I. FLASHBACK TIME – 2005 – PART II – LONDON
\nII. MEMBER COMMENT
\nIII ASMAC UPCOMING FUNCTIONS
\nIV. EVENTS<\/p>\n
…Absolutely guaranteed anonymity – Former Musician’s Union officer
\n…The one voice of reason in a sea of insanity – Nashville ‘first call’
\nscoring musician
\n…Allows us to speak our minds without fear of reprisal – L.A. Symphonic musician
\n…Reporting issues the Musicians Union doesn’t dare to mention – National touring musician<\/p>\n
===============================<\/p>\n
I. FLASHBACK TIME – 2005 – PART II
\nLONDON<\/p>\n
In 2005, a highly placed group of musicians, frustrated with the
\ndestruction of work in recording, put forward this proposal.
\nEven then the damage to recording because of the unusable recording
\ncontracts forced down the throats of AFM Members because of the
\nRMA was losing us major work – and that was almost 11 years ago.<\/p>\n
AS A REMINDER, THIS WAS ALMOST 11 YEARS AGO….<\/p>\n
MAY 2, 2005<\/p>\n
How did we get here and what is our competition?<\/p>\n
The following segments are from a variety of resources, illustrating
\nsupporting data to back up our proposed changes to the national
\nMotion Picture and Low Budget Agreements.<\/p>\n
London has been one of the most active recording cities in the world. [EC: Far more so now.]
\nProvisions in their recording contracts through the British Musicians Union
\nhave made it economically favorable to record there. \u201cPackage deals\u201d \u2013 such
\nas the combined use fee \u2013 bundles the soundtrack with the motion picture
\nfor release in perpetuity and, in addition, there are actual total buyouts negotiated
\non a project-by-project basis. The number of recording projects done in the UK,
\nbrought in particularly by U.S. producers, speaks for itself in terms of the volume
\nof work leaving the U.S.<\/p>\n
From the House of Commons\/United Kingdom Parliament website:
\nhttp:\/\/www.publications.parliament.uk\/pa\/cm200203\/cmselect\/cmcumeds\/667\/667we47.
\nhtm<\/p>\n
Excerpt from:
\nMemorandum submitted by the British Musicians Union
\nTHE RIGHT TRACK: THE IMPORTANCE OF FILM TO UK MUSIC
\nCREATORS
\nRESPONSE TO THE CULTURE MEDIA AND SPORT SELECT COMMITTEE
\nINQUIRY INTO THE BRITISH FILM INDUSTRY
\nThis short briefing outlines the importance of film music for British
\nmusicians, refers to the success on the international scene of British
\ncomposers commissioned to write soundtracks for films and mentions
\nthe importance of London as a location for recordings.<\/p>\n
FILM SCORE RECORDING
\nMore films scores are recorded in London than in any other city
\nin the world apart from Los Angeles [EC: No longer true]. More
\nthan 30% of Hollywood scores come to London for recording and
\nsynchronizing with picture. All the major and independent studios
\nreturn repeatedly, knowing that the musical artistry and technical
\nexpertise here is virtually unrivalled anywhere in the world. <\/p>\n
For instance, all the music for the Star Wars films was recorded in
\nLondon over many years and Lucas Film and composer, John Williams,
\nare due to return again.<\/p>\n
So, why record in London? Well, producers, particularly Americans,
\ncome here for three main reasons.<\/p>\n
1. The UK is competitive on price.<\/p>\n
2. The studio infrastructure is comparable only to Los Angeles in
\nterms of quality.<\/p>\n
3. The sheer number and quality of musicians, again, is unequalled,
\napart from in LA.<\/p>\n
Annex B lists just some of the 152 Hollywood films that came to
\nLondon to record scores over the past three years. [2002-2005]
\nAs a result of the rapid technological advances in digital sound
\nrecording, it is now possible to achieve chart success through a
\nsound recording made in the bedroom of a small dwelling. However,
\nthe large orchestral forces required for major film projects require
\nlarge studios and cutting edge technology. Again London is rivalled
\nonly by Hollywood in this area with the same number of large scoring s
\ntages.<\/p>\n
The main “state of the art” studios are:
\n\u2014 Abbey Road.
\n\u2014 Air Lyndhurst.
\n\u2014 Phoenix Sound.
\n\u2014 Sony Studios.
\n\u2014 Angel Studios.
\n\u2014 CTS at Watford. [No longer exists.]
\n[EC: It should be pointed out that London now has MORE large studios
\nthan Los Angeles. We are down to three: Warner’s, Sony and Fox.<\/p>\n
Music is recorded in the UK under the terms and conditions of the
\nagreement between the Producers Alliance for Cinema and Television
\n(PACT) and the Musicians Union (MU). Under the Combined Use
\nclauses of this agreement, which is used for theatrical and television
\nfilm, the producer acquires the right to incorporate the musicians
\nperformance into the film and to use or license others to use the film
\nin all media throughout the world in perpetuity and to release the
\nmusic on commercial audio recordings.<\/p>\n
In 1998 musicians’ basic fees alone amounted to \u00a33.45 million. The
\nfigure for 2001 is almost \u00a34.2 million. These figures are net of studio
\ncosts (which can average \u00a33,000 to \u00a36,000 per day), music
\npreparation, international transportation, hotels and other
\nconsiderable ancillary costs that further add to inward investment.<\/p>\n
PROMOTING BRITISH MUSIC IN THE US<\/p>\n
The UK’s trade promotion bodies, whether through Trade Partners UK
\nor the proposed UK music office in New York, could play an important
\nrole in identifying opportunities and pro-actively marketing British
\nmusic creators to the US film industry. The potential for increased US
\nand international exposure, and the resulting economic returns, could
\nprove a useful boost to the UK music industry at this critical time in its
\ndevelopment.<\/p>\n
From the UK Film website:
\nhttp:\/\/www.britfilmusa.com\/d_film_music.php
\nFacilities
\nDid you know that the British music industry is worth \u00a34 billion ($6
\nbillion) a year? For a long time, the UK has been a virtuoso player in
\nthe music production and recording business. And this success is due
\nmainly to the skill of Britain’s world-renowned musicians, composers
\nand technicians as well as the contribution made by the country’s
\nexcellent recording facilities.<\/p>\n
These skills and resources have, naturally, been snapped up by the
\nfilm industry, and scores written and\/or recorded in the UK are an
\nintrinsic part of many internationally successful films. In fact, over
\n30% of Hollywood film scores alone are now recorded in the UK, and
\nLondon is second only to LA in terms of the number of music
\nsoundtrack recordings it produces.<\/p>\n
Pictures that have gained from their involvement with the UK’s
\nmusic production industry include:
\nLock, Stock and Two Smoking Barrels; The Full Monty; Billy Elliot;
\nShakespeare In Love; Star Wars: Episode 1 – The Phantom Menace;
\nCaptain Corelli’s Mandolin; Bridget Jones’s Diary; Lord of the Rings
\nHarry Potter and the Sorcerer’s Stone, Titanic, and all the James
\nBond films<\/p>\n
The UK’s Music Industry<\/p>\n
The UK’s music production sector has three main strengths which
\nhave proven irresistible to international film and television producers:
\nSuperb technical facilities
\nTop quality recording engineers
\nWorld class musicians, orchestras, songwriters and composers.<\/p>\n
Recording Facilities<\/p>\n
It’s an undisputed fact that the UK’s studios are among the best
\nequipped anywhere. In many cases, they are less expensive than
\nelsewhere, too.<\/p>\n
Recording Engineers<\/p>\n
Talented, efficient and professional, British recording engineers have
\nan excellent reputation throughout the world. No wonder overseas
\ncompanies looking to record scores frequently return to the UK and
\nask for the services of specific engineers.<\/p>\n
Musicians<\/p>\n
The UK has a pool of talented orchestras, individual musicians,
\nsongwriters and composers who together cover every style of music
\nimaginable.<\/p>\n
Orchestras<\/p>\n
Some of the world’s finest orchestras can be found in the UK. Like
\nmany people, you may associate the London Philharmonic Orchestra,
\nthe London Symphony Orchestra and the Royal Philharmonic Orchestra
\nwith the concert hall, but these orchestras, together with many others,
\nare regularly involved in film recording. What’s more, individual
\nmembers of these orchestras are often booked by contractors for
\nsoundtrack session work.
\nBoth orchestral players and individual session musicians in the UK are
\nuniversally recognized as consummate professionals. They can walk
\ninto a recording studio and play a new score without the need for
\nhours of rehearsal. The value of such professionalism to a film or TV
\nproducer who wants his\/her soundtrack on time and within budget
\nhardly needs mentioning!<\/p>\n
Composers<\/p>\n
Given the UK’s wide range of award-winning composers (which
\nincludes David Arnold, John Barry, Anne Dudley, Rachel Portman and
\nStephen Warbeck), it should come as no surprise to learn that an
\nimpressive number of film scores have been written and\/or recorded
\nin Britain, even though some of the films themselves were shot
\nelsewhere.<\/p>\n
A comprehensive list of media composers can be obtained from
\nThe British Academy of Composers and Songwriters (BACS).
\nAdvice on composer agreements can be obtained from the Producers
\nRights Agency. (Remember to seek independent advice, too.)<\/p>\n
Fees for score commissioning vary according to the length of music
\nneeded, the status of the composer and the rights to be acquired.
\nWhen budgeting for the composition element of a score, you must
\ntake into account the cost of arranging and copying, attendance
\nsessions, and the time the composer may be asked to put in during
\nthe editing process.<\/p>\n
Recording Sessions and Cost Efficiency<\/p>\n
The proper organisation of recording sessions can save you, the
\nproducer, time and money.<\/p>\n
The music production industry works to an agreement called the
\nMusicians’ Union Agreement, which allows some degree of flexibility
\nwhen it comes to booking session-time. In other words, you won’t find
\nyourself automatically committed to a three-hour session unless you
\nwant to be.<\/p>\n
If you want the right to exploit a music soundtrack in all media
\nthroughout the world in perpetuity and to release a commercial record,
\nyou can engage musicians under the ‘combined use fee’. In effect, this
\namounts to a ‘buy out’, but you should seek advice if you intend to use
\nextracts of the score in related programmes or products.
\nUnder the ‘combined use fee’, session fees are divided into four
\nscales. A scale of pay is determined by multiplying the number of
\nmusicians booked by the number of hours worked. For example, 30
\nmusicians booked for three four-hour sessions equals 360 hours of
\nemployment. In this case, Scale two rates would apply, which give a
\ndiscount of over 25% on the basic hourly rate.<\/p>\n
For more information about musician fees and working practices,
\ncontact the Musicians’ Union. Alternatively, contact the Producers
\nAlliance for Cinema and Television (PACT).<\/p>\n
Music Contractors<\/p>\n
The UK’s many experienced music contractors (also known as
\nfixers or bookers) are the ideal people to advise you about the
\npracticalities of arranging and booking musicians.<\/p>\n
They can:
\n-Help you budget for the recording and organise the sessions
\nin a cost effective manner
\n-Help with finding the best-priced studios for the job (try and
\nbook the dates you want as early as possible)
\n-Book the musicians
\n-Arrange completion and signature of the musicians’ consent
\nforms
\n-Pay the session fees
\n-Musicians usually expect to be paid on the day of a session
\nso you will have to pay the contractor up front.<\/p>\n
Music producers, supervisors & copyright consultants <\/p>\n
A good music producer, supervisor and\/or copyright consultant
\ncan help to make a producer’s life easier and, in the long run,
\nsave him\/her money.<\/p>\n
A music producer can help manage the whole music process by
\nassisting with the budget and other administrative business,
\nhandling music clearance procedures, booking studios, liaising
\nwith thecomposer and overseeing and\/or producing the sessions.<\/p>\n
NEXT – OUR SIDE OF THE POND<\/p>\n
===============================<\/p>\n
II. MEMBER COMMENT I<\/p>\n
I’ve thought a lot about this and even though I realize the corruption
\nof\u00a0the current\u00a0RMA (for at least 20 years plus), there should be a
\nplayers conference that represents recording musicians within the
\nAFM whether it includes the RMA or not.<\/p>\n
I feel that it has to be structured in a radically different way and
\npoliced by AFM to represent the best interests of the national
\nrecording membership. But with AFM officers and IEB in alliance
\nwith RMA, this will never happen until they’re out of office.<\/p>\n
This will only happen when there is NO MORE recording work
\nleft in LA on contract or so little that the disenfranchised musicians
\nin LA revolt and force the AFM to restructure the RMA to
\nproduce contracts that support work. We’re getting closer to this.<\/p>\n
The RMA should have amongst its conference representatives from
\nLocals that do recording work. The officers of the RMA should be
\nelected by RMA chapters AND recording committees within the Locals.
\nIt should be overseen by an arbitrator outside of AFM so the best
\ncontracts are produced for the general union and not always skewered
\nto only represent keeping a contract that is\u00a0non globally competitive\u00a0
\n(motion picture) at the expense of all other\u00a0contracts.\u00a0The independent
\narbitrator could be funded through AFM by dropping a member of the
\nIEB and the resulting salary available.<\/p>\n
I certainly realized a few years ago that it didn’t matter to the AFM\/IEB
\nhow many graphs and Powerpoint\u00a0presentations that\u00a0you showed them
\nconcerning the direction of the video game industry recording revenue\u00a0
\nunder AFM contract\u00a0since 2010. It didn’t matter that in 5 years they lost
\nthis Industry when we were moving forward so nicely prior to 2010 with
\ncapturing the most important recording venue available.<\/p>\n
Eventually, a revolt either by election or not will have to happen.\u00a0I’ll be
\nthere to support this, believe me.\u00a0It’s only that after years of trying, I
\nrealize that nothing can be done until this happens in LA.<\/p>\n
===============================<\/p>\n
III ASMAC UPCOMING FUNCTIONS<\/p>\n
ASMAC “FIRST WEDNESDAYS”\u2028\u2028CONCEIVING\u00a0 AN ORIGINAL ARRANGEMENT\u2028featuring\u2028Elliot Deutsch and Patrick Williams\u2028\u00a0\u2028Wednesday April 6, 2016\u00a0\u00a0 7:00 p.m.- 10:00 p.m.\u2028Free Event for members of Local 47 and ASMAC, $10 for guests\u2028AFM Local 47, 817 Vine St. Hollywood CA 90038\u2028\u2028Elliot Deutsch is a rising star among young arrangers in Los Angeles.\u2028Patrick Williams is one of the most accomplished and in-demand arrangers today.\u2028\u2028They will each present an arrangement that they have written and recorded and talk about their process. Come and learn how an accomplished arranger conceives of his or her unique vision through the scope of a familiar tune.<\/p>\n
Patrick Williams\u2028Having composed the music for over 65 feature films, 100 television films, 25 television series, as well as 19 albums and 30 concert works, Patrick Williams has established himself as one of the most accomplished and prolific composers in the music industry today. He has received four Emmy awards with twenty-two nominations and two Grammy awards with twenty-one nominations, two of which come from his latest release, \u201cHome Suite Home\u201d.\u00a0 He has also been nominated for both an Academy Award and the Pulitzer Prize in music. He is a recipient of the Richard Kirk Award from BMI and the Golden Score Award from the American Society of Music Arrangers and Composers.\u2028\u2028Born in Missouri, Williams grew up in Connecticut and received a degree in history from Duke University. His first love, however, was always music, and when he went on to Columbia to study music composition and conducting, his passion became his profession. He quickly became busy as an arranger in New York, and then in 1968, he moved to California to pursue work in the film and television industry while continuing to write and arrange jazz albums. Proficiency in composing for symphony orchestras as well as jazz bands has offered Williams an opportunity to create a wide variety of works. Among his critically acclaimed compositions are An American Concerto, a piece featuring a jazz quartet and symphony orchestra, for which he received a 1977 Pullitzer Prize nomination; Gulliver, featuring a symphony orchestra with narrator, for which he received a Grammy nomination (narration by Larry Gelbart and performed by Sir John Gielgud); Suite Memories, which features a solo trombone with symphony orchestra and won a Grammy award; Theme for Earth Day, an overture, recorded by the Boston Pops; Spring Wings, a double concerto written by saxophonist Gerry Mulligan and pianist Dave Grusin with symphony orchestra; Romances, a concerto for jazz saxophonist Tom Scott and orchestra; A Concerto in Swing for big band and clarinet, which was dedicated to and premiered by Eddie Daniels; Adagio for Orchestra composed in 2004; and August composed in 2005. He recently completed a ballet, “Ziji”, with choreographer Edgar Zendejas to honor the 60th Anniversary of the College of the Fine Arts at the University of Utah.\u2028\u2028Some of Williams\u2019 big band recordings are considered classics of contemporary big band instrumentals, such as Threshold for which he received a Grammy in 1974; Too Hip for the Room, for which he received a Grammy nomination in 1983; Tenth Avenue which received a Grammy nomination in 1987 and Sinatraland, a big band tribute to Frank Sinatra for which he received a Grammy nomination in 1998. In 2006, he received two Grammy nominations for the album Elevation with Tom Scott and Eddie Daniels.In September 2001, he won an Emmy for his song, \u201cA Dream That Only I Can Know,\u201d from the film, Yesterday\u2019s Children. In 2002, he received an Emmy nomination for his score for \u201cWe Were The Mulvaneys\u201d and a Grammy nomination for \u201cThe Theme from Blonde\u201d from the sountrack album for the TV miniseries Blonde, a portrait of Marilyn Monroe. In 1992, Williams won the Emmy for the mini-series \u201cJewels\u201d. He has composed and arranged themes and scores for television series including The Streets of San Francisco, Lou Grant, The Days and Nights of Molly Dodd, the Mary Tyler Moore Show, the Bob Newhart Show, Columbo, Slap Maxwell, The Tony Randall Show, and the Magician. Recent television projects include Hercules, starring Sean Astin, The Perfect Husband: The Laci Peterson Story; When Angels Come To Town and Finding John Christmas starring Peter Falk; James Patterson\u2019s First to Die; Power and Beauty;The Thin Blue Lie; The Three Stooges with Michael Chiklis and A Cooler Climate starring Sally Field and Judy Davis. Of the 65 plus films Williams has scored in his career, a few include Breaking Away, for which he received a 1978 Oscar nomination; All of Me, The Best Little Whorehouse in Texas, Swing Shift, Cuba, Violet\u2019s Are Blue, Casey\u2019s Shadow, The Cutting Edge, Cry-Baby, and The Glass Harp. Williams is also an accomplished arranger with extensive credits. The album, For Ella featuring Patti Austin, which he co-produced and arranged, was nominated for a 2003 Grammy for Best Jazz Vocal album. He was chosen by Frank Sinatra to act as Musical Director\/ Arranger- Conductor for his final studio recordings, Duets and Duets II. He has arranged recordings for Michael Bubl\u00e9, Jack Jones, Andrea Bocelli, Paul Anka, Peter Cincotti, Natalie Cole, Neil Diamond, Gloria Estefan, Michael Feinstein, Vince Gill, Amy Grant, Thomas Hampson, Barry Hay, Monica Mancini, Barry Manilow, Bette Midler, John Pizzarelli, Brian Setzer, Barbara Streisand, Traincha, and Russell Watson.\u2028\u2028Williams has been a leader in the music education field for many years, holding posts as Visiting Professor and Composer in Residence at the University of Utah and the University of Colorado, which awarded him an Honorary Doctoral Degree. He has performed and\/or lectured at many colleges including Berkeley College of Music, Cornell University, Duke University, Indiana University, Texas Christian University, (1993 Green Honors Professor), UCLA, USC, and Yale University. In May 2001. he was awarded an Honorary Doctorate of Fine Arts from Duke University. He served as Artistic Director of the Henry Mancini Institute from 2001 to 2006.\u2028\u2028\u2028Elliot Deutsch is a busy composer and arranger of large ensemble jazz music. In its tenth year of performing, the Elliot Deutsch Big Band has released two albums, played in every major jazz venue in Los Angeles, and hosted an impressive list of guest stars including Cheryl Bentyne, Janis Siegel, Ron Stout, and many others.\u00a0 Deutsch has written for Arturo Sandoval, Bill Watrous, Jane Monheit, Take 6, Terence Blanchard, and many others. In 2015, Deutsch arranged several songs for the Kennedy Center Gala \u201cIt Don\u2019t Mean a Thing\u2026 A Celebration of Swing\u201d under the musical direction of John Clayton.\u00a0 His compositions and arrangements are published by Alfred and Walrus Music.\u2028\u00a0\u2028Deutsch is also a busy educator, serving on the faculties of Cal Poly Pomona and Long Beach City College. Deutsch has written numerous commissions for school jazz bands including USC, Caltech, CSULB, Cal Poly Pomona, Esperanza High School, and many others. He lectured on arranging for Middle School Jazz Ensemble at the 2016 Jazz Educators Network National Conference.
\nWednesday April 6, 2016\u00a0– 7 PM\u00a0<\/p>\n
$10 for Guests and\u00a0Students
\nFREE for ASMAC &\u00a0Local 47 members<\/p>\n
Free parking. <\/p>\n
Meet-up & Check-in: 7:00-7:30 PM.
\nProgram: 7:30-10:00 PM.
\n\u00a0
\nPLEASE NOTE LOCATION:
\nAFM Local 47 – Auditorium\u2028817 Vine St.\u2028Hollywood, CA\u00a090038\u2028\u2028* ASMAC Members who would like to share music at a\u2028FIRST WEDNESDAYS event,\u2028Contact info@asmac.org \u00a0Attn: Milton Nelson
\n\u00a0
\n—————————–<\/p>\n
ASMAC LUNCHEON<\/p>\n
ASMAC Luncheon with
\nSpecial Guest Dave Black of Alfred Music<\/p>\n
@ Catalina’s Jazz Club\u00a0
\nWed., April 20, 2016\u00a0@\u00a011:30am<\/p>\n
ASMAC LUNCHEON WELCOMES
\nPercussionist\/composer\/author\u00a0
\nDave Black
\nApril 20, 2016 – 11:30AM
\n@ Catalina’s in Hollywood<\/p>\n
\u00a0
\nPercussionist, composer, and author, Dave Black, received his Bachelor of Music in percussion performance from California State University, Northridge. He has traveled around the world with a variety of entertainers and shows, performing and recording with such artists as Alan King, Robert Merrill, June Allyson, Anita O’Day, Pete Jolly, Frankie Capp, Gordon Brisker, Kim Richmond, Victor Lewis, Jerry Hey, and Steve Huffsteter.<\/p>\n
A seasoned professional in this aspect of our business, Dave will share his thoughts about the “nuts and bolts” and current challenges in educational music publishing. What are the advantages and disadvantages of self-publishing? How\u00a0do you\u00a0research which publishers might be right for you? How best to submit your music for publication? How\u00a0must composers participate in the marketing of their music.\u00a0Perhaps you need a distributor and not a publisher? What is the future of E-books? What are the problems of digital sharing of music materials? Bring a pencil and take notes!<\/p>\n
A prolific composer and arranger, more than 60 of his compositions and arrangements have been published by most of the major publishers, many of which have been recorded. Mr. Black has written with, and for the bands of Louie Bellson, Sammy Nestico, Bill Watrous, Bobby Shew, Ed Shaughnessy, Gordon Brisker and the C.S.U., Northridge Jazz Ensemble.<\/p>\n
He has been the recipient of numerous awards and commissions, including 26 consecutive ASCAP Popular Composer Awards, two Grammy participation\/nomination certificates\u2013one for his performance contribution on Anita O’Day’s Grammy\u00ae-nominated album In a Mellow Tone, and the other for his contribution as album-track composer on Louie Bellson’s Grammy\u00ae-nominated album Airmail Special. He is also the recipient of the 2012 Percussive Arts Society President\u2019s Industry Award, a Modern Drummer Readers Poll award (best drum book), two Drum! Magazine Drummie! awards (best drum book), and a certified Gold Record award for the sale of more than 500,000 copies of Alfred\u2019s Drum Method, Book 1. In addition, many of his compositions have been used as source\/background music on numerous TV shows including All My Children, Coach, The Drew Carey Show, General Hospital, Ellen, Grace Under Fire, Nightline, Roseanne and Good Morning America. In addition, he co-wrote the “Final Rudimental Solo” (from Alfred’s Drum Method, Book 2) featured in the 20th-Century Fox hit movie, Drumline.<\/p>\n
He presently serves as Vice President and Editor-in-Chief, School and Pop Publications, for Alfred Music Publishing Company.<\/p>\n
Host:\u00a0 Elliot Deutsch\u2028\u2028Elliot Deutsch is a busy composer and arranger of large ensemble jazz music. In its tenth year of performing, the Elliot Deutsch Big Band has released two albums, played in every major jazz venue in Los Angeles, and hosted an impressive list of guest stars including Cheryl Bentyne, Janis Siegel, Ron Stout, and many others.\u00a0 Deutsch has written for Arturo Sandoval, Bill Watrous, Jane Monheit, Take 6, Terence Blanchard, and many others. In 2015, Deutsch arranged several songs for the Kennedy Center Gala \u201cIt Don\u2019t Mean a Thing\u2026 A Celebration of Swing\u201d under the musical direction of John Clayton.\u00a0 His compositions and arrangements are published by Alfred and Walrus Music.
\n___________
\nCheck out the ASMAC website – www.asmac.org\u2028to see the new master class,\u00a0luncheon and interview\u00a0DVD’s in the ASMAC store (Van Alexander, Ray Charles, Johnny Mandel, Jorge Calandrelli, Bill Ross, Jack Feierman, Sammy Nestico and more), to download ASMAC luncheon podcasts, and more!\u2028JUST ADDED:\u00a0\u2028Special Interview with the renowned composer\/arranger\u00a0\u2028JIMMIE HASKELL
\n<\/p>\n
===============================<\/p>\n
IV. EVENTS<\/p>\n
DEAN AND RICHARD<\/p>\n
DEAN AND RICHARD are now playing every third Friday
\nat Culver City Elks 7:30pm-10;30pm,
\n11160 Washington Pl.
\nCulver City, 90232
\n310-839-8891<\/p>\n
————————————-<\/p>\n
LA WINDS JAZZ KATS 584<\/p>\n
NO COVER, NO MINIMUM.
\nEvery 2nd and 4th Tuesday of the month at Viva Cantina
\n7:30-10:00.
\n900 Riverside Drive, Burbank.<\/p>\n
Free parking across the street at Pickwick Bowl.
\nCome hear your favorite charts played the way they
\nshould be. <\/p>\n
We are in the back room called the Trailside Room. <\/p>\n
Come on down. Guaranteed to swing.<\/p>\n
————————————-<\/p>\n
NEW RUSS GARCIA BOOK<\/p>\n
Russell Garcia:\u00a0\u00a0 Russell wrote his auto-biography
\n“I Have Hundreds Of Stories, Some Of Them True” \u00a0
\nbefore he passed away at age 95 in New Zealand,
\non 20 Nov 2011. \u00a0The book is out now.<\/p>\n
Russell was a world renowned composer-arranger-conductor
\nwho wrote music for over 100 films.\u00a0 He is known for his
\ninnovative music score for the film \u201cTime Machine\u201d.\u00a0 Garcia
\nis also known in both the TV and recording fields and has
\ncomposed music for countless TV shows such as, Rawhide,
\nTwilight Zone, Laredo, The Virginian.\u00a0 He has recorded many
\nCDs\u00a0 in his own right, as well as with stars such as, Louis
\nArmstrong, Ella Fitzgerald, Vic Damone, Judy Garland,
\nOscar Peterson, Julie London, to name a few.\u00a0\u00a0<\/p>\n
Garcia has also written 2 best-selling text books The Professional
\nArranger-Composer \u201c Book I and Book II, which have been translated
\ninto 6 languages.\u00a0 He is known also for his symphonic and classical
\nworks which have been performed by the New Zealand Symphony,
\nMunich Symphony, the Vienna Symphony, plus countless Radio
\nSymphony Orchestras throughout Europe.\u00a0 He was often a guest
\nlecturer at many universities around the world on Symphonic
\nComposition Techniques.\u00a0 Russell and his wife Gina made New
\nZealand their home in 1971 while continuing to work in the Music
\nand Film Industry.\u00a0 He was awarded the Queens Service Medal
\nfor his service to music in 2009.
\n(www.buildabetterworldproductions.com)<\/p>\n
——————————————-<\/p>\n
4\/6\/26<\/p>\n
ASMAC PRESENTS: FIRST WEDNESDAYS<\/p>\n
\u2028CONCEIVING\u00a0 AN ORIGINAL ARRANGEMENT
\nEliot Deutsch and Patrick Williams <\/p>\n
FIRST WEDNESDAY’S
\nWed. April\u00a06, 2016 – 7:00pm
\nELLIOT DEUTSCH\u00a0and PATRICK WILLIAMS<\/p>\n
\u00a0Wednesday April 6, 2016\u00a0\u00a0 7:00 p.m.- 10:00 p.m.\u2028Free Event for members of Local 47 and ASMAC, $10 for guests\u2028AFM Local 47, 817 Vine St. Hollywood CA 90038
\n\u2028Elliot Deutsch is a rising star among young arrangers in
\nLos Angeles. Patrick Williams is one of the most accomplished
\nand in-demand arrangers today. They will each present an
\narrangement that they have written and recorded and talk
\nabout their process. Come and learn how an accomplished
\narranger conceives of his or her unique vision through the
\nscope of a familiar tune.<\/p>\n
PATRICK WILLIAMS
\n\u2028Having composed the music for over 65 feature films,
\n100 television films, 25 television series, as well as 19
\nalbums and 30 concert works, Patrick Williams has established
\nhimself as one of the most accomplished and prolific
\ncomposers in the music industry today. He has received
\nfour Emmy awards with twenty-two nominations and two
\nGrammy awards with twenty-one nominations, two of
\nwhich come from his latest release, \u201cHome Suite Home\u201d.\u00a0
\nHe has also been nominated for both an Academy Award
\nand the Pulitzer Prize in music. He is a recipient of the
\nRichard Kirk Award from BMI and the Golden Score Award
\nfrom the American Society of Music Arrangers and
\nComposers.\u2028
\n\u2028Born in Missouri, Williams grew up in Connecticut and received
\na degree in history from Duke University. His first love, however,
\nwas always music, and when he went on to Columbia to study
\nmusic composition and conducting, his passion became
\nhis profession. He quickly became busy as an arranger in New
\nYork, and then in 1968, he moved to California to pursue work
\nin the film and television industry while continuing to write
\nand arrange jazz albums. Proficiency in composing for
\nsymphony orchestras as well as jazz bands has offered
\nWilliams an opportunity to create a wide variety of works. <\/p>\n
Among his critically acclaimed compositions are An American
\nConcerto, a piece featuring a jazz quartet and symphony orchestra,
\nfor which he received a 1977 Pullitzer Prize nomination; Gulliver,
\nfeaturing a symphony orchestra with narrator, for which he received a
\nGrammy nomination (narration by Larry Gelbart and performed by Sir
\nJohn Gielgud); Suite Memories, which features a solo trombone with
\nsymphony orchestra and won a Grammy award; Theme for Earth Day,
\nan overture, recorded by the Boston Pops; Spring Wings, a double
\nconcerto written by saxophonist Gerry Mulligan and pianist Dave
\nGrusin with symphony orchestra; Romances, a concerto for jazz
\nsaxophonist Tom Scott and orchestra; A Concerto in Swing for big
\nband and clarinet, which was dedicated to and premiered by Eddie
\nDaniels; Adagio for Orchestra composed in 2004; and August
\ncomposed in 2005. He recently completed a ballet, “Ziji”, with
\nchoreographer Edgar Zendejas to honor the 60th Anniversary of the
\nCollege of the Fine Arts at the University of Utah.<\/p>\n
Some of Williams\u2019 big band recordings are considered classics of
\ncontemporary big band instrumentals, such as Threshold for which
\nhe received a Grammy in 1974; Too Hip for the Room, for which he
\nreceived a Grammy nomination in 1983; Tenth Avenue which received
\na Grammy nomination in 1987 and Sinatraland, a big band tribute to
\nFrank Sinatra for which he received a Grammy nomination in 1998. In
\n2006, he received two Grammy nominations for the album Elevation
\nwith Tom Scott and Eddie Daniels.In September 2001, he won an
\nEmmy for his song, \u201cA Dream That Only I Can Know,\u201d from the film,
\nYesterday\u2019s Children. In 2002, he received an Emmy nomination for
\nhis score for \u201cWe Were The Mulvaneys\u201d and a Grammy nomination for
\n\u201cThe Theme from Blonde\u201d from the sountrack album for the TV
\nminiseries Blonde, a portrait of Marilyn Monroe. In 1992, Williams
\nwon the Emmy for the mini-series \u201cJewels\u201d. He has composed and
\narranged themes and scores for television series including The
\nStreets of San Francisco, Lou Grant, The Days and Nights of Molly
\nDodd, the Mary Tyler Moore Show, the Bob Newhart Show, Columbo,
\nSlap Maxwell, The Tony Randall Show, and the Magician. Recent
\ntelevision projects include Hercules, starring Sean Astin, The Perfect
\nHusband: The Laci Peterson Story; When Angels Come To Town and
\nFinding John Christmas starring Peter Falk; James Patterson\u2019s First to
\nDie; Power and Beauty;The Thin Blue Lie; The Three Stooges with
\nMichael Chiklis and A Cooler Climate starring Sally Field and Judy
\nDavis. Of the 65 plus films Williams has scored in his career, a few
\ninclude Breaking Away, for which he received a 1978 Oscar
\nnomination; All of Me, The Best Little Whorehouse in Texas, Swing
\nShift, Cuba, Violet\u2019s Are Blue, Casey\u2019s Shadow, The Cutting Edge,
\nCry-Baby, and The Glass Harp. Williams is also an accomplished
\narranger with extensive credits. The album, For Ella featuring Patti
\nAustin, which he co-produced and arranged, was nominated for a
\n2003 Grammy for Best Jazz Vocal album. He was chosen by Frank
\nSinatra to act as Musical Director\/ Arranger- Conductor for his final
\nstudio recordings, Duets and Duets II. He has arranged recordings for
\nMichael Bubl\u00e9, Jack Jones, Andrea Bocelli, Paul Anka, Peter Cincotti,
\nNatalie Cole, Neil Diamond, Gloria Estefan, Michael Feinstein, Vince
\nGill, Amy Grant, Thomas Hampson, Barry Hay, Monica Mancini, Barry
\nManilow, Bette Midler, John Pizzarelli, Brian Setzer, Barbara Streisand,
\nTraincha, and Russell Watson.<\/p>\n
Williams has been a leader in the music education field for many
\nyears, holding posts as Visiting Professor and Composer in Residence
\nat the University of Utah and the University of Colorado, which
\nawarded him an Honorary Doctoral Degree. He has performed and\/or
\nlectured at many colleges including Berkeley College of Music,
\nCornell University, Duke University, Indiana University, Texas
\nChristian University, (1993 Green Honors Professor), UCLA, USC, and
\nYale University. In May 2001. he was awarded an Honorary Doctorate
\nof Fine Arts from Duke University. He served as Artistic Director of
\nthe Henry Mancini Institute from 2001 to 2006.\u2028
\n——————-\u2028\u2028Elliot Deutsch is a busy composer and arranger of large ensemble
\njazz music. In its tenth year of performing, the Elliot Deutsch Big
\nBand has released two albums, played in every major jazz venue in
\nLos Angeles, and hosted an impressive list of guest stars including
\nCheryl Bentyne, Janis Siegel, Ron Stout, and many others.\u00a0 Deutsch
\nhas written for Arturo Sandoval, Bill Watrous, Jane Monheit, Take 6,
\nTerence Blanchard, and many others. In 2015, Deutsch arranged
\nseveral songs for the Kennedy Center Gala \u201cIt Don\u2019t Mean a Thing\u2026 A
\nCelebration of Swing\u201d under the musical direction of John Clayton.\u00a0
\nHis compositions and arrangements are published by Alfred and
\nWalrus Music.\u2028<\/p>\n
Deutsch is also a busy educator, serving on the faculties of Cal Poly
\nPomona and Long Beach City College. Deutsch has written numerous
\ncommissions for school jazz bands including USC, Caltech, CSULB,
\nCal Poly Pomona, Esperanza High School, and many others. He
\nlectured on arranging for Middle School Jazz Ensemble at the 2016
\nJazz Educators Network National Conference.<\/p>\n
Wednesday April 6, 2016\u00a0– 7 PM\u00a0<\/p>\n
FREE for ASMAC\/Local 47 members
\n$10 for guests and\u00a0students
\nFree parking. <\/p>\n
Meet-up & Check-in: 7:00-7:30 PM.
\nProgram: 7:30-10:00 PM.
\n\u00a0
\nPLEASE NOTE: \u00a0NEW\u00a0LOCATION
\nAFM Local 47 – Auditorium\u2028817 Vine St.\u2028Hollywood, CA\u00a090038\u2028\u2028* ASMAC Members who would like to share music at a\u2028FIRST WEDNESDAYS event,\u2028Contact info@asmac.org \u00a0Attn: Milton Nelson<\/p>\n
+++++++++++++++<\/p>\n
NEXT ASMAC LUNCHEON
\nASMAC LUNCHEON
\nWed. April 20, 2016
\n11:30am – 2:00pm
\nCATALINA’S JAZZ CLUB
\nSpecial Guest
\nDAVE BLACK<\/p>\n
Check out the ASMAC website – www.asmac.org\u2028to see the new master class,\u00a0luncheon and interview\u00a0
\nDVD’s in the ASMAC store, to download ASMAC
\nluncheon podcasts, and more!\u2028JUST ADDED:\u00a0
\n\u2028Special Interview with the renowned composer\/arranger\u00a0\u2028JIMMIE HASKELL
\n———————————<\/p>\n
4\/6\/16<\/p>\n
Free Admission Glendale Noon Concerts\/ Jacqueline Suzuki & Susan Svrcek perform RAUTAVAARA Lost Landscapes<\/p>\n
FREE ADMISSION GLENDALE NOON CONCERTS
\nEvery FIRST & THIRD WEDNESDAY at 12:10-12:40 pm
\nOn Wednesday MARCH 2, 2016 at 12:10-12:40 pm:
\nCrescenta Ensemble: Einojuhani Rautavaara’s Lost Landscapes<\/p>\n
APRIL 6, 2016
\nVIOLIN RECITAL
\nGINASTERA Pampeana No.1, Op.16 (1947)
\nBRAHMS Violin Sonata No.3 in D minor, Op.108
\nJacqueline Suzuki – violin
\nRosa LoGiudice – piano<\/p>\n
PLEASE NOTE:
\nThe Glendale Noon Concerts series
\nnow takes place in the Sanctuary at
\nGLENDALE CITY CHURCH
\n610 E. California Ave. (at Isabel St.)
\nGlendale, CA 91206-3701<\/p>\n
INFO:
\nPlease call Victoria Lucero (818-244-7241 office)
\nor email glendalecitychurch.org\/
\nhttps:\/\/www.facebook.com\/glendalecitychurch<\/p>\n
****************************************************<\/p>\n
UPCOMING CONCERTS in the same series:
\n(every FIRST & THIRD WEDNESDAY at 12:10-12:40 pm;
\nprograms subject to change)<\/p>\n
APRIL 20, 2016
\nCRESCENTA ENSEMBLE
\nTSCHAIKOVSKY Meditation Op.42, No.1
\nGINASTERA Piano Sonata No.1, Op.22
\nJacqueline Suzuki – violin
\nSusan Svrcek – piano<\/p>\n
CONCERT UPDATES:
\nhttp:\/\/www.glendalenoonconcerts.blogspot.com\/<\/p>\n
MORE FREE CONCERTS:
\nAt the Edendale Branch Library in ECHO PARK
\nhttp:\/\/www.edendaleupclose.blogspot.com\/<\/p>\n
>>>Saturday MARCH 12. 2016 at Noon-1pm
\nBaroque concert featuring works by
\nHandel, Monteverdi, Purcell & Scarlatti
\nBRIAN ASAWA – countertenor
\nDIANA TASH – mezzo-soprano
\nARTHUR OMURA – harpsichord
\nALEXA PILON – Baroque cello
\nhttp:\/\/www.brianasawa.com\/
\nhttp:\/\/www.dianatash.com\/
\nhttp:\/\/www.arthuromura.com\/<\/p>\n
———————————————-<\/p>\n
4\/3\/16<\/p>\n
SAN FERNANDO VALLEY SYMPHONY<\/p>\n
WHAT: James Domine, Music Director, presents\u00a0the San Fernando Valley Symphony Orchestra\u00a0in Concert,\u00a0performing:<\/p>\n
Domine: \u00a0 \u00a0 \u00a0\u00a0Horn Concerto\u00a0(Inaugural Performance)\t\t\tJennifer Bliman, French horn \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0<\/p>\n
Conus: \u00a0 \u00a0 \u00a0 \u00a0\u00a0Violin Concerto\u00a0Aubree Oliverson, violinist<\/p>\n
Beethoven: Symphony No. 5 in C minor<\/p>\n
WHEN:\tSunday, April 3, 2016, at 3:00 PM
\nWHERE: \u00a0 Agoura Hills\/Calabasas Community Center
\n27040 Malibu Hills Road, Calabasas<\/p>\n
General admission: $25.00. Reservations and payments may be made online by accessing\u00a0www.sfvsymphony.com, or by\u00a0\u00a0
\ncalling the Orchestra Box Office at 818-347-4807. For information about the Post-Concert Fundraiser at the Marmalade
\nCafe in The Commons, call 818-943-7797.<\/p>\n
———————————————-<\/p>\n
5\/15\/16<\/p>\n
LACESMA 75TH ANNIVERSARY DIAMOND JUBILEE GALA<\/p>\n
The Los Angeles City Elementary Schools Music Association,
\nLACESMA, is celebrating its 75th Anniversary of promoting
\nelementary music education in LAUSD with a Gala Event in
\nthe Grand Ballroom of the Dorothy Chandler Pavilion at
\nthe Los Angeles Music Center on Sunday May 15, 2016.<\/p>\n
Banquet tickets are $60.00 each and can be purchased by
\ngoing to our website at lacesmamusiced.org or by mailing
\na check made out to LACESMA to: LACESMA c\/o Jeanne
\nMitchell, P.O. Box 361 Topanga, CA 90290.<\/p>\n
For questions, please email us at lausdmusiced@gmail.com.
\nAt the celebration there will performances by over 100 singers
\nof the LACESMA Children’s Honor Chorus, some of the 2016
\nLACESMA Instrumental Scholarship winners, as well as a p
\nerformance by a celebrity TBA.<\/p>\n
We are proud to have Gail Eichenthal, Executive Producer of
\nKUSC, as the emcee of the Banquet. Please help support
\nelementary music education in LAUSD by attending this
\nGala Celebration! Click here to see the first Promotional
\nVideo Clip of the Gala. <\/p>\n