DECEMBER 2017

INSIDE THE WORLD

OF A JAZZ MASTER

AFL-CIO CONVENTION HIGHLIGHTS

FILM MUSICIANS SECONDARY

MARKET FUND UPDATE

HOLIDAY GIFT GUIDE

 December 2017

PRESIDENT’S MESSAGE 2
OFFICIAL REPORTS 4
LEGISLATIVE UPDATE 6
NEWS & NOTES 12
ORCHESTRA NEWS 13
HOLIDAY GIFT GUIDE 16
RESOURCES 19
Ellis Dawson
Kruesselmann

TO YOUR HEALTH 20
Photo:
Photo: Thomas

UPBEAT 22
TAKE NOTE 25
FEATURE STORY 14 CLASSIFIEDS 26
JOHN SCOFIELD
A member of Local 802 (New York City), Sco’s busy career has him touring about half the year, EN FRANÇAIS 5, 11
both in the US and overseas.

INTERNATIONAL MUSICIAN
Official Journal of the American Federation of Musicians of the United States and Canada
Vol. 115, No. 12 | December 2017 © 2017 American Federation of Musicians of the United States and Canada
OFFICERS OF THE FEDERATION EXECUTIVE BOARD
RAYMOND M. HAIR, JR., President JOSEPH PARENTE
Publisher: JAY BLUMENTHAL (im@afm.org) Cover Story: CHERIE YURCO 121 S. Broad St., Ste. 320; Philadelphia, PA 19107
1501 Broadway, Ste. 600; New York, NY 10036
Managing Editor: CHERIE YURCO (cyurco@afm.org) Cover Photo: NICK SUTTLE local77@afm.org
presoffice@afm.org
Advertising Director: KAREN GODGART (kgodgart@afm.org) Contributing Writers: MEREDITH LAING, THERESA LITZ,
TINO GAGLIARDI
Graphic Designer: CHUCK SCHIELE DANIEL YARNALL 322 West 48th St.; New York, NY 10036
BRUCE FIFE, International Vice President
Digital Production Editor: JON DUFORT Translation/Traduction: SYLVIA KIINGI, KELENY INC. tgagliardi@local802afm.org
325 NE 20th Ave.; Portland, OR 97232
and MONIQUE LAGACÉ
bfife@afm99.org DAVE POMEROY
The International Musician (ISSN No. 0020-8051) is published monthly at 1501 Broadway, New York, NY 10036 by the 11 Music Circle N.; Nashville, TN 37203
American Federation of Musicians. Member Circulation phone: (212)ˇ869-1330 ext. 1-286. Non-member Subscriptions: ALAN WILLAERT, Vice President from Canada dave@afm257.org
$43.90/year US and Canada/$59.90 Foreign /$109. Visit: www.internationalmusician.org. (877) 928-6600 ext.116. 150 Ferrand Dr., Ste. 202; Toronto, ON M3C 3E5
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POSTMASTER: Send address corrections to: International Musician; 1501 Broadway, Ste 600; New York, NY 10036.
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JAY BLUMENTHAL, Secretary-Treasurer
Materials intended for publication should be directed to the International Musician; 120 Walton St., Ste. 300; Syracuse, NY 1501 Broadway, Ste. 600; New York, NY 10036 JOHN ACOSTA
13202; fax: (315)422-3837 or email: im@afm.org. The International Musician assumes 3220 Winona Ave.; Burbank, CA 91504
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no responsibility for loss or damage to unsolicited articles, photographs or art. john.acosta@promusic47.org
All material becomes property of the AFM.
1220 M
Advertising Rates: Visit www.internationalmusician.org
2 December 2017
Invest in Your
Union’s Future
While Expanding
Freedom of Speech
for American
Musicians
TASKFORCE FOR
EMPLOYMENT OF MUSICIANS,
PROMOTIONAL ORGANIZATION
Contributions to TEMPO,
PCC, the AFM’s separate
segregated political fund are
used to help Members of
Congress who support
AFM issues remain in
public office. Contributions
to TEMPO are NOT tax
deductible. Your decision to
give is strictly voluntary and
is NOT a requirement
of membership in the union.
For more information,
please contact:
AFM Legislative
Political Director
Alfonso Pollard
202-274-4756
apollard@afm.org
THE PRESIDENT’S MESSAGE
Media Talks Driven by Streaming Growth, Part 2
by Ray Hair, AFM International President
This is the second of two articles on the continued rise of streaming and its effect on Federation media industry negotiations.
Photo: Wayne Burak
Last month, we
discussed the Fed-
eration’s January
2017 deal with the
sound recording industry, where major re-
cord labels agreed to earmark a percentage of
domestic and foreign streaming revenue to-
ward the American Federation of Musicians
& Employers’ Pension Fund (AFM-EPF),
Music Performance Trust Fund (MPTF), and
the Sound Recording Special Payments Fund
(SPF). We also discussed the skyrocketing
growth of streaming revenue from recorded
music, which now accounts for 62% of total
record industry income.
Having successfully negotiated a portion of
record company streaming revenue for AFM-
EPF, MPTF, and SPF, we now examine our
deals in live television and motion picture-TV
film with a view toward how the streaming
of digital content has disrupted traditional
consumption models in those industries, and
further, how entertainment guilds responded
to the fast and furious changes in the televi-
sion, motion picture, and TV-film landscape.
Ten years ago, the Writers Guild of America
(WGA) engaged in a 100-day strike in order
to obtain a share of revenue generated by
movies and TV shows when distributed
over the Internet—streamed on smart TVs,
computers, or on mobile devices. In doing
so, the writers forced the media industry to
address how the creative community would
be paid in the digital future. Earlier this year,
WGA came within hours of another strike,
pushing the Alliance of Motion Picture and
Television Producers (AMPTP) to grapple
with complicated issues like the rise of
on-demand binge-watching, reductions in
seasonal episodes, and serious competition
from Netflix and Amazon.
In television, the term “peak TV” refers to the
rapid increase in original scripted shows on
broadcast, cable, and digital platforms. There
is more work than ever for creators—actors,
writers, directors, and also musical staff—but
overall income is falling due to diminishing
residuals. The broadcast networks no longer
program reruns of most shows, because
viewers have more options to time-shift and
catch shows later, via on-demand platforms.
Newer generations of viewers have been content is made originally for Internet distri-
attracted to original, on-demand hit series
from Amazon and Netflix that run without
bution in the first place. On this point, despite
the uncertain economic nature of new media
commercials. Older seasons of hit shows production, all of the entertainment guilds
originally shown on broadcast networks have fought hard to obtain fair compensa-
are now binge-watched by viewers on their tion from producers in the production of
own schedules, ad-free, weaning them away original series made for online, on-demand
from live TV. consumption.
For the WGA, broadcast network residual fees House of Cards, Mozart in the Jungle, Trans-
sank more than 20% from 2010 through 2016, parent, and Master of None are a few examples
but residuals from TV reruns made available of dozens of popular episodic series available
on digital platforms were up by 896% over the from subscription video on-demand (SVOD)
same period—a vivid illustra- services, all scored
tion of the rapid consumer under acceptable con-
trend toward digital. ditions, under appro-
priate AFM contracts.
One effort by local TV chan- Newer generations of
nels and broadcast networks Then there is the
to compete with on-demand viewers have been attracted question of residual
streaming of legacy hit con- payment patterns,
to original, on-demand hit
tent has been the use of which fall into two
series from Amazon and
digital subchannels, known categories. The first
as diginet. The CBS old- is how musicians
Netflix that run without
ies library from the 1950s get paid when tra-
through the 1980s, which commercials. ditional TV shows
includes such popular shows and films, or ex-
as Happy Days and Star Trek, cerpts from shows
and 100 other iconic series, and films (clips), are
is now packaged together made available on
and available over the air from CBS outlets advertiser-supported free streaming sites,
on digital subchannels, and also available on such as broadcast network or affiliated sites,
cable and satellite. YouTube, or any other free advertiser-based
The entertainment guilds have aggressively video on-demand services (AVOD). The
bargained new media compensation patterns second category is how musicians get paid
through the door that was courageously when the consumer pays a fee to view content,
opened by WGA 10 years ago. The patterns either from an SVOD service like Amazon or
have evolved through subsequent rounds of Netflix or as an electronic sell-through (EST)
collective bargaining with the corporately or rental from a multi-channel video pro-
aligned broadcast networks and film stu- gramming distributor (MVPD) like Direct
dios, whose interests converge because they TV or a cable TV service.
produce much of the scripted programming The Federation’s negotiating team will
for Amazon and Netflix. Consequently, the meet with representatives of the broadcast
push toward coverage of original on-demand networks in Los Angeles, December 11-15,
programming, and for residual payments to continue our discussions toward fairness
when broadcast TV programming is dis-
tributed digitally, has been exceedingly slow
in the production of live television and the
digital distribution of programs. I will up-
and difficult. date you on the process of those discussions
Progressive negotiations for AFM coverage next month.
of television shows and films distributed
digitally are concentrated in three main areas.
In the meantime, please accept my best wishes
for a happy and healthy holiday season and a
First, there is the question of whether the productive New Year.
 International Musician 3

FEEDBACK
All Feedback letters regarding articles
printed in the IM must be typed, signed
(with name, local, and phone number),
and should be no more than 200 words
in length. Feedback can be emailed to
im@afm.org.
The editor reserves the right to deter-
mine whether material submitted shall
be published and the right to edit as
needed for clarity, length, libelous state-
ments, and personal attacks. The opin-
ions presented in Feedback are those of
individual AFM member writers and in
no way do they represent the opinions
of the AFM, IEB, or IM editorial staff.
CORRECTIONS:
October 2017, Cover Story
The October 2017 International Musician cover story about
Nurit Bar-Josef of Local 161-710 (Washington, DC) (page 16)
stated that, when she was selected as concertmaster for the
National Symphony Orchestra (NSO) at age 26, she was the
youngest concertmaster ever appointed to a major symphony
orchestra. It should have said she was the youngest at the
time to have ever been appointed to a major US symphony
orchestra. Local 149 (Toronto, ON) member Steven Staryk
was only 24 when he was appointed concertmaster of the Roy-
al Philharmonic Orchestra by Sir Thomas Beecham in 1956.
November 2017, Big Apple Circus
In the November 2017 International Musician, the caption
of the photograph of the Big Apple Circus Band on page 14
failed to mention several band members who were not present
for the photo. Band members not listed were: Kristy Norter,
Bob Suttmann, Bruce Eidem, Jason Rigby, and Rob Thomas,
all members of Local 802 (New York City).
Attention: Digital copies of the Steward
Update newsletter, published by the
Union Communication Service, can now
be accessed through AFM.org. After
logging in, go to the Document Library
tab and select the “Officers” folder.
FEEDBACK LETTER:
I appreciated AFM Vice President from Canada Alan Wil-
laert’s article in the November International Musician and it
needs to be shared publicly. I encourage members to copy it
and put it on the cork boards, forward links, and carry a copy
to share with employers.
I was part of the viral movement to shut down a non-paying
and abusive group in Toronto. I am a flutist and editor in To-
ronto and believe in our power of voice to fight the pervasive
“playing for love” idea.
Jaye Marsh
Member of Local 149 (Toronto, ON)

“Terrific!…wonderful sound, speaks so easily.”

Photo © Kevin Sprague

Steve Ansell, Principal Viola,Boston Symphony Orchestra,
member of the Muir String Quartet

“Amazing. The tone is surprisingly excellent.

To equal the sound in a wooden instrument,
one would need to add two zeros to the price of
the Luis and Clark.”
Edo de Waart, Chief Conductor of the Netherlands Opera, Chief
Conductor of the Netherlands Radio Philharmonic Orchestra and Artistic
Director of the Sydney Symphony Orchestra, former Music Director of the
Rotterdam Philharmonic, San Francisco Symphony and the Minnesota
Orchestra

“Your viola is fun to play and it is

as easy to produce a big sound as
it is to play soft. Every time I take
this instrument out of it’s case,
I instantly get excited and can not
wait to start playing!”
Niklas Schwarz, Principal violist of the Essener Philharmoniker
and violist of the Mannheimer Streichquartett, Niklas Schwarz

617-698-3034 luisandclark.com
 4 December 2017

OFFICIAL REPORTS
AFL-CIO Convention Passes Timely Resolutions
by Jay Blumenthal, AFM International Secretary-Treasurer

Once every four
years, elected del-
egates to the AFL-
CIO Convention
gather to elect the
AFL-CIO Officers
and Executive Council. Our AFM delegation
consisted of AFM President Ray Hair, Local
65-699 (Houston, TX) President Lovie Smith-
Wright, and myself. Unfortunately, due to a
death in her family, Lovie was unable to attend.
AFM members from Local 2-197 (St. Louis,
MO) entertained the delegates as they filed
into the hall to take their seats before AFL-
the floor. Delegates speak for or against the and AFL-CIO Executive Vice President Tefere
resolution and voting takes place immediately Gebre. All three officers were nominated and
at the conclusion of the discussion. ran unopposed.
The election of officers resulted in the re-elec- The AFL-CIO Executive Council, consisting
tion of AFL-CIO President Richard L. Trum- of the three top officers (listed above) and 55
ka, AFL-CIO Secretary-Treasurer Liz Shuler, vice presidents, ran on an unopposed slate.
Frank’s Creation, all
members of Local 2-197,
entertain AFL-CIO
Convention delegates.
(L to R) are Willie Murry
(sax), Rob Endicott
(trumpet), Michael
Holmes (vocals), Steve

Photos: Courtesy of AFL-CIO

CIO President Richard Trumka banged his Waldman (guitar), Frank
gavel bringing the convention to order. Mem- Dunbar (bass), and
bers of the St. Louis local also played for var- Emily Givens (piano); in AFL-CIO Executive Vice President
ious receptions throughout the convention. back are Douglas Jones Tefere Gebre (left) and Secretary-
(guitar) and Michael Treasurer Liz Shuler on the AFL-CIO
The use of technology played a prominent Howell (drums). Convention dais as the AFM logo is
role allowing for a paperless convention. An projected behind them.
app created for download to mobile devices
allowed delegates and attendees to view the
agenda, workshops, resolutions, constitu-
tional amendments, governance documents,
as well as a personal conference schedule on
Some of the more important resolutions passed:
their cell phones. As an alternative to using 1) Workers’ Bill of Rights—all working people have the right to: 6) In support of public education
their phones, each delegate received a fully • A good job with fair wages 7) Condemning rising fascism, fight for working class unity
loaded tablet at registration to provide access
• Quality health care: regardless of income, job, or pre-existing 8) Climate change, energy, and union jobs:
conditions • In support of incentives and funding for research programs to
Photo: Jay Blumenthal

AFM President Ray Hair at the
AFL-CIO Convention.
to these documents on a larger screen. Video
streaming of convention proceedings was also
available online.
During the four-day Convention, 42 resolu-
tions were adopted by the body. Unlike our
AFM Convention, where resolutions are
vetted in committee with delegates afforded an
opportunity to speak for or against, resolutions
at the AFL-CIO Convention are fully vetted
by the Executive Council before moving to
• A safe job: free from harassment and violence
• Paid time off and flexible, predictable scheduling
• Freedom from discrimination in: hiring, firing, and promo-
tions
• Retire with dignity
• Education: public K-12, higher education, and career training
• Freedom to join together with our co-workers for better wages
and working conditions, whether in a union or not
• A voice in democracy: to freely exercise our democratic voice
through voting and civic participation
2) Solidarity and democracy—reaffirming the labor movement’s
mission in the face of the threat of hate
3) Voting rights—building an inclusive pro-voter democracy to
move a winning agenda for working people
4) Inclusion and equity—ensuring equity and inclusion internally
and externally
5) Full employment and a $15 minimum wage
For a full list of all the resolutions adopted at the 2017 AFL-CIO Convention go to www.aflcio2017.org/adopted-resolutions.
bring new energy technologies to market
• In support of key energy and environmental policies with a
focus on ensuring high labor standards, the creation of union
jobs, and environmental sustainability
• Urging the US to remain in the Paris Agreement and work to
ensure that all nations make progress on emissions reductions
• Belief that the US Congress should enact comprehensive
energy and climate legislation that creates good jobs and
addresses the threat of climate change
9) Celebrating the Department for Professional Employees (DPE):
40 years of growing professional union membership.
• In 1972, when AFL-CIO President George Meany was ap-
proached about forming a trade department for professional
employees, professional and technical employees were 25% of
the workforce and 18% of the labor movement. Today, profes-
sional and technical employees represent 38% of the workforce
and 42% of union members. The AFM is one of 12 affiliated
entertainment unions. Altogether there are 23 affiliated unions
within the DPE, representing more than 4 million professional
and technical employees.

CFM Negotiates with the Media Giants
by Alan Willaert, AFM Vice President from Canada
The General Production Agree-
ment negotiated between the CFM
and the Canadian Broadcasting
Corporation has been ratified with
an overwhelming majority. As a re-
sponse to requests by the members,
modifications were made to once again identify underscore
and theme music that would require reuse payments outside
of the one-year window. Fees increased by nearly 5% and the
revenue sharing aspect of Distributor’s Gross now includes
licensing as well as sales.
And of equal importance, ratification indicates that we now
have an up-to-date template to use as we prepare to negotiate
a similar deal with Rogers Communications, Bell Media, and
Corus Entertainment. During conversations with all three to
determine dates to begin bargaining, it became apparent that
there is an appetite among the three media giants to bargain
simultaneously. To that end, the tentative timeline is sometime
in February 2018.
Commercial Announcements Agreement
In the mix as well is the Commercial Announcements Agree-
ment, as the Association of Canadian Advertisers (ACA)
and the Institute of Communications Agencies (ICA) have
Négociations entre la FCM et les géants des médias
par Alan Willaert, vice-président de l’AFM pour le Canada
L’Entente générale de production entre Radio-Canada et la
FCM a été ratifiée avec une écrasante majorité. À la demande
des membres, des modifications ont été apportées pour
identifier une fois de plus les trames sonores et les indicatifs
musicaux pour lesquels des paiements devraient être versés en
cas de réutilisation après la période d’un an. Les cachets ont
augmenté de près de 5 %, et le partage des recettes brutes du
distributeur inclut désormais les licences ainsi que les ventes.
La ratification nous indique que nous disposons désormais
d’un modèle à jour que nous pourrons utiliser dans le cadre
de nos négociations à venir avec Rogers Communications,
Bell Media et Corus Entertainment. Lors de conversations
en vue de déterminer les dates de début de négociations, il
est apparu clairement que les trois géants souhaitent négocier
simultanément. Le début des négociations a donc été fixé
provisoirement à février 2018.
Entente sur les messages publicitaires
Il y a également du nouveau du côté de l’Entente sur les
messages publicitaires, puisque l’Association canadienne des
annonceurs et l’Institut de la publicité canadienne sont de
retour à la table de négociations après une absence d’un an.
Des modifications importantes à ce contrat sont envisagées,
car la publicité en ligne, qui ne représentait auparavant qu’une
International Musician 5
returned to the table after a yearlong hiatus. Significant very serious concerns for organized labour in Canada. As
amendments are being considered with this contract since reported previously, the CFM has been appointed to a NAFTA
online advertising, once considered a small part of the indus- committee to provide input on certain aspects of the cultural
try, has become a significant part of sector. We have also made presen-
productions. While fee increases tations during public consultations
and housekeeping are also on the on the TPP, as the subject matter
table, major revisions are being Ratification indicates that we now has similar concerns for musicians,
contemplated because of massive specifically regarding temporary
have an up-to-date template to use
shift in how jingles are now created. entry into Canada and copyright.
Fortunately, there is a desire on both as we prepare to negotiate a similar We continue to push for what
sides to make the agreement more is fair, although it would appear
relative and user-friendly.
deal with Rogers Communications, at this juncture, that both those
Consultations with independent Bell Media, and Corus Entertainment. agreements are in peril.
producers have finally led to an As you may have surmised, we
upcoming meeting with the Cana- have a busy schedule coming up,
dian Media Producers Association both in finishing 2017 work and
(CMPA). While still in the early stages, it’s my hope that the with projects that will take us well into next year. Major, first-
result will be a Canadian agreement for independent produc- time negotiations are on deck, and with lots of hard work and
tion. I will report more on this in the near future. a little luck, there will be a significant increase in contracted
media work.
NAFTA & TPP Update I would like to wish all our members, officers, and staff a
Recent meetings of the Canadian Labour Conference con-
very Merry Christmas, as well as a safe, healthy, happy, and
firmed that the North American Free Trade Agreement
prosperous New Year.
(NAFTA) and the Trans-Pacific Partnership (TPP) remain
petite partie des activités du secteur, constitue désormais une syndical au Canada. La FCM a été invitée à siéger à un comité
part considérable des productions. Outre les hausses de ca- de l’ALENA pour se prononcer sur certains aspects du secteur
chets et les modifications d’ordre administratif, d’importants culturel. Nous avons également donné des présentations lors
changements sont à l’étude en raison de consultations publiques sur le
du virage à 180 degrés dans la façon de PTP pour faire valoir les préoccu-
créer les jingles. Heureusement, les deux pations des musiciens, en particulier
parties ont la volonté de rendre l’entente
La ratification nous indique que au sujet des séjours temporaires au
plus relative et conviviale. nous disposons désormais d’un Canada et du droit d’auteur. Nous
Des consultations menées auprès de modèle à jour que nous pourrons continuons de promouvoir l’équité,
producteurs indépendants ont finale- mais la situation actuelle laisse croire
ment donné lieu à la tenue prochaine
utiliser dans le cadre de nos que ces deux accords sont en péril.
d’une rencontre avec la Canadian Media négociations à venir avec Rogers Comme vous l’avez sans doute com-
Producers Association. Bien que les né- pris, notre horaire sera très chargé
Communications, Bell Media
gociations n’en soient qu’à leurs débuts, d’ici la fin de 2017 et pendant une
j’ai l’espoir que nous parviendrons à une et Corus Entertainment. bonne partie de 2018. D’impor-
entente canadienne sur la production tantes négociations qui constituent
indépendante. J’aborderai cette question une première sont sur la table. Avec
plus en détail dans un avenir rapproché. beaucoup de travail et un peu de
chance, nous assisterons à une hausse importante du nombre
ALENA et PTP de contrats de travail dans le monde des médias. J’aimerais
Comme l’ont confirmé des rencontres du Congrès du tra- souhaiter à tous nos membres, nos directeurs et nos employés
vail du Canada tenues récemment, l’avenir de l’Accord de un très joyeux Noël ainsi que de la santé, du bonheur et de la
libre-échange nord-américain (ALENA) et du Partenariat prospérité pour la nouvelle année.
transpacifique (PTP) préoccupe grandement le mouvement
6 December 2017
LEGISLATIVE-POLITICAL UPDATE
Federal Government Tax Reform: What It Means for You
by Alfonso Pollard, AFM Legislative-Political Director and Diversity Director
The Republican-led
Congress and ad-
ministration have
now embarked on a
debate over another
feature piece of legislation promised during the
2016 campaign: tax reform. At this writing, the
Republican-led House of Representatives has
introduced its far reaching reform proposal,
which it claims focuses on a tax savings for
middle-class Americans. Along with White
House regulatory reforms, the House says the
bill will provide tax savings and incentives for
American businesses, especially those with
overseas or offshore operations.
Working alongside the majority party in Con-
gress, the White House is expecting delivery
of a complete tax package to the President’s
desk before Christmas. The steady grind of
the legislative machine in both the US House
and Senate since the end of the August recess
may drive this package through (loopholes
and all), especially if the House and Senate
can make a final deal with disgruntled Re-
publicans and some nationally recognized
outside groups like the Mortgage Bankers As-
sociation, national real estate organizations,
and others who are on the fence.
Though the philosophy of the majority party
is to move this process through before too
many stakeholders weigh in, there are those
who believe that the package as written,
containing a limit on interest deductions for
new home purchases of $500,000 or more
and an expansion of the standard deduction
(as outlined in a November 3 New York Times
article), is a losing proposition, too difficult
to sell to their constituents. In the same
New York Times article, others, including
Congress’s Joint Committee on Taxation and
the independent Tax Foundation, find that
America’s highest earners would receive at
least twice the tax cut that middle-class work-
ers would get, as a percentage of their income.
Democrats, along with other outside groups
who sit in opposition to the package, say
that the plan is not well thought-out and is
moving too quickly. It will harm, not help,
middle-class Americans because it will raise
taxes. Meanwhile, it will eliminate some
much sought-after and expected annual tax
staples such as state and local tax write-offs
(businesses will continue to be able to deduct
state and local taxes incurred in the conduct
of a trade or business) and House reductions
in the mortgage interest cap. Also, it will use
funds from the elimination of important pro-
grams, such as the CHIP and state Medicaid
Expansion, which were put in place to help
middle-class Americans. Opponents say this,
along with other loopholes, is all to help pay
for a tax reform package designed to help
wealthy taxpayers.
Concerns for Members
A look at the tax reform package reveals some
issues—changes for the average American
and for musicians and others in the media
and entertainment fields.
The House Ways and Means Committee,
the committee that oversees the drafting
and implementation of tax legislation, has
outlined what the new tax law does. You can
read the Tax Cuts and Jobs Act at https://
waysandmeans.house.gov/taxreform/. The
committee states that the bill:
• Lowers individual tax rates for low- and
middle-income Americans
• Eliminates special-interest deductions
• Establishes a new Family Credit, which
includes expanding the Child Tax Credit
• Reduces the tax rate on the hard-earned
business income of Main Street job
creators
• Significantly increases the standard
deduction
• Takes action to support American families
• Preserves the Child and Dependent Care
Tax Credit
• Lowers the corporate tax rate to 20%
Opposition forces say that the bill falls short
of all these goals and leaves the average
American subsidizing proposals that only
benefit the rich.
Yeh Shen of Local 6 (San Francisco, CA)
states, “Under GOP’s tax plan, all of the
necessary costs associated with maintaining
a freelance career and professional activities
are not tax deductible, if players continue to
be paid as W-2 wage [earners].”
Winners v. Losers
But, who are the winners and losers?
An article from The Hill (http://thehill.
com/business-a-lobbying/business-a-
lobbying/358542-winners-and-losers-in-the-
gop-tax-bill) describes who stands to gain and
who stands to lose. Here’s a summary:
Winners—Corporations will see their tax
rate go down from 35% to 20%. Companies
would be allowed to deduct the full costs of
buying new equipment for five years. And
businesses that had been keeping profits
overseas to avoid the 35% tax rate would be
able to bring the money back, or repatriate to
the US, and pay only a 12% tax for cash assets.
Major business groups like the US Chamber
of Commerce and the National Association of
Manufacturers back provisions to lower rates
for businesses, in order to move to a “terri-
torial” tax system that exempts dividends
from companies’ foreign subsidiaries and to
enhance expensing of capital investments.
Super wealthy individuals will keep the top
tax rate in place, but they have a lot to gain
from the bill. First off, the income tax bracket
thresholds increase, which will accrue savings
at the top. Second, the bill would double
the limit on the estate tax and then phase it
out altogether. Currently, the estate tax only
applies to estates of $5.5 million or more,
and twice that for couples. The bill would
immediately double that, giving tax shelter
to anyone with an estate between $5.5 mil-
lion and $11 million (or, again, double those
amounts for couples). After a few years, the
tax would be eliminated altogether, meaning
that the very wealthiest in the country could
receive their inheritances tax-free. Third, the
plan would lower the taxation rates of “pass-
through” corporations, or S-corps, to 25%,
allowing certain business owners to claim
part of their income at the lower rate. Fourth,
it would eliminate the alternative minimum
tax, which was intended to create a floor on
tax exemptions.
Losers—Blue states, the budget deficit,
universities, homeowners, and nonprofit
organizations.
House v. Senate Bills
As for House and Senate bill comparisons,
Sarah Babbage from Blumberg outlines direct
differences in the bills. You can read her anal-
ysis at: https://about.bgov.com/blog/bgov-
onpoint-comparing-house-senate-tax-bills/.
For musicians, the tax plan in its earliest form
hit on two issues that would have directly
impacted artists and their supporting insti-
tutions. The first was a provision in the code
that provided the time and manner rules for
electing capital asset treatment for certain
self-created musical works. The original
temporary regulatory proposal was published
in the Federal Register February 8, 2008. No
comments appeared in response of the pro-
posed rulemaking and no request for a public
hearing was received. The Treasury then
decided to adopt the proposed regulation
with some minor changes. However, on No-
vember 6, 2017, the provision was removed
from the Ways and Means Manager’s Report.
The Manager’s Report would have allowed
a taxpayer to treat the sale or exchange of a
musical composition or a copyright of their
personal musical work as a capital gain or loss.
Secondly, the House bill eliminates certain
language referring to business entertainment
write-offs. This could mean fewer business
professionals using theater, restaurant,
and other performance venues as write-off
activities for their clients. Section 3307 en-
titled “Entertainment, etc. Expenses,” denies
a business deduction for entertainment,
amusement, recreation, and other fringe
benefits in the media and entertainment in-
dustry to embrace or entice business partners.
The provision goes on to say: “No deduction
otherwise allowable under this chapter shall
be allowed for amounts paid or incurred for
any of the following items … this may impact
any entertainment, amusement, or recreation
activity; membership dues; amenities not
directly related to the taxpayers trade or
business; or on-premise athletic facilities, not
related to a trade or business.”
The Senate bill, introduced November 14, is
currently under debate. We must consider
that, at this writing, the House bill is still un-
der consideration and the Senate bill, though
just introduced, has additional changes. No
new policy is set in stone until the chamber
has a final vote on it. However, we expect
those votes very soon. The AFM will con-
tinue to work with its affiliates and outside
partners to help mitigate the negative effects
of this legislation.
International Musician 7
 8 December 2017

When It Comes to Freelancing, Know Your Worth

by Michael Manley, Director Organizing and Education Division

Everyone loves to ate. Here are a few key points to look for and pay? Consult your AFM local’s website for What about the extras?
get the call, text, some factors to consider before taking a job. scales, or give the local a call, if the scales Are you being asked to drive more than an
email, or Facebook are not published online. Union local scales hour to do the job? If so, mileage should be
message offering What’s the gig? Separating may vary according to the type of engage- paid or professional chartered transportation
them work—espe- for-profit from public service ment, type of music, and size of the venue. should be provided. If there is a soundcheck
cially when gigs are scarce and times are lean. We all know how it works: you get an offer, Remember: local scales are minimums, in the late afternoon and an evening con-
Employers know you love to make music, and which includes the type of ensemble, genre, not maximums—they should easily fit into cert, you should be provided a hot meal or
the best employers value and fairly reward and repertoire, venue, and most importantly, the budgets of truly professional for-profit appropriate meal per diem between calls.
this. The worst, however, will exploit your what the pay and benefits are. Before deciding events and concert producers. The absence of both of these is a red flag. In a
passion for their own gain. Before you decide to accept or reject an offer, determine the
What is the size of the venue, and major venue, it is likely that union stagehands,
to take the job, ask yourself two questions: context of the employment. Performing at
carpenters, and electricians are working for
“What should this job pay?” and “What am I a local church during the holiday season? what are the ticket prices?
fair union wages and benefits. If the crew
worth?” Then, follow the money. With no tickets sold or meaningful profit If the venue is more than 1,000 seats and
member plugging in the amp is receiving a
being realized, this gig is really one of public tickets are being sold at top prices, a union
In building a freelance career, sometimes union wage, why not you?
service. You may or may not decide to take the contract should be a given and the absence
the job you say “no” to can be just as crucial
as the one that you say “yes” to. Of course, a
work based on the pay offered, the people you of one is a huge red flag. If there is no union No one is impressed by
are performing with, the repertoire, and the protection and the wages being offered for the
union contract is the best guarantee that the underpaid work
mission or cause being served by the concert. job are lower than union scale, why?
job is paying appropriate wages and contains It’s great to play in a large venue with “stars.”
appropriate benefits. While it would be ideal But what if tickets are sold and the perfor- We all love to post backstage photos with
Who is the artist/act?
if every musician only worked union jobs, mance is in a large capacity venue? This is artists when we get to share the stage with
If you are being asked to play for a band, artist,
currently that is not the reality. But it is not where you have to proceed with caution. them. But the people who matter to your
or act that is a “household name,” you should
hard to spot those jobs that should be union never work without a union contract. The career—the top-tier players and contrac-
and that is where musicians need to ask the
What is the job paying, and what tors—will know when a job is undermining
act/artist can afford union rates. If the job is
right questions and say “no” when appropri- should it pay? the basic standards and conditions that they
being offered as nonunion and at substandard
How do you find out what a job should have worked hard to achieve and maintain
wages, it means the money the artist is paying
for back-up musicians is not trickling down in their own careers. They are not impressed

Save with AT&T Wireless to you. Where is it going? when you work for substandard wages. And
working for substandard wages does not lead
Who are you working for? to working for appropriate wages, nor does it
15% Savings on the Follow the money lead to working with the influential first-call
Who called you for the job? Is it a trusted musicians with whom you hope to share the
Monthly Service Charge of high-profile union contractor who has stage as your career develops.
Qualified Plans* booked similar jobs in the past? If not, why?
Receive a 20% Discount A common trend now: peers who act as con- The bottom line
on Select Accessories** tractors for a job, with these musicians being We all love to make music, and saying “no”
offered a bump in pay to make job offers to can be hard. Emerging professionals some-
AT&T is the One and Only times take nonunion work because it is all
their colleagues. They act as proxy employ-
Nationwide Unionized they feel they can get. But a truly nonprofit,
ers—but they are not really employers. Will
Wireless Carrier you receive a 1099 for the work, or will you nonunion church or community theater gig
receive a W-2? Or worse, is someone going is a far cry from playing with a well-known
artist in a huge arena. There is some work
Learn more at to try and pay you with PayPal or Venmo?
that absolutely should be “union”—make sure

UnionPlus.org
And who is your peer working for? This is
the hallmark of a sketchy gig—one where you you know what it is. If you are being offered
have no protections or recourse if there are substandard wages and conditions, with no
* Available only to current members of qualified AFL-CIO member unions, other authorized individuals associated with eligible unions and other sponsoring organizations problems. And why is a section violin player union protections, don’t be afraid to say “no,”
with a qualifying agreement. Must provide acceptable proof of union membership such as a membership card from your local union, a pay stub showing dues deduction
being asked to contract your work anyway? warn your colleagues, and alert your union
Learn more at UnionPlus.org
or the Union Plus Member Discount Card and subscribe to service under an individual account for which the member is personally liable. Offer contingent upon in-store
verification of union member status. Discount subject to agreement between Union Privilege and AT&T and may be interrupted, changed or discontinued without notice.
Discount applies only to recurring monthly service charge of qualified voice and data plans, not overages. Not available with unlimited voice plans. For Family Talk, applies Consider what would happen if you were local. You and your career will be better for
only to primary line. For all Mobile Share plans, applies only to monthly plan charge of plans with 1GB or more, not to additional monthly device access charges. Additional
restrictions apply. May take up to 2 bill cycles after eligibility confirmed and will not apply to prior charges. Applied after application of any available credit. May not be underpaid or never got paid. Who would you it in the long run.
combined with other service discounts. Visit UnionPlus.org/ATT or contact AT&T at 866-499-8008 for details. go after for the money? What can you do about sketchy gigs? Organize
** AT&T will apply the Accessory Discount to the prices of select Accessories available through AT&T, which may be modified by AT&T from time to time. The term
“Accessory” or “Accessories” means supplementary parts for Equipment (e.g. batteries, cases, earbuds). The Accessory Discount will not apply to Accessories purchased Remember, if you do not have the protections them! Call the AFM Organizing and Education Di-
for use with datacentric Equipment such as modems, replacement SIM cards and car kits or to Apple-branded Accessories, and the Accessory Discount may not be
combined with any other promotional pricing or offer. of a union agreement, then you do not have vision at (917)229-0267 or email Director Michael
any protections at all. Manley at mmanley@afm.org.
 International Musician 9

AFM EMPLOYMENT OPPORTUNITY

AFM National Lead Organizer
American Federation of Musicians of the United States & Canada (AFM),
AFL-CIO
Location: New York City, with the ability to travel within the US and Canada.
Purpose: In collaboration with the Director of Organizing and Education, the Lead
Organizer will research, plan, and implement internal and external organizing cam-
paigns in various sectors of professional music at the national and local level. The
Lead Organizer will assist with the planning and execution of all union organizing
education initiatives.
Primary responsibilities:
• Design and direct external organizing efforts, with an emphasis on grass-roots,
community-based, leverage campaigns
• Plan and lead internal organizing campaigns, including contract campaigns,
rank-and-file leadership development, member education, strike support, etc.
• Identify and develop leaders, organizing committees, volunteer member teams,
and rank-and-file activists
• Work with national and local leadership and staff in conjunction with all research
and communications, as well as political and legal aspects of campaigns
• Cultivate relationships with community, labor, and political leaders, as well as
organizations
Primary qualifications:
• Bachelor’s degree, and at least 3-5 years of experience in leading union organizing
campaigns, and/or community organizing campaigns, including the design and
development of campaign work plans
• Knowledge of basic principles and practices of union organizing and a thorough
knowledge of labor laws
• Experience with strategic campaign planning and execution
• Knowledge of labor education program planning and development; ability to
conduct training sessions
• Ability to travel
• Ability to work independently while coordinating efforts with national and local
staff and leaders
• Experience with, and knowledge of, collective bargaining and organizational
management
• Excellent interpersonal skills and the ability to work collaboratively with people
from diverse backgrounds and cultures
• Excellent verbal and written skills
• Ability to work under pressure and prioritize tasks
• Commitment to workers’ rights and social justice
• Familiarity with the music and/or the entertainment industry is a plus, but not
required
• Basic computer skills and a knowledge of Microsoft Word, Excel, PowerPoint, etc.
The AFM is an Equal Opportunity Employer. All qualified applicants will receive
consideration for employment without regard to race, color, religion, sex, sexual
orientation, gender identity, or national origin.
Salary is commensurate with experience. Competitive benefits package.
Send cover letter and resume no later than January 15, 2018 to: Cynthia Pellegrino,
Director of Human Resources: cpellegrino@afm.org or fax: 212-214-0807
The AFM represents more than 80,000 musicians in 200 locals in the United States, Canada, and
Puerto Rico and forms part of the heart and soul of the labor movement. The AFM has national
offices in New York City, Los Angeles, Washington, D.C., and Toronto.
10 December 2017
Understanding Your Film Musician Secondary Markets Fund
by Kim Roberts Hedgpeth, Executive Director Film Musicians Secondary Markets Fund
In 2017, the Film Musicians Sec-
ondary Markets Fund (FMSMF)
celebrated 45 years of serving the
film and television music commu-
nity. Created in 1972 by the motion
picture and television producers
and the AFM, the FMSMF’s primary purpose was to act as
the agent of the producers to collect and distribute residual
payments to film musicians. Today, we continue this mission,
while also serving as a resource for motion picture profession-
als in addressing various challenges to the industry.
For some musicians and filmmakers, the FMSMF remains
a bit of a mystery. Because FMSMF distributes a significant
source of income to working musicians, all musicians working
in film, television, new media, as well as sound recordings
should be familiar with how it works.
FMSMF provides a unique service to the film and TV music
community. For producers, it shoulders the responsibility
of calculating and issuing individual musicians’ residual
payments and paying required taxes and withholdings. For
musicians, FMSMF sends a detailed listing with a breakdown
for each title that accompanies the musician’s annual payment.
This provides a “one-stop shop” to make residual tracking,
personal record keeping, and annual tax accounting easier
and more efficient for the working musician.
FMSMF is a 501(c)(6) nonprofit organization operating under
the supervision of an oversight committee appointed by the
Alliance of Motion Picture & Television Producers (AMPTP),
and AFM liaisons appointed by the AFM International Pres-
ident who consult with the oversight committee. FMSMF
does not engage in collective bargaining on behalf of either
producers or the AFM.
How FMSMF Works  supplemental market residuals for secondary use of live and
FMSMF collects residuals (contributions) if a film, TV
program, or new media project has moved from its primary
market into a secondary market, and that secondary market
use generates revenue, as described in Chart 1.
Residuals collected by the FMSMF represent a small percent-
age (below 1% net of deductions outlined in the AFM agree-
ment) of distributors’ gross receipts from secondary market
distribution of film, TV, or new media programs. Producers
CHART / TABLEAU 1
and/or distributors send residuals directly to the fund on Recent Activity
a quarterly basis. Residuals collected during the FMSMF’s In the 2017 fiscal year, the FMSMF collected more than
fiscal year (April 1-March 31) are distributed to musicians $98.4 million in secondary market residuals. Participants
the following July 1. Administrative costs for operating the received 15,676 payments in the July regular distribution and
fund (legal and auditing fees, insurance, salaries, computers, another 1,415 payments as part of the September omissions
rent, etc.), taxes, and other required withholdings, plus a distribution. A list of films, TV programs, and new media
small reserve for “omissions,” are deducted from the amounts programs that have paid into the fund over the years is located
collected. Each individual title’s contribution is allocated at www.fmsmf.org.
proportionally against the total contributions received for all
It can take several years after the first release or broadcast
titles during the year. (A title refers to an individual film or
before a film, TV program, or new media program moves
a season of a TV series). Each musician’s share within each
into a secondary market and revenues are generated. Result-
title is determined by applying the percentage that his original
ing residuals for an individual title can vary from modest
wages represented of the total wages paid to all musicians for
to significant, depending on its success. Overall, secondary
the score, against the residual payment collected for that title
market residuals have grown in recent years. Residuals from
during the year.
new media exhibition of film and television programs have
A second, smaller “omissions distribution” is made each become a more significant share of the totals, as illustrated
September to musicians who the fund discovers were erro- in Chart 2.
neously omitted from a
project’s list of musicians, CHART / TABLEAU 2
or whose original wages
were underreported to
the fund. FMSMF con-
ducts its own research,
reviews, and audits, ei-
ther directly by the Fund
Compliance Department
or by outside auditors
engaged by the fund to
ensure that signatory
producers and distribu-
tors make the required
residual payments. In
addition, the fund’s Participant Services staff works to find
FMSMF also administers a smaller sub-fund that collects
musicians who may have unclaimed residuals waiting at
the fund. Many of these “lost” musicians are musicians who
videotape programs such as the nightly talk shows, variety
performed on AFM-covered sound recordings that were used
shows, and other programs produced under the AFM’s Live
in AFM-covered films and programs, but do not have a valid
Television Videotape and Basic Cable Television agreements.
current address registered with the fund.
Whether you actively work in film and television scoring, on
Who Participates? a new media project, or in sound recordings, the FMSMF and
Participating musicians include, not just instrumentalists who the residuals it collects can be relevant to you. Now, the fund
played on the score (on or off screen), but also conductors, has new relevance to all working musicians. As a result of
orchestrators, copyists, arrangers, contractors, and other the AFM’s negotiations for its 2015 Film and Television Basic
AFM-covered positions. Further, agreements, a portion of the residuals collected by FMSMF
musicians who worked on a will be sent to the AFM-EPF to help support the funding of
union-covered sound recording musicians’ pensions.
used in an AFM signatory film, We invite you to learn more about the FMSMF by visiting
TV program, or new media our website (www.fmsmf.org) where we keep musicians and
project may be entitled to share producers informed about FMSMF activities and offer online
in that title’s secondary market services for musicians and beneficiaries to securely access
residuals. If a participant is accounts, update information, sign up for easy direct deposit
deceased, his/her designated and paperless options, and locate unclaimed residuals.
beneficiary is entitled to re-
ceive the participant’s share of Remember, if you’re a participant, please make sure your
residuals. The FMSMF staff address, email, contact information, and beneficiary designa-
researches, identifies, and con- tions are current and remain up-to-date with the fund. And,
tacts beneficiaries to effectuate please visit us on Facebook.
the musician’s intent for them to On behalf of the FMSMF staff, we look forward to our contin-
benefit from their legacy. ued service to the professional musicians of the US and Can-
ada and extend our best wishes for a happy and healthy 2018!

Le fonctionnement de votre Caisse des marchés secondaires des musiciens de film
par Kim Roberts Hedgpeth, directeur exécutif, Film Musicians Secondary Markets Fund
En 2017, la Caisse des marchés secondaires
des musiciens de film (en anglais, Film Mu-
sicians Secondary Markets Fund) a célébré 45
ans au service de la communauté musicale
de la télévision et du cinéma. À sa création,
en 1972, par les producteurs de télévision
et de film et par la FAM, l’objectif premier
de la CMSMF était d’agir à titre d’agent des
producteurs afin de recueillir et distribuer les
paiements résiduels pour le compte des musi-
ciens de film. De nos jours, nous continuons
à remplir cette mission, tout en servant de
ressource pour les professionnels du cinéma
et de la télévision afin de faire face aux diffé-
rents enjeux touchant l’industrie.
Pour certains musiciens et artisans du milieu
du film, la CMSMF demeure quelque peu un
mystère. La CMSMF distribue des sommes
qui représentent une source importante de
revenus pour les professionnels de l’industrie.
Par conséquent, tous les musiciens travaillant
dans les domaines du cinéma, de la télévision,
des nouveaux médias ainsi que des enregis-
trements sonores devraient se familiariser
avec son fonctionnement et en connaître les
rouages.
La CMSMF offre un service unique à la
communauté des musiciens du cinéma et de
la télévision. Pour le compte des producteurs,
la Caisse a la responsabilité de calculer et re-
mettre aux musiciens les paiements résiduels
ainsi que de payer les impôts et déductions
exigibles. Aux musiciens, la CMSMF envoie
avec leur paiement annuel une liste détaillée
comprenant une ventilation pour chaque
titre. Ce « guichet unique » permet de facili-
ter et d’améliorer le suivi des droits de suite
résiduels, la gestion des dossiers individuels et
le calcul des déductions fiscales pour chaque
musicien.
La CMSMF est une organisation sans but
lucratif (conformément à la disposition
législative 501(c)(6) des États-Unis) sous la
direction d’un comité de supervision nommé
par l’Alliance of Motion Picture & Television
Producers (AMPTP) ainsi que d’agents de
liaison de la FAM nommés par son président
international travaillant en consultation avec
le comité de supervision. La CMSMF ne
participe pas à la négociation de convention
collective, que ce soit pour le compte des
producteurs ou de la FAM.
Comment fonctionne la CMSMF  des Services aux participants s’efforce en outre
La CMSMF perçoit les droits de suite (contri-
butions) lorsqu’un film, une émission de
télévision ou un projet de nouveaux médias
passe de son marché primaire à un marché
secondaire et que ce marché secondaire par-
vient à générer des revenus, comme l’indique
le Tableau 1.
Les droits de suite perçus par la CMSMF
représentent un petit pourcentage (moins
de 1  %, net des déductions indiquées dans
la convention de la FAM) des recettes brutes
que les distributeurs reçoivent pour la dis-
tribution de films, d’émissions de télévision
et de contenu de nouveaux médias sur un
marché secondaire. Les producteurs et les
distributeurs remettent les droits de suite
directement à la Caisse chaque trimestre. Les
droits de suite que la CMSMF perçoit durant
son année financière (1er avril – 31 mars)
sont ensuite distribués aux musiciens le 1er
juillet suivant. Les frais administratifs pour
le fonctionnement du fonds (frais juridiques,
frais de vérification, assurances, salaires, frais
informatiques, loyer, etc.), les impôts et les
autres prélèvements obligatoires, ainsi qu’une
petite réserve pour les « omissions », sont dé-
duits des montants recueillis. La contribution
pour chaque titre est attribuée proportion-
nellement au total des contributions reçues
pour tous les titres pendant une année. (Un
titre fait référence à un film ou à une saison
d’une série télévisée.) La part d’un musicien
relativement à un titre est déterminée selon le
pourcentage de son cachet initial par rapport
au total des cachets versés aux musiciens pour
une partition musicale, pourcentage qui est
ensuite appliqué au paiement résiduel pour
ce titre pendant l’année.
Une deuxième distribution, de moindre
importance, pour les «  omissions  » a lieu
au mois de septembre pour les musiciens
qui, comme le découvre la Caisse, ont été
omis par erreur de la liste des musiciens
pour un projet particulier ou dont le cachet
a été sous-déclaré à la Caisse. La CMSMF
effectue ses propres recherches, enquêtes et
vérifications, que ce soit directement par son
service de la conformité ou par l’entremise de
vérificateurs externes engagés par la Caisse,
afin de s’assurer que les producteurs et distri-
buteurs signataires à l’entente versent au fonds
les paiements résiduels requis. Le personnel
International Musician 11
tion de films ou d’émissions sur les nouveaux
de retrouver tous les musiciens qui ont droit à médias représentent une part de plus en plus
des paiements résiduels, mais qu’ils n’ont pas importante du total des recettes.
encore réclamés. Ces musiciens « disparus »
La CMSMF gère également un fonds sous-
sont souvent des musiciens ayant participé
jacent, de moindre importance, servant à
à un enregistrement sonore qui a été utilisé
percevoir des droits de suite de marchés com-
dans un film ou une émission couvert par la
plémentaires pour les utilisations secondaires
FAM, mais qui n’ont pas laissé d’adresse de
de programmes en direct ou enregistrés,
correspondance valide auprès de la Caisse.
par exemple pour une utilisation dans des
Qui sont les participants talk-shows de fin de soirée, des émissions de
Les musiciens participants ne sont pas que variétés et autres émissions produites dans
les instrumentistes ayant joué la partition le cadre d’ententes de la FAM sur la câblodis-
musicale (à l’écran ou hors champ), mais tribution de base et la télévision en direct ou
aussi les chefs d’orchestre, les orchestrateurs, sur vidéocassette.
les copistes, les arrangeurs et toute autre Que vous travailliez activement en musique
personne occupant un poste couvert par la
dans le milieu du cinéma, de la télévision ou
FAM. De plus, les musiciens ayant travaillé
des nouveaux médias ou dans le domaine
sur un enregistrement sonore utilisé dans un
des enregistrements sonores, les activités de
film, une émission de télévision ou un projet
la CMSMF et les droits de suite qu’elle perçoit
de nouveau média d’une partie signataire
peuvent vous concerner directement. C’est
à l’entente de la FAM peuvent avoir droit à
maintenant vrai plus que jamais pour tous les
une part des droits de suite de ce titre pour
musiciens. À la suite des négociations menées
les marchés secondaires. Si un participant est
par la FAM en 2015 pour les conventions de
décédé, son bénéficiaire désigné a droit de
base sur les films et la télévision, une partie
recevoir la part des droits de suite due à ce
des droits de suite perçus par la CMSMF
musicien. Le personnel de la CMSMF tentera
est dorénavant versée à la caisse de retraite
de retrouver, d’identifier et de contacter les
des musiciens (AFM-EPF) afin d’aider à son
bénéficiaires désignés afin de son conformer
financement.
aux intentions d’un musicien décédé.
Si vous voulez en savoir plus à propos de
Activités récentes la CMSMF, nous vous invitons à consulter
Durant l’exercice financier 2017, la CMSMF
notre site Web à l’adresse www.CMSMF.org.
a perçu plus de 98,4 millions de dollars en
Nous y offrons de l’information à l’intention
droits de suite liés aux marchés secondaires.
des musiciens et producteurs concernant les
La Caisse a effectué 15 676 paiements lors de
activités de la CMSMF, ainsi que des services
la distribution principale en juillet et 1415
en ligne pour les musiciens et bénéficiaires
autres paiements lors de la distribution pour
afin d’accéder à leur compte en toute sécurité,
omissions en septembre. Il est possible de
obtenir de l’information à jour, s’inscrire au
consulter une liste des films, émissions de
système de dépôt direct ou à d’autres options
télévision et projets de nouveaux médias
électroniques, et retracer des droits de suite
ayant contribué au fonds au cours des ans à
non réclamés.
l’adresse www.CMSMF.org.
Si vous êtes un participant, il est important
Il peut s’écouler plusieurs années suivant le
de vous assurer que votre adresse de cor-
lancement ou la diffusion d’un film, d’une
respondance, votre adresse de courriel, vos
émission de télévision ou d’un projet de
autres coordonnées et votre désignation de
nouveaux médias avant qu’ils ne passent
bénéficiaire sont valides et à jour dans les
à un marché secondaire et produisent de
livres de la Caisse. N’oubliez pas aussi de nous
nouvelles recettes. Les droits de suite qui en
rendre visite sur Facebook.
résultent pour un titre en particulier varie-
ront en fonction de son succès sur le marché Tout le personnel de la CMSMF est heureux
secondaire. De façon générale, on peut dire de pouvoir continuer à servir les musiciens
que ce type de recettes a augmenté dans les professionnels du Canada et des États-Unis
dernières années. Comme on peut le voir au et vous souhaite ses meilleurs vœux pour
Tableau 2, les droits de suite liés à la présenta- l’année 2018!
12 December 2017
NEWS & NOTES
New Silkroad Leadership
Announced
Twenty years after founding the arts or-
ganization Silkroad, Yo-Yo Ma of Local
802 (New York City) is passing the baton
to three collaborators—Jeffrey Beecher of
Local 149 (Toronto, ON), Nicholas Cords
of Local 802, and Shane Shanahan of Local
802, whom he credits with teaching him
much about collaboration, music, and
friendship. “Together with Executive Di-
rector Eduardo A. Braniff, these inaugural
co-artistic directors will shape the next
chapter of Silkroad, bringing the passion
and curiosity that we have developed to
new communities and inspiring radical
cultural collaboration that is essential to
creating a better world,” says Ma.
The new directors have pledged a commit-
ment to diversity and inclusion across their
board, staff, and ensemble, as well as among
collaborators and in audiences. They an-
nounced a series of US-based residencies
for the next year and promised to unveil
an “ambitious array” of new commissions.
FIA Issues Declaration on
Sexual Harassment
In October, the International Federation
of Actors (FIA) Executive Committee
approved a declaration on sexual harass-
ment, discrimination, and retaliation in
the entertainment and media industries.
The declaration, authored and sponsored
by SAG-AFTRA, recognizes the rights of
all performers to a safe and harassment-free
working environment and urges the indus-
try to work in good faith with unions and
performer organizations to develop a long-
term strategy to achieve discrimination and
harassment free workplaces.
“The scandal involving Harvey Weinstein
revealed problems that were all to familiar
to women—and men—in our industry. We
know that sexism in our industry is real.
We know that there are sexual harassers
who use their power to intimidate. And
we know that this needs to change. And as
union leaders we are taking a stand—we
seek nothing less than a major cultural
shift,” says FIA President Ferne Downey.
Yamaha Share the Gift
Campaign Helps Rebuild
School Music Programs
Music programs for students in Texas and
Florida schools have been deeply affected
by hurricanes Harvey and Irma. Schools
have sustained damage or had to close
indefinitely, leaving districts scrambling
for resources. The Houston Independent
School District alone lost $1 million in
instruments across 13 campuses.
Yamaha Corporation of America, in
conjunction with the Mr. Holland’s Opus
Foundation, is helping to rebuild these
music programs. Now through December
31, if you to post a photo or video explain-
ing how music education has changed
your life with the #YamahaSharetheGift
hashtag on Twitter or Instagram, or submit
a video through YouTube via the Share
the Gift website (www.yamaha.com/us/
sharethegift/), the company will donate a
brand new instrument to Music Rising,
the disaster relief fund of the Mr. Holland’s
Opus Foundation.
Study Shows Musicians Have
Superior Memory Skills
A study led by University of Padua psy-
chologist Francesca Talamini shows that
musicians tend to have stronger short-term
and working memory (the ability to retain
information as you process it) than non-
musicians. Published in the online journal
PLoS One, the research also found a slight
advantage in terms of long-term memory.
Scientists looked at 29 studies (between
1987 and 2016) of young adults performing
long-term, short-term, and working mem-
ory tasks. The musicians performed best
on working memory tasks involving tonal
stimuli, but also had an advantage regard-
ing verbal stimuli. On short-term memory
tasks, the musicians showed superior skills,
whether they were asked to recall musical
tones, verbal instructions, or visual images.
Researchers offer a few hypotheses includ-
ing the possibility that people with better
memories choose to become musicians.
But, they believe it is more likely that their
memories were improved because of the
multi-sensorial nature of music training.

ORCHESTRA NEWS
Orpheus Chamber Orchestra
Ratifies New Agreement
In November, the Orpheus Chamber Orchestra
announced that it has ratified a new CBA with its
musicians, effective through 2020. The contract
includes a wage increase of 2.5% per year for
New York City rates, as well as restructured rates
in other markets. The contract introduces a new
chamber music scale, reflecting the orchestra’s
increased presence throughout the tri-state area,
and a community engagement scale, reflecting
a commitment to broaden its reach in the local
New York City community.
The new agreement provides more flexibility
in touring rules, allowing Orpheus to adjust
to complex travel schedules. A new Artistic
Oversight Committee will continually evaluate
the orchestra’s structure and artistic quality. Fi-
nally, the contract allows Orpheus to augment its
roster by hiring musicians into a new “associate
membership” tier.
The orchestra was recently awarded an increased
grant of $175,000 from The Howard Gilman
Foundation to support its 2017-2018 New York
City performance activity. Orpheus Chamber
Ensemble, whose musicians are members of
Local 802 (New York City), is unique in its
structure and governance, performing without
a conductor and rotating musical leadership
roles for each work.
Cleveland Receives
$15 Million Gift
Richard and Emily Smucker have pledged
$15 million to The Cleveland Orchestra in celebra-
tion of its 100th season. The gift will fund artistic
and education programs, with an emphasis on
young people. In addition, a significant portion
of the gift will support the orchestra’s endowment.
The Smuckers have designated $3 million of their
pledge as a challenge grant.
“The work these musicians do inspires audiences
and young people throughout our community,
across the nation, and around the world,” says
Richard K. Smucker, who serves as president of
The Cleveland Orchestra’s board of directors.
“From my own life experience, I know that music
has the power to change lives.” The musicians are
members of Local 4 (Cleveland, OH).
Richard Smucker retired from his position as chief
executive officer of the J. M. Smucker Company
in 2016. He was elected board president of The
Cleveland Orchestra March 2017; he has served
on the board of trustees since 1989.
International Musician 13
St. Louis Ends FY with Surplus
St. Louis Symphony Orchestra (SLSO) completed
its 2017 fiscal year with an operating surplus of
$18,000—its first surplus this century. SLSO’s total
annual budget was $30.3 million. The surplus was the
culmination of a stellar 2016-2017 season, in which
it increased ticket revenue 1%, with 23 sold-out con-
certs. SLSO embarked on a tour of Spain in February
and performed at Carnegie Hall in March. Altogether,
the orchestra gave 219 concerts, including 88 that
were presented free of charge. A quarter-million
people experienced a performance by the symphony
over the course of the season.
In January, a five-year musicians’ contract was
reached seven months ahead of schedule. SLSO mu-
sicians are members of Local 2-197 (St. Louis, MO).
Detroit Symphony Gift Ties with
Largest in Its History
Detroit Symphony Orchestra (DSO) has received a
$15 million gift from the William Davidson Foun-
dation. Of that pledge, $5 million comes in the form
of a challenge grant to grow the orchestra’s endow-
ment. Three other foundations—Andrew W. Mellon
Foundation, Fred A. and Barbara M. Erb Foundation,
and Dresner Foundation—have already pledged
$3.5 million toward the challenge. DSO’s endowment
has increased significantly over the past five years.
If fully matched, the challenge grant will bring it to
$56.3 million.
The Davidson Foundation has a long history of
supporting DSO, and has sponsored DSO’s neigh-
borhood concert series for seven years. The gift ties
with one from the Fisher family as the largest single
donation in DSO history. The atrium at Fisher Music
Center will be named the William Davidson Atrium.
Musicians of the Detroit Symphony Orchestra are
members of Local 5 (Detroit, MI).
Albany Symphony Honors Donor
On November 18, Albany Symphony held a special
ceremony to dedicate its top artistic post to long-time
patron Dr. Heinrich Medicus. When Medicus passed
away in February, leaving a $7 million bequest, plus
a portion of his estate’s residuary, it represented the
largest financial gift in the symphony’s history.
Medicus was a close friend to Albany Symphony
Music Director David Alan Miller. “We will miss him
terribly, but his spirit will be with us every time we
make music together,” says Miller. Albany Symphony
musicians are members of Local 14 (Albany, NY).
 14 December 2017

A
t age 66 this month and 40 years in, John Scofield is at the prime
of his career. A major guitarist in the jazz scene since the 1970s,
“Sco” is one of the most prolific jazz geniuses, in a perpetual cycle
of recording and touring. In 2016, he received his first Grammy
award for the album Past Present, and two more followed in 2017
for Country for Old Men. He’s been nominated a total of nine times

JAZZ
and almost constantly has several projects in the works. “I haven’t had
a lot of dead air time,” he says.

GUITARIST
When the jazz virtuoso began learning to play the guitar as an 11-year-
old, he didn’t think about what genre he wanted to learn. Like many
suburban kids of the ’60s, he was first drawn to rock and blues. “B.B.
King was the first blues guitarist I tried to emulate,” he says, “as well
as the most popular guys at the time—Eric Clapton, Jimi Hendrix,
and Jeff Beck.”
Then, at age 15, his Fairfield, Connecticut, guitar teacher introduced
him to jazz. “I loved all the greats,” he recalls. “I wore out my Wes
Montgomery and Pat Martino records; then I discovered Jim Hall. I was
a real jazz fan—not just the guitar players—Charlie Parker, Thelonious
Monk, John Coltrane, Miles Davis—I just ate it up.”

School Days
When Scofield entered Berklee College of Music and began playing jazz
with others, his education and love for improvisation took off. Up to
that point, he’d never met any of his influences. “Here I am at Berklee
and they announce that vibraphonist Gary Burton is coming to teach.
Gary’s band, at the time, was one of the absolute top jazz groups on
the scene,” says Scofield.
Then, something unbelievable happened. Because Scofield’s roommate,
drummer Ted Seibs, had a set of vibes in their apartment, Burton would
come over after classes almost every day to jam with Scofield and his

BRINGS roommates while he waited for the afternoon traffic to subside.

On teacher Alan Dawson’s recommendation, Scofield landed a gig

COUNTRY, with Gerry Mulligan. “He wanted to augment his quartet with guitar
and vibes. He hired me sight unseen for the week,” says Scofield, who

ROCK
ended up staying with the group for a while and making his first re-
cording—Chet Baker and Gerry Mulligan Carnegie Hall Concert (1974).

AND
“I borrowed a car and drove to Carnegie Hall with my guitar and amp.
I was so nervous that my hands were shaking. To meet and get to play
with Chet Baker, bass player Ron Carter [of Local 802], Bob James [of

MORE INTO Local 802] on piano, and Harvey Mason [of Local 47] on drums. It
was quite a thrill!” he recalls.

HIS Later, Scofield was a member of the Billy Cobham-George Duke Band
for two years. In 1977, he recorded with Charles Mingus and joined
the Gary Burton quartet. From 1982 to 1985 he toured internationally

WORLD and recorded with Miles Davis. Along with the enduring influence of
Davis, these experiences helped to form Sco’s own style.
From the early 1980s, Scofield has led his own groups, recording more
than 40 albums that blend traditional jazz with funk, bebop, fusion,
and R&B. Over the years, these groups gathered a wide range of major
players. Among his notable collaborators are: Charlie Haden; Eddie
Harris; Mavis Staples; Local 802 members Jack DeJohnette, Joe Lova-
no, Steve Swallow, Brian Blade, Scott Colley, John Medeski, and Louis
Cato; Local 174-496 (New Orleans, LA) members George Porter and
Dr. John; Local 47 members Larry Goldings and Ricky Fataar; and
Local 6 member Adam Deitch.
Scofield’s albums explore eclectic interests, from the acoustic album
Quiet (1996), anthemic jazz funk A Go Go (1998), and traditional jazz
sound of Works for Me (2001) to fusion albums Überjam (2002), Up
All Night (2003), and Überjam Deux (2013). That’s What I Say (2005)
pays tribute to Ray Charles, while Piety Street (2009) is his take on
 International Musician 15

spirituals and gospel tunes, and A Moment’s “Jazz has never paid much money. Unfortu-
Peace (2011) focuses on ballads. nately, I see gig opportunities in New York
City for young guys just starting out may
On the Road pay around $50. But those same gigs paid
Today, Scofield enjoys playing live as much as $50 in 1975, when I first came to New York
ever. He is on the road for about half the year. City,” he says.
“The best part about touring is play-
ing the gigs and the worst part about
touring is getting there,” he quips. Fre-
quently performing overseas, Scofield
explains that opportunities are more
plentiful in Europe than in the US.
The passion for everything American
that developed after World War II
spawned a lasting audience for jazz.
“There is this great educated public,”
he says. Also, strong government

Photo: Thomas Kruesselmann

funding for arts programs in Europe
allows even smaller cities to bring in
international artists.
Although Scofield is known for his
collaborations with top jazz players,
he also enjoys playing with up and
coming artists. “The truth is, I learn
from other musicians all the time,
and at this point, some of them are
30 years younger than me,” says Scofield,
who has been an adjunct jazz guitar faculty
member at New York University (NYU) for
the past 10 years, working mostly with grad-
uate and doctoral students. “These students
can really play and I have a great time,” he
says, describing his teaching style. “It’s really
loose; I just play with the students and talk
about what I do.”
Looking back at his early career, he says the
way the industry functions is very different
today. “I remember when publishing royalties
were much higher—when record companies
actually had some money,” he says. “It’s harder
to start a career these days. When I was a kid,
every Holiday Inn had a cover band.”
“You can go to YouTube, and for free, watch
and listen to the entire history of music at the
press of a button,” he says. “That’s changed
everything as far as making a living, and not
necessarily for the better.”
Scofield recalls the days when the union guy
would show up at gigs to check your card. “I
wish everybody was contracted all the time
and protected by the union and I wish all the
gigs went through the pension fund, but it’s
just not like that,” he says.
“I’m pro worker all the way,” he adds. “I have
only high regard for the process of organizing
workers in America in order to get the bene-
fits we deserve. And we need to fight for that.”
Photo: Nick Suttle
Studio Time
Of late, Scofield’s work continues to demon-
strate the idea that he can swing anything. His
most recent release, Hudson (2017), is an all-
star group of Hudson Valley jazz musicians’
take on classic rock tunes. Scofield, bassist
Larry Grenadier, drummer Jack DeJohnette,
and keyboardist John Medeski of Local 802
were brought together for the first time by
the organizers of the Woodstock Jazz Festival.
“We all just showed up and jammed. It really
worked out well, so we decided to make a
record and tour,” says Scofield.
“It’s a very exciting group for me to play with,
very improvisation based, so for some of
the stuff we play, there’s no forethought,” he
adds. “We recorded songs associated with the
Woodstock Festival—Dylan, Joni Mitchell,
Hendrix.”
Scofield’s previous album, the Grammy-win-
ning Country for Old Men (2016), is similar,
but with classic country tunes turned jazz. It
features Scofield with Bill Stewart (drums),
Larry Goldings (keyboard), and Steve Swal-
low (bass), performing songs that include hits
from Hank Williams, Merle Haggard, George
Jones, and Local 257 (Nashville, TN) member
Dolly Parton. For example, Williams’ “I’m So
Lonesome I Could Cry,” was transformed into
a fast bebop tune, which won a Grammy for
Best Improvised Jazz Solo.

As he wraps up his 2017 tours, Scofield has

While he advises young musicians to get out
already begun work on the next album. Sco-
in the field and play as much as possible, he
field will follow the two albums of cover tunes
admits there’s sometimes a thin line between
with a yet to be named album of originals. It
getting experience and getting exploited.
will be recorded by the John Scofield Quartet.
16 December 2017
VOICETRACER
Designed and optimized for outstanding
music recording, the Philips VoiceTracer
DVT7500 music recorder features three
high-quality microphones for uncom-
promising high fidelity sound. The
innovative XLR and line-in connectors
allow you to connect your instruments
directly, achieving crisp and accurate,
multi-source recording. The DVT7500
records PCM (WAV) and MP3 files at up
to 24 bit/96 kHz, and features virtually
unlimited storage capacity thanks to
16G internal memory and a microSD
memory card slot supporting up to 64G
of additional memory. A large color dis-
play and intuitive user interface make it
user-friendly. The high-capacity lithium
polymer battery extends battery life up
to 30 hours, ensuring that your recorder
is ready to work when you are.
usa.philips.com
Holiday Gift Guide
Special Advertising Section
CD BABY
Your audience is out there. CD Baby helps you build the bridge,
giving you more ways to reach fans and make money from your
music than any other distributor. For a one-time setup fee of just
$49 per album, or $9.95 per single, your music will be selling and
streaming on Apple Music, Spotify, iTunes, Amazon, and more.
Plus, we give you major-label promo tools, help you make money
from YouTube, give you daily trending reports, and all without
annual fees! CD Baby is a preferred Apple content provider, so
we’re the quickest way to get your music onto Apple Music and
iTunes. We’ve also been paying artists weekly since 1998, so you
know your music is in good hands!
members.cdbaby.com
LOTUS LIGHT PRO
Lotus Light PRO series incorporates a lithium polymer battery
and the highest quality LED technology to provide the most
powerful music light. It floods four pages of music with light,
without any hot spots, and for a longer time than ever before.
Lotus Light is lightweight and compact enough to take wherever
you go. It clips to any music stand and the jaws are padded to
clip to a piano music rest without fear of damage. A stiff but
flexible arm allows you to position the light where it won’t
distract others or interfere with page turns. Visit our website
to learn more about the light and other accessories to make it
the most useful light you can own.
lotuslights.net
RESULT6 MONITORS
PMC’s result6 compact nearfield monitors guarantee ideal
results for audio professionals in all areas of music—record-
ing, mixing, mastering, broadcast, and post production. These
monitors provide the perfect introduction to PMC’s renowned
sound quality and sophisticated ATL technology. With result6
there are no overly complex DSP-based user options or room
profiles; instead, these monitors achieve their characteristically
neutral, dependable reference sound solely on the strength of
engineering. You can plug them in and immediately trust what
you hear to create the best results in the shortest time. result6
are available from PMC USA and the PMC Factory Boutique at
RSPE. For more information email maurice@pmc-speakers.us.
pmc-speakers.com
HAPPY HOLIDAYS
FROM SENNHEISER!
Sennheiser wants to help with your holiday shopping this year.
Check out customer favorites like the popular evolution 900-se-
ries wired vocal mics; e935 and e945, the industry-standard
HD 25 line of headphones, and the incredible ClipMic Digital
(powered by Apogee) for mobile recording with iOS devices!
Visit your favorite Sennheiser dealer or visit Sennheiser.com
for more holiday specials.
sennheiser.com
 International Musician 17

Holiday Gift Guide

Special Advertising Section

LEARN TO
PLAY UKULELE
STARTER KIT
Kala Ukulele Starter Kit has everything you
need to start playing today! It comes with a
Kala soprano mahogany ukulele, logo tote
bag, free online lessons, and a free tuning
app with lessons. Our high-quality ukulele
and lessons make learning the uke
fast, simple, and fun! Pricing is just
$59.99 MAP/$84.99 retail. Look for
the Kala Learn Ukulele Starter Kit
on Amazon.
kalabrand.com
CHOPSAVER
Happy Holidays from ChopSaver! Invented by Local 3 (Indi-
anapolis, IN) member Dan Gosling, ChopSaver Lip Care is
the perfect gift for all your
musician friends. While brass
and woodwind players love
it, no one likes chapped lips
in the winter, no matter what
they play! So let ChopSaver’s
all-natural ingredients soothe
and protect your lips all year
long. Visit www.chopsaver.
com to find a store near you—
and watch out for flying sou-
saphones while you’re there!
chopsaver.com

SHOULDEAIR
Durable, ergonomic, light-weight, and adjustable. After years of development, Balu Musik
is excited to present the ShouldeAir, a new and revolutionary shoulder rest for Violins
and Violas. The ShouldeAir is made of the highest grade carbon fiber (used also by
NASA, Boeing, and NASCAR)
making it lightweight (just under
60 grams!) and built to last. The
sleek, elegant design provides
exceptional comfort. The ad-
justable height and legs provide
a perfect fit. (Patent Pending -
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balumusik.com

CHROMATC PEDAL TUNER

Stunningly accurate. Or, more accurately, stunning.
With its striking, full-color vertical display and
quick, accurate response, the new D’Addario
Chromatic Pedal Tuner helps you make
sure not to miss the mark—even in
demanding onstage conditions.
Its slim profile leaves room
on your pedalboard for
all your effects, so it’s
there when you need
it, but out of the way
when you don’t.
daddario.com/pedaltuner
18 December 2017

Holiday Gift Guide

Special Advertising Section

GIG GLOVES
Protect your most valuable asset: your hands. Gig gloves are the ultimate
gloves for gigging musicians and production pros who spend a lot of
time loading in and out, setting up, and tearing down. They protect the
back of the hand and palms with breathability for extended use, access
to the first three fingers via fold-over fingertips (for fine motor tasks),
and touchscreen capability directly through the fabric. Original Gig
Gloves provide visibility of the hands in low light, Gig Gloves Onyx are
completely black for those who need to be invisible to an audience, and
Thermo-Gig Gloves add a layer of internal fleece for cold weather. Gig
Gloves come in six sizes (XS to XXL).
gig-gear.com

D:VICE MMA-A AVID SOLUTIONS

DPA’s d:vice MMA-A Digital Audio Interface is This holiday season, there will be plenty of great deals out there.
a high-quality, dual-channel microphone preamplifier Avid has you covered, whether you’re a relative newbie or a seasoned
and A/D converter that captures crystal-clear audio via pro. Get our best deal of the season
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CLOUDLIFTER Zi HALO SPORT

Cloud Microphones’ Cloudlifter Zi instrument Halo Sport, the first product from Halo
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RESOURCES
LESTER LANIN: AN INTIMATE VIEW OF
AMERICA’S FAVORITE SOCIETY DANCE
BAND AND ITS LEADER
One of the most in-demand bandleaders of all time, Lester
Lanin began his career in the 1920s and his popularity grew
worldwide. He was hired to play for socialites, celebrities, dig-
nitaries, and monarchs, from multiple White House inaugural
balls to parties for Frank Zappa and Billy Joel. This memoir by
Lanin’s longtime pianist, Al Warner of Local 802 (New York
City), gives his intimate view working for the indomitable
maestro for 17 years.
Lester Lanin: An Intimate View of America’s Favorite Society Dance
Band And Its Leader, by Al Warner, Spring Promise Productions,
www.springpromiseproductions.com.
FROM THE RISER: A DRUMMER’S
PERSPECTIVE II
A sequel to the popular A Drummer’s Perspective, David
Phillips captures images showing the energy, excitement,
and emotions of drummers playing live. Photos show
drummers playing a wide variety of genres in venues that
range from small clubs to Wembley Stadium. Among the
wide range of drummers featured are Local 47 (Los An-
geles, CA) members Kenny Aronoff, Gregg Bissonette, Peter
Erskine, and Sheila E.; Local 802 (New York City) members
Billy Cobham and Jack DeJohnette; and Lars Ulrich of Local
424 (Richmond, CA).
From the Riser: A Drummer’s Perspective II, by David Phillips,
A & R Marketing Limited, www.armarketing.co.uk.
AUDIO MADE EASY, OR HOW TO BE A
SOUND ENGINEER WITHOUT REALLY
TRYING, 5TH EDITION
A concise and comprehensive guide to audio and recording
equipment and techniques, Audio Made Easy contains every-
thing you need and nothing you don’t. Author Ira White, shares
more than 35 years of recording studio experience, providing
real-world solutions and tips that show results. He delves into
often-misunderstood details of digital mixers, EQ, speaker
specifics, and recording techniques using easy-to-understand
language. The book also contains access to online demonstra-
tion audio tracks.
Audio Made Easy, or How to Be a Sound Engineer Without Really Trying,
5th Edition, by Ira White, Hal Leonard, www.halleonard.com.
International Musician 19
BOWIE: THE ILLUSTRATED STORY
Widely regarded as one of the most influential musicians and per-
formers of the past five decades, David Bowie released 27 studio
albums from 1967 until January 2016, two days before he died. This
retrospective follows his career from the folkie baroque rock of his
debut to his soul phase, massive pop success in the 1980s, to elec-
tronica in the 1990s. The book features stunning photography—on
stage and back stage images, gig posters, concert stubs, and more.
Bowie: The Illustrated Story, by Pat Gilbert, Voyageur Press,
www.quartoknows.com.
DOUBLE
Today, double bass drum playing or double pedal playing has
made its way into every style of music, says drummer, teacher, and
Local 406 (Montreal, PQ) member Christian Morissette. His book,
Double brings together all the basic techniques professional drum-
mers need to master the double pedal. Designed for all players,
beginning to advanced, the book covers subdivisions, rudiments,
continuous and noncontinuous foot patterns, transitions, drum
fills, odd time signatures, and more. Text is provided in French
and English throughout the book.
Double, by Christian Morissette, www.chrismorissette.com.
LED ZEPPELIN: ALL THE ALBUMS, ALL THE
SONGS
Author Martin Popoff examines the music of Led Zeppelin as a
complex amalgam of blues, rock, folk, and country. He details each
of the group’s 81 studio tracks—how and why they were created
and the historical context, as well as the recording process. Sidebars
detail personnel and instrumentation for each album. The book
contains many rare performance and offstage photographs, along
with memorabilia.
Led Zeppelin: All the Albums, All the Songs, by Martin Popoff,
Voyageur Press, www.quartoknows.com.
THE SECRET LANGUAGE OF THE HEART: HOW
TO USE MUSIC, SOUND, AND VIBRATION
AS TOOLS
Backed by the latest research, composer Barry Goldstein shares
how every one of us can harness the power of music to dissolve
creative blocks, reverse negative mindsets and attitudes, alleviate
ailments, and improve overall health. The book offers practical tips
and instructions that can be tailored to individual needs.
The Secret Language of the Heart: How to Use Music, Sound, and Vibration
as Tools for Healing and Personal Transformation, by Barry Goldstein,
Hicrophant Publishing, www.hierophantpublishing.com.
20 December 2017

TO YOUR HEALTH
A Drug-Free Way to a Pain-Free Back Pain Relief Through Acupressure Points
Acupressure points take advantage of the body’s natural muscle relaxant and stress reliever.
by Marc Brodsky, MD, and Craig Holiday Haynes Since acupressure points and trigger points in the muscles overlap, you may get relief from
Chronic lower back pain may be the result of trauma or repetitive overuse injuries of the your pain by utilizing exercises that press acupressure points in your back and legs. Try the
exercises below for relief of lower back pain.
spine, intervertebral discs, ligaments, joint capsules, and muscles. Posture and psychological
stress may also contribute. In a musician, lower back pain can be debilitating, interfering or
worsening with activities related to playing an instrument. EXERCISE 1:
While narcotic (opioid) pain medications can make life more comfortable, they come with
inherent risks: accidental overdose, risk of dependence and addiction, side effects (sedation,
dizziness, nausea, constipation, respiratory depression, etc.), and the need for increasingly
stronger doses. In October 2017, the US President directed the Department of Health and
Human Services to declare the opioid crisis a public health emergency. It is important to
explore alternative treatments before turning to prescription drugs.

Case Study
One 52-year-old jazz drummer developed lower back pain after a motorcycle accident. He
described shooting pains in his legs that interfered with his ability to play drums and to go
on tour. An MRI revealed a herniated disc in his lower back. After disc surgery, the pain
that traveled to his legs improved, but he continued to have pain across his lower back. The
drummer got relief from his pain with trigger point injections, along with acupuncture, chi-
ropractic, and massage treatments. He treated pain flare-ups with a self-care program that
included acupressure and swimming exercises.

Integrative Medicine Approach

Place two tennis balls in a stocking and press them against a wall with your back using
Drug-free treatments to activate natural healing and restore resiliency may relieve pain and
the weight of the body. Press for the duration of about 15 seconds, one to three times
suffering and optimize quality of life. Self-care nonpharmaceutical treatments and techniques per day.
without side effects or risk of addiction are particularly important for performers.
Myofascial trigger points are irritated spots in the fascia surrounding skeletal muscle. These
small patches of clenched muscle fibres are sensitive and cause aching and stiffness. They
often are a major factor in common problems like lower back pain and neck pain. Most minor EXERCISE 2: 10 TIPS TO REDUCE BACK PAIN
trigger points are self-treatable. 1) Maintain a healthy weight.
2) Regularly take part in exercises
that strengthen your back and
core muscles.
3) Lift your equipment properly—
always bending your knees and
squatting to pick up heavy items.
4) Know your limits and don’t be shy
about asking for help.
5) Use good posture throughout
the day.
6) Stretch your muscles.
7) Don’t carry a briefcase or heavy
purse long distances as it changes
your balance. Instead, use a
backpack.
Press your finger into a point at the 8) Make sure your mattress is firm
bottom part of the calf muscle. enough to support your back.
Press each of the acupressure points
A hands-on physical exam may locate trigger points in the muscles that,
for the duration of three relaxing
Soft mattresses can push it out
when pressed, cause pain in the lower back. For those experiencing lower of alignment.
back pain, pressure points are most commonly found in two muscles, the breaths (about 15 seconds), one
quadratus lumborum (left) and gluteus maximus (right). to three times each day. If lower 9) Get plenty of sleep.
back pain persists, see a medical
professional. 10) Quit smoking.
As always, if back pain continues, see a
Marc Brodsky, MD, is a 2017 member of the Performing Arts Medicine Association (PAMA). Craig Holiday Haynes is a jazz drummer. specialist.
Images courtesy of Katrina Franzen, Junghwa Choe, and Mi-Yeon Song.
International Musician 21
22 December 2017
UPBEAT
A Life Driven by Harmony, On Stage and Off
When Daryl Davis of Local 161-710 (Washington, DC) was
15, he did what some people say you should never to do:
he met his hero after sneaking backstage at a Chuck Berry
concert.
Davis was always enamored with the blues and early rock
‘n’ roll icons, especially Berry. A child to two parents in the
Foreign Service, he experienced the cultural lag of listening
to international radio. “While my peers were growing up
with Frankie Avalon and the Beach Boys, I was hearing Elvis
Presley [and] Chuck Berry. I was kind of an anomaly when I
would come back,” says Davis.
A self-taught guitarist and pianist, Davis copied the piano
playing from Berry’s songs on the radio. He studied music in
the library for hours, and sat in with local bands at gigs. When
considering a career path in his junior year, Davis looked to
Berry. What Davis really admired was how Berry touched
people and brought them joy and happiness. “I decided that’s
what I want to do,” says Davis. After his senior year, he enrolled
in Howard University to study music.
Though his dream of someday playing with Berry seemed
improbable, Davis began writing him letters. “I told him I
was learning to play piano like Johnnie Johnson and Pinetop
Perkins; I told him everything about me,” says Davis. Berry
never wrote back until Davis’s 18th birthday when he got a
message from Berry and a poster of the rock icon.
Shortly after graduating from Howard, Davis joined the AFM
and convinced a promoter to let him play piano and hire the
backing band for a Baltimore Chuck Berry concert in 1981.
At age 22, Davis achieved his dream.
“I went to his dressing room [before the show] and asked,
‘Is there anything in particular you want me to do on the
piano’ and he said, ‘Well, you wrote in your letters you’ve
been playing like Johnnie Johnson and Pinetop Perkins. Do
that,’” recalls Davis.
From that day, Berry became a mentor and friend. Eventually,
Davis acted as bandleader for Berry’s East Coast shows. “I
learned a great deal, not only about music, but about life,” says
Davis. “He was a shrewd businessman and I avoided some of
the pitfalls that a lot of musicians fall into. He spent a lot of
time with me and that’s certainly shaped who I am today.”
Thanks in part to that wisdom, Davis built an impressive
career as a respected boogie-woogie and blues pianist. He
has played with the biggest names in rock ‘n’ roll and blues,
including B.B. King, Bo Didley, Jerry Lee Lewis, and Percy
Sledge. He was heralded by mentors Johnnie Johnson and
Pinetop Perkins for his ability to master a style of music
popularized a generation before he was born.
Another key to his success was his union membership. “It’s
benefitted me by being around other professional musicians—
networking, getting legal advice, and contract advice. I’ve met
a lot of wonderful people, serious musicians that I can call and
rely upon,” he says. “It’s also a comfort knowing that there is a
Pianist, author, and lecturer Daryl Davis of Local
161-710 (Washington, DC) has built his life around
the promotion of racial and musical harmony.
union that will fight for me and provide me things that I need
to further my career.”
Davis also acts as artistic director for multiple groups across
the country. When he’s not working, he mentors young
musicians in the Artist in Residency (AIR) program at the
Strathmore Institute in Bethesda, Maryland. The program
teaches them about the business, including self-promotion,
contracts, and booking agents.
Davis says it’s a way to give back. “[My mentors] could have
easily said, ‘Don’t bother me; go learn somewhere else.’ But
they sat down and showed me stuff,” he says, “and that inspires
me to do the same thing for young musicians who are in the
place I was some 55 years ago.”
To Davis, it means a great deal to the pass down the legacy of
the music as well. Last year, he was asked to write and produce
a play about the history of the blues to be shown to all fifth
graders from Montgomery County School District in Mary-
land. “It’s important to learn the history of American music,
and the blues is definitely underrated and under-taught,
especially in elementary schools,” he says. “[Black musicians]
have always been under-credited with the musical contribu-
tions we have made to this country. Almost every form of
American music has some roots in blues, which was born
out of slavery,” says Davis.
The history of blues and its roots in slavery are not overlooked
when Davis talks about his decades-long mission to promote
racial harmony, which has brought him face to face with white
supremacists. It all began following a gig at an all-white coun-
try bar. A man came up to Davis and said that this was the
first time he’d ever heard a black man play like Jerry Lee Lewis.
“He invited me to his table to have a drink,” Davis says, who
explained to the man that the roots of Lewis’s music were black
musicians. “The man said it was the first time he ever sat down
and had a drink with a black man. I was naïve, so I kept asking
why. He told me, ‘I’m a member of the Ku Klux Klan,’ and
when I started laughing, he produced his membership card.”
This encounter sparked Davis to seek the answer to a question
that had been on his mind since childhood: How could you
hate me, without even knowing me? Davis figured the best
way to answer that was to get face-to-face with Klansmen
and ask. He has spent around 30 years studying the Klan,
attending rallies, and setting up surprise meetings with Klan
leaders who were unaware of his skin color.
Not every interaction was as amiable as sharing a drink. He
calls to mind an incident at a courthouse where a group of
Klansmen and women assaulted him before law enforcement
intervened. Eventually he published the book Klan-Destine
Relationships about his experiences.
However, Davis was welcomed by many Klansmen, in part
through his music. He even played piano at a Klan funeral for
Frank Ancona, former Imperial Wizard of the Traditionalist
Knights of the Ku Klux Klan, whom he considered a friend.
Davis says that 200 Klansmen have given up their robes after
talking to him.
Though Davis is an in-demand lecturer on race relations, he
has also faced backlash from those who believe his methods
are “politically incorrect.” “People will criticize me and call
me a sellout. It’s not that I support [racist] ideology. I support
people’s right to speak their mind. I’m willing to sit down and
listen to them and talk,” Davis says.
He believes dialogue is essential to improving modern race
relations; there is no other choice. “If you and I agree racism
is bad, then we don’t accomplish anything by talking to each
other. We have to go out and find those that disagree with
us,” he says.
For Davis, all his efforts on stage and off come down to the
pursuit of harmony. “It is my job as a band leader to bring
harmony among the voices on my stage,” he says. “When I
step off the bandstand, I maintain that concept. I want to bring
harmony among the people in the society that I want to live in.”
 International Musician 23

Creating a Bridge to Improvisation

Krista Seddon of Local 92 (Buffalo, NY) music portrait series, Seddon takes the audi-
is a pianist and composer whose modern ences on a journey into the lives and work of
arrangement of Johannes Brahms’ “Lullaby” the world’s major composers, exploring the
was selected for Buffalo’s new John R. Oishei connections between classical music and jazz.
Children’s Hospital, which opened in No- Great jazz musicians—McPartland, Dave
vember. The hospital launched a contest for Brubeck, Bill Evans, and Duke Elling-
a new rendition of the old masterpiece, which ton—drew heavily on classical music, she
is heard each time a says. “Historically,
baby is born. Her ar- in classical and Ba-
rangement has a dis- roque—they all im-
tinctively jazzy feel. provised, especially
“My objective was in the Baroque era.
to take something so Improvisation was re-
pure and beautiful quired, if you were to
as the Brahms’ ‘Lul- be considered a musi-
laby,’ and respecting cian of any kind.”
it fully, bring it into
the 21st century,” she Ideally, Seddon says,
says. “It was a chal- jazz techniques to
lenge.” support classical play-
ers could be taught
A classically trained and incorporated into
pianist with degrees university music de-
from The New En- partments. “I use jazz
gland Conservatory extensively,” she says.
Krista Seddon’s arrangement of
and the University of Johannes Brahms’ “Lullaby” was “For example, taking
North Texas, Seddon selected as the official recording for
a big classical com-
has had a long affilia- the maternity floor at Buffalo’s new
Oishei Children’s Hospital. She is a position and making
tion with the Buffalo member of Local 92 (Buffalo, NY). it into a lead sheet
Philharmonic that with just melody and
includes recordings chords. Instead of 20
and solo performances. The Director of pages of complicated music, you can boil it
Ensembles at the historic Trinity Episcopal down to its essence. It’s the difference between
Church of Buffalo, Seddon regularly conducts reciting and telling a story.”
dual lecture performances at schools and uni-
versities. In addition, she often collaborates The strict theoretical confines of classical
with Alan Broadbent and Robert Nowak, music restrict improvisation. She says, “I
members of Local 802 (New York City), and like to decode that for people, especially for
previously, she transcribed works for the late classical musicians because we have so much
jazz pianist Marian McPartland. in our toolbox. It’s a natural progression—to
grow out of the classical training and take it
Next year, in honor of what would have been to other places.”
McPartland’s 100th birthday, Seddon plans a
tribute lecture tour performing McPartland’s There are other benefits to learning impro-
signature portraits of artists and discussing visation skills. Seddon explains, “If during
their 10-year collaboration. Seddon’s work a classical performance, a musician gets off
with McPartland included transcribing the track somehow, instead of crashing and burn-
portaits. ing, with some improvisation techniques,
there is space to find your way back. Jazz
“I’ve always believed in totality, a universality teaches us to get real with the music.”
of music. It’s a good thing for musicians to
be able to improvise—and there are differ- “Classical musicians tell me, ‘I wish I could
ent ways to go about it, not only through improvise. Would you teach me?’ Music of
standards, but through composing. That is the day should be flexible, improvised over,
Marian’s influence on me,” she says. and shared with people. It’s how I live my life.
I hope to teach that and bring it to a wider
“Jazz is the thing that encouraged me to audience,” she says.
compose,” Seddon says, “It doesn’t have to be
large scale or follow strict rules. In jazz, we’re Seddon is in process of recording a CD of
composing more to improvise.” In her own mainly original compositions.
24 December 2017
Trumpeter Goes the Distance for Charity
Roy Wiegand’s career has crossed nearly four
decades—and of late, many finish lines. For
the last eight years, the Los Angeles-based
trumpeter turned ultra-runner has taken
on solo challenges in support of local and
global charities.
Wiegand of Local 47 (Los Angeles, CA) first
collaborated with Lifewater International, a
nonprofit organization that builds wells for
remote villages in East Africa and Southeast
Asia. In an ultra-marathon in 2013, in which
he ran 250 miles over a week, he received a
hero’s welcome after finishing at the Rose
Bowl in Pasadena. Stopping at a couple of
elementary schools along the way, he says,
“I had a bottle of brown water from a village
in Ethiopia to show people. Those kids sold
cookies and brownies for a month before the
run to raise money for other kids in Ethio-
pia.” He raised $25,000 over four years. “The
disease rate had dropped 93%. Now, they
can actually wash their hands.” According to
Wiegand, “Between digging and maintaining
the well it costs $40, which provides a lifetime
of clean water per person.”
In June, for the Michael Hoefflin Foun-
dation—a local organization for families
with children fighting cancer—Wiegand
ran the equivalent of four marathons in 24
hours (approximately 105 miles). He’s raised
$40,000 for the organization. Roy’s Run for
Christopher, now in its fifth year, is named
for the 12-year-old friend of his son who died
of a rare cancer.
Though Wiegand started running late in life,
in his 40s, he says being a brass player pays
(L to R) Local 47 (Los Angeles, CA) members Angela Wiegand and Roy Wiegand, and
their daughter Sophie, pose for a photo midway through his 105-mile run to benefit
the Michael Hoefflin Foundation for children’s cancer.
off. “I’ve got lung capacity—and can run long
distances without getting tired,” adding that
it’s his colleagues who are all heart. The LA
music community and the union serve him
well on the trail. “Many musicians donate
financially or with their music, or coming out
and bicycling beside me.” During the grueling
24-hour runs, whether it’s encouragement on
the sidelines, supplying water, or a place to sit
down, Wiegand is grateful for the support of
his Local 47 friends. “It’s definitely not a one-
man show. When you’re running through the
dead of night, it’s good to have company.” One
year, he says, there was a brass quintet to usher
him over the finish line.
A few years back, the night before the LA
marathon, he had a gig that went overtime. “I
dropped off my trumpet and tux at the finish,
ran the marathon—and actually, did my best
time—took a nap, put on my tux, and played
the next gig.” Laughing he says, “It’s typical of
a freelance player who’s always trying to shoe-
horn in work or running wherever they can.”
Live club dates are his mainstay, but in
his spare time Wiegand is a private music
instructor who also coaches a high school
jazz band. “Sometimes, it’s hard for parents
to wrap their heads around music or the
performing arts as a major and a potential
career. It’s a leap of faith,” he says. A busy freelancer in the LA area, Local 47 (Los Angeles, CA) member Roy Wiegand’s
It was not much of a stretch for Wiegand passion for running charity ulta-marathons can sometimes have him running from
whose father, Roy Wiegand, Jr., of Local 47,
race to gig.
is a trombonist who played around the coun-
try in Stan Kenton’s and Woody Herman’s
orchestras. The family moved around a bit, Orleans, and Las Vegas. Wiegand showed This past September, 20 years to the day, he
with stops in New York City, Miami, New prodigious talent at age seven and was nat- played again with The Who at The Greek The-
urally drawn to brass. He says his dad’s only atre in Los Angeles. “It was a reunion of sorts,”
seeming objection to his career choice was, says Wiegand, who was joined on stage by his
“The trumpet, not the trombone?” wife, Angela Wiegand, a Local 47 member
Wiegand moved to Los Angeles after high and flutist for the Los Angeles Opera.
school and attended Los Angeles City Col- One of Wiegand’s regular gigs these days is
lege. After a year, though, he started getting performing with the band, Jack Mack and the
calls to go out on the road. “Being paid to Heart Attack, a longtime LA rock and soul
play was too strong a lure,” he says. “Plus, band. In between concerts, he is planning
years ago, there was a lot of work out there.” his next charity initiative, collaborating with
He’s a versatile session musician, who plays Shelter to Soldier, a nonprofit that adopts dogs
jazz, classical, klezmer, bebop, mariachi, from local shelters and trains them to become
Dixieland, even salsa. He is also principal psychiatric service dogs for combat veterans
trumpet for the Desert Symphony in Palm dealing with PTSD and other challenges.
Springs, California. Their mission is: “Saving lives, two at a time.”
In 1997, a unique opportunity came up. After
a symphony performance, he heard that The
Who needed brass players for a revival of their How do you connect
1973 rock opera, Quadrophenia. “A guitarist with your community?
whose wife was a bassoonist in an orchestra I Is there a cause that you support?
played with got the call for brass players. She Tell us about it.
happened to be near the phone and said, ‘Give
Please write to International
them Roy’s number.’” Wiegand says. That call Musician managing editor at:
led to a year-long tour that took him around cyurco@afm.org.
the US and throughout Europe.
 International Musician 25

TAKE NOTE
CHANGES UNFAIR LIST POLICY & PROCEDURES
To make the AFM’s International Unfair List an even dispute exists, and the local provides written evidence
Local 30-73 (St. Paul-Minneapolis, MN)—New Secretary-Treasurer Dave Graf more effective way to support musicians during primary of ongoing concerted activity against the employer.
labor disputes, the International Executive Board revised The Federation will publish the names of employers
Local 500 (Raleigh, NC)—New President Carla Copeland-Burns; New Secretary Jessica Kunttu the policy and procedures for placing and maintaining that are removed from the International Unfair List at
employers on the International Unfair List. As a result,
the AFM’s International Unfair List will be published in the time of removal.
its entirety in the International Musician on a monthly
Members and officers can access the List of Locals book online at http://members.afm.org/ basis, so that members may be aware of all employers Members’ Responsibilities
member/library/ in the Miscellaneous folder. Information changes, such as new local officers, maintained on the International Unfair List. Members are reminded that, in accordance with Article
addresses, phone/fax numbers, etc, are updated monthly. Officers should send information 8, Section 3 of the AFM Bylaws, “Members shall not
render musical services for organizations, establish-
changes/updates to ofcrchg@afm.org. Change of officers and addresses will continue to be Placements ments, or people who have been placed on the Inter-
listed here each month. Under the terms of the new policy, a primary labor national Unfair List. Further, Members shall not render
dispute must exist between the union and the employer musical services with people who have been placed on
at the time of placement on the International Unfair the International Unfair List nor with people who have
List. Such disputes may include, but are not limited to:
TAPS 1) Lawful strikes in support of the union’s bargaining
been employed by, are principals of, or are otherwise
associated with organizations or establishments that
demands and/or demands for union recognition; have been placed on the International Unfair list. “Any
2) Employer-initiated lockouts of musicians represent- member who violates this Section shall be subject to
LOCAL 30-73 (St. Paul-Minneapolis, LOCAL 174-496 (New Orleans, LA)— penalties in accordance with Article 11, Section 13 [of
ed by the AFM or any of its locals;
MN)—J. Seymour Locketz* Antoine “Fats” Domino*, Wendell Eugene* the AFM Bylaws].”
LOCAL 40-543 (Baltimore, MD)—John LOCAL 341 (Norristown, PA)—Elaine 3) Union protests against employer unfair labor practices.
In addition, according to Article 13, Section 4 of the AFM
Blount Watts* An employer that is openly anti-union but is not the Bylaws, “Before accepting any Traveling Engagement,
LOCAL 41 (Johnstown, PA)—S. Sam subject of concerted activity by the union will not be members shall be responsible to ascertain that the
placed on the International Unfair List. organization, establishment, or person for whom
Signorino
An employer placed on the International Unfair List they propose to render musical services has not
LOCAL 88 (Benld, IL)—Sandra Whitaker been placed on the International Unfair List.”
will remain on the list only as long as a primary labor
LO C A L 1 4 9 ( To ro nto, O N ) —Vo l t r
Ivonoffski*, Tanya Kimberly Moore * Indicates Life Member
LOCAL 161-710 (Washington, DC)—
Seymour Greene*, Loren Kitt*, Vernon
International Unfair List
Summers* CANADA: The Western Canadian Music Alliance, Executive Director Robyn Stewart and
Board Members: Sean McManus, Carly Klassen, Christine Rogerson Scott Johnson,
Jason Smith, David Whitlock, Kim Winnicky, and Michael Dawson; 1-118 Sherbrook
Taps listing must be submitted by the local (separate from roster updates). Send a request using Street; Winnipeg, MB R3C 284—Placed at the request of the Vice President from Canada
the format above to: taps@afm.org. Please note, the IM does not print member obituaries,
CALIFORNIA: Cypress Pops Orchestra: P.O. Box 434; Cypress, CA 90630—Placed at the
eulogies, or tributes.
request of Local 7 (Orange County, CA)
MASSACHUSETTS: Video Game Orchestra; P.O. Box 230247; Boston, MA 02123—Placed
by the Federation
Shota Nakama; P.O. Box 230247; Boston, MA 02123—Placed by the Federation
NEW YORK: Ted Magder; Vice Dean for Academic Affairs, NYU Steinhardt School of Culture,

Skip the paper issue

Education, and Human Development; 82 Washington Square East, 4th Floor, New York,
NY 10003—Placed at request of Local 802 (New York City)
James Quinn; Hoboken Productions, Inc.; 57 Colonial Avenue; Warwick, NY 10990—
Placed at the request of Local 369 (Las Vegas, NV)
Joe McGinty; Carousel Studio, 61 Greenpoint Avenue Brooklyn, NY 11222—Placed at
the request of Local 802 (New York City)
PENNSYLVANIA: Karen Banos; Rittenhouse Music; 214 Richmond Street; Philadelphia, PA
19125—Placed at the request of Local 9-535 (Boston, MA)
TENNESSEE: Tommy Sims, dba Positive Movement Inc.; c/o Michael Tash, Cue
while staying Management; 23 Allen Ave.; Cincinnati, OH 45216—Placed at the request of Local 257
(Nashville, TN)
Steve Schnur; Electronic Arts, 209 Redwood Shores Parkway, Redwood City, CA 94065—
up to date at Placed at the request of Local 257 (Nashville, TN)

AFM.org.
TEXAS: Dallas Bach Society; P.O. Box 140201; Dallas, TX 75214—Placed at the request of
Local 72-147 (Dallas-Fort Worth, TX)
Richardson Symphony; 2100 North Collins Blvd., Ste. 310; Richardson, TX 75080—Placed
at the request of Local 72-147 (Dallas-Fort Worth, TX)
The Dallas Pops Orchestra; P.O. Box 1811; Allen, TX 75013—Placed at the request of Local
For AFM Information Systems support, email: support@afm.org 72-147 (Dallas-Fort Worth, TX)
☛ In support of other AFL-CIO entertainment unions, please also check the American Federation of Television and
Radio Artists (AFTRA), Actor’s Equity Association, American Guild of Musical Artists (AGMA), and American Guild of
Variety Artists (AGVA) “Do Not Work” notices through the link www.aftra.com/DNW.htm before accepting work.
26 December 2017

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EMAIL:
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CLASSIFIED AUDITION
ADVERTISING POLICY
All audition ads from US or Canadian
symphony orchestras to be printed
in the International Musician must be covered
by an AFM collective bargaining agreement.
Auditions are advertised monthly in the Interna-
tional Musician. As a service to members, they are
also posted on the AFM.org website.
Orchestra management must submit the ad
information and contract size to the International
Musician office by the 10th of the month prior to
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proof of how the ad will appear when published.
All symphonic audition ads must be approved
by the AFM local that has jurisdiction over
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orchestra to then forward the formatted ad
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for approval. If there are any issues/problems with
the position advertised or the language in the
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management to resolve the conflict before the
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The IM must receive confirmation/approval from
the AFM local that the ad is approved prior to
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and foreign orchestras are exempt from this
approval policy.)
Any audition deposit, meant to ensure a candi-
date’s appearance at an audition, must be fully
refundable upon the candidates’ appearance
or timely cancellation. The AFM.org website
has an Audition Date Scheduler feature to
help orchestra management avoid scheduling
conflicts with other orchestras. Please contact
AFM Symphonic Services Division Contract
Administrator, Communications and Data Coor-
dinator Laurence Hofmann at lhofmann@afm.org
to gain access.
The International Musician will do its best to
accommodate ads submitted after a given
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If you have any questions regarding deadlines or
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All advertisements are subject to acceptance
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For more information and a schedule of IM
deadlines and publication dates, contact:
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 International Musician 27

AUDITIONS AUDITIONS FOR SALE

3/4 SIZE UNLABELED BOHEMI-

AN Double Bass ca.1880 with Chromat-
ic C Extension. In excellent condition
with big mature sound.Easy to play.
$25,000 O.B.O Call Naj 571.420.7945
for more info

ALPHORNS, ALPHORN ACCES-

SORIES, and Alphorn music for all
abilities. Alphorns available in multiple
makes and price rangesContact: Tony
Brazelton salzburgerecho@comcast.net
www.salzburgerecho.com

BASSOON: Heckel 9K. Played in

the Metropolitan Opera for 35+ years.
Recent complete restoration. Includes
final setup plus 2 original Heckel bocals.
$36,000 Evans Bassoon Studio (914)
478-0946 www.evansbassoon.com

BASSOON: Heckel 9K. Complete

current restoration. Includes modern-
ization and final setup. $42,000 Evans
Bassoon Studio (914) 478-0946 www.
evansbassoon.com

BASSOON: Gebruder Monnig. Dia-

mant Pro, thick walled w/ 1 piece ‘gen-
tleman’ bell. $12,000. Evans Bassoon
Studio (914) 478-0946

BASSOONS: Fox 240 mint $8000.

Miraphone w/ high ‘D’ and lock and full
set of saliva tubes. Complete overhaul
and setup. A good one. $5500 Evans
Bassoon Studio (914) 478-0946

DOUBLE BASS MUSIC—150 works,

alphabetized list of major composers
(Bach-Webern) - “our noble link to the
world of music” Lucas Drew, Editor.
Order www.elkinmusic.com - or phone
1-800-367-3554

VIOLIN, RAFAEL AND ANTONIO

GAGLIANO, Naples 1830 Dario
D’Attili certificate. Better example then
other Gagliano. Serious inquiries only.
Call 614-499-1975 Email profzoran@
yahoo.com
28 December 2017

AUDITIONS AUDITIONS AUDITIONS

 International Musician 29

AUDITIONS AUDITIONS EDUCATION /

TRAINING

CONDUCTING WORKSHOPS,
online lessons, coaching, Saito method
textbook - Empower your gestures with
precision and artistry - Wayne Toews
admin@conductorschool.com
3 0 6 . 3 7 3 . 6 4 0 8
http://www.conductorschool.com

SERVICES

AUDIO RESTORATION & MAS-

TERING—Preserve vinyl recordings,
cassettes, reel-to-reel, DAT, ADAT and
multitrack old analog tape formats to
digital. We can surgically repair, and
AFM SYMPHONY AUDITION COMPLAINT re-master your media. Info@BlueRidg-
HOTLINE eRecording.com 484-951-1420 www.
BlueRidgeRecording.com
330-322-2265
SHIPPING YOUR PIANO— with
Lone Wolf Trucking is a “grand” idea!
An independent, long-distance mover
specializing in coast-to-coast residential
relocation. 1-800-982-9505 Alamogor-
do, New Mexico. ICC MC-256289.
www.lonewolftrucking.com.

WANTED TO BUY

HIGH PRICES PAID FOR

YOUR CDs Records & DVD’s—
Classical, Jazz (BlueNote, Pres-
tige, Riverside, Mosaic, Etc.),
Rock & more. No Collection Too
Large! Fast payment since 1980.
Princeton Record Exchange,
LPs@prex.com, 609-921-0881.

RECORDS TOP DOLLAR—For

1950s and 1960s jazz LPs. Labels such
as Bluenote, Prestige, Riverside, New
Jazz, etc. Travel to buy collections. Jerry
(801) 277-7100.
30 December 2017

AUDITIONS AUDITIONS
 International Musician 31

AUDITIONS AUDITIONS AUDITIONS

AFM SYMPHONY
AUDITION COMPLAINT
HOTLINE
330-322-2265

STAY IN TOUCH WITH

THE IM
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in the member’s section at afm.org.

Your Local reports all address changes to the Federation, which

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For AFM Information Systems support, email: support@afm.org

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Receiving the IM is a membership benefit and, as with all union benefits, it isn’t extended to musicians who don’t pay their dues.
32 December 2017

AUDITIONS AUDITIONS

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TOUCH
WITH
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Musician is available
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month in the member’s
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If your mailing address

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