expo.

One recipient of a payment from the fund was so
unaccustomed to receiving royalties that she rang
up Dreith and asked if she was really allowed to
cash the check. He assured her that she was.

Citing the case of a former Motown session bass
player who he said died impoverished after helping
churn out hit after hit (“You Can’t Hurry Love” by
The Supremes, “My Girl” by The Temptations, and
dozens more), Dreith added that the fund helps
ensure that “there won’t be another James Jamerson,”
at least in the economic sense.

Where the Money Comes From

Unlike Expo organizer ASCAP, which collects and pays
royalties to songwriters and composers, the joint union
fund is for performers. It was established in 1998, which
may give a clue as to its initial scope: the royalties are
collected from U.S. digital platforms, but not from U.S.
terrestrial (conventional) radio, as to which there is no
provision in law for performance royalties. The Fair Play
Fair Pay Act, which the fund and unions vigorously
support, would change that and require AM and FM
stations to pay such royalties, too.

Those for-now digital royalties are paid to non-featured
vocalists and non-featured musicians regardless of their
union membership or affiliations. The fund collects
foreign performance royalties for U.S. non-featured
performers as well, but only for members of AFM and
SAG-AFTRA.

That, anyway, is what the sound recording division of
the fund does. Two more recent arms, the symphonic
royalties and audiovisual divisions, represent evolutions
beyond digital-only. The first focuses on royalties for
featured and non-featured performers in symphonic
sound recordings, including archival recordings
and radio broadcasts licensed for use on cable,
satellite and digital media. And the audiovisual
division collects royalties — again, for featured
and non-featured singers and musicians — from
foreign territories for films and television programs
containing U.S. performers ,which have been
broadcast on Spanish and German television, and
motion pictures containing U.S. performers, which
have been exhibited in cinemas in Spain.
There is no word on whether that limited geographic
portfolio might expand.

Like residuals, which inspired this reporter to prepare
a colored chart that Backstage likened to “a periodic
table of elements on mushrooms,” music royalties are
complex: a flowchart in the ninth edition of Harold
Vogel’s definitive Entertainment Industry Economics,
which features almost two-dozen circles, squares and
other shapes and a similar complement of connecting
lines, looks like an oil refinery diagram — except that
the latter is easier to understand. Indeed, turning
bauxite into aluminum is apparently simpler than the
way money flows in the music business. But in one
small corner, at least, the AFM & SAG-AFTRA
fund has it covered.

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

II. ACADEMY OF SCORING ARTS:

Scott Healy’s Ellington Group
With Special Guest Brent Fischer!
Saturday, May 6th, 2017
10am – 12:30pm
E-Spot Lounge Above Vitello’s
4349 Tujunga Ave, Studio City, CA 91604

You asked, we answered! We’ve enjoyed partnering
with Scott Healy to bring you Ellington, the high level
jazz study group. Now, we’ve added even more value
to our session by adding a guest interview segment.
Our Saturday session will feature special guest Brent
Fischer. Brent is the son of the late, great composer
and pianist Clare Fischer, who was one of our most
prolific and innovative jazz composers and performers.
Brent is a fantastic composer and multi-instrumentalist
in his own right. While he collaborated frequently with
his dad, he also developed his own unique musical
voice as a composer and performer.

We are now handling our ticketing through Eventbrite.
Be sure to get yours online! Ticket prices will be higher
at the door.

Scott Healy will continue the exploration of harmonic
rhythm, focusing on how jazz players and composers
use chord movement. This topic comprises much more
than just cool chord substitution and complicated
altered harmony. Harmonic rhythm defines phrases,
form and pacing, and your heightened awareness of
the flow of harmony will direct and focus the emotional
content of your writing. We will refer to examples from
Ellington/Strayhorn and Bob Brookmeyer.

Then after a break we’ll introduce our special guest,
Brent Fischer. Brent will present some of Clare’s harmonic
and orchestration concepts, and talk about how he’s
carrying on his dad’s legacy. This is deep stuff, so
bring your analog or digital notation aids and put
on your thinking caps! We will have a few handouts,
and also project all of the scores and examples.
They will also be available online for your laptops
or tablets.

Please go to http://ellingtonstudygroup.com
for more details, and we’ll see you there.

$15 pre-sale (deadline May 5), including light breakfast
$20 at the door

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III. MEMBER COMMENTS

Dear Editor,

It is GREAT that there were so many sincere friends and
colleagues of those honored able to attend the ceremony
on Monday night!

What is also telling is that the business of the Union was
of so little interest that they did not stick around for the
last quarterly meeting in our historic Vine Street home.

The disenfranchisement and manipulation of the
membership should be obvious.

No doubt the salaried leadership at 47 will be marching
on May 1st with full pay…the rank and file are encouraged
to volunteer?  The Union Officers, Directors and
employees pick up a check every Friday. Do you?

Longtime Member

———-

well – if they win (the lawsuit) it that would be great but
what’s the odds of us winning?

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

IV. EVENTS
DEAN AND RICHARD
are now at Culver City Elks the first 
Friday of 
every month.
7:30pm-10:30pm,
11160 Washington Pl.
Culver City, 90232
310-839-8891
————————————-
LA WINDS JAZZ KATS 584
NO COVER, NO MINIMUM.
Every 2nd and 4th Tuesday of the month at
Viva Cantina
7:30-10:00.
900 Riverside Drive, 
Burbank.

Free parking across the street at Pickwick Bowl.
Come hear your favorite charts played the way
they 
should 
be. 

We are in the back room called
the Trailside Room. 


Come on down.

Guaranteed to swing.

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5/5/17

DOCTOR WU PERFORMANCE

We’ll be doing one set starting promptly at 8:00 PM at the Saint
Francis de Sales Festival on Friday, May 5th:

Saint Francis de Sales School
13368 Valleyheart Drive
Sherman Oaks, CA 91423

The Doctor Wu Band line up for this show will be:

Tony Egan: Lead Vocals
Leigh DeMarche: Vocals
Jodi Fodor: Vocals
Gil Ayan: Guitar
Steve Bias: Bass and Vocals
Jeff Dellisanti: Saxophones
Mark Harrison: Keyboards
Paul Salvo: Trumpet
Frank Villafranca: Saxophones
Jack Cook: Drums

Admission is free and we look forward to seeing you there!
The Doctor Wu Band
http://www.doctorwuband.com/
https://www.facebook.com/doctorwuband

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5/6/17

KIM RICHMOND/CLAY JENKINS

HEY fellow L.A. Musicians,
This is my second notice about this coming
Saturday. My favorite jazz trumpet player will be
in town this next weekend: Clay Jenkins. We will
be playing together at the Desert Rose. Clay
doesn’t make it to L.A. very often what with his
teaching position at Eastman School of Music
in New York, so you should try to catch us
this weekend. Details below.

WHAT: Clay Jenkins and Kim Richmond at the
Desert Rose, with the Mark Z. Stevens Trio
WHERE: Desert Rose Restaurant & Saturday jazz
venue. 1700 N. Hillhurst Avenue, LOS FELIZ
VILLAGE, Los Angeles, CA 90027
WHEN: This coming Saturday, May 6, 7 to 11. 3 sets
WHO: Clay Jenkins, trumpet; Kim Richmond,
alto & soprano saxophones, Mark Z. Stevens,
drums; Lou Foresteri, keyboard; Harvey Newmark, bass.
PARKING: Valet parking available
FOOD: excellent cuisine
RESERVATIONS: Recommended (323) 666-1166.
Ask for inside seating. That’s where the band is.
if you’re planning to join us, it’s absolutely
necessary to make an “INSIDE SEATING RESERVATION”
by the Wednesday or Thursday immediately
proceeding the event.  If you wait until the last minute,
the room will probably be sold out.  If you make
your reservation early in the week, you’ll be in the
best area to hear the jazz.  (If your plans change,
you can always call and cancel.)

Hope to see you there.
All the best,
KIM R
My website address is:
www.kimrichmond.com

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5/13/17

ASMAC presents

A MASTER CLASS WITH GEORGE S. CLINTON
MODERATED BY:  Sylvester Rivers
Valley College – Music Building
5800 Fulton Ave., Valley Glen, CA
Corner of Fulton & Oxnard  

Saturday, May 13, 2017
10:30 am –  CHECK-IN – Coffee/Refreshments
11:00 am – 2:00 pm – Master Class

“Scoring Comedies: Comedy is Serious Business
– The Scoring Art & Technique.”

Join us for an informative – and entertaining – Master Class.

Mr. Clinton is an award winning composer who has
scored over 100 films, most notably “Austin Powers
International Man of Mystery” and it’s blockbuster
sequels;  Disney’s hit “Santa Clause” sequels;
“Mortal Kombat” 1 & 2;  “Wild Things”,  “Red Shoe
Diaries”,  John Water’s “A Dirty Shame”  and the
Emmy Award winning “Bury My Heart At Wounded Knee.”

He began his professional musical career as a
singer/songwriter/arranger in Nashville while
earning degrees in music and drama. Upon
moving to LA, he became a staff songwriter
for Warner Brothers Music with songs recorded
by the likes of Michael Jackson and Joe Cocker
and continued working as a session musician
and arranger. It was the music from Clinton’s
solo album  “The George Clinton Band Arrives”
that attracted the attention of Cheech and Chong,
giving him the chance to score his first film “Still Smokin”.

In addition, Mr. Clinton is an advisor at the
Sundance Composers Lab, serves on the Music
Executive Branch of The Academy of Motion
Picture Arts and Sciences (The Oscars), is on
the boards of the Society of Composers and
Lyricists and the Alliance for Women Film
Composers, is a member of ASMAC and the
Television Academy, and was Chair of Film
Scoring at the Berklee College of Music 2012-2015.

Awards include a Platinum record for his score
to Mortal Kombat, Grammy and Emmy nominations,
the SCL Ambassador Award, the Spirit of Tennessee
Award, and nine BMI Film Music Awards, including
their highest honor, the BMI Icon Award.

MODERATED BY:  SYLVESTER RIVERS
Composer, arranger and pianist Sylvester Rivers
has recorded with numerous hit artists including
Lionel Richie, Diana Ross, The Jacksons, Sammy
Davis Jr., Dionne Warwick, Nancy Wilson, Kenny
Rogers, Johnny Mathis, Aretha Franklin, New
Edition, Smokey Robinson, The Temptations,
Gladys Knight & The Pips, Barry White, Marc
Bolan & T Rex, Ray Parker, Jr. & Raydio, Deniece
Williams, The Fifth Dimension and many others.

Rivers has composed, arranged and orchestrated
for television and film as well, such as the television
series “Fame,” songs for the Kevin Bacon/Laurence
Fishburne film “Quicksilver,” “Breakin’ 2: Electric
Boogaloo,” “The Arsenio Hall Show” and numerous
others; and  has been prolific in producing music
throughout a wide spectrum.

Valley College – Music Building

Sat., May 13, 2017
11:00 am – 2:00 pm
(Check-in & Refreshments – 10:30am )
Free parking in lot on corner of Fulton and Oxnard.
ASMAC Members and Students – $25
Non-Members – $40

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5/13/17

SAN FERNANDO VALLEY SYMPHONY

Saturday, May 13th, 2017
AGOURA HILLS/CALABASAS COMMUNITY CENTER
8:00 pm
27040 MALIBU HILLS RD
CALABASAS, CA
Price: $25
Saint-Saens: Bacchanale from “Samson and Delilah”
Tchaikovsky: Romeo and Juliet Fantasy-Overture
TWO PREMIERES!
Tuttle: By Steam or By Dream Overture 
Inaugural Performance
Egizi: Orchestral Suite “In memoria di mio Padre”
Inaugural Performance
To purchase tickets for this concert, click here.
For information on the pre-concert dinner, click here.
(Program subject to change

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5/14/17

LOS ANGELES SYMPHONIC WINDS
Sunday, May 14th, 2017 – 2:30 pm
Calabasas Performing Arts Education Center
22855 Mulholland Hwy, Calabasas, CA 91302

Extraordinary Women – A Mother’s Day Concert to Remember
The LA Winds pay tribute to remarkable women who helped
shape the course of human history. Featured works will
include Giuseppi Verdi’s stirring “Overture to Joan of Arc”,
Mark Camphouse’s powerful “A Movement for Rosa”,
and Eric Coates’ regal “The Three Elizabeths”.

For tickets contact:
Mary Gallegos at mgallegos2@aol.com

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5/17/7

FREE ADMISSION GLENDALE NOON CONCERTS

On Wednesday  May 17, 2017 at 12:10-12:40 pm
the Free Admission Glendale Noon Concerts will feature
the Calico Winds performing duos and trios by
Heitor Villa-Lobos, Malcolm Arnolf and Joseph Canteloube
at the Sanctuary of Glendale City Church,
610 E. California Ave. (at Isabel St), Glendale, CA 91206.
For more information, email glendalesda@gmail.com
or call (818) 244- 7241.

HEITOR VILLA-LOBOS Bachianas Brasileiras No. 6 for Flute & Bassoon
MALCOLM ARNOLD Divertimento for Flute, Oboe and Clarinet
JOSEPH CANTELOUBE Rustiques for Oboe, Clarinet and Bassoon
Theresa Treuenfels (bassoon)
Rachel Berry (horn)
Ted Sugata ( oboe)
Kathryn Nevin (clarinet)
Eileen Holt (flute)

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5/20-21/17

CENTER STAGE OPERA PRESENTS
The Best of Broadway Volume III
Performing Arts Center (on the campus of Reseda High School)
Reseda, CA

May 20th – 7:30 PM
May 21st – 3:00 PM

Music from
Camelot, Cabaret, Guys and Dolls, A Chorus Line,
Snoopy the Musical, Company, Sweet Smell of success,
Miss Saigon, Woman of the Year, Avenue Q, The Wiz, 70 Girls 70
and Annie

Featuring
Nick Navarra
Stephanie Fredericks
Kate Bass
Dylan F. Thomas

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5/21/17

SONG OF THE ANGELS FLUTE ORCHESTRA
Founder, Frederick Staff
Music Director, Charles Fernandez

JAZZY FLUTES!

Sunday, May 21st 7pm at the
First Lutheran Church in Torrance

Guest artists
Ali Ryerson
David Shostac
Fred Seldon
and Billy Kerr

for tickets go here:

Concert Tickets

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5/27/17
CULVER CITY CHAMBER ORCHESTRA
Music Director/Conductor Arlene Cardenes
Saturday May 27th, 5:00PM
A Culver City Centennial Celebration
This performance will feature a new
fanfare by Cary Belling.
Also
Andres Cardenes, Violinist and COnductor
Turning Point School Auditorium
8780 National Blvd. 
Culver City, CA 90232
Click here for ticket information

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7/11-14/17

SANTA BARBARA JAZZ WORKSHOP

The LA Jazz Society is proud to partner with Kim Richmond
and Kimberly Ford in presenting the Santa Barbara Jazz
Workshop, July 11-14, from Tuesday afternoon to Friday night.

A faculty of Jazz professionals teach instrumental/vocal master
classes, improvisation, Jazz Listening (How to listen, and who to
listen to.), modern Jazz combo and Big Band playing with concerts
each late afternoon (open to the public) where advanced students sit in

For more information, visit www.santabarbarajazzcamp.com.

Presented by Kim Richmond and Kimberly Ford
at the Marjorie Luke Theater and SOHO Jazz Club.

You can read all previous offerings at:
http://www.responsible47.com

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UNTIL NEXT TIME,

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

ANOTHER NON-MEETING / SUBMISSION / COMMENT / BASS CAMP / EVENTS

April 29th, 2017

4/29/17
I. ANOTHER NON-MEETING LAST MONDAY

II. MEMBER SUBMISSION
III. MEMBER COMMENT
IV. NORTH TEXAS DOUBLE BASS CAMP
V. EVENTS

…Absolutely guaranteed anonymity – Former Musician’s Union officer
…The one voice of reason in a sea of insanity – Nashville ‘first call’
scoring musician
…Allows us to speak our minds without fear of reprisal – L.A. Symphonic musician
…Reporting issues the Musicians Union doesn’t dare to mention – National touring musician

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

I. ANOTHER NON-MEETING LAST MONDAY

It’s very telling that there were hundreds there Monday night for the
Lifetime Achievement Awards, but by the time they set up for
the meeting they couldn’t even make quorum. Only 43 stayed.

See the minutes below….

Many introductions – politicians – All Recording musician oriented.
When President Acosta explained what the awards were he mentioned recording musicians first, then orchestral and

copying folks..

Lots of shout outs to RMA friendly folks.

The five honored were:
Gene Cipriano – presented by Dan Higgins
Vincent DeRosa – presented by Annie Bosler
Louise DeTullio – presented by Gayle Levant
Carol Kaye – presented by Chuck Berghofer
and

Dick Nash presented by Alan Kaplan

Each presenter was presented by Rick Baptist.
And each recipient was given a trophy and
certificate from the city.

As you can tell, all the honorees were primarily
recording musicians. Were there no long term
LA Phil musicians they could have honored? The
local of course, knows where they think their
bread is buttered. All are certainly far more than
deserving, but how about someone who is not
an RMA Member.

—————

Didn’t get to actual meeting till 8:15

While the room was packed for the awards (hundreds),
how telling that no quorum was reached for
the meeting. Only 43 stayed.

Called the roll…

Seems a majority of those in attendance were
“Interested parties” In other words, those who
make money working for the union on the board
or in committees.

50 Year Pins given out:
John Scalo(SP?)
Rusty Higgins

Officer reports given –
President – Showed presentation.
Update on building transition – McCormick is
contractor. McCormick construction management.

PHASE I
Offices
Rehearsal rooms

PHASE II
Multipurpose room and main exterior

NEGOTIATIONS
LA Phil
LA Opera  Ratified
New West
Metro Community Orch Ratified
Greek
Tanikawa CBA Ratified
Musica Angelica
San Bernadino Sym in progress

Pasa Sym ongoing.
LA Jewish Sym
Perf Arts Center of LA “Dance at the Music Center”
Riverside Phil in progress
LA Master Chorale
Pasadena Playhouse

Grants and some other giving drying up, could be
a problem for smaller orchestras

TRENDS
2016 – 12,663 contracts (79 Million dollars in Wages) –
Slightly larger than last year.

Preached union vs. non-union.
Local wants to have rank and file help.  – Hopefully
the rank and file will help the union as much as the
union has helped the rank and file.

MAY DAY – May 1st – international workers day.
Worker  from the union spoke.
Some are working toward a ‘right to work’ situation.
May 1st there will be a March.
Wants members to come out on Monday to march.
MacArthur Park through Pershing Square to City Hall.
[EC: The irony was stifling. Our union has done more
to grow nonunion work than any other entity.]
Many talked in support to the March.

Back to the Pres.
Initiatives – Getting into the building
Discussion – SP562 – single payer health care.
If we can get it passed, it will reduce the problem
of health care in contracts.

Member spoke on SP562. Please help make calls!
Call your state senator to support this bill.

Planning  (5 year plan) will be presented in July.
Want to try to recapture members who’ve left.

VP REPORT
Will be honoring Lalo Schifrin
Concert Oct 7th at the Alex Theater.
Who’s paying for it? Music Fund of Los Angeles
(From the Local), Musicians at Play and Varese
Saraband.

Lots of nego… gives the Pres. praise.

In New York – Nego Live TV. Contract has been
around since 1954. Academy Awards Show –
Got musicians listed on the crawl.
Maybe the Golden Globes, Tonys etc. in the future.

LACC – Herb Alpert School – will be on career
technical advisory board.

SECRETARY REPORT –
2016 –
revenue  – $4,624,000+
cost – $4,543,000+
income $81,827 dollars

Membership drive is on right now.

DIRECTORY COMING OUT – Make sure they have
your most recent info.

We’re part of the Actor’s Fund and can call on
their services. If you know anyone have challenges,
please let them know that the Actor’s Fund is
there to help.

One thing to vote on, but no quorum, so it
was voted on by the board members.

Called Exec. Board Meeting. – no meeting quorum,
did have a board quorum.

Discussed the resolution:

[EC: In short the resolution was this. Currently the
Officers automatically get a COLA (Cost of Living
Increase) every year, though recently they have
foregone them because of the Local’s finances

This resolution would change it so they would only
get a COLA if the Local was in the green enough to
pay for the COLA’s cost TIMES 5.

In other words, if the cola would cost the Local, say
$5,000, the Local would have to make a profit of at least
$25,000 in profit (5 times the cost of the COLA.]

Salary Revue Board spoke in favor.
But wanted to amend it.
Originally, wanted to include board and committees
in COLA (cost of living increase calc. Legislative
committee said they should not do that. Should be
only for the titled officers, a formula to be used to
decide if they get a COLA (Cost of Living Adjustment).
If it shows that the local has been in positive territory
they get the cola, if not they don’t.

Election Board was given as an example – they make
a lot in election years, not much in others.

Remove Article V, Section VI

Much Discussion.

Who does the calculation?
Board member: Couldn’t do it last time because
of the quorum.

Member: Can the officers vote on it? Yes
Can send it to the membership by mail.

Board Member: Board member must recuse themselves
if they have a fiduciary interest.
Parliamentarian: No they don’t.

Motion to accept change was moved and seconded.
Board voted to accept the change.

Explanation:
Committee member: This is an attempt to MODERATE
the salaries by making the cola only be used if the
Local makes enough of a profit to offset the COLA.
(Times 5)

Committee member: Creates a minimum that must be
reached for the COLA to be used. Is a simple floor.

Legislative committee position: Formula was inconsistent
before.

Member asked: There are three months between meetings.
Why couldn’t this have been worked out in those three
months so we don’t have to sit through the minutiae in
a meeting?

Answer: Once the resolution is in print, it can only be
changed in a membership meeting.

Question called: Must vote on amendment first
Amendment restricted it to the titled officers… Passed by board
Now onto the resolution as amended – Passed

Meeting adjourned at 9:45PM

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

II. MEMBER SUBMISSION

Member: I believe the reason his title “Music Contractor” is why
he’s not an agent as he characterizes his job.

Also interesting point, at the end of article “embrace all
job opportunities not just the highest paying ones ” and
“We need to modernize without CANNIBALIZING”

Member comment:
I believe it is too late to prevent “CANNIBALIZING” He teamed
up with the other one who eat most everything.

The Man Behind Hollywood’s Top Musicians

FORBES – Apr 27, 2017 @ 07:00 AM

The world’s most famous film music composers are
as well respected as any other mainstream artists
today, and a number of them are even household
names. But the vehicle by which we come to know
and love these composers’ work is via a community
of world-class musicians who bring life to the musical
notes these composers have crafted on paper (or
more likely on a computer). These cellists, trombonists,
percussionists, vocalists, pianists and many more
have recorded the most famous and memorable
scores in history. But how do Hollywood’s top
composers secure the best musicians for their
projects?

Enter Peter Rotter and his company Encompass Music Partners.
Rotter is a music contractor and coordinator, which is
essentially a middleman, who’s been connecting the
harmonious dots since 1987. Having served as a music
consultant to Hollywood film score giants (John Williams,
Hans Zimmer, James Horner, James Newton Howard,
Alan Silvestri, Alexandre Desplat, Henry Jackman and
Brian Tyler, to name a few), it’s safe to say that he
works on more films than anyone else in the entire
music industry. Rotter says, “The fun part of my job
is being a musical casting agent. I basically become
part of the music, and provide the paint colors to the
composer’s canvas.” For example, for Hans Zimmer’s
score for Man of Steel, Rotter contracted ten of the
most renowned drummers on the earth, including
Pharrell Williams and Sheila E (known for performing
with Prince). Rotter also works with Grammy-nominated
Randy Kerber, who is one of the most respected pianists
in Hollywood history. In addition to performing on the
La La Land soundtrack, which Rotter worked on, Kerber
can be heard performing on John Williams’ iconic Harry
Potter theme, as well as songs for Michael Jackson.

Perhaps most unique and exciting to the film music
industry of late is Hans Zimmer’s live show, which
was trending on YouTube after his debut performance
at Coachella. Rotter is responsible for contracting
Zimmer’s string players and choral singers for every
West Coast performance, and the group is now on
tour across the globe.

Today Rotter works with over 60 composers who
specialize in scores across all mediums, including
film, television, video games, commercials, trailers,
records and various forms of new media. He says
that he has worked on over 1,000 film scores and
hundreds of episodes for television. The musicians
that he works with have spent as much or more
time studying as lawyers and doctors. They work
tirelessly to learn and maintain the craft of playing
their instruments. This dedication and hard work
translate into legendary performances that continue
to leave marks on the history of music.

The future of Rotter’s business is at the mercy of
the musician/performer unions and how they adapt
to the new age of content distribution. As more
content is created on new media, the landscape of
performance residuals and player union fees is still
being determined. This leaves challenges for
multiple sectors within the music industry:
performing artists, licensing, performing rights
organizations, film composers and music contractors.
Rotter’s philosophy is that “we need to modernize
without cannibalizing,” referring to the unions’
necessity to adjust to new business models. He
explains that to do this we have to embrace all job
opportunities, not just the highest-paying ones.
Meeting a project’s creative needs should be the
top priority, and introducing a range of budget
tiers will make the industry explode again. Rotter
concludes, “I want to create a legacy that builds
a bridge for the future of the music business.”

Jordan Passman is the Founder & CEO of
SCORE A SCORE, an LA-based company
focused on simplifying custom music and licensing.

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

III. MEMBER COMMENT

Local 47 AFM:

I was just visiting the Local 47 website and noticed the heading
of Musicians of Hollywood. There is far more to the jurisdiction
of Local 47 than just Hollywood (and by extension, Recording
Musicians.

For example, orchestral musicians in the Local’s jurisdiction also
have a standing in the world community but you wouldn’t know
looking at the Local 47 Website. No mention of the LA Phil,
LA Chamber Orchestra or LA Opera Orchestra. The LA Phil is
one of the five premiere orchestras of the world. It’s possible
that the LA Phil is producing more dues than the recording
musicians considering the loss of work. Yet they still solely
kiss the RMA Ring.

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

IV. NORTH TEXAS DOUBLE BASS CAMP

Early registration deadline is May 2nd for the North Texas
Double Bass Camps. We are filling up so SIGN UP NOW
before the price increases!

Click on the links below to sign up through our new
registration process.

The Bradetich Master Classes: June 20th-24th
For advanced high school and college-aged classical
students. The students receive 5 days of intense
musical training in all areas of bass playing –
orchestral, solo, and technique. Students also
participate in bass ensembles to enhance their
chamber music training.
https://app.getacceptd.com/bradetich

The Beginner and Intermediate Bass Camps:
June 22nd-24th  For any age level. This is a
fun camp, where students get to work closely
with superb bass teachers. Students focus on
advancing their technical facility and work in
a small group setting for lots of personal
attention.
https://app.getacceptd.com/bradetich

LICK HERE  for Camp Flyer

CLICK HERE to DONATE NOW to our bass
camp scholarship program.  If you have
questions or are interested in the camps,
please do not hesitate to e-mail or call
me direct. We are looking forward to seeing
all of you back at bass camp in June 🙂

Tammy Jo Leonard
Double Bass Camp Coordinator
tammy@bradetichfoundation.org
949-285-7522

North Texas Double Bass Camps at UNT

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

V. EVENTS
DEAN AND RICHARD
are now at Culver City Elks the first 
Friday of 
every month.
7:30pm-10:30pm,
11160 Washington Pl.
Culver City, 90232
310-839-8891

————————————-

LA WINDS JAZZ KATS 584
NO COVER, NO MINIMUM.
Every 2nd and 4th Tuesday of the month at
Viva Cantina
7:30-10:00.
900 Riverside Drive, 
Burbank.

Free parking across the street at Pickwick Bowl.
Come hear your favorite charts played the way
they 
should 
be. 

We are in the back room called
the Trailside Room. 


Come on down.

Guaranteed to swing.

——————————————

4/30/17

FREE CONCERT for the Public

THE PHIL NORMAN TENTET
AT THE
Ascension Lutheron Church
Sunday April 30th @ 5pm
1600 E. Hillcrest Drive
Thousand Oaks, CA. 91362

No Reservations Needed

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

——————————————

5/1/17 DEADLINE

NORTH/SOUTH CONSONANCE
2017 Call for Scores

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

Vocalists, percussion and/or electronics are acceptable

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

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

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

Complete submission guidelines at
http://www.northsouthmusic.org/Call-For-Scores

——————————————

5/3/17

Free Admission Glendale Noon Concerts series
(concerts every first & third Wednesday at 12:10-12:40 pm)
are listed at http://www.glendalenoonconcerts.blogspot.com
Thank you for your support in publicizing the Glendale
Noon Concerts!

Jacqueline Suzuki
Curator, GNC
818 249 -5108

On Wednesday  May 3, 2017 at 12:10-12:40 pm
the Free Admission Glendale Noon Concerts will feature
pianist Charles Fierro performing Debussy Preludes
at the Sanctuary of Glendale City Church,
610 E. California Ave. (at Isabel St), Glendale, CA 91206.
For more information, email glendalesda@gmail.com
or call (818) 244- 7241.

PROGRAM:
MAY 3, 2017
CHARLES FIERRO Piano Recital
DEBUSSY: SELECTED PRELUDES
The Dancers of Delphi
Sails
The Girl with the Flaxen Hair
What the West Wind Saw
The Engulfed Cathdral
The Interrupted Serenade
The Hills of Anacapri
Minstrels

————————————–

5/5/17

DOCTOR WU PERFORMANCE

We’ll be doing one set starting promptly at 8:00 PM at the Saint
Francis de Sales Festival on Friday, May 5th:

Saint Francis de Sales School
13368 Valleyheart Drive
Sherman Oaks, CA 91423

The Doctor Wu Band line up for this show will be:

Tony Egan: Lead Vocals
Leigh DeMarche: Vocals
Jodi Fodor: Vocals
Gil Ayan: Guitar
Steve Bias: Bass and Vocals
Jeff Dellisanti: Saxophones
Mark Harrison: Keyboards
Paul Salvo: Trumpet
Frank Villafranca: Saxophones
Jack Cook: Drums

Admission is free and we look forward to seeing you there!
The Doctor Wu Band
http://www.doctorwuband.com/
https://www.facebook.com/doctorwuband

—————————————————————————–

7/11-14/17

SANTA BARBARA JAZZ WORKSHOP

The LA Jazz Society is proud to partner with Kim Richmond
and Kimberly Ford in presenting the Santa Barbara Jazz
Workshop, July 11-14, from Tuesday afternoon to Friday night.

A faculty of Jazz professionals teach instrumental/vocal master
classes, improvisation, Jazz Listening (How to listen, and who to
listen to.), modern Jazz combo and Big Band playing with concerts
each late afternoon (open to the public) where advanced students sit in

For more information, visit www.santabarbarajazzcamp.com.

Presented by Kim Richmond and Kimberly Ford
at the Marjorie Luke Theater and SOHO Jazz Club.

You can read all previous offerings at:
http://www.responsible47.com

—————————————-
UNTIL NEXT TIME,

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

DEADLINE HOLLYWOOD / SUIT AGAINST STUDIOS / LAWSUIT DETAILS / COMMENT / EVENTS

April 20th, 2017

4/20/17
I. DEADLINE: HOLLYWOOD ARTICLE

II. OUTSOURCING SUIT AGAINST STUDIOS
III. LAWSUIT AGAINST STUDIOS (DETAILS)
IV. MEMBER COMMENT
V. EVENTS
…Absolutely guaranteed anonymity – Former Musician’s Union officer
…The one voice of reason in a sea of insanity – Nashville ‘first call’
scoring musician
…Allows us to speak our minds without fear of reprisal – L.A. Symphonic musician
…Reporting issues the Musicians Union doesn’t dare to mention – National touring musician

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

I. DEADLINE: HOLLYWOOD ARTICLE

Saying that its contracts have been “put at serious risk” by
“work done in the shadows,” Local 47 of the American Federation
of Musicians is preparing to launch a campaign “to ensure that
musicians can earn a livable wage working in Los Angeles.”
Related
WGA Video Urges Yes Vote On Strike Authorization

AFM Local 47
In a recent communique with its members, the local’s executive
board said more and more musicians “are being asked to record
music for major, well-funded projects without union contracts.
If union contracts are made irrelevant by work done in the
shadows, the floor for pay will drop for both union and non-
union musicians.” Read the full message below.
In many cases, union musicians are forced to choose between
working nonunion or not working at all. “These employment
practices are especially divisive and pernicious,” the executive
board said, “because they exert enormous pressure on
individual union members.”

The local’s current contract with the major studios doesn’t
expire until next April, but it’s already gearing up for a
tough round of bargaining. One of the challenges it’s
facing is the trend toward using foreign orchestras to
score films and TV shows that were shot right here
in Los Angeles. Another problem is that the AFM’s
multibillion-dollar pension plan is in “critical” condition.

Related Warner Bros, MGM & Paramount Hit With Outsourcing
Suit By Musicians Union

“The actuary certified that for the plan years beginning
April 1, 2016, and 2015, respectively, the plan is in
‘critical’ status under the Pension Protection Act of 2006,”
according to the AFM Pension Plan’s latest financial
report. As such, the Plan’s board of trustees was
required by law to adopt a rehabilitation plan
designed to improve its financial health and to
allow it to emerge from critical status.

“We all know what it is like to wonder where your
next call is going to come from or how you are
going to pay your bills,” the executive board said.
“No single musician can stop the forces that
undermine our profession, but as a union we
have always been able to push back. We believe
that it is now necessary to take action together.”
[EC: See late weeks Blog for the full message text.]

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

II. OUTSOURCING SUIT AGAINST STUDIOS
Warner Bros, MGM & Paramount Hit With Outsourcing Suit By Musicians Union

by Dominic Patten

According to the American Federation of Musicians, the

songs did not remain the same — or at least in the places

they were supposed to be. The 80,000-member-strong

union slammed Warner Bros, Paramount Pictures and

MGM last week in federal court with a breach of contract

lawsuit over four features’ music scores, including the

Hans Zimmer score for Paramount’s Interstellar, which

was nominated for an Oscar this year. The AFM alleges

that the trio of studios broke a 2010 agreement to

ensure that the music for movies made in the U.S.

and Canada was made here too.

“The AFM brings this …action to remedy Defendants’

violations of their respective obligations to employ AFM

members under the terms of the collective bargaining

agreement in recording music in connection with the

production of theatrical motion pictures (referred to

as ‘scoring’) titled (1) Interstellar, (2) Journey 2:

The Mysterious Island, (3) Robocop, and (4) Carrie,

all of which were produced by one or more of the

Defendants in the United States or Canada,  but

were scored, in violation of the agreement,
outside the United States or Canada,” says the
11-page complaint (read it here) seeking a jury trial.
Intersteller, Robocop and Carrie were scored in the

UK, and Journey 2 was produced in Australia and

Papua New Guinea.

[EC: Notice the only commonality of all these actions? To
protect the RMA elites.]

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

III. LAWSUIT AGAINST STUDIOS (DETAILS)
LEWIS N. LEVY, Bar No. 105975
DANIEL R. BARTH, Bar No. 274009
Levy, Ford & Wallach
3619 Motor Avenue
Los Angeles, CA 90034
Telephone: (213) 380

3140
Facsimile: (213) 480-3284
Email:
LLevy@lfwlawyers.com
DBarth@lfwlawyers.com
JEFFREY R. FREUND (pro hac vice application forthcoming)
ROBERT ALEXANDER (pro hac vice application forthcoming)
ABIGAIL V. CARTER (pro hac vice application forthcoming)
PHILIP C. ANDONIAN (applicationfor admission pending)
Bredhoff & Kaiser, PLLC
805 15th
Street N.W., Suite 100
Washington, D.C. 20005
Email: jfreund@bredhoff.com
ralexander@bredhoff.com
acarter@bredhoff.com
pandonian@bredhoff.com
Attorneys for Plaintiff
UNITED STATES DISTRICT COURT
CENTRAL DISTRICT OF CALIFORNIA
AMERICAN FEDERATION OF
MUSICIANS OF THE UNITED
STATES AND CANADA
Plaintiff v. WARNER BROTHERS
ENTERTAINMENT, INC., PARAMOUNT
PICTURES, INC., and METRO-GOLDWYN-MAYER
PICTURES, INC.
Defendants.
CASE NO. 2:15-CV-3069
COMPLAINT
JURY TRIAL DEMANDED
NATURE OF THE CASE

1. This is an action under §301 of the Labor Management
Relations Act (“LMRA”), 29 U.S.C
. § 185, for violations of a collective bargaining
agreement to which the Plaintiff American Federation
of Musicians of the United States and Canada
(hereinafter “AFM”) and the Defendants Warner Brothers
Entertainment, Inc. (hereinafter “Warner Brothers”),
Paramount Pictures

Corporation (hereinafter “Paramount”), and Metro
-Goldwyn-Mayer Pictures, Inc.
(hereinafter “MGM”) (collectively “Defendants”) are parties.
The AFM brings this § 301 action to remedy Defendants’
violations of their respective obligations
to employ AFM members under the terms of the
collective bargaining agreement in recording
music in connection with the production of
theatrical motion pictures (referred to as
“scoring”) titled
(1) Interstellar,
(2) Journey 2: The Mysterious Island,
(3) Robocop, and
(4) Carrie, all of which were produced by one
or more of the Defendants in the United
States or Canada, but were scored, in
violation of the agreement, outside the
United States or Canada. This action
seeks to recover appropriate breach of
contract damages, including but not limited
to musician wages payable pursuant to the
agreement, to compel Defendants to make the
contributions due under the agreement to
certain separate musician funds that are
maintained under that agreement for the
benefit of AFM musicians, and to obtain a
court declaration of the AFM’s and its
members’ rights and of the Defendants’
duties with respect to the collective
bargaining agreement in relation to each
Defendant’s violation of that agreement.
JURISDICTION AND VENUE

2. This Court has jurisdiction over this lawsuit
and parties pursuant to 29 U.S.C. § 185
and 28 U.S.C. § 1331.

3. Venue lies in this District pursuant to
29 U.S.C. § 185(a) and 28 U.S.C. § 1391(b).

PARTIES

4. The Plaintiff AFM is a labor organization
that represents approximately 80,000 professional
musicians in the United States and Canada, including
many hundreds of studio recording musicians who
work to score motion pictures produced in this
District and throughout the United States and Canada.

The AFM is “a labor organization representing
employees in an industry affecting commerce”
within the meaning of the federal statute,
29 U.S.C. § 185, authorizing “[s]uits for violation
of contracts” between such a labor organization
and “an employer.”

5. The Defendant Warner Brothers produces theatrical
motion pictures through its motion picture units,
including Warner Brothers Pictures and New Line
Cinema, and employs in the United States and
Canada professional musicians represented by
the AFM in their production. Warner Brothers
maintains its headquarters at 4000 Warner
Boulevard, Burbank, CA 91522, and engages in
business on a regular basis in the Central
District of California.

6. The Defendant Paramount produces theatrical
motion pictures and employs in the United States
and Canada professional musicians represented
by the AFM in their production. Paramount maintains
its headquarters at 5555 Melrose Avenue, Los Angeles,
CA 90038, and engages in business on a regular
basis in the Central District of California.

7. The Defendant MGM produces theatrical motion pictures
and employs in the United States and Canada professional
musicians represented by the AFM in their production.
MGM maintains its headquarters at 245 N Beverly Drive,
Beverly Hills, CA 90210, and engages in business on
a regular basis in the Central District of California.

8. Each of the Defendants is “an employer” within
the meaning of the federal statute, 29 U.S.C. § 185,
authorizing “[s]uits for violation of contracts”
between such an employer and “a labor organization
representing employees in an industry affecting commerce.”

FACTS

9. At all times relevant to this lawsuit,
the AFM and each of the Defendants were
parties to a collective bargaining agreement,
titled “Basic Theatrical Motion Picture Agreement
of 2010” (hereinafter “Agreement”). The
Agreement is a contract between Defendants as
employers and the AFM as a labor organization
representing employee musicians within the
meaning of 29 U.S.C.

§185. Each of the Defendants is a
“Producer” as to certain theatrical
motion pictures within the terms of the
Agreement. When executed, the terms of
the Agreement were effective for the
period April 14, 2010 through February
23, 2013, and were subsequently extended
through April 4, 2015.

10. The Agreement set out wage and benefit
terms for various defined categories of AFM
members, including, inter alia, instrumental and
orchestral musicians who work to score theatrical
motion pictures (“Musicians”).

The Agreement governed all work by Musicians
“employed by the Producer in the State of California
or elsewhere in the United States and Canada and
whose services are rendered in connection with
the production of theatrical motions pictures.”
Services “rendered in connection with the production
of theatrical motion pictures” include, but are not
limited to, recording of music for use in
connection with the production, known as “scoring.”

11. The Agreement required that “[a]ll
theatrical motion pictures produced by
the Producer in the United States or
Canada, if scored, shall be scored
in the United States or Canada,” unless
excused by the AFM under circumstances
not present here.

12. With respect to a motion picture that
is required to be scored in the United
States or Canada under the terms of the
Agreement, Producers were required to
employ Musicians under the terms of the
Agreement, and were required, among
other things, to provide compensation in
accordance with the compensation terms
specified in the Agreement. A Producer’s
compensation obligations under the
Agreement include, but are not limited
to: (i) the obligation to make specified
minimum wage and other payments; (ii)
the obligation to make a specified level
of contributions to the American Federation
of Musicians and Employers’ Pension Fund,
and various health benefit funds; and (iii)
if appropriate, make contributions to the
Film Musicians Secondary Markets Fund
for the benefit of Musicians.

13. When a motion picture is required to
be scored pursuant to the terms of the
Agreement in the United States or Canada,
and when Producers employed Musicians
pursuant to the terms of the Agreement to
perform work covered by the Agreement,
each Musician’s total hours of service and
total wages paid for covered work must be
reported to the AFM. The reporting process
includes, but is not limited to, submitting
standardized documents known as “B forms,”
which records the work performed by the
Musicians, their wages, and their benefits
contributions.

14. During the term of the Agreement, including
its extension, the following were among the
theatrical motion pictures produced in the
United States and/or Canada by one or more
of the Defendants:
(1) Interstellar;
(2) Journey 2: The Mysterious Island;
(3) Robocop; and
(4) Carrie
(collectively “the Pictures”).

15. Warner Brothers was a Producer subject
to the terms of the Agreement regarding
the motion pictures Interstellar and Journey 2:
The Mysterious Island; MGM was a Producer
subject to the terms of the Agreement regarding
the motion pictures Robocop and Carrie; and
Paramount was a Producer subject to the terms
of the Agreement regarding Interstellar and Robocop.

16. Each of the Pictures was scored under the
meaning of the Agreement.

17. Each of the Pictures was scored outside of the
United States or Canada in violation of the Agreement.
On information and belief, Interstellar, Carrie, and
Robocop were each scored in Great Britain, and
Journey 2: The Mysterious Island was scored in
Papau New Guinea and Australia.

18. The Defendants did not comply with the
compensation terms required by the Agreement
and in the scoring of the motion pictures employed
persons who were not Musicians under the terms
of the Agreement outside of the United States or
Canada, in violation of the Agreement.

CLAIMS FOR RELIEF
COUNT ONE
Declaratory Judgment
(Against all Defendants)

19. The allegations in Paragraphs 1 through
18 above are re-alleged and incorporated
herein by reference.

20. Each of the Defendants was a “Producer” under
the terms of the Agreement in connection with the
production and scoring of one or more of the
Pictures.

21. Each of the Pictures was produced in the
United States and/or Canada within the terms
of the Agreement and during the effective term
of the Agreement and its extension. Pursuant
to the Agreement, each of the Pictures was
required to be scored in the United States or
Canada with Musicians represented by Plaintiff,
and Musicians represented by Plaintiff were
entitled to the compensation set out in the
Agreement.

22. Each of the Defendants employed musicians
to score each of the Pictures as to which it was
a Producer outside of the United States or Canada.

23. Each of the Defendants scored each of the
Pictures as to which it was a Producer outside
of the United States or Canada, in breach of
the express terms of the Agreement.

24. Accordingly, the AFM is entitled to a declaration
(1) that each Defendant was a Producer subject
to the terms of the Agreement with respect to
those motion pictures it is identified as a producer
of in paragraph 15; (2) that each Defendant breached
the Agreement when it scored the motion pictures
as to which it was a Producer outside of the United
States or Canada, and (3) that each Defendant
breached the Agreement when it failed to employ
AFM Musicians under the terms of the Agreement
to score the motion pictures produced in the
United States or Canada as to which it was a
Producer.

COUNT TWO
Breach of Contract
(Against Warner Brothers)
25. The allegations in Paragraphs 1
through 24 above are re-alleged
and incorporated herein by reference.

26. Defendant Warner Brothers was a
Producer under the terms of the Agreement
of the theatrical motion pictures Interstellar
and Journey 2: The Mysterious Island

27. Interstellar and Journey 2: The Mysterious Island
were produced in the United States.

28. Interstellar was scored outside
of the United States or Canada,
in Great Britain. With respect to
such work, proper compensation
and associated payments required
under the Agreement were not made
to or for the benefit of AFM members,
and the AFM and its affiliates were not
provided B Forms reflecting the number
of sessions performed, the musicians
used, and the payments made or due.

29. Journey 2: The Mysterious Island
was scored outside of the United States
or Canada, in Papau New Guinea and
Australia. With respect to such work,
proper compensation and associated
payments required under the Agreement
were not made to or for the benefit of
AFM members, and the AFM and its
affiliates were not provided B Forms
reflecting the number of sessions
performed, the musicians used,
and the payments made or due.

30. By scoring Interstellar and Journey 2:
The Mysterious Island outside the United
States or Canada, Warner Brothers violated
and breached the terms of the Agreement.

31. Warner Brothers’s violations and
breaches of the Agreement have caused
financial injuries to the AFM and its
members, in an amount to be proven
at trial.

COIUNT THREE
Breach of Contract

29 U.S.C. § 185
(Against Paramount)
32. The allegations in Paragraphs 1
through 31 above are re-alleged
and incorporated herein by reference.

33. Defendant Paramount was a Producer under the terms
of the Agreement of the theatrical motion pictures
Interstellar and Robocop
.
34. Interstellar was produced in the United
States and Robocop was produced in the
United States and Canada.

35. Interstellar was scored outside of the
United States or Canada, in Great Britain.
With respect to such work, proper compensation
and associated payments required under the
Agreement were not made to or for the benefit
of AFM members, and the AFM and its affiliates
were not provided B Forms reflecting the number
of sessions performed, the musicians used, and
the payments made or due.

36. Robocop was scored outside of the United States or
Canada, in Great Britain. With respect to such work,
proper compensation and associated payments required
under the Agreement were not made to or for the benefit
of AFM members, and the AFM and its affiliates were not
provided B Forms reflecting the number of sessions
performed, the musicians used, and the payments
made or due.

37. By scoring Interstellar and Robocop outside the United
States or Canada, Paramount violated and breached the
terms of the Agreement.

38. Paramount’s violations and breaches of the
Agreement have caused financial injuries to the
AFM and its members, in an amount to be proven
at trial.

COUNT FOUR
Breach of Contract

29 U.S.C. § 185
(Against MGM)
39. The allegations in Paragraphs 1 through 38 above
are re-alleged and incorporated herein by reference.
40. Defendant MGM was a Producer under the terms of the
Agreement of the theatrical motion pictures Carrie and
Robocop
.
41. Carrie was produced in Canada
and Robocop was produced in
the United States and Canada.

42. Carrie was scored outside of the United
States or Canada, in Great Britain. With respect
to such work, proper compensation and associated
payments required under the Agreement were
not made to or for the benefit of AFM members,
and the AFM and its affiliates were not provided
B Forms reflecting the number of sessions
performed, the musicians used, and the payments
made or due.

43. Robocop was scored outside of the United States or
Canada, in Great Britain. With respect to such work,
proper compensation and associated payments required
under the Agreement were not made to or for the benefit
of AFM members, and the AFM and its affiliates were
not provided B Forms reflecting the number of sessions
performed, the musicians used, and the payments
made or due.

44. By scoring Carrie and Robocop outside the United

States or Canada, MGM violated and breached the

terms of the Agreement.

45. MGM’s violations and breaches of the Agreement

have caused financial injuries to the AFM and its

members, in an amount to be proven at trial.

PRAYER FOR RELIEF
WHEREFORE, the AFM respectfully requests that

this Court:

(1) Issue the declaratory judgment requested in COUNT ONE;
(2) Award the AFM damages for all losses suffered
by the AFM and its members as a result of Defendants’
breaches of the Agreement as set out in COUNT
TWO, COUNT THREE, AND COUNT FOUR;

(3) Order each Defendant to make appropriate contributions
to the American Federation of Musicians and Employers’
Pension Fund, various health benefit funds, and to the
Film Musicians Secondary Markets Fund for the benefit
of Musicians that would have been made if Defendants
had not breached the Agreement as set forth in COUNT
TWO, COUNT THREE, and COUNT FOUR;

(4) Order each of the Defendants to make such other payments
as may have been required if the motion pictures had been
scored under the terms of the Agreement in the United
States or Canada;

(5) Award the Plaintiff pre-judgment interest as required

by law; and

(6) Order such other and further relief as this Court

may deem appropriate.
JURY DEMAND
Plaintiff demands a trial by jury on all claims so triable.

Respectfully submitted,
DATED: April 24, 2015
/S/ Lewis N. Levy
LEWIS N. LEVY, Bar No.
105975
DANIEL R. BARTH, Bar No. 274009
Levy, Ford & Wallach
3619 Motor Avenue
Los Angeles, CA 90034
Email: LLevy@lfwlawyers.com
DBarth@lfwlawyers.com
JEFFREY R. FREUND (pro hac vice
application forthcoming)
ROBERT ALEXANDER (pro hac
vice
application forthcoming)
ABIGAIL V. CARTER (pro hac vice
application forthcoming)
PHILIP C. ANDONIAN (application for
admission pending)
Bredhoff & Kaiser, PLLC
805 15th Street N.W., Suite 100
Washington, D.C. 20005
Email: jfreund@bredhoff.com
ral
exander@bredhoff.com
acarter@bredhoff.com
pandonian@bredhoff.com
Attorneys for Plaintiff

[EC: So, repeatedly in the above lawsuit, Levy et al state:
Award the AFM damages for all losses suffered
by the AFM and its members as a result of Defendants’
breaches of the Agreement as set out in COUNT
TWO, COUNT THREE, AND COUNT FOUR;

Who’s going to decide which musicians get
those payments? Don’t hold your breathe,
you know exactly who they will go to.

If they lose the only ones making out
will be Levy and Company. If they win,
the rank and file will never see a cent.

It seems the Local 47 administration has
become the Donald Trump of the music
industry. Regardless of what happens, they
NEVER take responsibility for their incompetence,
it’s always on someone else, in this case
the studios, for making the AFM unusable.
It’s the contracts that make the AFM unusable,
and it is also the result of the AFM/LOCAL 47
protecting the RMA to the exclusion of
everyone else.

As it turns out, they’re spending our 10
million leftover from the building sale to
try to fatten the pockets of the elites, much
like Trump does. It’s our money, but it’s
certainly not being spent on the rank
and file. All they’re missing is their Mar-a Lago.]

THE ORIGINAL COMPLAINT CAN BE FOUND HERE:
read it here

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

IV. MEMBER COMMENT

An article in WSJ  April 19, 2017 “HOLLYWOOD DOESN’T
WORK WITHOUT CHINA” front page continued on page 12,
read if you get a chance!

This not only describes how the Film & TV industry has
changed since 2008 but why, it’s what the future will
look like. Show me the money or sell it to China.

Also, a speculation, could even factor into our Pension
plan if the studios become desperate to stay afloat.
It could all disappear, worse case scenario.

Right now it has to be great for residuals catering
to a global community like never before.  Don’t
expect any buyouts anywhere in the future while
the ramla are in charge.

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

V. EVENTS
DEAN AND RICHARD
are now at Culver City Elks the first 
Friday of 
every month.
7:30pm-10:30pm,
11160 Washington Pl.
Culver City, 90232
310-839-8891

————————————-

LA WINDS JAZZ KATS 584
NO COVER, NO MINIMUM.
Every 2nd and 4th Tuesday of the month at
Viva Cantina
7:30-10:00.
900 Riverside Drive, 
Burbank.

Free parking across the street at Pickwick Bowl.
Come hear your favorite charts played the way
they 
should 
be. 

We are in the back room called
the Trailside Room. 


Come on down.

Guaranteed to swing.

—————————————–

4/23/17

Malibu Friends of Music’s
Montgomery Arts House
For Music & Architecture
(MAHMA)
in partnership with

University of Rochester’s
Eastman School of Music
present

EASTMAN IN MALIBU

NICHOLAS GOLUSES
Classic Guitarist
with the
MALIBU COAST CHAMBER ORCHESTRA SOLISTI
Scott Hosfeld, Music Director

APRIL 23rd, 2017 at 3:30 pm
inside the beautiful
MAHMA MUSIC ROOM

ALSO FEATURING RESIDENT ARTISTS:
Maria Newman, violinist
Scott Hosfeld, violist
Paula Hochhalter, cellist
Wendy Prober, pianist

AND PRESENTING:
Jamal Rossi, Joan and Martin Messinger Dean:
Eastman School of Music ~ University of Rochester

MUSIC OF:
Astor Piazzolla, Antonio Vivaldi, Manual da Falla,
Niccolo Paganini, and Maria Newman
…and a little taste of MAHMA:
TENDER HEARTS (1909) Silent Short Film
Starring America’s Sweetheart, Mary Pickford

——————————————

4/6/17

The SCL Presents:
BEYOND THE POLKA with Cory Pesaturo
WRITING FOR ACCORDION

WEDNESDAY, APRIL 26th, 2017
7:30PM
The Village Studios | Auditorium
1616 Butler Avenue
Los Angeles, CA 90025

Parking available in adjacent lot, or $2 street parking
public lots nearby:

Cory Pesaturo is one of only four accordionists to win
world championships on both the acoustic and digital
accordion and is the only person to also win a world
championship in jazz.  He is a graduate of the New
England Conservatory of Music, where he was the
first musician ever to major and graduate in the accordion.

Cory’s primary contribution to the instrument is
his visionary thinking of how the accordion
should be used, played, and presented in modern
music. Cory currently gives masterclasses on
music theory and the accordion throughout the
US and Europe. He is developing his own electric
accordion, and has created the first ever skinned
accordion that includes a symmetric midi lighting
system attached to the keys.

——————————————

4/23/17

The BBB featuring Bernie Dresel

This Sunday April 23rd from 7-8:30
at
BOGIES in Westlake Village
(right off the 101 at Lindero Canyon Road exit.)
call 818-889-2394 for ticket reservations
$20 cover charge
32001 Agoura Road, Westlake Village, CA 91361

Come join The BBB featuring Bernie Dresel,
(13 horns, upright bass, guitar, and plenty of drums)
at this gorgeous new club swingin’ & rockin’
selections from our brand new album, Live n’ Bernin’,
featuring high-octane, new & original arrangements
by Walter Murphy, Steve Bramson, Nan Schwartz,
Jim McMillen, Tim Simonec, Bill Cunliffe, Scott Healy,
Andrew Neu, Brian Williams, and Jeff Bunnell.

Our new album Live n’ Bernin’ will be available for
sale at this show.
(Also available online at CDBaby and Amazon,
as well as downloads on iTunes, CDBaby and Amazon).

——————————————

4/29/17

LOS ANGELES CLARINET CHOIR SPRING CONCERT
Saturday, April 29 at 8PM-9PM
Barrett Recital Hall
Pasadena Conservatory of Music
100 North Hill Street
Pasadena, CA 91106

The Los Angeles Clarinet Choir, 15 clarinetists
directed by Margaret Thornhill and Victoria Ramos,
gives the World Premiere of “Hajdu’s Nigun” for
clarinet ensemble by Matti Kovler, and performs
other signature works by Japanese, Brazillian,
German and American composers.

Tickets are $20 general, $15 students and seniors.
Seating limited; advance purchase recommended
through www.brownpapertickets.com

——————————————

4/30/17

FREE CONCERT for the Public

THE PHIL NORMAN TENTET
AT THE
Ascension Lutheron Church
Sunday April 30th @ 5pm
1600 E. Hillcrest Drive
Thousand Oaks, CA. 91362

No Reservations Needed

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

——————————————

5/1/17 DEADLINE

NORTH/SOUTH CONSONANCE
2017 Call for Scores

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

Vocalists, percussion and/or electronics are acceptable

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

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

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

Complete submission guidelines at
http://www.northsouthmusic.org/Call-For-Scores

——————————————

5/3/17

Free Admission Glendale Noon Concerts series
(concerts every first & third Wednesday at 12:10-12:40 pm)
are listed at http://www.glendalenoonconcerts.blogspot.com
Thank you for your support in publicizing the Glendale
Noon Concerts!

Jacqueline Suzuki
Curator, GNC
818 249 -5108

On Wednesday  May 3, 2017 at 12:10-12:40 pm
the Free Admission Glendale Noon Concerts will feature
pianist Charles Fierro performing Debussy Preludes
at the Sanctuary of Glendale City Church,
610 E. California Ave. (at Isabel St), Glendale, CA 91206.
For more information, email glendalesda@gmail.com
or call (818) 244- 7241.

PROGRAM:
MAY 3, 2017
CHARLES FIERRO Piano Recital
DEBUSSY: SELECTED PRELUDES
The Dancers of Delphi
Sails
The Girl with the Flaxen Hair
What the West Wind Saw
The Engulfed Cathdral
The Interrupted Serenade
The Hills of Anacapri
Minstrels

————————————–

5/5/17

DOCTOR WU PERFORMANCE

We’ll be doing one set starting promptly at 8:00 PM at the Saint
Francis de Sales Festival on Friday, May 5th:

Saint Francis de Sales School
13368 Valleyheart Drive
Sherman Oaks, CA 91423

The Doctor Wu Band line up for this show will be:

Tony Egan: Lead Vocals
Leigh DeMarche: Vocals
Jodi Fodor: Vocals
Gil Ayan: Guitar
Steve Bias: Bass and Vocals
Jeff Dellisanti: Saxophones
Mark Harrison: Keyboards
Paul Salvo: Trumpet
Frank Villafranca: Saxophones
Jack Cook: Drums

Admission is free and we look forward to seeing you there!
The Doctor Wu Band
http://www.doctorwuband.com/
https://www.facebook.com/doctorwuband

—————————————————————————–

7/11-14/17

SANTA BARBARA JAZZ WORKSHOP

The LA Jazz Society is proud to partner with Kim Richmond
and Kimberly Ford in presenting the Santa Barbara Jazz
Workshop, July 11-14, from Tuesday afternoon to Friday night.

A faculty of Jazz professionals teach instrumental/vocal master
classes, improvisation, Jazz Listening (How to listen, and who to
listen to.), modern Jazz combo and Big Band playing with concerts
each late afternoon (open to the public) where advanced students sit in

For more information, visit www.santabarbarajazzcamp.com.

Presented by Kim Richmond and Kimberly Ford
at the Marjorie Luke Theater and SOHO Jazz Club.

You can read all previous offerings at:
http://www.responsible47.com

—————————————-
UNTIL NEXT TIME,

THE COMMITTEE FOR A MORE

RESPONSIBLE LOCAL 47

IRONY DEFINED / MUSICIANS FOR PENSION SECURITY / EVENTS

April 13th, 2017

4/11/17
I. IRONY DEFINED

II. MUSICIANS FOR PENSION SECURITY

III. EVENTS

 
…Absolutely guaranteed anonymity – Former Musician’s Union officer

…The one voice of reason in a sea of insanity – Nashville ‘first call’
scoring musician
…Allows us to speak our minds without fear of reprisal – L.A. Symphonic musician

…Reporting issues the Musicians Union doesn’t dare to mention – National touring musician

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

I. IRONY DEFINED

[EC: Obviously they’re missing the fact that because of the lack of union
work ALL members: a listers, Rank and File, LOCAL 47 BOARD MEMBERS
are all doing non-union work. It’s the only way to make a living. Why
don’t they start by dismantling the RMA, the one organization  that did
the most to destroy our industry, enrich a fraction while putting a
majority out of union work. We have our own swamp to drain.]

From the AFM

To all members of the American Federation of Musicians Local 47:

Our contracts are the heart of our union. Whatever we achieve

through collective action and collective bargaining is secured

because management signs agreements. Our contracts allow

us to make sure employers do what they are obligated to do.

They raise the expectations of all musicians for pay, benefits,

and professional treatment.

Recently, those contracts have been put at serious risk.

Members of Local 47 are being asked to record music for

major, well-funded projects without union contracts. If

union contracts are made irrelevant by work done in the

shadows, the floor for pay will drop for both union and

non-union musicians. These employment practices are

especially divisive and pernicious because they exert

enormous pressure on individual union members.

We all know what it is like to wonder where your next

call is going to come from or how you are going to pay

your bills. No single musician can stop the forces that

undermine our profession, but as a union we have

always been able to push back.

We believe that it is now necessary to take action

together. We call upon the Federation and other AFM

Locals to unite with our membership in defense of our

union and our contracts. In the coming months we

will be launching a campaign to uphold our contracts,

to recapture work being done in the shadows and to

ensure that musicians can earn a livable wage

working in Los Angeles.

Our goals are:
1. To ensure fair pay, benefits, and professional treatment

for musicians.
2. To protect our union’s ability to bargain, administer

and uphold our contracts.
3. To bring more work under union agreements.

We, the Executive Board of AFM Local 47, are committed

to building a stronger, more successful future together.

– AFM Local 47 Executive Board

[EC: What a joke, Half the people on the board do non-union work.
Clean up your own damn house before trying to fine others for feeding
their families. In addition, write contracts we can use, contracts with

buyout options. short of that it’s an unavoidable, slow death.]

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

II. MEMBERSHIP FINALLY GETTING MAD –

THE AFM-EPF PENSION FUND IS IN CRISIS

MUSICIANS FOR PENSION SECURITY (NEW YORK)

website will launch on April 19

Our pension benefits could be significantly cut…
forever Fund Trust witness are preparing a plan to drastically cut our
pension benefits and file an application with the Treasury Department
under the Multiemployer Pension Reform Act (MPRA)

This could happen as early are this summer

If that plan is approved, the same Trustees and financial managers
who have run our pension into the ground will still be managing the fund.

WE NEED TO TAKE ACTION BEFORE THEY DO!

MUSICIANS FOR PENSION SECURITY, a newly formed pension
awareness group, is hosting an informal talk and discussion –
colleague to colleague, friend to friend. We are as concerned
as you are and are eager to share what we’ve learned.

Wednesday, April 19th, 2017 – 5:30-7:30

St. Malachi’s – The Actor’s Chapel
236 W. 49th Street (Between Broadway and 8th Avenue. (New York)

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

III. EVENTS
DEAN AND RICHARD
are now at Culver City Elks the first 
Friday of 
every month.
7:30pm-10:30pm,
11160 Washington Pl.
Culver City, 90232
310-839-8891

————————————-

LA WINDS JAZZ KATS 584
NO COVER, NO MINIMUM.
Every 2nd and 4th Tuesday of the month at
Viva Cantina
7:30-10:00.
900 Riverside Drive, 
Burbank.

Free parking across the street at Pickwick Bowl.
Come hear your favorite charts played the way
they 
should 
be. 

We are in the back room called
the Trailside Room. 


Come on down.

Guaranteed to swing.

—————————————–

4/14/17

The SCL in NY & The New School Present:
“RUFF CUTS”
An evening of short films
and composer/filmmaker networking

Friday, April 14, 2017
7:00PM to 9:00PM

The New School | Arnhold Hall
55 West 13th Street, 2nd Floor
New York, NY, 10011
Join the SCL in NY and The New School for
their final “RUFF CUTS” program of the
Spring 2017 academic semester.  Alumni
of the SCL NY Mentorship Program will
present recent films that they have scored,
alongside student films from The New
School, and discuss their collaborative
process.  This is a terrific opportunity
to meet New York-based filmmakers
while supporting the SCL NY and The
New School film program!

REGISTRATION REQUIRED:

Click “ATTEND EVENT” below
and

enter your first and last name (no spaces) in
the promotional code field for free SCL Member ticket.
FREE for SCL and THE NEW SCHOOL MEMBERS
The New School | Arnhold Hall
55 West 13th Street, 2nd Floor
New York, NY, 10011

——————————————

4/19/17

ASMAC presents
Monica Mancini & Gregg Field
on April 19th at Catalina’s –
11:30 am

Click Here to Reserve Now!

Join ASMAC as we present  a special luncheon with

Monica Mancini & Gregg Field

Wednesday, April 19th
11:30 a.m. networking,
12 noon Buffet Brunch,
12:45 p.m. Program.

Catalina’s Jazz Club – Hollywood
6725 Sunset Blvd., Hollywood 90028
Parking entrance on McCadden

Join us for a unique opportunity to hear from this dynamic duo –
their career paths and highlights, a few stories, and muslc!
Recording artist and double-Grammy nominated vocalist
Monica Mancini and Producer, Musician, educator, 7 time
Grammy winner, and Latin Grammy “Producer of the Year”
Gregg Field

Concord Records recording artist and double-Grammy
nominated vocalist MONICA MANCINI, daughter of famed
film composer Henry Mancini has carved out an impressive
career as a concert performer, appearing with major
symphony orchestras worldwide, including the Chicago
Symphony, New York Pops, Boston Pops, Dallas Symphony,
Seattle Symphony and the London Metropolitan Orchestra.

Seven time Grammy winner, and Latin Grammy “Producer
of the Year”, GREGG FIELD is one of the most musically
diverse and highly sought-after producers, musicians
and educators in music.

Join us — bring your questions!

Wednesday, April 19, 2017
11:30 am  Reception/Networking  •  12:00 noon  Buffet Lunch
12:45 pm  – Program begins

Catalina’s in Hollywood
6725 Sunset Blvd., Hollywood 90028
Parking entrance on McCadden

STUDENTS:  PLEASE NOTE
The Bill Conti Big Band Arranging & Composing Competition
is still accepting entries. $1,000 top prize.  Please visit asmac.
org for more information.

 
—————————————–

4/19/17

CALICO WINDS at
GLENDALE NOON CONCERTS
12:10 – 12:40

On Wednesday  April 19, 2017 at 12:10-12:40 pm
the Free Admission Glendale Noon Concerts will feature
the Calico Winds performing works for woodwind quintet by
Darius Milhaud and Claude Arrieu
at the Sanctuary of Glendale City Church,
610 E. California Ave. (at Isabel St), Glendale, CA 91206.
For more information, email glendalesda@gmail.com
or call (818) 244- 7241.

——————————————

4/29/17

LOS ANGELES CLARINET CHOIR SPRING CONCERT
Saturday, April 29 at 8PM-9PM
Barrett Recital Hall
Pasadena Conservatory of Music
100 North Hill Street
Pasadena, CA 91106

The Los Angeles Clarinet Choir, 15 clarinetists
directed by Margaret Thornhill and Victoria Ramos,
gives the World Premiere of “Hajdu’s Nigun” for
clarinet ensemble by Matti Kovler, and performs
other signature works by Japanese, Brazillian,
German and American composers.

Tickets are $20 general, $15 students and seniors.
Seating limited; advance purchase recommended
through www.brownpapertickets.com

——————————————

7/11-14/17

SANTA BARBARA JAZZ WORKSHOP

The LA Jazz Society is proud to partner with Kim Richmond
and Kimberly Ford in presenting the Santa Barbara Jazz
Workshop, July 11-14, from Tuesday afternoon to Friday night.

A faculty of Jazz professionals teach instrumental/vocal master
classes, improvisation, Jazz Listening (How to listen, and who to
listen to.), modern Jazz combo and Big Band playing with concerts
each late afternoon (open to the public) where advanced students sit in

For more information, visit www.santabarbarajazzcamp.com.

Presented by Kim Richmond and Kimberly Ford
at the Marjorie Luke Theater and SOHO Jazz Club.

You can read all previous offerings at:
http://www.responsible47.com

—————————————-
UNTIL NEXT TIME,

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

FACEBOOK / JAZZ? / SUMMER PROGRAM / EVENTS

April 7th, 2017

4/7/17
I. FACEBOOK CONVERSATION

II. GOT JAZZ STUDENTS?

III. INTERNATIONAL FILM SCORING SUMMER PROGRAM

IV. EVENTS
…Absolutely guaranteed anonymity – Former Musician’s Union officer
…The one voice of reason in a sea of insanity – Nashville ‘first call’
scoring musician
…Allows us to speak our minds without fear of reprisal – L.A. Symphonic musician
…Reporting issues the Musicians Union doesn’t dare to mention – National touring musician

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

I. FACEBOOK CONVERSATION

The following comment solicited several responses. We thought
you should see them

Initial Comment:

Just read in the notes of the OVERTURE that our president earns
$120,813.00 a year, our vice-president earns $97,921.00 a
year and our treasurer $97,921.00. With no work and the
pension fund failing all I can say is ?????????

Responses:

– OR IN OTHER WORDS VOTE NO. They had a big several
years ago that I agreed with hoping to get a better quality
administration but we still have the same quality making
a lot more money. We work less, they raise the dues and
want more money. Does not make sense to me.

-There is no sense involved. Only $$ for others, not the
general membership in the form of gainful employment.

-Our union is dying a slow and painful death. I have
been put out to pasture and these retirees make more
money not to play music than to play. Meanwhile the
money put aside in investment from paychecks of the
little people like me and you has been devastatingly
divested. I hope they feel just a bit of guilt.

-That is beyond the pale

-This is so sad

-That’s why I left the union

=-We should be paying someone to handle the pension
money. They obviously don’t know what they’re doing.

-People tried to bring this detail of high salaries up to
the membership, pointing out the union was complaining
of not enough money and that is why they needed to
sell the building (got a phone call wanting my yes vote
saying exactly that). High salaries were brought up then,
also in context of musicians struggling and membership
down. The uproar that happened from the membership
if the officers were dare examined. Oh my. The
membership seemed FINE with it then. It was a mentality
of “Oh, must protect the officers at alllll costs”. Apparently,
the industry wasn’t effecting enough people yet. Now it is
starting to. Now it is hitting everyone in the pension. The
pain is beginning to reach more members further up. Now
this topic of the officers high salaries seems to be pointed
out once again, more and more, from the membership.
The only question to me is, how bad will it have to be
before the membership votes on doing something about it.

-Seems like they’re rearranging the deck chairs on the
Titanic on its voyage to Burbank.

-There are many, many , many more non-union jobs going
on that I’m hearing about. WHY is this? They could be,
but why aren’t they?????

-You mean you’re seeing what I’ve been preaching about
for a decade??????

-Didn’t the membership who showed up to one of the
meetings even go along with voting down a resolution
that said the union had to have a balanced budget?
Just now though…. now that everyone is getting hit
and not just a select few. Nowwwwww salaries are
being noticed. Too little too late I think.

-This has been going on forever!!! And they wanted
to sell the building for $$$$ BIG BUCKS….and where
do you think that money was going?? Do the math………..

-Wanted to? The did sell it. They paid huge money to
someone and had them spread misinformation to sway
it into a yes vote by the membership. I got the call and
set the liar straight. But then he called greg and stuck
to his lies. It was unbelievable the script the callers
were given to sway it into a yes vote. And in the end,
what was voted yes on didn’t happen. We voted on a
particular building. That building fell thru. They bought
another one. The membership never voted on that one.
Basically: sell the building, destroy the pension, no
resolution to even have to keep a balanced budget …..

but HEY! Awesome huge salaries! Must be nice…. if it
wasn’t so disgusting what all is going on now.

-If the membership had not been such scared apathetic
cowards something could have done

-A pig gets fat a hog gets slaughtered.

-Well lets do something about it now…spread this
across Facebook. Start knitting hats (!)

We will be in worse shape without the union. Individual
issues need ti be addressed individually. The Overture
openly told you about this. Isn’t that ethical?

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

II. GOT JAZZ STUDENTS?

SANTA BARBARA JAZZ WORKSHOP

The LA Jazz Society is proud to partner with Kim Richmond
and Kimberly Ford in presenting the Santa Barbara Jazz
Workshop, July 11-14, from Tuesday afternoon to Friday night.

A faculty of Jazz professionals teach instrumental/vocal master
classes, improvisation, Jazz Listening (How to listen, and who to
listen to.), modern Jazz combo and Big Band playing with concerts
each late afternoon (open to the public) where advanced students sit in

For more information, visit www.santabarbarajazzcamp.com.

Presented by Kim Richmond and Kimberly Ford
at the Marjorie Luke Theater and SOHO Jazz Club.

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

III. INTERNATIONAL FILM SCORING SUMMER PROGRAM
July 1st – 24th 2017
Varna, Bulgaria, on the Black Sea.
www.filmscoringsummerprogram.com

The 2017 Film Scoring Summer Program is a unique opportunity
to support and develop your professional music career, study
with an amazing faculty, make incredible new friends, and
leave with a stunning portfolio of your original music
composed for Picture and recorded live with orchestra.

In its third consecutive successful year, the 2017 Film
Scoring Summer Program is a professional, exciting
and dynamic 3 week summer program for a new
generation of global film composers.

Each year we welcome musicians from around the
world, bringing together amazing, creative global
talent, working with recording and performing
professionals and studying with Hollywood film
composers Christopher Young, (Spider-Man 3,
Hellraiser, Drag Me to Hell, The Monkey King 2,
and 100 other films), Evan Evans,(composer of
over 60 feature films) renowned conductor/
composer Derek Gleeson, and more.

Our film scoring summer program is specifically
designed for developing, supporting and equipping
international creative musicians, who are either
about to enter, or are currently working in, the
global entertainment music industry.

It includes composing to picture with Christopher
Young, and for your final film music composition
cue, recording with a 38 piece orchestra.

Facilitating this unique summer program are several
outstanding organizations. Your 5 original film music
compositions will be performed and recorded by
members of the Varna State Opera Orchestra at
the world renowned Bulgarian National Radio
(BNR Varna Studio One).

The host city is the beautiful Black Sea city of
Varna, Bulgaria, with beaches at the end of the
esplanade, parks, cafes, restaurants, historical
architecture and night life.

The film scoring summer program is based at
the International Cherno More Hotel, providing
excellent rooms for faculty and students, social
meet up zones, restaurants, piano bar, and a
brilliant purpose built conference room where
we hold and deliver all the classes.

Where will your summer take you?
For more information about the 2017 film
scoring summer program and to register,
visit www.filmscoringsummerprogram.com
Email info@filmscoringsummerprogram.com with any queries.

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

IV. EVENTS
DEAN AND RICHARD
are now at Culver City Elks the first 
Friday of 
every month.
7:30pm-10:30pm,
11160 Washington Pl.
Culver City, 90232
310-839-8891

 

————————————-

 

LA WINDS JAZZ KATS 584
NO COVER, NO MINIMUM.
Every 2nd and 4th Tuesday of the month at
Viva Cantina
7:30-10:00.
900 Riverside Drive, 
Burbank.

Free parking across the street at Pickwick Bowl.
Come hear your favorite charts played the way
they 
should 
be. 

We are in the back room called
the Trailside Room. 


Come on down.

Guaranteed to swing.

—————————————–

4/14/17

The SCL in NY & The New School Present:
“RUFF CUTS”
An evening of short films
and composer/filmmaker networking

Friday, April 14, 2017
7:00PM to 9:00PM

The New School | Arnhold Hall
55 West 13th Street, 2nd Floor
New York, NY, 10011
Join the SCL in NY and The New School for
their final “RUFF CUTS” program of the
Spring 2017 academic semester.  Alumni
of the SCL NY Mentorship Program will
present recent films that they have scored,
alongside student films from The New
School, and discuss their collaborative
process.  This is a terrific opportunity
to meet New York-based filmmakers
while supporting the SCL NY and The
New School film program!

REGISTRATION REQUIRED:

Click “ATTEND EVENT” below
 and

enter your first and last name (no spaces) in
the promotional code field for free SCL

Member ticket.

FREE for SCL and THE NEW SCHOOL MEMBERS
The New School | Arnhold Hall
55 West 13th Street, 2nd Floor
New York, NY, 10011

——————————————

4/19/17

ASMAC presents
Monica Mancini & Gregg Field
on April 19th at Catalina’s –
11:30 am
Join ASMAC as we present  a special luncheon with

Monica Mancini & Gregg Field

Wednesday, April 19th
11:30 a.m. networking,
12 noon Buffet Brunch,
12:45 p.m. Program.

Catalina’s Jazz Club – Hollywood
6725 Sunset Blvd., Hollywood 90028
Parking entrance on McCadden

Join us for a unique opportunity to hear from this dynamic duo –
their career paths and highlights, a few stories, and muslc!
Recording artist and double-Grammy nominated vocalist
Monica Mancini and Producer, Musician, educator, 7 time
Grammy winner, and Latin Grammy “Producer of the Year”
Gregg Field

Concord Records recording artist and double-Grammy
nominated vocalist MONICA MANCINI, daughter of famed
film composer Henry Mancini has carved out an impressive
career as a concert performer, appearing with major
symphony orchestras worldwide, including the Chicago
Symphony, New York Pops, Boston Pops, Dallas Symphony,
Seattle Symphony and the London Metropolitan Orchestra.

Seven time Grammy winner, and Latin Grammy “Producer
of the Year”, GREGG FIELD is one of the most musically
diverse and highly sought-after producers, musicians
and educators in music.

Join us — bring your questions!

Wednesday, April 19, 2017
11:30 am  Reception/Networking  •  12:00 noon  Buffet Lunch
12:45 pm  – Program begins

Catalina’s in Hollywood
6725 Sunset Blvd., Hollywood 90028
Parking entrance on McCadden

STUDENTS:  PLEASE NOTE
The Bill Conti Big Band Arranging & Composing Competition
is still accepting entries. $1,000 top prize.  Please visit asmac.
org for more information.
—————————————–

4/19/17

CALICO WINDS at
GLENDALE NOON CONCERTS
12:10 – 12:40

On Wednesday  April 19, 2017 at 12:10-12:40 pm
the Free Admission Glendale Noon Concerts will feature
the Calico Winds performing works for woodwind quintet by
Darius Milhaud and Claude Arrieu
at the Sanctuary of Glendale City Church,
610 E. California Ave. (at Isabel St), Glendale, CA 91206.
For more information, email glendalesda@gmail.com
or call (818) 244- 7241.

——————————————

4/29/17

LOS ANGELES CLARINET CHOIR SPRING CONCERT
Saturday, April 29 at 8PM-9PM
Barrett Recital Hall
Pasadena Conservatory of Music
100 North Hill Street
Pasadena, CA 91106

The Los Angeles Clarinet Choir, 15 clarinetists
directed by Margaret Thornhill and Victoria Ramos,
gives the World Premiere of “Hajdu’s Nigun” for
clarinet ensemble by Matti Kovler, and performs
other signature works by Japanese, Brazillian,
German and American composers.

Tickets are $20 general, $15 students and seniors.
Seating limited; advance purchase recommended
through www.brownpapertickets.com

——————————————

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

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

PENSION NOTICE / ACLU BENEFIT / CALL FOR SCORES / EVENTS

March 30th, 2017

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

II. BENEFIT FOR THE ACLU APRIL 3RD
III. NORTH/SOUTH CONSONANCE CALL FOR SCORES
IV. EVENTS

…Absolutely guaranteed anonymity – Former Musician’s Union officer
…The one voice of reason in a sea of insanity – Nashville ‘first call’
scoring musician

…Allows us to speak our minds without fear of reprisal – L.A. Symphonic musician
…Reporting issues the Musicians Union doesn’t dare to mention – National touring musician

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

I. DID YOU RECEIVE THIS? – PENSION FUND

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

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

Rehabilitation Plan and Possibility of Reduction in Benefits

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

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

Adjustable Benefits

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

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

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

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

Employer Surcharge

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

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

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

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

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

II. BENEFIT FOR THE ACLU APRIL 3RD

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

More info below.

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

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

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

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

III. NORTH/SOUTH CONSONANCE CALL FOR SCORES 2017

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

Vocalists, percussion and/or electronics are acceptable

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

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

Online Submissions at

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

Complete submission guidelines at

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

Be part for our 38th Season!

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

IV. EVENTS
DEAN AND RICHARD
are now at Culver City Elks the first 
Friday of 
every month.
7:30pm-10:30pm,
11160 Washington Pl.
Culver City, 90232
310-839-8891

————————————-

LA WINDS JAZZ KATS 584
NO COVER, NO MINIMUM.
Every 2nd and 4th Tuesday of the month at
Viva Cantina
7:30-10:00.
900 Riverside Drive, 
Burbank.

Free parking across the street at Pickwick Bowl.
Come hear your favorite charts played the way
they 
should 
be. 

We are in the back room called
the Trailside Room. 


Come on down.

Guaranteed to swing.

——————————————

4/1/17

USC THORNTON WIND ENSEMBLE:
Made in America

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

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

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

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

———————————————-

4/2/17

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

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

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

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

Master of Ceremonies – Filippo Voltaggio

Admission is free. Reception to follow.

——————————————

4/29/17

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

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

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

As always, there will be lots of food and drink

http://mapq.st/1KWwYZb

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

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

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

NEA / BILL GREEN BRUNCH / ASMAC EVENTS / EVENTS

March 19th, 2017

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

 

…Absolutely guaranteed anonymity – Former Musician’s Union officer
…The one voice of reason in a sea of insanity – Nashville ‘first call’
scoring musician

…Allows us to speak our minds without fear of reprisal – L.A. Symphonic musician
…Reporting issues the Musicians Union doesn’t dare to mention – National touring musician

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

I. HELP THE NEA

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

1) First of all, the League of American Orchestras

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

and defend the NEA:

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

 

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

that you may forward to others, of language drafted

by the American Federation of Musicians, to reiterate

your support of the NEA.

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

 

3) If you would like to get involved further to

support the NEA in conjunction with other

musicians and artists, contact

jefferson.kemper@promusic47.org

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

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

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

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

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

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

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

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

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

$15 admission Charge – plus Food

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

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

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

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

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

III. UPCOMING ASMAC EVENTS

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

“Live at M.B.’s Studio”

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

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

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

others may be added.

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

FIRM Reservations required
– limited availability each date.

Free for ASMAC members

Additional sessions will be set to accommodate overflow reservations.

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

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

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

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

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

CLICK HERE TO RESERVE NOW

•   SAVE THE DATE   •

ASMAC LUNCHEON!

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

Monica Mancini & Gregg Field
@ Catalina’s in Hollywood

____________________________

STUDENTS:

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

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

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

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

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

IV. EVENTS
DEAN AND RICHARD
are now at Culver City Elks the first 
Friday of 
every month.
7:30pm-10:30pm,
11160 Washington Pl.
Culver City, 90232
310-839-8891

————————————-

LA WINDS JAZZ KATS 584
NO COVER, NO MINIMUM.
Every 2nd and 4th Tuesday of the month at
Viva Cantina
7:30-10:00.
900 Riverside Drive, 
Burbank.

Free parking across the street at Pickwick Bowl.
Come hear your favorite charts played the way
they 
should 
be. 

We are in the back room called
the Trailside Room. 


Come on down.

Guaranteed to swing.

———————————-

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

May 13, 2017 – Agoura Hills/Calabasas Community Center

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

Programs subject to change

——————————————

3/19/17

The Adam Cohen Band at TRIP Santa Monica

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

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

——————————————

3/19/17

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

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

——————————————

3/22/17

THE PHIL NORMAN TENTET

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

MARCH 22nd @ 8:00pm

Click here to visit Herb Alpert’s Vibrato Grill Jazz

PLAYING THE MUSIC OF JAZZ GREATS

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

Performed by some of Los Angeles
finest musicians

————————————-

3/23/17

The BBB featuring Bernie Dresel

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

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

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

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

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

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

———————————

3/25/17

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


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

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

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

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

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

www.musiciansatplay.org

——————————————

3/26/17

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

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

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

PENSION? WHAT PENSION? / REPORTS / COMMENTS / EVENTS

March 9th, 2017

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

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

…Absolutely guaranteed anonymity – Former Musician’s Union officer
…The one voice of reason in a sea of insanity – Nashville ‘first call’
scoring musician

…Allows us to speak our minds without fear of reprisal – L.A. Symphonic musician
…Reporting issues the Musicians Union doesn’t dare to mention – National touring musician

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

I. PENSION MEETING REPORT – NEW YORK

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

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

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

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

+++++++++

Dear Friends,

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

Topic One: Pension Fund Comparisons.

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

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

Topic Two: Index Fund Strategies

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

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

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

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

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

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

Here’s the list:

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

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

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

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

II. PENSION MEETING REPORT – LOS ANGELES

Hi Editor,

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

Member Observer Notes:

Really ….it was a warning meeting.

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

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

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

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

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

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

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

Another comment received via e-mail:

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

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

Long Time Member

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

III. Member Comments and Commentary

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

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

——————————————————————-

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

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

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

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

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

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

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

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

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

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

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

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

And who can you blame for the loss of work?

You know who.

THE COMMITTEE]

—————————————

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

—————————————-

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

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

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

IV. EVENTS
DEAN AND RICHARD
are now at Culver City Elks the first 
Friday of 
every month.
7:30pm-10:30pm,
11160 Washington Pl.
Culver City, 90232
310-839-8891

————————————-

LA WINDS JAZZ KATS 584
NO COVER, NO MINIMUM.
Every 2nd and 4th Tuesday of the month at
Viva Cantina
7:30-10:00.
900 Riverside Drive, 
Burbank.

Free parking across the street at Pickwick Bowl.
Come hear your favorite charts played the way
they 
should 
be. 

We are in the back room called
the Trailside Room. 


Come on down.

Guaranteed to swing.

———————————-

3/15/17

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

ARTHUR OMURA Harpsichord Recital.
Thank you!

Sanctuary of Glendale City Church,
610 E. California Ave. (at Isabel St), Glendale, CA 91206.
For more information, email glendalesda@gmail.com
or call (818) 244- 7241.

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

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

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

May 13, 2017 –

Agoura Hills/Calabasas Community Center

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

Programs subject to change

——————————————

3/22/17

THE PHIL NORMAN TENTET

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

MARCH 22nd @ 8:00pm

Click here to visit Herb Alpert’s Vibrato Grill Jazz

PLAYING THE MUSIC OF JAZZ GREATS

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

Performed by some of Los Angeles
finest musicians

————————————-

3/25/17

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


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

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

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

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

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

www.musiciansatplay.org

——————————————

3/26/17

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

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

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

MEMBER LETTER TO BOARD / EVENTS

March 3rd, 2017

3/3/17
I. LETTER TO LOCAL 47 BOARD
II. EVENTS
…Absolutely guaranteed anonymity – Former Musician’s Union officer
…The one voice of reason in a sea of insanity – Nashville ‘first call’
scoring musician

…Allows us to speak our minds without fear of reprisal – L.A. Symphonic musician
…Reporting issues the Musicians Union doesn’t dare to mention – National touring musician

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

I. LETTER TO LOCAL 47 BOARD

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

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

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

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

The union is for everyone?

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

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

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

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

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

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

How can music possibly flourish under these
conditions?

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

[Follow-up from the member]

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

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

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

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

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

III. EVENTS
DEAN AND RICHARD
are now at Culver City Elks the first 
Friday of 
every month.
7:30pm-10:30pm,
11160 Washington Pl.
Culver City, 90232
310-839-8891

————————————-

LA WINDS JAZZ KATS 584
NO COVER, NO MINIMUM.
Every 2nd and 4th Tuesday of the month at
Viva Cantina
7:30-10:00.
900 Riverside Drive, 
Burbank.

Free parking across the street at Pickwick Bowl.
Come hear your favorite charts played the way
they 
should 
be. 

We are in the back room called
the Trailside Room. 


Come on down.

Guaranteed to swing.

————————-

3/4/17

IT’S A ROCKIN’ MALIBU BEACH PARTY!

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

Saturday, March 4th – Downbeat 8PM

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

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

—————————

3/4/17

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

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

—————————

3/5/17

Song of the Angels Flute Orchestra
in concert!

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

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

Tickets are now available online at the usual location:

Concert Tickets

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

—————————

3/5/17

CULVER CITY SYMPHONY ORCHESTRA

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

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

You can find a list here: LINK

—————————–

3/15/17

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

ARTHUR OMURA Harpsichord Recital.
Thank you!

Sanctuary of Glendale City Church,
610 E. California Ave. (at Isabel St), Glendale, CA 91206.
For more information, email glendalesda@gmail.com
or call (818) 244- 7241.

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

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

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

May 13, 2017 – Agoura Hills/Calabasas Community Center

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

Programs subject to change

——————————————

3/25/17

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


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

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

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

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

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

www.musiciansatplay.org

——————————————

3/26/17

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

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

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47

FI-CORE / BLOOMBERG ARTICLE / EVENTS

February 24th, 2017

2/24/17
I. FI-CORE

II. MORE POTENTIAL PROBLEMS: BLOOMBERG BUSINESSWEEK

III. EVENTS
…Absolutely guaranteed anonymity – Former Musician’s Union officer
…The one voice of reason in a sea of insanity – Nashville ‘first call’
scoring musician

…Allows us to speak our minds without fear of reprisal – L.A. Symphonic musician
…Reporting issues the Musicians Union doesn’t dare to mention – National touring musician

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

I. FI-CORE

Thinking of going FI-Core? Tired of looking over your shoulder
to see if Gordon Greyson is taking pictures or harassing members,..
or one of his minions?

If you do decide to go Fi-Core, this is a letter you might get:

Re: American Federation of Musicians, Local 47 – and – ———–
(Your Resignation letter of ++-++-20++

Dear ——,

This letter responds to your letter of ++-++-20++ to my office.
First, this letter acknowledges receipt of your correspondence
and your request to resign you (misspelled in the letter) membership
in American Federation of Musicians, Local 47 (“Local 47”) as well
as the American Federation of Musicians (the AFM). As of today’s
date, Local 47’s records reflect that you are no longer a member
in good standing of Local 47 and, instead, you have opted to pay
Local 47 a representation fee in accordance with the United States
Supreme Court decision in Communication Workers of America
vs. Beck and the opinion of the National Labor Relations Board
in California Saw and Knife.

Local 47 further understands that, in accordance with the Beck and
California Saw and Knife decisions, you are not objecting to the payment
of full Local 47 dues. Rather, you are merely resigning your membership
in Local 47 and, thereby, forfeiting all rights and membership therein.

We have also forwarding your resignation request to the AFM. You will
receive a separate correspondence from the AFM with regard to your
request to resign from the AFM as those matters are processed directly
by the AFM.

Next, enclosed you will find the following:

1. A written “Certification” of Local 47’s Agency Fee Calculations, for
calendar year 20++, executed by Bernard Kotlin and Co., Local 47’s
outside auditor. As you can see from the text of the Certification, the
current calculation for chargeable expenses, with respect to the
Agency Fee obligation, is currently set at 81.2% of Local 47’s regular
membership dues and work dues.

2. A copy of Local 47’s current Agency Fee policy, which (a) describes
the categories of expenses that Local 47 had deemed chargeable/non-
chargeable and (b) sets forth the manner and method by which those
persons wishing to do so may object to Local 47’s calculations of chargeable
and non-chargeable expenses.

Should you have any further questions regarding the matters set forth in
the enclosures contained in this letter, please direct them to my office.

Very Truly yours,

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

Secretary-Treasurer
American Federation of Musicians, Local 47, AFL-CIO

———–

Colleagues,

In case you might not be aware, the whole purpose

of the initial lawsuit was because a member did not

want his dues going to a particular politician. He

wanted that portion of his membership dues back.

In 1968, the Communications Workers of America

(CWA) used union members’ dues, in part, to support

Vice President Hubert Humphrey’s campaign for President

of the United States[54] and Senator Joseph Tydings’

re-election campaign.[45] Harry Beck was a maintenance

worker with the Chesapeake & Potomac Telephone Co.

(C&PT) in Maryland and a CWA organizer.[54][55] Beck

protested the use of his union dues for a political cause

in which he did not believe and asked for a refund.[54]

The CWA refused, arguing that using union dues for

political expenditures was appropriate and legal.[45]

 

In the early 1970s, after disagreeing with national CWA

officials over a union organizing drive in suburban

Baltimore, Maryland, Beck resigned from the union

and began to pay the $10-a-month agency fee.[54][55]

Beck continued to protest the use of his agency fee for

political purposes, and asked the CWA to provide a

more accurate accounting of how much money it spent

on politics.[55] The union refused.[55]

In June 1976, Beck and 19 other non-union members

of the CWA’s bargaining unit at C&PT sued the union

for a refund.[45][51][54][55][56] The National Right to

Work Legal Defense Foundation provided legal counsel

and support to Beck and the other 18 workers.[45][54][55]

Beck quit C&PT in 1979 and moved to Oregon, where he

worked at CWA-organized job at American Telephone &

Telegraph and continued to pay his agency fee.[55]

For more info and history please see:
https://en.wikipedia.org/wiki/Communications_Workers_of_America_v._Beck#cite_note-33

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

II. MORE POTENTIAL PROBLEMS: BLOOMBERG BUSINESSWEEK

The article below is from BloombergBusinesweek.
by Josh Eidelson
February 16, 2017

UNIONS ARE LOSING THEIR DECADES LONG ‘RIght-to-Work’
fight.

Mandatory fees are endangered at the Supreme Court,
statehouses. and Congress.

Last year the total share of U.S. workers who belong to a union
fell to 10.7 percent, a record low. That number could go a lot
lower in the next few years. Following decades of declining
membership, unions face an existential crisis as right-to-work
laws being pushed at state and federal levels would ban
their ability to collect mandatory fees from the workers
they represent, a key source of revenue for organized labor.

Once largely confined to the conservative South, right-to-work
is encroaching on unions’ longtime strongholds in the North
and Midwest and, pending a U.S. Supreme Court ruling, could
soon cover a majority of the unionized workforce in the U.S.
Following a 47-year lull, six states in five years have passed
right-to-work laws. “The South is clearly winning this particular
civil war,” says University of California at Santa Barbara
historian Nelson Lichtenstein.

In their first weeks in office, the new Republican governors of
Kentucky and Missouri have already signed right-to-work laws,
making them the 27th and 28th states, respectively, to ban
mandatory union fees. By Feb. 16, New Hampshire’s House
of Representatives will vote on a proposal, endorsed by the
state’s Republican governor and already approved by its Senate,
to become the first right-to-work state in the Northeast. In Iowa,
where right-to-work is already the law, Republicans are looking
to further curb unions’ power with a bill restricting public
employees’ collective bargaining rights.

“Organized labor—it’s really the man behind the curtain in
The Wizard of Oz,” says Matt Patterson, who directs Americans
for Tax Reform’s Center for Worker Freedom, an anti-union
nonprofit. “People aren’t scared of them the way they used
to be.” Right-to-work is now the law in almost every state
where Republicans control the governorship and the state
legislature. The only exception other than New Hampshire
is Ohio, where a sweeping anti-union law was successfully
overturned by a referendum in 2011.

The most expansive change is likely to come from the
Supreme Court, whose 5-4 conservative majority will be
restored if the Senate confirms Neil Gorsuch to fill Justice
Antonin Scalia’s seat. Before Scalia’s death last year, unions
were bracing for a likely defeat in Friedrichs v. California
Teachers Association, a case brought by teachers and
conservative groups who argued that mandatory union
fees violate government employees’ constitutional rights.
Without Scalia, that case deadlocked at 4-4, but several
similar suits are pending in lower courts.

Labor leaders expect the issue could reach the Supreme
Court in time for a ruling this year, making right-to-work
the law of the land for the entire public sector, which
employs about half the 14.6 million U.S. union members.
“There’s not a doubt in my mind that the clock is ticking
on that one,” says Greg Junemann, president of the
International Federation of Professional & Technical
Engineers. Service Employees International Union President
Mary Kay Henry, who before Scalia’s death said her
union was preemptively “preparing to become a voluntary
organization,” sent staff a memo after Donald Trump’s
election win announcing that the union would plan for a
30 percent cut in its budget, almost all of which comes
from dues and fees.

Unions have been trying to get ahead of the challenge. Since
2013 staff members and activists from the 1.6 million-strong
American Federation of State, County, and Municipal Employees
have conducted 600,000 one-on-one conversations with
workers covered by AFSCME contracts. AFSCME officials say
they reached a sobering conclusion in 2015 about how the
workers it represents might behave under right-to-work:
While roughly 35 percent would likely pay dues no matter
what, about half could be “on the fence.” The remaining 15
percent or so would likely not pay dues under right-to-work.
“We’ve found that at times we were treating all of our 1.6
million members as if they were activists, and they aren’t,”
says AFSCME President Lee Saunders. “We were taking some
things for granted.”

AFSCME says it’s overhauled how it communicates with
workers, including targeting its e-mails and Facebook
ads so those who are lukewarm on the union are more
likely to get information about obtaining a free associate’s
degree through the union than to see a call to action
with an upraised fist.

The unionization rate in right-to-work states is
less than half the rest of the country’s. Organizers
say letting workers decline to pay fees defunds unions,
diverts staff resources that could otherwise be devoted
to growth, and divides workers—just as Congress
intended when it passed the 1947 Taft-Hartley Act
allowing states to pass right-to-work laws. By 1964,
20 states had banned mandatory fees. After that the
map stayed nearly static for almost half a century,
with just three more states passing right-to-work and
one repealing it.

Then, after the 2010 midterm elections, unions’ flagging
political clout and Republicans’ newfound dominance
in state government ushered in a surge of right-to-work
laws, beginning in 2012 in Indiana and spreading to onetime
union bastions Michigan and Wisconsin. Each new law lets
conservatives in neighboring states claim they need to follow
suit to compete for business. And labor’s failure to deliver
on promises to oust right-to-work backers has helped
embolden Republicans elsewhere.

Republicans in Congress have introduced a bill to make
the nation’s entire private sector right-to-work. Although
it’s unlikely to pass unless Republicans abolish the filibuster,
private-sector unions like the Communications Workers
of America say they’re preparing for the potential loss of
mandatory fees. Mark Mix, president of the nonprofit
National Right to Work Committee, says he jokes with
his staff members about updating their résumés. Once
right-to-work is a nationwide policy, he says, the 62-y
ear-old organization will have completed its mission.
“As soon as we pass this bill,” says Mix, “we’re clearing
house.”

The bottom line: Right-to-work laws are encroaching
on unions’ longtime strongholds in the North and Midwest.

————————-

Colleagues,

Everyone who is a member of the AFM knows

how membership has atrophied over the last few

years, and NOT because of right-to-work. The

reason the AFM membership has been reduced

so drastically is because the AFM does not

represent ALL members, but only the Elites in

Recording and in Orchestras under a CBA.

In 1983, the Los Angeles local has in the area

of 13,000 members. Now? The membership

is little more than 6,000. Why? The Local

concentrates it’s efforts on recording musicians

to the exclusion of everyone else. Work has left,

and the union knows full well what has to be

done to get it back, but rather kiss the ring

of the RMA, as the IEB does as well.

If you want to know who to blame for the

work loss, there are many reasons, but locally

look no further than the board of your AFM

Local, OR the fact that their hands are tied

by the control of the RMA over the AFM.

Let’s be clear, the COMMITTEE fully supports

an honest union, a union that DESERVES the

support of the rank and file, which Local 47

does not.

If we didn’t care, why would we still be here?

If we  didn’t care we’d have wiped are hands

of this corrupt local long ago.

THE COMMITTEE

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

III. EVENTS
DEAN AND RICHARD
are now at Culver City Elks the first 
Friday of 
every month.
7:30pm-10:30pm,
11160 Washington Pl.
Culver City, 90232
310-839-8891

————————————-

LA WINDS JAZZ KATS 584
NO COVER, NO MINIMUM.
Every 2nd and 4th Tuesday of the month at
Viva Cantina
7:30-10:00.
900 Riverside Drive, 
Burbank.

Free parking across the street at Pickwick Bowl.
Come hear your favorite charts played the way
they 
should 
be. 

We are in the back room called
the Trailside Room. 


Come on down.

Guaranteed to swing.

——————————

2/24/17

DON’T MISS THE
THE PHIL NORMAN TENTET
AT THE
NEWPORT BEACH JAZZ PARTY

February 23rd thru February 26th
Marriott Hotel & Spa
900 Newport Center Drive
Newport Beach, CA 92660

Tentet’s performance
Friday, February 24th @ 2:30pm

For Tickets: 949-759-5003
www.newportbeachjazzparty.com

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

——————————————

3/1/17

FREE ADMISSION GLENDALE NOON CONCERTS

Info about upcoming programs through JUNE 2017
at the Free Admission Glendale Noon Concerts series
(concerts every first & third Wednesday at 12:10-12:40 pm)
are listed at http://www.glendalenoonconcerts.blogspot.com

Jacqueline Suzuki
Curator, GNC
818 249 -5108

On Wednesday MARCH 1, 2017 at 12:10-12:40 pm
the Free Admission Glendale Noon Concerts will feature
viola d’amore player Adriana Zoppo, flutist Sherril Woods
and cellist Alexa Haynes-Pilon performing Telemann and Quantz
at the Sanctuary of Glendale City Church,
610 E. California Ave. (at Isabel St), Glendale, CA 91206.
For more information, email glendalesda@gmail.com
or call (818) 244- 7241.

Sanctuary of Glendale City Church,
610 E. California Ave. (at Isabel St), Glendale, CA 91206.
For more information, email glendalesda@gmail.com
or call (818) 244- 7241.

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

————————————–

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

May 13, 2017 – Agoura Hills/Calabasas Community Center

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

Programs subject to change

——————————————

3/1/17

ASMAC ‘First WEDNESDAYS’
presents:

———-
Legendary and Award-winning Recording Engineers

Al Schmitt, Joel Iwataki,

and Tommy Vicari

Moderated by: Renowned harpist  Gayle Levant

Wednesday, March 1, 2017!–
Meet & Greet: 7 pm   •   Program: 7:30 pm

Musicians Union Local 47
817 Vine Street, Hollywood, CA 90038

ASMAC is excited to present THREE world famous
recording and mix engineers as they discuss
their insight on working with arrangers,
composers and orchestrators.

Topics include:

Tips and tricks for arrangers, composers and orchestrators.
How a recording engineer can help you.
How you can help an recording engineer.
Preparing for a recording session.
Technology and acoustic recording.
Combining various orchestral and electronic elements.
When is instrument separation important –
when should it be avoided.
Working with virtual orchestras and sample libraries.
The final mix process and preparing stems.
Virtual plugins.

Much Much More !!!

Wednesday, March 1, 2017!–
Meet & Greet: 7 pm  •   Program: 7:30 pm

$10 Admission
SCL Members – $5
FREE for ASMAC & Local 47 members

Musicians Union Local 47
817 Vine Street
Hollywood, CA 90038

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

————————-

3/5/17

Song of the Angels Flute Orchestra
in concert!

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

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

Tickets are now available online at the usual location:

Concert Tickets

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

—————————

3/25/17

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


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

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

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

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

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

www.musiciansatplay.org

——————————————

3/26/17

LOS ANGELES SYMPHONIC WINDS
Subscription Concert 3 – Calabasas High School
Stars of the Los Angeles Symphonic Winds
Revel in the artistry of some of the LA Winds’ most
acclaimed performers.
-Geoff Nudell and Parker Gaims (now a member

of the US Marine Corps Band) play Felix Mendelssohn’s

virtuosic Two Concert Pieces.

Also on the program will be two works by the LA Winds’

resident composer,

– Charles Fernandez
• Sunday March 26, 2017
• 2:30 p.m.

Performing Arts Education Centers.

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

THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47