I. JACK SHELDON DOCUMENTARY OPENS FRIDAY, MAY 30th!
II. THREE LEGENDS LOST
III. CONCERTS
IV. COMMENTS
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I. JACK SHELDON DOCUMENTARY OPENS!
It’s not often we hear of documentaries about musicians who are
giants within the business but not household names.
The Documentary “Trying to Get Good: The Jazz Odyssey of Jack
Sheldon” opens today (Friday, May 30th) at the Crest Theater on
Wilshire Blvd in Westwood. It will be running for two weeks
starting today.
The film was created by Penny Peyser and Radio Host/Jazz
Aficionado Doug McIntyre to help who many consider to be “the
best Jazz trumpeter you’ve never heard of” achieve a wider
respect, especially among East Coast Jazz critics.
You can read more about the documentary in Friday’s LA TIMES
Calendar section and on their website, latimes.com. You can
also visit Jack Sheldon’s website for the address and showtimes:
http://www.jacksheldon.com/calendar.htm
Congratulations to Jack for this most richly deserved attention!
II. THREE LEGENDS LOST
It’s been a tough few weeks for the music community.
We’ve lost three legends recently: Alexander Courage,
Bob Florence and Earle Hagan.
Below you will find information from various sources
including the Society of Composers and Lyricists. We
thank them for their information.
These giants of the music business will be dearly missed.
—————–
ALEXANDER (SANDY) COURAGE
December 10, 1919 – May 15, 2008
The Society of Composers & Lyricists (SCL) mourns the
loss our dear friend and colleague, Alexander (Sandy)
Courage, composer of the original STAR TREK theme
and an Emmy-winning, Oscar-nominated arranger for
TV and movies, having died May 15 at the Sunrise
assisted-living facility in Pacific Palisades, Calif. He
was 88 and had been in declining health since 2005.
Courage’s fanfare for the Starship Enterprise, written in
1965 for the original STAR TREK pilot, was heard throughout
the three original seasons of the show and has been reprised
throughout all the STAR TREK feature films and several of
the TV series, especially STAR TREK: THE NEXT GENERATION
in the 1980s and ’90s.
He won a 1988 Emmy as principal arranger for the ABC
special JULIE ANDREWS: THE SOUND OF CHRISTMAS
(shared with music director/principal arranger Ian Fraser,
and principal arrangers Chris Boardman and Angela Morley),
and received Oscar nominations (both shared with Lionel
Newman) for his adaptation scores for THE PLEASURE
SEEKERS in 1963 and DOCTOR DOLITTLE in 1967.
For CBS Radio, he composed and sometimes conducted for
such shows as Hedda Hopper’s THIS IS HOLLYWOOD, SCREEN
GUILD THEATER, THE ADVENTURES OF SAM SPADE, DETECTIVE
and YOURS TRULY, JOHNNY DOLLAR. From 1948 to 1960, he
worked as an orchestrator and arranger at MGM, including work
on the classic musicals SHOW BOAT, THE BAND WAGON, SEVEN
BRIDES FOR SEVEN BROTHERS, GUYS AND DOLLS, IT’S ALWAYS
FAIR WEATHER, FUNNY FACE, GIGI and others.
Television became Courage’s primary outlet for composition,
including various episodes of M SQUAD, WAGON TRAIN and
THE ALFRED HITCHCOCK HOUR at Universal, NATIONAL VELVET
at MGM and THE UNTOUCHABLES at Desilu. VOYAGE TO THE
BOTTOM OF THE SEA, DANIEL BOONE, LOST IN SPACE and LAND
OF THE GIANTS at 20th Century Fox among other series.
He did a great deal of work on THE WALTONS, scoring over 100
episodes in the 1970s and early 1980s, plus four WALTONS TV-
movies in the ’80s and ’90s.
As composing work in TV waned, BMI-affiliated Courage
returned to orchestration for old friends including BMI-
affiliated John Williams and Jerry Goldsmith. For Williams,
Courage orchestrated several scores including FIDDLER
ON THE ROOF, THE POSEIDON ADVENTURE, HOOK and
JURASSIC PARK. He also adapted Williams’ themes for
SUPERMAN IV: THE QUEST FOR PEACE, and wrote many
orchestral arrangements for the Boston Pops during Williams’
1980-93 tenure as conductor. For Goldsmith, Courage
orchestrated numerous films including BASIC INSTINCT,
FIRST KNIGHT, THE MUMMY, AIR FORCE ONE, MULAN and,
ironically, STAR TREK: FIRST CONTACT and STAR TREK:
INSURRECTION.
He was among the founders of the Composers and
Lyricists Guild of America (CLGA), the predecessor to
the Society of Composers & Lyricists (SCL).
His third wife, the former Shirley Pumpelly, died in 2005.
Survivors include four stepchildren: Raphael Pumpelly,
Andrea Steyn, Lisa Pompelli and Renata Pompelli, all of
Los Angeles; and six grandchildren. Plans for a memorial
service will be announced shortly.
————-
BOB FLORENCE
Bob Florence has written some of the most beautiful big
band arrangements since Duke Ellington’s, but many of
them have gone unheard or unrecognized because of an
unfortunate matter of bad timing. At a time when the
market for big bands dried up, Florence discovered a
passion for composing and arranging for large jazz
ensembles. Florence’s work is scattered across hundreds
of albums by dozens of artists, it remains some of the
most beautiful and delicate music in the entire Big Band
Repertoire.
Florence took his first piano lesson before the age of four
and was performing at recitals at seven. Los Angeles City
College started him down the jazz/pop path he’s been on
ever since. Florence was immediately attracted to working
with a jazz-oriented group, and it led him to set up an informal
band at college that met and performed his works. At the time,
L.A. City College’s study body included such musicians as:
Dennis Budimir, Herb Geller, Tommy Tedesco, and John
(“Star Wars”) Williams. He started a weekly session at the
musician’s union that quickly proved a great word-of-mouth
success.
He briefly toured with Alvino Rey, then wrote for Harry James,
Les Brown, Si Zentner and others. He helped Zentner score
perhaps the last big band hit with a rockin’ version of the
Hoagy Carmichael tune, “Up a Lazy River”.
In 1964 Florence record his own album, Here and Now,
that earned rare and genuine praise from one of the
toughest critics in jazz, Thelonious Monk. he later released
Pet Project, a collection of tunes associated with singer
Petula Clark.
Florence wrote for a number of television shows, including
“The Red Skelton Show” and “The Dean Martin Show.” He
reunited with Les Brown on an album for Decca, as well as
Sergio Mendes (sans Brasil ’66) on Atlantic, and Count Basie,
on an album of Beatles hits.
In the 70’s he was able to record several albums with his
band for Pete Christleib’s Trend label and with his group
“Limited Edition” recorded on a label set up exclusively for
his own works, funded through his non-profit MAMA
Foundation. The band’s album, Serendipity 18, received
the 2000 Grammy for Best Jazz Performance by a Large
Ensemble.
“My career has not been entirely a jazz career,” Florence
observed a few years ago, “although this is the way most
people think of me, particularly in the last few years. I’d
hate to be thought of as a total jazz musician, just as I’d
hate to be thought of as a total ‘commercial’ musician. My
personal tastes are so wide-ranging that I like to do as
much as I can in different ways.”
THE BOB FLORENCE MEMORIAL IS SLATED FOR JUNE 15th,
(From Kim Richmond)
This is to let you know about the Memorial Tribute
concert to celebrate the life of the late composer/pianist
Bob Florence.
WHAT: Bob Florence Tribute Memorial concert
WHEN: Sunday, June 15 (Fathers’ Day), 2008, 1 PM to 5 PM.
WHERE: CATALINAS Bar & Grill, 6725 WEST SUNSET BLVD,
Hollywood, CA. telephone 323-466-2210
WHO: The Bob Florence Limited Edition big band, playing
compositions and arrangements by Bob Florence; the Phil
Norman Tentet playing music by Bob; a multi-media event
about Bob’s life by his daughter Melanie, and various speakers.
All are invited. Parking in the adjoining garage.
—————
EARLE H. HAGEN
July 9, 1919 – May 26, 2008
The Society of Composers & Lyricists (SCL) mourns the
loss our dear friend, colleague, mentor, instructor, SCL
Ambassador Earle H. Hagen, Emmy-winning composer
of some of the most memorable musical themes in
television history, died of natural causes Monday at his
home in Rancho Mirage, California. He was 88.
Hagen wrote the popular themes for THE ANDY GRIFFITH
SHOW, THE DICK VAN DYKE SHOW, THE DANNY THOMAS
SHOW, I SPY, THAT GIRL, THE MOD SQUAD, MICKEY
SPILLANE’S MIKE HAMMER, and many more. He composed
original music for more than 3,000 individual television
shows during his TV career, which spanned more than
three decades.
He was also active in the film business, mostly as an arranger
and orchestrator for 20th Century-Fox. He received a 1960
Oscar nomination (shared with Lionel Newman) as musical
director for the Marilyn Monroe film LET’S MAKE LOVE.
Hagen composed the jazz standard HARLEM NOCTURNE.
Written in 1939 for big-band leader Ray Noble, the mellow
tune went on to be recorded by Charlie Barnet, Les Brown,
Glenn Miller, Stan Kenton, Woody Herman, Ray Anthony, Ted
Heath and many other bands. It eventually became the theme
for the MIKE HAMMER series in 1984.
He was an author and educator, penning one of the first
how-to books for aspiring film composers and later leading
the film-scoring workshop for the performing rights
organization Broadcast Music Inc. (BMI) for a decade in the
1980s and ’90s.
Early in his career, Hagen played trombone with the Benny
Goodman and Tommy Dorsey bands in 1937 and 1938,
joining the Ray Noble band in 1939. For Noble, he not only
played trombone but also became one of the band’s top
arrangers.
Hagen wrote three books. SCORING FOR FILMS, which for
many years was the only available textbook on how to
handle the technical aspects of writing music for movies,
was published in 1971. It was an outgrowth of a private
study group he held in his home for composers interested
in learning the techniques of film scoring (an avid golfer,
he charged for his services by asking students to bring
three dozen golf balls).
Hagen won BMI’s Richard Kirk Award, a lifetime achievement
honor, in 1987; its President’s Award, for teaching the
workshop for a decade, in 1996; and its Classic Contribution
Award, for his iconic themes and lifetime of mentorship, in
2006.
In October 2007, the Academy of Television Arts & Sciences
presented him with a special award at an event in North
Hollywood for his pioneering work and enduring contributions
to television music. And on April 20 of this year, the National
Academy of Television Arts & Sciences (the New York-based
other TV Academy) inducted him into its Gold Circle for 50
years of service to the television industry.
Hagen’s wife of 59 years, the former Elouise Sidwell, died in
2002. Survivors include his second wife, the former Laura
Roberts; two sons, Deane Hagen and James Hagen, both of
Palm Desert, Calif.; three stepchildren and four grandchildren.
Funeral plans are pending. In lieu of flowers, the family
suggests donations to the Mr. Holland’s Opus Foundation,
www.mhopus.org.
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III. CONCERTS
••MONDAY, JUNE 2nd••
CHRIS WALDEN BIG BAND
Mon June 2nd
8 pm, $10 cover
TYPHOON Restaurant
3221 Donald Douglas Loop S
Santa Monica CA 90405
(310) 390-6565
——————
••TUESDAY, JUNE 3rd••
AFTER WORK JAZZ COOL DOWN
**** Summer Music Series ****
Hollywood Park Casino
Tuesday, June 3, 7:30 PM
– 5th Floor-Club Hall of Fame
The Billy Mitchell Group
Robert Kyle-sax
Quentin Dennard-drums
Nori Iji-bass
Yu Ooka-guitar
Billy Mitchell-keys
Munyungo Jackson-percussion
…
and Special Guests
($10 admission includes 2 drink tickets)
www.billy-mitchell.com
www.minority-report.net
———–
••SATURDAY, JUNE 7th••
Los Angeles Pierce College Department of Music Presents
THE SAN FERNANDO VALLEY SYMPHONY ORCHESTRA
Under the baton of Maestro James Domine
“MUSIC OF THE MASTERS”
Saturday, June 7, 2008, at 8:00PM
The Performing Arts Building
Los Angeles Pierce College
Animatas Mobilarus (Cartoon Suite)
CHARLES FERNANDEZ
Conducted by the composer
Concerto No. 22 in A minor
GIOVANNI BATTISTA VIATTI
Ruth Bruegger, Violin Solist
Symphony No. 3
RALPH VAUGHN-WILLIAMS
$25 general admission, $20 students and seniors, $15 children under 12
for more information, please call (818) 347-4807
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IV. COMMENTS
The comments below represent the uncensored views
of the readers and not necessarily those of the COMMITTEE.
In the faith that freedom of expression allows for the
birth and ascendancy of the most beneficial ideas, all
sentiments expressed are welcome, subject to the
bounds of good taste and decorum. If you disagree
with an opinion expressed by any contributor, we
encourage you to rebut it here.
—————-
In case anyone is still wondering, Local 47, under the
leadership of the power-seeking Hal Espinosa, is a subidiary
of the RMALA. The RMALA sets policy, and RMALA priorities
are the only priorities considered.
The average Local 47 member is being used, and frankly,
screwed. And this is what the membership deserves. Union
members have given power to others to make decisions for
them, power to elites to impose their will on them, and have
surrendered their liberties without the slightest protest. Why
do people do that? The herd mentality can be self-destructive,
as can ideologically based collectivism.
Collective bargaining and the right kinds of union activity
can be very beneficial to workers. Under the right circumstances
it can be the best way to organize labor — to the benefit of
workers and industry. But make no mistake, that is not what
is going on in Local 47.
Local 47 has been corrupted. That’s right, it is corrupt. It has
been hijacked. Local 47 is destroying work in LA. And now it
is undermining the entire AFM.
This destruction would not be possible without the acquiescence
and neglect of the Local 47 membership. I would like to think
that the membership is not completely unaware and irresponsible
but I see no evidence to support that thought. The membership
is getting what it deserves — massive unemployment — and the
AFM, already weak, will be weakened further, eventually to the
point of irrelevance. It is clearly already irrelevant to many of its
own members.
Some measure of beneficial union function can still be salvaged,
I believe, but leadership that has not sold out to the RMA is
essential. The health and survival of the AFM and Local 47
depend largely, at this point, on the ouster of the Espinosa
administration.
Rick Blanc (please attach name)
[Editor’s note: For the record, our local has some wonderful
employees who do great service for our members. Our problem
is with the conduct of the officers and much of the board and the
partisanship of their loyalties. When you hear someone
complaining about our “attacks on the Local”, it’s not the
Local itself we have issues with, it’s those who make the
decisions.
——————-
There has been much written and said about the recording
work situation in L.A. All I can say is that the mid-level
recording work I used to do has all but evaporated. For
those qualified musicians who are not blessed to be in
the DeCrescent club there has been a steady decline
in recording activity here each year. Even when I was
an RMA member I was not allowed into the inner sanctum.
The RMA only represents that golden 25% of it’s members.
The situation is like the shrinking water hole in the desert
with the predators circling the remaining game. If the idea
was to force anyone but the Anointed out of business and
drive the work to other non-union venues it has gone quite
well.
————————–
I have just unsubscribed from your “list” again- Jesus Christ!!-
get a real hobby and practice your instruments or compose
some music but get off this paranoid delusion that everyone’s
out to get you. Maybe if you actually had some skills you
guys would work more!!! What a bunch of crybabies.
Goodbye again!!
—————————
Hi Committee,
I am so glad you brought the lawsuit (backed by the
RMA/PMG) to the memberships’ attention. It is important
to understand what this lawsuit is really all about. I would
like to direct the whole memberships’ attention to the Film
Musicians Secondary Market Fund, headed by Dennis Drieth.
You can read his status report on the 82 million dollars
collected this fiscal year for scoring musicians, music
prep, sideline musicians, phono re-use, musicians and
beneficiaries (he left out contractors and operating costs
and Himself). The report is dedicated to politics, and is
full of statistical approximations. The report states that
the funds are split between “about” 18,000 people. This
years so-called increase in money collected is from film
work. Well, 90% the film scoring under union contracts
are done here in LA by 50 to 80 people max. And you Mr
Drieth, have the nerve to use this report as a political forum
by subverting facts. 82 mil split between 18,000 people is a
little over 4,500 a piece. You said, 2000 people received an
excess of $2,500.00. If you were accurate, you would be right
on the money, bub. And there is no reason why you should
not be accurate. Then you use this statement as a political
forum to express your views by saying it is the amount
mandated by the AFM for work dues. The report is an editorial
at best.
How about explaining away this political football: $100,000.00
in residual for a Nifty Fifty is 5 million. You can’t bet the rest of
those residual checks might make a house payment for a month
(not to make light of beneficiaries and retirees, but thanks for the
rub). The report points out that inflation has brought work back to
LA. It brings back work to the USA, including Seattle. That is unless
the RMA/PMG has some kind of sweet deal with a non-union orchestra.
So some one is getting greased really good. That is why Mark Twain
said: “There are three kinds of lies: lies, damned lies and statistics”
and BBC Home Page says: “This quote from Mark Twain is accurate;
statistics are often used to lie to the public because most people
do not understand how statistics work”.
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Until Next Time!,
THE COMMMITTEE FOR A MORE RESPONSIBLE LOCAL 47