www.local802afm.org

associated musicians of greater New York AllegroMarch 2011 Vol 111, No. 3 photo: chris lee photo: Fiona Simon Janet Lawson Celebrating Women’s VOICES History Month PLUS… ‘Women in jazz: equal but separate’ – an essay by Sue Terry n union INFO

LOCAL 802 Win money for

OFFICERS Union reps and Organizers Tino Gagliardi, President Claudia Copeland (Theatre) Jay Blumenthal, Financial Vice President Bob Cranshaw music school (Jazz) John O’Connor, Recording Vice President Karen Fisher (Concert) Marisa Friedman (Theatre, Teaching artists) Executive Board arch 31, 2011 is the deadline Shane Gasteyer (Organizing) Bud Burridge, Bettina Covo, Patricia to apply for this year’s Anne Dougherty, Martha Hyde, Gail Kruvand, Bob Pawlo (Electronic media) Walker Scholarship prizes. Tom Olcott, Maxine Roach, Andy Richard Schilio (Club dates, Hotels) This is the 13th year that Schwartz, Clint Sharman David Sheldon (Electronic media) M members of Local 802 and their chil- Peter Voccola (Long Island) Trial Board dren who are pursuing studies in music Todd Weeks (Jazz) Roger Blanc, Sara Cutler, Tony Gorruso, will have the opportunity to apply for Eugene Moye, Marilyn Reynolds, Sick Pay & Hospitalization Fund/ a scholarship established in memory of Madelyn Rubinstein, Steve Shulman, Health Benefits Fund Anne Walker. Bob Suttmann, Dan Willis Administrator The fund honors a fiery advocate for Delegates to AFM Convention Gloria McCormick musicians whose more than 30 years of Bud Burridge, Gail Kruvand, Eugene work at 802 were cut short by a tragic Allegro Moye, Tom Olcott, Andy Schwartz automobile accident in 1996. At the Mikael Elsila ( Editor, Advertising time Anne Walker was administrative Delegates to New york city Manager and Graphic Designer) Central Labor Council assistant to the president, supervisor of John O’Connor, Tom Olcott Allegro redesign (2011) by Tony Sutton, the Music Prep Department and admin- NDA Inc., www.newsdesign.net istrator of the Local 802 Sick Pay Fund. Delegates to New York State AFL-CIO A membership meeting subsequently Martha Hyde, John O’Connor HEADQUARTERS: 322 West 48th Street, adopted a bylaw establishing the schol- Delegate to United Hebrew Trades New York, NY 10036 arship fund. Andy Schwartz Phone: (212) 245-4802 To be eligible, you must be an 802 Web site: www.Local802afm.org member in good standing or the child Supervising Officers of a member in good standing, and you Tino Gagliardi: Radio City, Lincoln LONG ISLAND OFFICE: 54 Sunnyside Center Orchestras, Theatres Blvd., Plainview, NY 11803 must be pursuing a course of study in music as part of a degree-granting pro- Jay Blumenthal: Single Engagement (516) 576-9436 alexey05 photo: Concerts, Symphony, Opera, Ballet, gram at an accredited institution. Music Performance Fund OFFICE HOURS: Daily 10 a.m. to 4 p.m. Applications must include the docu- tance letter from the future institution John O’Connor: Organizing, Electronic except Saturdays, Sundays, and holidays ments listed below, and they must be is required. In the event the acceptance Media, Club Dates, Hotels, Nightclubs, DUES WINDOW closes at 3 p.m. postmarked no later than March 31, letter is not available before the appli- Jazz and Latin CHECKS WINDOW closes at 4:30 p.m. (6 2011. Historically, the awards have av- cation deadline, it must be received be- p.m. on Wednesdays) Controller eraged around $500 each, although the fore a scholarship can be awarded. exact amount varies each year. 6. A recent photo. (Winners may have Ira Goldman ALLEGRO (ISSN 0002-5704) is published Anne Walker Scholarship Fund appli- their photos published in Allegro.) A monthly, except for a single summer issue, Assistant to the President cants must submit: head shot is fine. at an annual subscription rate of $25 for Mary Donovan 1. A one-page resume that includes Send materials to Anne Walker Schol- non-members in the U.S. and $30 out of their musical background. arship Application, Office of the Record- Political and Public Relations Director country, by Local 802, Associated Musicians 2. A one-page letter which includes ing Vice President, Local 802, 322 West Paul Molloy of Greater New York, 322 West 48th Street, the name of the institution and pro- 48th Street, New York, NY 10036. Ap- Assistant to the Financial Vice President New York, NY 10036. Periodicals postage gram they will be attending, a descrip- plication materials must be postmarked Frances McDonald paid at New York, NY and additional tion of their involvement in music and by March 31, 2011. offices (USPS #013-880). Copyright 2011. director of organizing and why they feel they are deserving of a For more information, contact the of- POSTMASTER: Send address changes to supervisor of club dates scholarship. fice of the recording vice president at ALLEGRO, Local 802, 322 West 48th Street, Michael Donovan 3. A letter of recommendation from (212) 245-4802, ext. 111. New York, NY 10036. supervisor of electronic media their music teacher. services and administrator of Allegro is printed at Webb Communications, 4. The most recent transcript from Can you help? music preparation a union shop. the institution they currently attend. If The Anne Walker Scholarship Fund Steve Danenberg returning to school after a break in edu- needs your help! If you are in a position To reach Allegro: (646) 765-9663 or cation, a transcript from the applicant’s to make a donation, please consider it. [email protected] or previous institution is required. The fund helps Local 802 members and Allegro, Local 802, 322 West 48th Street, 5. If the applicant will be attending their children attend music school. To New York, NY 10036 a school she or he has not previously make a donation, call Ira Goldman at attended, a photocopy of the accep- (212) 245-4802, ext. 120.

2 Allegro | March 2011 n advertising

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March 2011 | Allegro 3 n News & Views Making progress A Broadway agreement is reached in principle – and it’s looking good. We’re also working hard on videogames and we’re meeting a challenge at ‘Priscilla’…

am happy to report that an agree- and using recorded tracks instead? If you hear friends, family members or ment in principle has been reached On Feb. 19, the Broadway League, with colleagues badmouth unions and pen- between Local 802 and the Broadway president’s the help of Local 802, put together a dem- sions, you can remind them that you are ILeague. The agreement was a result of onstration to hear the recorded tracks a member of a union and that you will be a cooperative and pragmatic approach to report versus a live section of strings. Not sur- relying on your pension to retire with dig- these talks from both sides of the table. tino gagliardi prisingly, this only solidified our collective nity and that everyone deserves this right. It represents a stable, five-year agreement tino gagliardi opinion that there was absolutely nothing It’s up to all of us to defend unions at this with increases in every year of the cycle. special about this show’s “situation.” time when we are all under attack. Additionally, the contractual minimums remain unchanged through the expira- Unions under attack Women’s History Month tion of the agreement in 2016. I would like [email protected] As I write this, unions are under attack March is Women’s History Month and to thank both Keith Halpern and Herschel like I’ve never seen before. States are us- there are several features in this issue of Waxman of the League for their contribu- ing the economic crisis to attack not just Allegro that readers will find interest- tion in helping make this possible in the is currently 18. Local 802 has officially re- union pensions but the very existence of ing, including interviews with New York amicable and efficient way that they did. jected the request and will be continuing unions. Philharmonic Orchestra Committee chair A memorandum of understanding is the process with a next step being a hear- To me and many others, it’s pretty clear Fiona Simon and New School teaching being prepared. As soon as the Broadway ing before a panel of neutrals. that the main culprits behind the eco- artist Janet Lawson, as well as a provoca- negotiating committee has a chance to re- Local 802, the Broadway Theatre Com- nomic crisis were unregulated speculators tive story by member Sue Terry about all- view and approve it, Local 802 will sched- mittee and the Broadway community and banks. However, some irresponsible female jazz ensembles. ule and announce a ratification meeting. are unified in this position. At the root of politicians are saying that the very people Women’s History Month has its roots in the conflict is the use of recorded tracks who were hurt most by the crisis – work- the textile industry, where women histori- Queen of the recorded track of strings and winds during the live per- ing people – are also to blame for the crisis cally endured terrible working conditions. As I have reported previously, the Broad- formance. One has to ask the question, simply because they have decent pensions It’s the month in which we remember the way production of “Priscilla, Queen of the what is the purpose of these tracks if the and collectively bargained agreements. 146 victims of the Triangle Shirtwaist Fire, Desert” has applied for Special Situation special situation request states that the This is so twisted that my head hurts. which was the largest industrial disaster status. That is, they are asking for a waiver show needs to be done with fewer than in the history of New York City. Most of of the contractual minimum number of 18 musicians? What could possibly be the the victims were immigrant women. The musicians for the Palace Theatre, which artistic consideration in cutting musicians As I write this, unions are fire led to legislation requiring improved under attack like I’ve never factory safety standards and helped spur seen before. States are using the growth of the textile workers’ union (the ILGWU). This year’s commemora- the economic crisis to attack tion, which is the 100th anniversary of not just union pensions but the the tragedy, will be on Thursday, March very existence of unions. 25 from 11 a.m. to 1:30 p.m. at the corner of Washington Place and Greene Street at the site of the original building. For more But the dangerous thing is that some of information, go to www.RememberThe- the public buys into this. Instead of sup- TriangleFire.org porting good pensions and wages, we have March is also the month in which Cesar been encouraged to be jealous of workers Chavez, the founder of the farm-workers’ who have union contracts. A good meta- union and a defender of human rights, phor is crabs in a bucket. If one crab starts was born. He would have been 84 on to claw its way to a higher living standard, March 31. For information about activi- the other crabs pull it back. It’s divide and ties and how to get involved, see www. conquer – and the anti-union politicians ChavezFoundation.org or www.ufw. are laughing at the conflict and egging it org on. We should all be in favor of good pen- Cirque du Soleil “Spider Man: Turn Off the Dark” is set to open this month. Above, the orchestra is ready sions, fair wages and union contracts. On Feb. 2, AFM President Ray Hair and for opening night. Broadway musicians will soon be covered by a new agreement. Unions did not cause the financial crisis. I flew to Montreal to discuss possible

4 Allegro | March 2011 n news & views talks with Cirque du Soleil, a Montreal- cal 809, in Middletown, New York. Now based company that intends to have an I’m pleased to tell you that we have also annual presence at the historic Radio been given the jurisdiction of AFM Local City Music Hall. With the help of Local 52-626 (Norwalk, Conn.), which includes 406 in Montreal and the AFM, Local the Stamford Symphony. It has become 802 aims to reach an amicable agree- increasingly difficult for the smaller locals ment with Cirque that will guarantee to survive economically and still meet the that New York standards for theatre are minimum obligations that AFM locals preserved with appropriate economics must maintain in order to comply with and working conditions. our Federation bylaws. It has become increasingly incumbent upon the larger Videogame update locals to provide the resources required I am writing this from San Francisco to represent musicians by servicing the where the latest meeting on videogames jurisdictions these smaller locals no lon- has just taken place. I am happy to re- ger can. We are proud to represent the port that all parties worked together and members of both Local 809 and Local 52-

were all committed to coming up with an 626 and our representatives will visit both via flickr.com zak((again)))) photo: agreement that will be beneficial to all locations frequently to make sure that we Union supporters in Wisconsin protest the proposed legislation to gut collective bargaining AFM musicians. The following is the state- do the best job of representing them that rights for public workers. Arts advocates could learn from these demonstrators. ment released regarding our meeting: we can. “A meeting was held on Feb. 20, 2011 in San Francisco between members of the Update from the Detroit musicians IEB and representatives of the Recording After suspending the remainder of The arts are under Musicians Association and San Francis- the Detroit Symphony Orchestra sea- co’s Local 6 Recording Committee. This son, DSO management has announced meeting was a follow-up to the previous plans to create a new orchestra in De- attack (again!) meeting of Nov. 29 and 30, 2010, held in troit. Current members of the orchestra Los Angeles regarding videogames. The will be able to play in the new orchestra discussion was wide ranging and frank, providing they accept even more oner- By paul molloy miss the link between receiving a strong, and all parties were able to freely express ous terms than those already rejected [email protected] comprehensive arts education and the their perspectives and valuable informa- by the orchestra. Professional orchestral benefits it yields. tion was exchanged, including a number musicians throughout the AFM con- ere we go again. With familiar For example, a Wallace Foundation study of new developments. A variety of ap- tinue to support and stand in solidarity clichés about “making tough revealed that school children who partici- proaches and plans for the future were with the musicians of the DSO. Because choices in these tough economic pate in arts demonstrated the following: discussed. of this, it seems to me that manage- Htimes,” the arts are under attack. llImproved academic performance “Keeping the previously stated goal of ment’s plan is to create an orchestra Perhaps I should say the arts remain llImproved attitudes and skills that a unified AFM videogame policy in mind, made up of amateur musicians. under attack. The slashing and burn- promote the learning process significant progress was made in creating This is an insult to all professional mu- ing of arts budgets nationwide hasn’t llImproved general life skills, such as a strategy going forward that will create sicians as well as the community that really stopped. Nor has the rhetoric of critical thinking and self-discipline a level playing field and increased oppor- supports the DSO. The Detroit commu- freedom-loving politicians determined llImproved understanding that one’s tunities for AFM musicians. This includes nity deserves to enjoy the quality and to stifle freedom of expression abated behavior has consequences outreach to videogame publishers with standard of a professional, world-class much either. llImproved pro-social attitudes and a view towards collective bargaining, re- orchestra as it has in the past. Nationally, the culture wars of the 90’s behaviors among at-risk youth vision of the current AFM Videogame We need to take a nationwide stand are darkening our doorways again. In If far-sighted leaders who under- Agreement and continued dialogue with- and make it clear to the DSO manage- New York, the state arts council budget stand this can’t reverse this dangerous, in the AFM and the videogame industry. ment that this type of union busting will saw its grant­making funds slashed twice scorched-Earth policy toward arts fund- “Work will continue in conjunction not be tolerated. This attempt to devalue in 2008. Then it sustained a $3.5 million ing and arts education, our nation faces with the AFM’s International Executive the worth of professional musicians and cut in 2009 and a $6 million cut in 2010. a dismal and uncertain future. It’s like a Board, the Electronic Media Services Di- our art needs to be stopped dead in its Now it faces a $10 million cut this year. NASCAR driver stuck with a pit crew hos- vision Oversight Committee, RMA Inter- tracks. We can all help in this struggle by Despite the jobs that the arts create and tile to transmission fluid, even though it national, the Local 6 Recording Commit- supporting the musicians of the DSO and sustain, the income they generate, and makes the car go forward. Without it, the tee, and Locals 47, 257 and 802. As our enabling them to continue to take a stand the tax revenue they send to local and driver is doomed to go nowhere. And that research and exploration continues, we by donating to the DSO Members Fund. state coffers, too many elected officials is precisely where many of our leaders are will keep AFM members posted on new Checks can be made out and mailed cling to the myth that funding the arts taking the country when it comes to arts developments. For the present, the IEB is to: DSO Members Fund; c/o Susan is unnecessary. These politicians seem to funding and arts education. extending the terms of the existing AFM Barna Ayoub, Secretary-Treasurer; believe that little or no funding for the Conversations on arts education by our Videogame Agreement.” Detroit Federation of Musicians; nonprofit creative sector will have no elected leaders at all levels of government 20833 Southfield Rd.; Detroit, MI negative economic impact. appear nonexistent. However, discus- We’re growing 48075. More information on the Institutional ignorance of the arts isn’t sions about education in the U.S. revolve In December, I reported that Local 802 DSO strike is available at www. limited to the nonprofit sector. Many around a single concept: competition. In had absorbed the jurisdiction of AFM Lo- DetroitSymphonyMusicians.org. politicians are unaware of or simply dis- fact, this word, along with its variations,

March 2011 | Allegro 5 n news & views

This is the view that makes it all worth it. Audience members at “Elf” gaze down at the pit orchestra with delight. The show played the Al Hirschfeld Theatre for a limited run from Nov. 10 to Jan. 2. Charles Descarfino, the percussionist in the orchestra, shot this photo of audience members looking down at the wonder of a live orchestra. We can’t sit on the sidelines and watch the arts dry up appeared 11 times in Obama’s state of to college, sustain local economies and longest serving educators. Given this As it happens, Wisconsin, whose the union address, seven times in Cuo- plan our futures. scenario, one might think that the emer- teachers are protected by collective bar- mo’s state of the state address and six The current assault on the arts and gent model of education in the U.S. is to gaining agreements, is ranked second in times in Bloomberg’s state of the city arts education is broad and deep. The provide just enough training to supply the country. (Thank you, Randy Landau.) address. president wants to cut the budget of the employers with a continuous source of A great writer once said: “There is a Incidentally, those speeches had an- National Endowment for the Arts by $21 cheap, unskilled and low-skilled labor. connection to progress in society and other thing in common – the number of million. The Republican Study Commit- progress in the arts. The Age of Pericles references to the advantages of a well- tee, comprised of 165 members of Con- This far, no further was also the Age of Phidias. The Age of rounded arts education: zero. Ironically, gress, wants to eliminate it completely. We cannot sit on the sidelines and Lorenzo De’ Medici was also the Age of in 2008, candidate Obama released the It also wants to gut key arts education watch work in the nonprofit arts sector Leonardo DaVinci. The Age of Elizabeth following statement on his arts policy: programs at the U.S. Department of Edu- dry up. Nor can we expect other people was also the Age of Shakespeare.” “As president, Barack Obama will use cation and all funding for NPR and PBS. to advocate for us. We must not sit idly Artists and arts educators should take the bully pulpit and the example he will by while those beholden to the for-profit inspiration from the nonviolent protest- set in the White House to promote the standardized testing industry cheapen ers overseas and also at home – in Wis- importance of arts and arts education A great writer once said: the quality of public education and turn consin, Ohio, Indiana and elsewhere. in America. Not only is arts education “There is a connection to our kids into arts-challenged, rote mem- It’s up to us: if we do nothing, we’ll get indispensable for success in a rapidly progress in society and orizers and test takers. nothing. changing, high skill, information econ- We know that schools with strong arts Antagonism toward the arts means omy, but studies show that arts educa- progress in the arts” programs produce smart, well-rounded job losses. Illiteracy on arts education tion raises test scores in other subject students. The Center for Arts Education means long term decreases in our ranks areas as well.” released a study last year that revealed and steady reductions in our audiences. Those leaders overlook long estab- Governor Cuomo, while pitting pub- that New York City “schools in the top Perhaps more forebodingly however, is lished truths on the advantages of a lic sector unions against private sector third in graduation rates offered their what this says about the role the arts fully implemented arts curriculum in unions, seeks to cut $10 million from students the most access to arts educa- will play in American life. our public schools. Consequently, their the NYSCA budget. Mayor Bloomberg tion and the most resources that sup- In 1931, Aldus Huxley wrote of a fu- respective statements on education ring is threatening to eliminate 6,000 teach- port arts education.” Moreover, school ture when people didn’t want to read hollow, sounding like a string of recycled ing jobs and reduce library hours. His districts with collective bargaining books, were distracted by cheap, mass bromides that over-emphasize school current school chancellor has no back- agreements yield strong schools with produced goods and were more inter- competitiveness as a means to acquire ground in education. College tuitions smart students. To wit: there are five ested in gossip than the truth. We need 21st century technical jobs. What about are on the rise nationwide, up as much states that outlaw collective bargaining a massive, collective effort to push the creative sector? In addition to the as 30 percent in California. for educators. Here are their state rank- back against this philistine crusade for extraordinary cultural, developmental Adding insult to injury, many gover- ings on ACT/SAT scores: ignorance. Most importantly, we must and educational benefits of the arts in nors (New York’s included) and other ll South Carolina – 50th ask ourselves if the Brave New World all people’s lives, one topic absent from politicians continue their collaborative ll North Carolina – 49th we seek includes equal access to the national discourse is that the arts also offensive on experience, institutional ll Georgia – 48th arts and a robust, well-rounded edu- mean jobs – real careers that enable us memory and problem solving by threat- ll Texas – 47th cation – or if it succumbs to the one to own our homes, send our children ening the livelihoods of our nation’s ll Virginia – 44th Huxley warned us about.

6 Allegro | March 2011 n women’s history month

hiring. When there is an opening [the orchestra] consistently awards the posi- tion to the person who performs best.” She cautioned young musicians Call and who aspire to a professional career: “You’re nuts to go into it unless you love it. Unless you really cannot imag- ine yourself doing anything else, you should choose a different profession.” She explained her advice by detail- response ing the years of effort and money in- vested in training to become really, really good at playing an instrument and measuring that against how little A conversation with Fiona Simon most musicians are paid even at the top of their profession (roughly equal By Ann Wilmer to a starting lawyer). However, she said that the union t the age of four, Fiona ny instead of a smaller group. I also has played an important role in sus- Vanderspar Simon met the learned to think in terms of being part taining professional musicians. “His- violin and that was it. She of an organization.” torically the union has been extremely Aknew that was her future. Simon added, “To function well in important for working musicians. You Simon, a Local 802 member since this organization requires many more don’t have to go back so many years 1982, began her musical career as skills than playing your instrument. to times when even an orchestra like many do by taking piano lessons. I went into this without any under- Philharmonic was not a 52-week-a- Her teacher was Iris Greep, mother standing of that.” year job, or when you could be fired of renowned cellist Jacqueline du Pré Union membership has been respon- because someone didn’t like your face, and a teacher at the Royal Academy sible to a large degree for the new orga- or when rehearsals lasted until the of Music – a colleague and friend of nizational and negotiating skills Simon conductor was tired.” Simon’s mother. has acquired on the job. Her colleagues The union has played a major role Simon’s mother, a pianist and music in the 106-member orchestra elect a in bringing about full-time employ- teacher, taught Dalcroze Eurhythmics five-person orchestra committee that ment, reasonable work schedules, and – music through movement – to stu- is responsible for, among other things, a tenure process with some protection dents ranging in age from very young negotiating new contracts. Simon is the from unreasonable dismissal. “The children to adults. Her older brother current chair of the committee. union gives us stability and helps us Christopher is principal cellist at Cov- “One major part of my life in the last make our working lives make sense. ent Garden and younger brother Ed- several years has been serving on such Is it always a smooth road? No.” Still,

ward is principal violist with the Lon- committees.” As part of a union negoti- chris lee photo: Simon said she is a committed union don Symphony Orchestra. ating team, Simon said the unpaid but Fiona Simon, Local 802 member since 1982 member and has “been in the busi- In her native England, Simon left necessary work has been a “fascinating ness for long enough to understand school at 16 but continued to study the learning experience – my way of giving One of the problems women in other how many things we wouldn’t have if violin, building a career as a soloist and back to my community of 106 men and fields might expect she has to grapple we didn’t have a union.” playing chamber music. Simon never women who make music together.” with is gender equality. Simon said that Back to the violin, Simon enjoys completed a formal college degree. In- has not been her experience at the Phil- the challenges of learning new music. stead, she steadily increased her skills harmonic, though she realizes it has “Some of the new pieces we play are studying, competing and practicing her } It’s a good time been an issue in the past. “It’s a good interesting experiences. The only way way to the New York Philharmonic. time to be a woman in classical music.” you can sort through any work is to “No one has ever asked me whether or to be a woman in Slightly more than half of the or- play it.” Although she does not tire of not I had a degree. You can either play chestra’s membership is female at familiar repertoire, she acknowledges or you can’t,” she said. classical music ~ present. Simon said the percentage that some favorites get played so often Playing in the Philharmonic has of women may increase in the short that everyone needs a rest. “But what- also brought with it another experi- term but will eventually even out. She ever we are performing, I try to treat it ence – learning how to work within Simon said it had been interesting to explained that women were not al- in a way that is fresh.” the framework of a large musical or- acquire, over the years, new skills nec- lowed to join the Philharmonic until “The heart of my professional life ganization, something Simon hadn’t essary to make a positive contribution the 1960’s and are only now beginning these days is playing in the Philhar- experienced as a freelance musician such as public speaking, negotiating, to reach retirement age. monic.” she said. “The whole idea of living in England. running a meeting, and working with During her time at the Philharmonic, the community of an orchestra is that “For the first time, my life centered attorneys. “I care very much about my Simon said that openings created by a we strive to be more than the sum of on one organization with a defined colleagues and like to see them treated member’s retirement have been filled our separate parts. Coming together internal structure. It was a very big well. If I can help to solve problems I roughly half-and-half by males and fe- on stage to give a great performance change for me to work in a sympho- enjoy doing that.” males. “Gender is no longer an issue in is truly thrilling.”

March 2011 | Allegro 7 n news & views What does the labor movement do for us? Plenty! The enemies of unions do not care about your rights as musicians…

cause of their members in the social, economic and political arenas. These organizing functions are vital to musicians, actors, stagehands or any workers who are matters fortunate enough to find themselves working under a collective bargaining agreement. michael In addition to the core operation of donovan Local 802, there are numerous task per- formed by the staff of the union that have become necessary to the member- ship and their professional lives. These Michael Donovan is the director jobs include: ll Assisting musicians with eligibility of organizing and supervisor of requirements for health insurance the union’s single engagement benefits. department. If you’re playing a ll Transmitting pension contributions job where you feel disrespected or to the pension fund. know that you aren’t being paid ll Watching over a vast array of new fairly, contact Michael at (212) 245- technologies to protect members’ ar- karling walter photo: 4802, ext. 141 or MFdonovan@ tistic production from misuse, abuse Local 802 was out in force on Feb. 14 as the union went after Chaim Rosenblatt Productions, Local802afm.org. You can also call and outright theft by unscrupulous a/k/a EvanAl Orchestras. We set up at two sites where EvanAl had contracted bands. Union the Local 802 hotline anonymously employers or anyone who might leafleters visited the Eden Palace on Flushing Ave. and handed out flyers that explained at (212) 245-4802, ext. 260 to report want to use the work without prop- that EvanAl undercut union musicians by paying below the industry standards and failing to provide health and pension benefits. At Terrace on the Park in Flushing Meadows, a job or working situation. erly compensating the artist who has created it. wedding guests were greeted with the Local 802 rat situated prominently at the entrance. ll Running a referral service that helps The rat became quite a popular figure: neighborhood children and their parents came by place musicians in jobs that pay to have their pictures taken with our blown-up friend. Coming out as well was the target he labor movement dates to union wages and benefits including of the leafleting, Chaim Rosenblatt, who seemed quite amused. We told him that the the beginning of the country statutory benefits. demonstration was serious and that musicians were being hurt by his actions. when artisans joined together to ll Managing Legit 802, which functions Tset the price of the goods they as a payroll service for musicians. consciousness of New Yorkers and care, your pension, your rights as mu- produced, whether they were shoes, ll Overseeing the vast assortment of people who visit New York. sicians, and your ability to make a liv- bread or any of the items needed for the contracts filed with the union. ll Managing a political agenda that ing, much less your contractual rights. society of the late 18th century. Over the ll Providing legal assistance for serves the interests of musicians and Sadly, those who have no regard for years workers, and the organizations members with workplace related live music as an art form. unions also have no concern for the they created to protect their economic problems. Running an organization such as state of music as an art or the qual- interests, became more sophisticated as ll Helping musicians in need through Local 802 requires an educated, skilled ity of musicians’ skills. For many the the forces allied against them became the Musicians’ Assistance Program. and savvy staff who are working on bottom line doesn’t include any of the more powerful. As sophisticated orga- ll Publishing Allegro, which keeps behalf of musicians. above concerns. You don’t have to look nizations go, the AFM and its locals are our members informed about Consider what would be missed if too far around the music industry to surely among the most advanced that their union and about vital issues Local 802 ceased to exist as an orga- see the erosion of musicians’ rights, have evolved into the 21st century. affecting them. nization. I don’t speak lightly of this the undercutting of scales, the use of Unions, of course do “union” things ll Offering access to the credit union. because in today’s politically charged technology to replace musicians and such as negotiating contracts, repre- ll Developing a public relations atmosphere, unions are targeted for the overall disregard of the arts in senting members in grievances and ar- apparatus that keeps the interests destruction. Enemies of organized American society. bitrations, and generally advancing the of musicians and live music in the labor do not care about your health In order to combat these attacks

8 Allegro | March 2011 n news & views

upon your livelihood as musicians you need a strong organization. And your union needs your support more It’s Walmart vs. the women… than ever. The more employers see musicians crossing picket lines, tak- ing jobs at less than scale, failing to arch is Women’s History more than two thirds of Walmart’s report union gigs, or not supporting Month, a perfect time to hourly employees are female, women the union against unscrupulous em- legal highlight a historic gender only account for 15 percent of store ployers, union hating politicians and corner Mand pay discrimination managerial positions. union busting law firms, the more they lawsuit that will be heard by the Su- Further, women were paid less than will try to further weaken the union. preme Court sometime in June. The men of equal seniority in every ma- Think about who will watch over your harvey mars, suit, easily the largest discrimination jor job category, even though, on the industry if your union is gone. esq. suit in the history of the United States, whole, women had lower turnover and The history of work in America has is Dukes v. Walmart Stores, Inc. and in- higher performance ratings than their been the history of “de-skilling” work. volves roughly 1.5 million female em- male counterparts. In the not too distant past all jobs were Harvey Mars is counsel to Local ployees who claimed that they have Unsurprisingly, this suit is more than skilled and all workers sold the prod- 802. Legal questions from been systematically denied promo- ten years old and has already required uct of their labor at prices they set. members are welcome. E-mail tions and paid less than male counter- three rulings from the United States Today any job that can be done by them to [email protected]. parts with the same seniority and skill. Court of Appeals for the Ninth Cir- a machine is at risk. Imagine a world Harvey Mars’s previous articles in The issue that the court will grapple cuit, one of which required a decision unappreciative of the talents musi- this series are archived at www. with this spring is whether the litiga- by each sitting circuit judge, which is cians have taken years to learn. Local HarveyMarsAttorney.com. (Click on tion can proceed as a class action. The known as an “en banc” decision. Dur- 802 and the AFM face unprecedented “Publications & Articles” from the top stakes are high, since if the class ac- ing this 10-year period of time, only erosions of the protections fought for menu.) Nothing here or in previous tion is allowed to proceed, the poten- the procedural issue of class standing by generations of musicians. Today articles should be construed as formal tial backpay liability for Walmart, the has been considered by the courts. it’s our turn to fight. Local 802 needs legal advice given in the context of an largest employer in the United States, Thus, the Supreme Court will only be musicians. If you know any musicians could be in the billions of dollars. reviewing the Ninth Circuit’s recent who are not members, tell them to call attorney-client relationship. Walmart’s own records seem to bol- determination that the suit could pro- us and join us! ster the merits of the claim. Though continued on page 11

March 2011 | Allegro 9 n women’s history month Women in jazz: ‘Equal but separate’

By SUE TERRY

fter 90 years of “equality” – beginning with the passage of the 19th Amendment, which Agranted women the right to vote – women jazz instrumentalists are still subject to what I call the Equal But Separate syndrome. The phrase harks back to the Jim Crow era in the South, when “Separate but Equal” was a doctrine of constitu- tional law allowing individual states to employ segregation, even though according to the 14th Amendment, all citizens were entitled to equal services. During segregation, the law said that African Americans were to receive their own services and accommoda- tions apart from whites, and that they were to be equal to those white people received. In reality, however, blacks rarely got the same quality of services as whites. It took decades, and much struggle, to eradicate this doctrine. The efforts of women to be recog- nized as equals of men in our society bear a resemblance to the civil rights movement in many ways. The last two centuries clearly show women being The International Sweethearts of Rhythm, active during the 1940’s, was the first integrated all women’s band in the United States. (As denied jobs, political office and access many know, Local 802 member Carline Ray played bass in the group.) Pictured above is the Sweethearts’ trumpet section in 1944: Ray to education. Neither was harassment Carter, Johnnie May Stansbury, Toby Butler and Ernestine Tiny Davis (seated). unheard of. Happily, things have changed in come, they have also been the excuse idea, even though all-women bands ers bring to the bandstand. Certainly recent times. But since I first came to exclude women players from the have existed since the 1920’s. this idea extends beyond race, color to New York in 1982, my female col- mainstream. Yes, there is sometimes 3. They believe it’s a theme that will and culture to the very foundation of leagues and I have struggled against a woman member in a jazz group, or draw an audience. humanity: men and women. As my the tendency of promoters to lump us a woman composer or arranger who Jazz music has benefited greatly colleague Francesca Tanksley said together in all-female groups. Almost gets hired, but women often are still from its interaction with other styles once, “There are two genders on the 30 years later, this is still happening. relegated to all-female scenarios. Equal of music such as Latin, Brazilian and planet, hello!” No jazz fan or jazz musician denies but separate. classical, to name a few. Because jazz It’s not that it’s a bad idea to have that the best women players are on a Promoters use the ploy for at least is shaped more by its players than its an all-woman group. I have played par with the best male players, but a three reasons: composers (as opposed to classical in many such groups that were quite division exists nonetheless. While the 1. It takes care of the “Why aren’t there music, where the opposite ratio oc- excellent. The issue, rather, is that re- all-woman groups and festivals cer- ever any women playing in your festi- curs), it makes sense that it would be lying on the all-female theme to high- tainly are an opportunity for women val/series/club?” question in one shot. enriched – as indeed it has been – by light women players does a disservice musicians to perform and earn in- 2. They somehow think it’s a novel the different backgrounds that play- to women, a disservice to men, and

10 Allegro | March 2011 n women’s history month a disservice to the music. If women of a mere 100 years, it must embrace want to play together, surely they can all players, regardless of race or gender. do so without being categorized. There Unfortunately the bandleaders in jazz, New shows under contract are a lot of all-white groups, all-black on whom this responsibility should groups, and all-male groups – but they fall, have largely been remiss in recog- ecently, Local 802 negotiated a cabaret agreement with Urban Stages are not billed as such! nizing that idea. for “Musical Legends.” The production showcases four individual bands Why this happens so often in jazz is Charli Persip, Howard Johnson and and celebrates the life and music of Pearl Bailey, Kay Ballard, Nat “King” a mystery. Does the phrase “Women in the late Dr. Billy Taylor are amongst RCole, and Marlene Dietrich. We were able to get this show under the Jazz” have a nicer ring than the rarely the few leaders who have consistently Theatrical Showcase and Rules Agreement with a side letter covering eight heard “Women in Rock,” “Women in championed women players and mixed musicians. The show runs Feb. 24 to March 13. Pop,” or “Women in Classical Music”? bands. If all bandleaders did this, the We also signed an Off Broadway Commercial Area Standards Agreement In those genres one often sees guys need for all-woman venues would di- for a new musical entitled “Lucky Guy.” The show is a comedy about the and chicks playing together and no one minish rather quickly. Nashville music scene and will be playing with eight musicians at the Little makes a big deal out of it. Perhaps nature has arranged it so Shubert for a 12-week limited engagement. Previews start on April 28 and Ironically, in the light of the jazz there’s just no getting around the industry’s apparent prejudice toward woman vs. man thing. After all, the fe- the show opens on May 19. women, the color barrier in the United male of almost every species still sports “A Minister’s Wife” a musical based on George Bernard Shaw’s “Candida,” States was first broken by jazz musi- its own equivalent of makeup and high will be playing at Lincoln Center’s Mitzi E. Newhouse Theater for eight weeks. cians. In 1935, Benny Goodman hired heels. But for Women in Jazz, the di- Local 802 signed a collective bargaining agreement with Lincoln Center that the African American pianist Teddy chotomy has begun to wear thin, like a covers five musicians. Previews begin on April 7 and the show opens on May 8. Wilson in his trio. The following year, word that you keep repeating to your- The Theatre Department also negotiated more shows in recent weeks, but African-American vibraphonist Lio- self until it loses its meaning. space doesn’t permit their inclusion here. For more information, please contact nel Hampton was added, making it a In today’s world of same-sex mar- Claudia Copeland at [email protected] or (212) 245-4802, ext. 158. quartet. (Gene Krupa was on drums). riages, drag queens and other trans- This was 11 years before Branch Rickey gender folk, one could even question signed Jackie Robinson to the Brooklyn what defines female and male in the Dodgers in 1947, ending segregation in first place. The 5,000-year old philoso- the Major Leagues. It was 18 years be- phy of Taoism, encapsulated in the fore Brown vs. the Board of Education. famous yin-yang symbol, tells us that Wal-Mart vs. the women It was 28 years before the Civil Rights there is no such thing as totally female Act of 1964. or totally male because as soon as FROM page 9 dividual claimants, and that there We are at a strange crossroads. Isolat- those points are reached, they begin to ceed as a class action, despite its enor- are enough plaintiffs with common ed women are working their way into reverse themselves. Moreover, the yang mous size. No determination has yet claims to warrant class standing. Re- traditionally all-male groups, while the (male) sign – symbolized by the color been made on the merits of the claims. markably, it took ten years just for Women in Jazz festivals continue to white – contains a tiny, black dot of yin Proceeding as class action has great the class standing determination to serve a very important function: pre- (female). And inside yin, likewise, a bit utility for a discrimination case such be made. senting the formidable talents of that of yang resides. as this one since it is much easier for a So far both the District Court and other 50 percent of the population. I look forward to the day when the plaintiff to pursue a law suit as a mem- the Ninth Circuit have agreed that Without these festivals, surely female moniker “all-female band” will seem ber of a class than as an individual class certification is appropriate even jazz players would receive even less as ludicrous as “all-male band,” “all- litigant, who is then required to retain though the size of the class is 1.5 mil- recognition than they do. African-American band” or “all-Cau- and pay their own lawyer. lion. In fact, the only objection that But rather than relying on the Wom- casian band.” I look forward to the day Further, class action standing puts Walmart has to class certification is en in Jazz theme, isn’t it time for every when players of all colors, races and a huge amount of pressure on the that the size of the class is unman- promoter of jazz, and every jazz venue, genders will create and perform jazz defendant to settle because potential ageable. However, the mere size of the to diversify their roster? Isn’t it time for music together as a matter of course. I liability is huge. Here, class action class does not matter if all the claims every bandleader to look beyond the look forward to the day when we jazz status has particular utility because truly have common issues. locker room walls when considering musicians will present ourselves as a Walmart’s employment practices are The fight over class standing may personnel? true reflection of what the tradition of centrally managed. turn out to be the crucial issue, since I have always believed that for jazz jazz represents: equality, freedom, and Whether a case may proceed as a Walmart will likely settle if the Su- to continue its remarkable evolution creativity of the highest order. class action rather than as individual preme Court upholds the Ninth Cir- law suits requires the court to make cuit decision granting class certifica- a determination whether each of the tion. If it does not, it is very likely that } If women want to play together, surely claims that could be asserted by the hundreds of thousands of Walmart’s potential class members all have com- low paid female employees will be left they can do so without being categorized. mon issues. Further the court has to without redress and that a very pro- be satisfied that the class representa- tracted legal battle will ensue for the There are a lot of all-white groups, all- tives have the ability to pursue claims claimants who decide to pursue indi- on behalf of the entire class rather vidual claims. Let’s hope the Supreme black groups, and all-male groups – but than just themselves. Finally, the Court, which is dominated by conser- court has to find that proceeding as vative jurists, affirms the well-reasoned they are not billed as such! ~ a class is more practical than as in- Ninth Circuit decision.

March 2011 | Allegro 11 n news & views Requiem photo: ap photo: Herbert Tichman George Shearing Howard Van Hyning Emanuel Vardi

Helena Mary Kaprielian Association and the Fresno Grand Opera in the city. Mr. Seletsky is survived by his Mr. Shearing wrote the jazz standard elena Mary Kaprielian, 83, a pia- as the choral preparation accompanist. daughter Susan and daughter Robin, who “Lullaby of Birdland” in 1952. nist and organist and a Local 802 Ms. Kaprielian is survived by her broth- is also a clarinetist. “I’m not sure that technique and Hmember since 1951, died last year, er Elmer and his wife Gloria. She is also improvisational abilities improve with on July 30, 2010. survived by nieces, nephews and cousins. age,” the pianist said. “I think what im- Ms. Kaprielian graduated from Fresno The family suggests that donations be George Shearing proves is your sense of judgment, of ma- (Calif.) State University with a bachelor’s made to the music program at St. John’s eorge Shearing, 91, the jazz turity. I think you become a much better degree in music and went on to two years Cathedral in Fresno, Calif. (call 559-485- pianist and a Local 802 member editor of your own material.” of graduate piano studies at Juilliard. In 6210), or to the the American Cancer So- Gsince 1947, died on Feb. 14. During World War II, the young pia- 1976, she earned a master’s degree in di- ciety or the charity of your choice. Mr. Shearing, blind since birth, was al- nist teamed with Stephane Grappelli, vinity from the Pacific School of Religion From the Fresno Bee ready popular in his native England before the French jazz violinist, who spent the in Berkeley. moving to the U.S. in 1947. The George war years in London. Grappelli recalled Early in her career, Ms. Kaprielian re- Shearing Quintet’s first big hit came in to writer Leonard Feather in 1976 that sponded to an advertisement in which Harold Seletsky 1949 with a version of songwriter Harry he and Shearing would “play during air the Manhattan Savings Bank on Madison arold Seletsky, 83, a clarinet- Warren’s “September in the Rain.” raids. Was not very amusing.” Avenue in New York City was seeking a ist and composer and a Local 802 In a 1987 Associated Press interview, Mr. Shearing is survived by his wife pianist to entertain customers in the lob- Hmember since 1945, died on Dec. Shearing said the ingredients for a great Ellie Geffert and daughter Wendy. by of the bank for two weeks during the 28. Mr. Seletsky attended the High School performance were “a good audience, a good Edited from the AP obituary. holiday season. Her music attracted new of Performing Arts and later studied the- piano, and a good physical feeling, which is customers and as a result, she continued ory and composition with Josef Schmid, not available to every soul, every day of ev- as the bank’s pianist for 13 years. She was a prize pupil of Alban Berg. He went on eryone’s life. Your intent, then, is to speak to Herbert Tichman also the pianist with various ensembles to compose music for films, commercials, your audience in a language you know, to try erbert Tichman, 88, a clarinetist that performed at the Town Hall and the opera and ballet, and has written jazz and to communicate in a way that will bring to and a Local 802 member since Carnegie Recital Hall. Additionally, Ms. Yiddish songs them as good a feeling as you have yourself.“ H1946, died last Oct. 31. Kaprielian was a soloist and accompa- Mr. Seletsky’s award-winning scores Shearing’s bebop-influenced sound be- Mr. Tichman was one of the few clari- nist for a Columbia Artists Male Quartet for commercials include those for East- came identified with a quintet – piano, nettists of his generation to devote his ca- for five concert seasons, touring the U.S., ern Airlines, Air France, Chevrolet and vibes, guitar, bass and drums – which he reer almost exclusively to chamber music. Puerto Rico, and Canada. U.S. Steel. As an instrumentalist, he was a put together in 1949. More recently, he He founded the Berkshire Chamber Play- After returning to Fresno, she was brief- member of the Houston Symphony under played mostly solo or with only a bass- ers as well as the Tichman Trio and the ly engaged in youth work at the Pilgrim Leopold Stokowski, appeared on stage in ist. The luminaries with whom Shearing Tichman/Budnevich Duo. These ensem- Armenian Congregational Church. Re- the Broadway production of “Rags” and worked over the years included Tito Puente, bles recorded repertoire by Beethoven, turning to her love of music, Ms. Kapri- was the leader of the West End Klez- Nancy Wilson, Nat “King” Cole, Mel Torme, Brahms, Bartok, Reger, Schubert, Milhaud, elian served for many years as a church morim. He took great pride in his com- Marian McPartland, the Boston Pops, Peggy and Stravinsky for the Concert Guild label. and synagogue organist and pianist. Addi- position studio, which included some of Lee, Billy Taylor, Don Thompson, Stephane He was also a longtime faculty member of tionally, she served at the California Opera the most accomplished jazz musicians Grappelli and Sarah Vaughan. the Manhattan School of Music.

12 Allegro | March 2011 n news & views

Mr. Tichman graduated from Juilliard at rare set of gongs constructed for Puc- Emanuel Vardi ed violin and cello literature for his the top of his class. With his wife, pianist cini’s “Turandot.” manuel Vardi, 95, a violist and a instrument, a time-honored strategy Ruth Budnevich, he studied the chamber These gongs were special. When Local 802 member since 1936, died by which violists have added arrows to music repertoire under the guidance of Ed- struck, a traditional Chinese gong – Eon Jan. 29. their quivers. An especially noteworthy ward Steuermann, the “house pianist” of properly called a tam-tam – produces At age 6, Mr. Vardi had already made achievement was his recording in the Arnold Schönberg and his circle, an asso- a shuddering “whump” of indefinite his recital debut on the piano at Aeolian 1960s of Paganini’s 24 caprices for solo ciation that became a close friendship and pitch. But when Puccini was writing Hall, on West 42nd Street in Manhattan. violin. lasted until Steuermann´s death in 1964. “Turandot,” the tale of a Chinese prin- The New York Evening Mail called him Second, he haunted archives in This was the beginning of his deep involve- cess, he envisioned a whole family of a young pianist to watch. search of forgotten compositions – un- ment with contemporary music. Tichman gongs, each tuned to a specific pitch, He entered the Institute of Musical earthing, for instance, a sonata by Ales- earned a master´s degree in composition that could lift their brass voices in song. Art, a forerunner of Juilliard, as a violin sandro Rolla (1757-1841), Paganini’s from Queens College, where he worked He commissioned the Tronci family, an student at 12, and studied there until teacher and a composer of many works with Robert Starer and Hugo Weisgall. Italian cymbal-making dynasty, to build he was about 20. Soon after, he took for viola. During the early days of television, he a graduated set of 13. Mr. Van Hyning up the viola and won a spot in the NBC Third, he solicited new music from composed music and played for a series later acquired them and played them in Symphony Orchestra under Arturo To- contemporary composers, giving pre- of TV plays on ABC that illustrated the concerts of Puccini’s music. The gongs scanini. He made his solo recital debut mieres of pieces by Henry Brant, Mi- workings and activities of the Federation are expected to continue to be used by in February 1941 at Town Hall to glow- chael Colgrass, Alan Hovhaness, Alan of Jewish Philanthropies. Many great opera companies around the country. ing notices. During World War II he was Shulman and others. theatre actors participated in this series, Mr. Van Hyning’s recordings include a soloist with the United States Navy Finally, he composed solo viola works, including Lee J. Cobb, Eli Wallach and “Ancient Voices of Children,” George Symphony Orchestra. among them “Fantasy Variations on a Anne Jackson. Later in his career he com- Crumb’s song cycle for voices and Critics praised Mr. Vardi’s virtuosic Theme of Paganini.” missioned compositions from Pulitzer chamber ensemble, for the Nonesuch technique, masterly control of color and Partly through Mr. Vardi’s efforts, the Prize-winning composers Yehudi Wyner label. tone, and willingness to perform music viola emerged from the shadows, with and Henry Brant, which he performed in He is survived by his wife Marlene, by 20th-century composers, a circum- solo recitals now a routine feature of the United States, in Europe and in Asia. son Kirk, daughter Victoria and sister stance born partly of necessity, as the classical concert programming. Mr. Tichman was said to be the first Shirley. viola has suffered historically from a He is survived by his wife Lenore and clarinetist to present a solo recital in Edited from the New York Times dearth of solo repertory. daughters Andrea and Pauline. New York City. obituary for Mr. Van Hyning written by To this problem Mr. Vardi brought a Edited from the New York Times obituary He is survived by his daughters Nina, Margalit Fox. four-pronged approach. First, he adapt- for Mr. Vardi written by Margalit Fox. Nomi and Nadya, who is the associate concertmaster with the San Fransisco Symphony. He is also survived by his grandchildren David and Fanya.

Howard Van Hyning oward Van Hyning, 74, a percus- sionist and a Local 802 member Hsince 1957, died last Oct. 30. Mr. Van Hyning was playing the drums professionally by the time he was a teenager. After earning bachelor’s and master’s degrees from Juilliard, he won a position with the Baltimore Sym- phony before joining New York City Op- era in 1966. He spent 40 years with City Opera be- fore retiring in 2006 because of Parkin- son’s disease. At his retirement, he was the company’s principal percussionist; he was also a longtime faculty member of Mannes College. Mr. Van Hyning was also a collector who amassed a trove of vintage per- cussion instruments that he rented to orchestras worldwide. Comprising more than 1,000 items, his collection includes a snare drum built by Billy Gladstone, a highly regarded Radio City Music Hall drummer of the 1930’s and 40’s. The collection’s crown jewel is a

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March 2011 | Allegro 15 n women’s history month Women’s lives, women’s stories

By anne feeney ensembles considered one woman more than enough. So while they re- n 1997, I became the first woman placed each other in ensembles, they ever elected president of AFM Local seldom got to work together. 60-471 (Pittsburgh). In what was There were 34 women honor mem- Itruly a freakish outcome, I took of- bers of the local in 1997 and 16 of them fice with only 34 percent of the popular attended the luncheon. While most of vote. The remaining 66 percent of the the regrets came from incapacitated vote was split evenly between two guys, and out-of state members, one of our and it became increasingly apparent honorees was unable to attend because that all 66 percent would have cheer- she was still an active member of the fully welcomed either guy as president Pittsburgh Ballet Orchestra and there – and that none of them wanted a wom- was a matinee scheduled that day! We an president – especially a folksinging arranged to have flowers sent to her guitar player! I knew that some of the backstage. The women arrived dressed older women in the local had done to the nines and in the company of their some phone-banking on my behalf, but spouses, children and grandchildren. I didn’t really know these women. That A representative from the County would soon change. Commissioners’ office presented the Several female honor members called local with a plaque naming the day me to congratulate me, and to say that “Professional Women in Music Day.” it was about time we had a woman And Doug Shields, now president of president. I took advantage of the op- the Pittsburgh City Council, brought a portunity to learn more about them. proclamation from the mayor’s office The stories they told me were fascinat- honoring the women of our local and ing. I resolved to arrange some sort of women’s history month. event to record some oral history from Regina Peterson traveled all over Europe with the USO when she was only 18. Then the stories began. Organist these extraordinary women. Flo Spurrier told us that she made the At one of the January Executive Board local any money. Some of the women spoke dismis- spectacular gowns she performed in on meetings I proposed that the local host I reserved the gorgeous art deco 17th sively of their careers at first. Almost all a portable sewing machine - often while a luncheon for our women honor mem- floor ballroom of the Westin William of them spoke of the difficulty of bal- riding the trolleys to her engagements! bers as part of Women’s History Month. Penn in downtown Pittsburgh. Besides ancing their musical careers with the Julie Melman graduated from Carn- I was unprepared for the board’s its elegance, this ballroom was the demands of family. The more I learned egie Mellon’s (then Carnegie Tech’s) initial response. “Women’s History scene of many formal dances where of their lives, the more I was reminded School of Music as a violin major in Month? What’s that?” inquired one of our members performed musical ser- of Ann Richards’ observation, “Ginger 1939. She was awarded a fellowship to the older members of the board. Anoth- vices. I sent out a fundraising request, Rogers did everything Fred Astaire did, study at the Franz Lizst Academy in Bu- er hipper member of the board replied, offering to list donors in the luncheon but backwards and in high heels.” dapest. Hitler’s ascendancy cancelled “It’s like Black History Month.” I shud- program. (The response from Local 802 The women of Local 60-471 faced her plans. Julie joked of being a “mu- der to think what he meant by that. was most heartening.) professional challenges that most men sical mercenary,” traveling statewide Another E-Board member inquired, At the luncheon, I recruited Paula just didn’t have. Some never married to fill the first chair in many regional “When is Men’s History Month?” I Thomas to interview her longtime sis- because they felt they would have to orchestras. As she looked around the joked that men’s history months were ters in the union. Paula was a music stop performing. Several of them spoke art deco ballroom she recalled a night the other 11 months of the year – and educator for many years at Shadyside gratefully of how their husbands “let” she was to perform there. Like most the last 10,000 years. I tried to keep Academy Junior School, and had also them perform. Many of them spoke of of the women, Julie used public trans- the discussion lighthearted, and even- served as the narrator for the Tiny Tots the loneliness they experienced. For the portation to get to and from her gigs. tually secured their agreement to host and Little People’s Concerts of the Pitts- most part, these women did not know Since women were expected to look the event, so long as it didn’t cost the burgh Symphony Orchestra. each other because most performing glamorous in addition to playing well,

16 Allegro | March 2011 n women’s history month most of them traveled not just with the African-American local in Chica- product, and had a special request for ing with the San Antonio Symphony, their instruments, but a garment bag go before integration. She worked all Jean and Regina. They performed that then the Dallas Symphony and then containing their performing clothes. over Chicago in the 50’s. Rubye Young evening at the trade show wearing two seasons with the National Sym- Julie spoke of the night she arrived at Hardy, although quite advanced in high heels and bathing suits, seated on phony Orchestra. It was hard not to be the ballroom to discover that her high age, reported that she was still playing blocks of ice, with nothing separating reminded of the wisecrack “A woman heels were not in the garment bag. She the organ at a Methodist Church every them from the ice except a one inch has to work twice as hard as a man to quipped, “Knowing that show busi- weekend, Rubye studied at the Oberlin thickness of the employer’s insulation be thought of as half as good. Luckily ness involves a lot of illusion, I put on Conservatory of Music. In addition to product. Luckily, the insulation prod- this is not difficult.” my lovely evening gown with my flat her prodigious musical talent, Rubye uct worked. It was impossible not to conclude run-down walking shoes and never was a union activist and served as sec- Jean was 89 years old in 1997 and that a life in music is good for one’s looked down – and I hope no one else retary-treasurer of Local 471 until the was still giving 35 lessons a week. She health and humor. Most of these did either!” merger with Local 60. She then served recalled how she was asked to play women were still leading very active Our members were overjoyed to on the Executive Board of Local 60- an extremely difficult piece when she lives in their 80’s and 90’s and still hear of the artistic successes of Delsey 471 for five years. All three women re- auditioned for the union in 1936. The had detailed memories of their strug- McKay, an alumna of Duquesne Uni- mained very active in the community Carnegie Tech violin major played it gles and challenges. As the luncheon versity and Juilliard, who had worked on both musical and social justice is- with ease and was accepted into the ended, these women were exchang- all over North America and Europe. sues, and helped to found the African- union. She found out years later that ing phone numbers and promising to She performed with Nat “King” Cole, American Jazz Preservation Society in the men were never given challeng- stay in touch. All these women have Dinah Washington, Edith Piaf, Mahalia Pittsburgh. ing audition pieces and they were still died in the last fourteen years, but we Jackson and Erroll Garner, among oth- The liveliest story of the day was joking about the trick they had pulled benefit still from their leadership and ers. Delsey had joined the union when shared by Jean Patterson and Regina on her at the audition. Jean said, “I their sacrifices. While more women it was still known only as Local 471, Peterson. Regina was a talented ac- guess I got the last laugh. I got into have leadership positions in the AFM which was the African-American AFM cordionist who had traveled all over the union” today, a perusal of the officers’ roster local in Pittsburgh, before integration Europe with the USO when she was Honoree Rose Ressa kept her sense nationwide would still reveal a wide in 1966. Another member of the origi- only 18 years old. She and her pal, vio- of humor too, even though, according disparity. Women may hold up half nal Local 471 was Alyce Brooks. Alyce linist Jean Patterson, were a popular to her, “No major symphonic orches- the sky but they certainly don’t hold was board chair of Local 471 when duo at parties and conventions. They tras would audition women. Northern half the offices in this union. Pittsburgh hosted the national AFM got a call to perform at a trade show at symphonies wouldn’t let a woman in Anne Feeney is a member of AFM convention in 1962. Alyce had also the Greater Pittsburgh Airport. Their the door, unless it was in one door and Local 60-471 and AFM Local 1000. been a member of AFM Local 208, employer manufactured an insulation out the other!” Rose ended up play- E-mail her at [email protected].

March 2011 | Allegro 17 n women’s history month

} I was a radical feminist. I was moved by it, and I think that the whole feeling of freedom on every level acknowledged my spirit ~ photo: jason farmer jason photo: the singer from Janet Lawson is

By todd bryant weeks “I’ve marched in a few parades,” quips nerves of the face. Her recovery has been performed by Peggy Lee, among others. [email protected] Lawson, a Local 802 member since slow but steady, and her ability to pursue “My mother had a heart condition,” Ja- 1999, “and I’ve seen my share of bas- her artistic development throughout the net recalls, “So she couldn’t really work. anet Lawson sits upright in her tards who needed to be taught a lesson. often frustrating process of healing is a She’d be walking around the house with chair with an expectant grin on But I’m also not into punishing people true testament to her strength of charac- this big yellow pad, writing down ideas her face. If one looks more closely, for the sake of punishment itself. Dig: ter, her spirit, her sheer chutzpah. for lyrics. And my father would come Jone senses a certain gravitas behind There’s a karmic justice out there. The Born in Baltimore in 1940 to Eastern home and she’d say, ‘Jack I’ve got an that smile, a seriousness belied by a tone universe takes care of itself.” European émigrés, Janet was perform- idea.’ The piano was in the basement, of voice, a glint in the eye. At 70, this jazz Janet’s attention these days is split ing on the radio at age three, and sing- so I’d sit on the stairs and watch them virtuoso has basked in her share of the between her New School vocal students ing with bands before her eighteenth collaborate. He’d play for her, and she’d limelight, toured the world, and collabo- (she’s been on the part-time faculty there birthday. Her father, Oscar “Jack” Polun, say, ‘No, no, not that chord.’ She didn’t rated with some of the greatest names in since the late 1990’s) and her work on a was a drummer who fronted his own know anything about written music. But the business. She’s also devoted years of variety of creative projects – all the while trio. Lawson’s mother, Helene Kocur, he’d play until it sounded right. Based on her life to educating young people. The recuperating from a devastating 2001 di- was a singer and lyricist who performed that rather odd beginning, I think my ear road has not always been smooth. agnosis of Bell’s Palsy, a disorder of the in Polun’s group and had her own tunes developed a lot.”

18 Allegro | March 2011 n women’s history month

} The next day, John S. Wilson’s New York Times piece loudly proclaimed, ‘Janet Lawson Has the Dream Jazz Voice.’ The phone began to ring ~

At left, Janet Lawson teaching students in 2007 as the artist-in-residence at the Tracy Elementary School in Easton, Penn. Lawson has another connection with children: she co-authored (with Carman Moore) a photo: shauna colbey khan children’s book, “Grandma Sage and her Magic Music Room,” which was illustrated by Jamie Downs. across the street fearless, free and focused

Lawson, who has piercing brown eyes net, that wasn’t very ladylike.’ Remember, leave my room for two days.” the legendary Brill Building. “The place and looks much younger than her years, this is like 1956. And I said, ‘Oh really?’ Soon enough, Lawson got a secretarial was literally crawling with agents. And remembers her earliest days on the band- And I took my little sorority pin and stuck position at Columbia Records, and be- being young and pretty, I got hit on all the stand, and how her plucky demeanor it in her corsage, and I said, ‘Here’s what gan actively pursuing her singing. On time when I went in there. Everywhere I didn’t always mash well with the more you can do with your junior sorority.’” lunch hours, she would cut demos. She went in this building, they’d hit on me. conventional set: Maisel later hired her, (“for 12 bucks a was continually writing down the phone And I would come home and throw up. “When I was 15, I was in a junior soror- night”) and she worked with his band for numbers of established stars – in hopes of It was just such an onslaught. I’d had zero ity, and I came home and told my mother four years, until she was 19. getting an introduction. experience with men – none.” She laughs there was going to be a dance, and that A brief stint with an advertising agency “There were thousands of talented girls at the memory: “I was a teenager in Balti- I wanted to sing. And she said, ‘Ask.’ So, followed, and within months, thanks to out there, all trying to sing,” says Lawson. more before that. Please.” at the dance, I walked over to the leader, support of a local businessman, Lawson “Luckily, I was young and didn’t know She continues: Bill Maisel, and I asked if I could sing. And was ensconced at the 23rd Street Y in from rejection. I just kept plugging.” “At that time, women were thought of the tune was ‘All of Me,’ or something like Manhattan. Still a teenager, she had never Plug she did. as either virgins or whores. So, the agents that. And afterwards, the head honcho of been away from home before. “I’d heard about 1650 Broadway,” she who saw me as virginal, they would take the sorority comes over, and she says, ‘Ja- “I was terrified,” she says. “I didn’t remembers, referring to an address near me under their wing. So one of them

March 2011 | Allegro 19 n women’s history month Janet Lawson: } One night…I hear this tenor sax wailing from across the way, and I go to my bathroom window, and I sit on the sill, and I start singing out the window ~

would say, ‘OK, we have a trio tonight.’” Rooms,” a jazz tune called “Dindi,” had “Well, in that realm, a trio was any become a sleeper hit, and Lawson found three instruments that needed a gig; herself in demand. sometimes it was a drummer, a sax “I formed my own group. I still wasn’t and a trumpet player. And they’d send known as a scat singer, but by 1977, I was me to some place in Brooklyn, and I’d performing with the Janet Lawson Quin- sing with these three instruments. It tet at Beefsteak Charlie’s, and I wanted was bizarre.” to improvise. But when I improvised, A few years into her New York tenure, nobody clapped. When a horn player Lawson got the push she needed from a improvised, everybody clapped. So I real- woman who was working for Harry Be- ized I had to bring in a horn player. The lafonte. The famous calypso singer had audience needed permission. So I finally heard her demo, and arranged for Janet put that together. And one night, the to be booked into the Intercontinental critic John S. Wilson came in. I had no Hotel chain, in El Salvador, Aruba, Dutch idea he was there.” Guyana, and Surinam. The next day, Wilson’s New York Times “I took the gig. It was work. It paid. I piece loudly proclaimed, “Janet Lawson had to go to some costume design place Has the Dream Jazz Voice.” on 40-something street, and pick out this The phone began to ring. shiny material. I got these tight, hot pink Engagements and recordings with and white satin dresses, and I carried my artists like Eddie Jefferson, Count Basie 59-cent book of lead sheets, and went to and Duke Ellington followed. There El Salvador and sang.” were more hit recordings (“So High,” Along the way, she had discovered the Mara Purl (left), Janet Lawson (middle) and Paula Hampton (drums) performing at the “Shazam/Captain Marvel,” “Dreams Can music of Thelonious Monk: Ninth Avenue Street Fair, in the late 1970’s. The group was Women in Music, one of the Be”) and, in 1981, a Grammy nomination. “The big transition for me,” recalls first all-women ensembles. It was put together by the late Karen Springer Through it all Lawson has main- Lawson, “was meeting a man named tained a fierce discipline and love for Jules Columby, who was managing street.’ And everybody was there; Monk singer, that was it. Then I went into the the music and the craft of singing. In Monk. I was living at 332 West 76th was there. And I would sit on the floor studio with the rhythm section from the the late 1990’s she began teaching at street, right off Riverside Drive. Fifth and there was a little spinet piano, and Thad Jones-Mel Lewis big band, and I cut the New School, and is now instructing floor walk up, the bathroom windows people would just come in, night and a single called “Two Little Rooms” – and inspiring singers herself. opened onto 77th Street. It was right day, all weekend. I never sang, I just sat it started getting airplay – on the Country She studies Feldenkrais with an ac- down from where Miles Davis lived, on the floor, listening.” and Western charts. I was mortified.” knowledged master, Andrew Gibbons, and across the street from a guy named “Every night after that, I was down Beginning in the early 1970’s, Lawson and, now, post-illness, is slowly gain- Al Jeter. And Jeter, who was a trade at the Five Spot, listening to Monk. became involved in the Women’s Libera- ing back the full use and range of her bank official, and who played great And then Monk would be talking with tion Movement. fabulous voice. She has taught in Latvia tenor sax; his bank took over River- Jules in the kitchen, and Jules would “I was a radical feminist. I was moved at the Saulkrasti Jazz Festival, and she side Records. So Jules and Al and all be laughing, and I’d never know what by it, and I think that the whole feeling recently appeared at the Jazz Education these people – Ira Gitler and Dan Mor- Monk was saying. On Monday nights, of freedom on every level acknowledged Network Convention in New Orleans, genstern and that crowd – they went the dark night, I’d go there and sing my spirit. I went to the storefront on 9th where she performed and gave master to these parties that Jeter threw in his with Paul Motian and Teddy Kotick and Avenue on the corner of 42nd Street, and classes. Her spirituality is her strength, penthouse on 77th Street. Pat Rebillot. I’d be singing in the walls, Susan Brownmiller, Adrienne Rich and and her forthcoming book “The Inte- “One night I was watching ‘Young feeling the walls of Monk’s music. And all these women were starting Women grated Artist: Improvisation as a Way Man with a Horn’ on TV, and I’m in- that’s how I got connected to the mu- Against Pornography. We were trying to of Life” celebrates, as she puts it, “how spired and I hear this tenor sax wailing sic. It was Monk’s rhythms that really shut down 42nd Street. I marched. I was improvisation nourishes the authentic- from across the way, and I go to my bath- pushed me to a new place.” right up front with a big booming bass ity of one’s development as an artist.” room window, and I sit on the sill, and Within months, Colomby had booked drum. I wrote a lyric to the tune of “An- Another Lawson credo? I start singing out the window. So later, Lawson into the Village Vanguard with thropology.” I called it “Pornothology.” As Arthur Miller wrote,” she pauses at some point, a girlfriend of mine, who Art Farmer’s group, and her career was While still in her 30’s, Lawson dis- for effect, and the wry grin reappears, was also typing temporarily, said, ‘There’s launched in earnest. covered transcendental meditation and “Attention must be paid.” this party,’ because she knew Jeter. And “I always saw myself as a singer,” she yoga, and she spent time in California, when I walked in the door, Jeter said, says, brushing her still dark hair off her singing and studying theatre. Janet Lawson is accepting private ‘Oh, you’re the singer from across the forehead. “It was a career, and I was a Meanwhile, the flip side of “Two Little students; call her at (646) 369-7207.

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March 2011 | Allegro 23 n news & views

Thank you from Bill Evans (1929-1980) musicians in Detroit on strike

n behalf of all of the musi- cians of the Detroit Symphony Orchestra, we send our heart- musician’s Ofelt thanks for your generous gift of support. We are so appreciative, and as this struggle continues into the voice new year, your gift reminds us that we The Musicians’ Voice is an open are not forgotten and truly not in this forum for discussion about the state alone. Please continue to visit our Web of union affairs. The letters here do site for constant updates: www.Detroit not necessarily express the views of SymphonyMusicians.org. And we en- Local 802. E-mail letters to Allegro@ courage you to post comments on the Local802afm.org or write to Allegro, many blogs circulating on the Web. Your Local 802, 322 West 48th Street, New support means the world to us! Best York, NY 10036. Letters must be no wishes for a wonderful season of music more than 300 words. making in 2011! Sharon Sparrow and the musicians of the Detroit Symphony Orchestra chestra members have received checks Gabriel Banat poses in front of a poster promoting a concert of the New York Philharmonic The strength of the union from the NYGASP management, partially in Spain in 1973, a tour that Banat himself organized and that received short shrift in a making up for the lost engagement. new book about the Philharmonic. See below and at right for letters supporting Banat. s a longtime member of the or- During the 40 years since I joined the chestra of the New York Gilbert union, I’ve done my share of complaining book on the New York Philharmonic “Strike Tour” of 1973 to Spain, Portu- and Sullivan Players, I have been about its priorities and activities, so I feel was corrected. As a participant in the gal and the Canary Islands. I was on the Awitness to the organization’s compelled to also speak out when I feel tour of Spain, Portugal and the Canary negotiating committee of that year, and progression from a shaky $25 per service that it has done something right. Thanks Islands which the players undertook on the stories I could tell you about the gig in the 1980’s (if I recall correctly – it to the NYGASP committee and to 802 for their own initiative during the ten-week tour! may well have been less) to one with a having their eyes and ears open and for long strike in the fall of 1973, I would But my main point of writing is to say negotiated union contract which I have acting effectively when this blatant con- like to confirm that it was Gabriel Banat that a serious omission has occurred in never taken for granted. I recently was re- tract violation occurred. Given my expe- who initiated and managed the tour in Mr. Canarina’s retelling of the tale. minded of the value of this contract, the riences working both under and outside its entirety. While I do not wish to take away any- orchestra members’ committee and the of AFM’s jurisdiction (as a student and L. William Kuyper thing from my friend John Schaeffer, union. The management violated terms professionally on tour outside the coun- The writer played French horn in the who helped out ably during the tour, as of this contract which required NYGASP try), I have no illusions about how much New York Philharmonic from 1969 to did many of us, the driving force and the to employ its contracted musicians for worse the exploitation of professional 2007. leadership of that whole event we owe all performances within runout distance musicians would be without the strength to Gabriel Banat, violinist in the orches- when, last summer, NYGASP performed of the union behind them. have enjoyed reading John Canari- tra, who masterminded the concept, the in eastern Pennsylvania with an unpaid Peter Hirsch na’s excellent book on the New York negotiations, and the overall logistics of pit orchestra, imported from overseas. I I Philharmonic. I am quite proud of it from A to Z. I cannot express what was not even aware that this had hap- Making history our orchestra, and of my small part in an inspiration he was to us during that pened at the time and I doubt that many 40 years of its history, which I continue time. No one would have believed it of the other members of the orchestra hanks to Gabriel Banat for his now as Young Composers Advocate. possible to arrange such a task under were either. In spite of this, the orchestra essay “Making History” in the I also enjoyed reading Mr. Canarina’s extremely adverse conditions. To say he committee and 802 vigorously pursued February issue of Allegro since in account of a most singular experience helped us instill a new sense of pride this case, as a result, the contracted or- Tit a major error in John Canarina’s in the history of the Philharmonic: the and ownership of our great institution 24 Allegro | March 2011 n news & views is an understatement. In the following ror in the single paragraph the author on a tour to Spain and the Canary Is- years, it would not be wrong to sug- devotes to this unique event in the lands. The committee accepted it en- gest that the new sense of partnership 173-year history of the orchestra. His thusiastically and gave Gaby its whole- between the New York Philharmonic claim that it was John Schaeffer, as- hearted support. His next task was to and its management and administra- sistant personnel manager of the Phil- convince the orchestra members that tion may partly have been a result of harmonic (and as such connected with this was the way to go in order to put Mr Banat’s leadership, and our willing- the management) who did “most of pressure on management. The orches- ness to take on and appreciate the role the arrangements and logistics of the tra at large accepted it, and we ended of managing an arts institution as well tour,” is untrue. It was Gabriel Banat, up going on a great concert tour, which as performing for it. a violinist in the orchestra, elected would not have happened without I don’t think that that spirit has ever chairman of our performance commit- Gaby. The management wrote letters truly left the orchestra to this day. tee for the duration of the strike, who to our spouses urging them to dis- Jon Deak conceived and carried out the tour in suade us from going but that ploy was The writer joined the New York Phil- its entirety. He was also responsible for without success. I want to add that this harmonic in 1969 and was its associate obtaining from Isaac Stem the use of tour was a source of great pride and principal bassist for many years. He now Carnegie Hall for our benefit concert a highlight of my 37-year tenure as a represents the Philharmonic as its young before the tour on Oct. 29. As he stat- member of the New York Philharmonic. composer advocate. ed on our return from Spain, our pur- Matitiahu Braun pose in taking ourselves on tour was The writer played violin in the New was a member of the Orchestra to prove that it is we, the musicians of York Philharmonic from 1969 to 2006. Committee when the musicians the orchestra, who are The New York of the New York Philharmonic un- Philharmonic. For the people I dertook a tour of Spain, Portugal Orin O’Brien and the Canary Islands. It was an un- The writer has played bass with the was just looking through an old precedented event during a ten-week New York Philharmonic since 1966 issue of Allegro (May 2010) and strike in the fall of 1973. In his book read the article “For the People” Conroy Warren “The New York Philharmonic: From s a participant in the tour I by Sue Terry about how the federal Bernstein to Maazel,” the author, John of Spain, Portugal and the government supported musicians Music from the heart Canarina wrote that “most of the ar- Canary Islands which we the through the WPA during the Great rangements and logistics of the tour” Aplayers undertook on our Depression. I would love to see and be hanks to allegro and Ann were handled by John Schaeffer, who own initiative during the ten week part of a federal program for musicians. Wilmer for a job well done was then assistant personnel manager long strike in the fall of 1973, I wish to I spent almost 10 years traveling and in sharing my story with of the New York Philharmonic. This is help set the record straight in regard studying percussion in Cuba and I am Tthe Allegro audience in the factually incorrect, for it was Gabriel to a major omission in the Canarina very inspired by their Casas de Cultura January 2011 issue “Music From the Banat who actually initiated and man- book, namely, the singular, inspired (cultural houses). The most famous Heart.” I hope that the article will aged the tour from the very beginning role and contribution of Gaby Banat in one, La Casa de La Trova in Santiago be helpful and will enlighten others to the very end. Mr. Banat, a violinist regard to this tour. To be accurate and de Cuba, employs professional music of the needed and important service with the orchestra, also obtained from fair, it should be noted in Philharmon- groups to perform all day long. A very that musicians have been providing Isaac Stem the venue of Carnegie Hall ic records, that it was Gaby Banat, vio- small fee is charged at the door and for many years to nursing homes for our benefit concert which initiated linist with the orchestra, who needs to the place is always filled with local and other facilities. I also hope the tour. The purpose of this letter is be given credit and proper recognition residents and tourists. They also have a that this story will help to create to correct the misrepresentation of the for his vision and important historical patio and bar area for the evening and additional opportunities and venues actual events. Accolades should be di- role in being the creator, initiator and a store selling CD’s and instruments. for musicians to perform and work. rected to Gabriel Banat who had the prime manager of this tour. This most (The music system in Venezuela – Feel free to call on me again. I will be connections, vision and fortitude that unusual venture in the history of ma- called El Sistema – is another example happy to assist you and Local 802 in made this extraordinary occurrence in jor orchestras left us with memories of of a federal program that is having any music-related project or events. the history of the New York Philhar- great pride and recognition in regard a huge impact.) I think the Cuban Conroy Warren monic such a success. to the strike period, and we have Mr. model is a great concept that could Gino Sambuco Banat to thank for that. be used to employ many musicians of The writer played violin in the New Stephen Freeman many different genres of music. How York Philharmonic from 1967 to 2003. The writer played bass clarinet in the about one in each neighborhood or New York Philharmonic from 1960 to borough, reflecting its cultural make- E: “The New York Philharmon- 2007 up? It would also create a space for ic, from Bernstein to Maazel,” amateur local musicians to study, by John Canarina, (Amadeus t the time of the strike (1973) rehearse and perform in various RPress, 2010). As a participant I served on the concert com- genres. It could even be expanded to in the tour of Spain, Portugal and the mittee with Gaby (Gabriel include other disciplines. Members Canary Islands the players undertook ABanat). One day he came to who are interested in talking about on their own initiative during the ten the committee meeting telling us that such a concept can e-mail me at week long strike in the fall of 1973, I his friend in Spain, who was a concert [email protected]. wish to take exception to a major er- manager, offered to take the orchestra Andrea Pryor

March 2011 | Allegro 25 n advertising

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Want to share the passion of Are you a music copyist, live music with the public? We want your ideas and input! The Broadway Musicians orchestrator or arranger? Communications Subcommittee has a mission: to raise public awareness of the role of live music on Broadway, and to find Find out how to get union wages and benefits when you no-cost/low-cost ways to increase the visibility of Broadway do music prep. Contact Steve Danenberg at Sdanenberg@ Musicians. If you would like to get involved, have ideas to share, or would like to sign up for our e-mail updates, please contact us at: Local802afm.org or (212) 245-4802, ext. 119. [email protected]

MUSICIANS: Do your headphones TAKE 15% OFF WITH THIS AD! fall out while you’re jogging? We design special, custom-made earphones for iPods that won’t fall out while you’re jogging. How do we do it? Come in and see. We’ll take a mold of your ear and custom-make Jack Silver an earphone that fits you! Call today for information! We also Formal Wear, Inc. aranow via flickr.com make custom-made earphones for cell phones and we make professional, custom-made earplugs for musicians that save Darryl L. Gordon Managing Partner your ears without interfering with the music. These earplugs

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26 Allegro | March 2011 n aDvertising

You can have the shirt off their backs Congratulations to the Local 802 Musicians Softball Team for making it to the playoffs last year. They are our hometown heroes. And now, you can be a star too. By making a tax- deductible donation of $55 to the union’s Emergency Relief Fund, we’ll send you an official jersey, as pictured here. The Emergency Relief Fund helps musicians in need. It’s a great cause, so donate today and show your team spirit! For more information, contact Marisa Friedman at (212) 245-4802, ext. 130 or Mfriedman@ Local802afm.org

March 2011 | Allegro 27 n union info

Tuesday, Dec. 14, 2010 reported on Local 802’s accounts re- reported on efforts to bring a nonunion eeting called to order at ceivable work dues. Discussion held. Jewish Club Date employer under the 11:12AM. Present: Presi- Executive Goldman excused. Jewish Club Date Agreement. Discus- dent Gagliardi, Financial board minutes It was moved and seconded to con- sion held. MVice President Blumenthal, tribute $49,500 from the public rela- O’Connor reported on a jazz night- Recording Vice President O’Connor, tions budget to the Council for Living club organizing strategy meeting. Dis- Executive Board members Dougherty, Music to commission a poll of Broad- cussion held. Hyde, Kruvand, Olcott, Sharman, As- Executive Board member Roach pres- way theatregoers as part of a live music Executive Board Member Schwartz sistant to the President Donovan. ent at 12:42. Olcott excused at 12:58. initiative. Discussion held. Motion car- reported on an upcoming meeting at It was moved and seconded to ap- Blanc, Haffner and Paykin excused at ried unanimously. Local 802 of indie songwriters interest- prove the December 7 minutes as cor- 1:18. Meeting adjourned at 1:04 PM. ed in making a partnership with Local rected. Motion carried unanimously. Local 802 Broadway Representative 802 around issues of mutual concern. President Gagliardi distributed cop- Copeland present. Copeland distribut- Tuesday, January 4, 2011 Discussion held. ies of a memo from Allegro Editor El- ed revised language of a tentative col- Meeting called to order at 11:17 a.m. Schwartz reported on an initiative by sila regarding an advertising sales op- lective bargaining agreement between Present: President Gagliardi, Financial a person attempting to capture record- portunity. It was moved and seconded Local 802 and the Irish Repertory Vice President Blumenthal, Recording ed material in area jazz clubs in the ab- to authorize Elsila to sell advertising on Theater. (See minutes of December 7.) Vice President O’Connor, Executive sence of an AFM recording agreement. Local 802’s email announcement tool, Copeland excused. It was moved and Board members Covo, Hyde, Kruvand, Discussion held. 802 Notes, excluding any ad of a politi- seconded to approve the agreement Olcott, Schwartz, Sharman, Assistant Political and Public Relations Direc- cal nature. Discussion held. Executive with the Irish Repertory Theater. Mo- to the President Donovan. tor Molloy present. Molloy reported on Board members Covo and Schwartz tion carried unanimously. It was moved and seconded to ap- the upcoming State of the State address present at 11:37. Motion carried unani- Local 802 Counsel Mars present. prove the December 21, 2010 minutes in Albany and requested that he be as- mously. Financial Vice President Blumenthal as corrected. Motion carried unani- signed to go per past practice. Discus- It was moved and seconded to offer distributed a copy of a tentative single mously. sion held. Molloy excused. graduating seniors of certain area mu- engagement contract with the Philhar- President Gagliardi reported on dis- It was moved and seconded to ap- sic schools a free one-year subscription monic Orchestra of the Americas (POA) cussions by AFM negotiating team prove up to $350 in expenses to allow to Allegro. Discussion held. Motion car- for an engagement at Alice Tully Hall in members in advance of Sound Record- Molloy to attend the State of the State ried unanimously. March 2011. Discussion held. Executive ing Labor Agreement negotiations be- Address. Motion carried unanimously. Gagliardi reported on negotiations Board member Dougherty excused at ginning next week. Molloy present. with Office and Professional Employ- 2:06. It was moved and seconded to Local 802 Counsel Mars present. Molloy reported on his attendance ees International Union (OPEIU) Local approve the single engagement agree- Mars and Financial Vice President Blu- at the Greater New York Chamber of 153, who represent Local 802’s clerical ment with POA as presented. Motion menthal reported on negotiations with Commerce holiday party and the Metro staff. Discussion held. carried. Kruvand and Roach opposed. the Stamford Symphony. Discussion New York Health Care for All holiday Gagliardi reported on the state of the Mars excused. Schwartz excused. held. Mars excused. party. Discussion held. Council for Living Music. Discussion Assistant to the President Donovan Recording Vice President O’Connor Meeting adjourned at 1:15 p.m. held. gave a report on the Local 802 jacket Gagliardi summarized an appeal Lo- supply. It was moved and seconded to cal 802 received from the Association spend up to $3,400 for the purchase of Union Democracy (AUD) for funds. of Local 802 jackets. Discussion held. Discussion held. It was moved and sec- Motion carried unanimously. onded to purchase a $100 Plus Club Meeting adjourned at 2:18 p.m. subscription to the Union Democracy Happy birthday, Local 1! Review. Discussion held. Motion car- Tuesday, December 21, 2010 ried unanimously. Meeting called to order at 11:13 a.m. Gagliardi reported on a conference Present: President Gagliardi, Financial This is a special year for our brothers and sisters at call discussion of the Sound Recording Vice President Blumenthal, Recording Labor Agreement (SRLA) proposals. Vice President O’Connor, Executive the stagehands’ union. IATSE Local 1 will be 125 years Discussion held. Board members Burridge, Covo, Hyde, old this year and we wish all Local 1 members a happy Recording Vice President O’Connor Olcott, Roach, Schwartz, Sharman, As- reported on a Public Relations Com- sistant to the President Donovan. birthday. Here’s to another 125 years! Our relationship mittee meeting with the polling orga- It was moved and seconded to ap- with Local 1 has never been stronger and all three titled nization, Whitman Insight Strategies prove the December 14 minutes as cor- and Local 802’s public relations firm. rected. Motion carried unanimously. officers of Local 802 will be attending Local 1’s birthday Discussion held. President Gagliardi reported on a 12:16 Executive Board recessed. 12:33 New York City Ballet issue. Gagliardi event to help celebrate this milestone. Executive Board reconvened. reported on upcoming Broadway ne- Recording Musicians Association, gotiations. Discussion held. New York (RMA-NY) directors Haff- Controller Goldman present. Gold- – Local 802 President Tino Gagliardi ner, Blanc and Paykin present. Blanc man presented November financials. reported on RMA-NY proposals for Discussion held. SRLA negotiations. Discussion held. Financial Vice President Blumenthal

28 Allegro | March 2011 n event

March 2011 | Allegro 29 n membership New and readmitted members To join Local 802, call our Membership Department at (212) 245-4802

BASS O’reilly Jr, John, (310) 927-3505, PERCUSSION TRUMPET Lightcap, Chris, 30 Ocean Parkway, Apt 205 Hastings Court, Doylestown, PA Cruz, Peter John, (732) 293-0661, Gross, Ken, 166-26 25th Avenue, 5-J, Brooklyn, NY 11218 18901 826 Jennetty Ct, Perth Amboy, NJ Whitestone, NY 11357 Schartz, Chacho, 9 West 110th Street, Wolfe, Adam, (216) 409-0539, 30-47 08861 Marchione, Nicholas, 680 Fort Apt 32, New York, NY 10026 29th Street, Apt 30, Astoria, NY 11102 Washington Avenue, Apt 3-F, New PIANO York, NY 10040 CELLO FRENCH HORN Bloch-Schartz, Naomi, 9 West 110th Nadon, Pascal, 367 W 35th Street, Apt 16, Yamamura, Yuko, 4914 43rd Avenue, Street, Apt 32, New York, NY 10026 VIOLIN New York, NY 10001 Apt #3, Woodside, NY 11377 Lima, Douglas Gordon, (212) 749- Andersen, Kathryn, 116 West 69th 1849, 262 West 107th Street, Apt 1-E, Street, Apt 1-B, New York, NY CONDUCTOR GUITAR New York, NY 10025 10023 Bowling, Daniel, 214 West 42nd Street, Harkness, Sean, (201) 239-1428, Pike, Virginia Hart, 310 Convent Kridler, Adda, (617) 230-9522, 242 C/o Mary Poppins Tour, New York, NY P.o.box 7111, Jersey City, NJ 07307 Avenue, Apt 6-B, New York, NY W 122nd Street, Apt 3-B, New York, 10036 Warren, Conroy, 1 Richmond Avenue, 10031 NY 10027 Danbury, CT 06810 Schmidt, Joshua, 223 16th Street, Apt Nelson, Jessica, 430 E 65th Street, DRUMS Weinstein, Josh Brian, 223 East 5th 2, Brooklyn, NY 11215 Apt 6-N, New York, NY 10065 Endlich, Joshua, (516) 455-0763, 303 Street, Apt 1E, New York, NY 10003 Spruce Lane, East Meadow, NY 11554 BASS TROMBONE VOCALIST Gramm, Ben, (212) 769-1851, 333 West KEYBOARDS Johnson, Aaron J, (973) 371-3375, Siddall, Nasheka, 50 West 97th End Avenue, Apt 1-F, New York, NY Felder, Sequain, 1362 Herkimer St, 23 Ridgewood Road, Irvington, NJ Street, Apt 3-V, New York, NY 10023 Brooklyn, NY 11233 07111 10025 Want to save some time? As a musician, you should know about direct deposit at Local 802… 1. For Broadway musicians If you are a Broadway musician, the Broadway contract allows you to deposit your vacation money weekly into your account at the Actors Federal Credit Union. This is an easy way to save for a vacation. Any musician, actor or entertainer can open an account at the credit union; there is a branch on the fourth floor of the Local 802 building. For more information, contact Marisa Friedman at [email protected] or (212) 245-4802, ext. 130. 2. For recording musicians If you receive checks at the recording checks window at Local 802, and have an account at the Actors Federal Credit Union (see above), you can have your recording checks deposited automatically to your account. Start by going to the credit union on the fourth floor of the union building. Ask for an automatic deposit form. Fill one out and get it notarized. (Local 802 can notarize it for you: see Lisa Mejia or Fran McDonald in the Concert Department on the fourth floor.) Return the notarized form to the Recording Department on the second floor (ask for Bill Crow or Howard Williams). Now any recording checks that are owed to you will be pulled once a week and sent up to the credit union. They’ll deduct the work dues, deposit your money and mail you the stubs

via istockphoto.com dra_ SCHWARTZ photo: and receipts. For more information, contact Bill Crow at [email protected] or (212) 245-4802, ext. 118.

30 Allegro | March 2011 n membership why we joined the union To join Local 802, call our Membership Department at (212) 245-4802

Ralph Bowen Thomas Cavanagh Gregory Jones Aaron Patterson Naren Rauch Lawrence Rush

Why did I join Local 802? To be part I’ve rejoined the union because a few with Dr. Paul Cohen. I’m also the alto clarinet/bass clarinet. I began playing of a membership which includes some union jobs have come my way, as well saxophonist of the Manhattan Saxo- oboe a few years ago for a production of the greatest musicians in the world. as some new opportunities. My musi- phone Quartet and the adjunct pro- of “Merrily We Roll Along.” My musical goal in New York City is to cal goals are to constantly learn and fessor of saxophone at Messiah Col- Aaron T. Patterson perform with Local 802’s fine musi- grow as a musician, including taking lege in Grantham, Pennsylvania and cians and composers. My principal in- more lessons from many of the various woodwind artist-in-residence at the Why did I join Local 802? I felt it was strument is saxophone: tenor, alto and masters here in NYC. I want to move Barbara Ingram School for the Arts my obligation. My musical goal in New soprano. people whenever I perform. My most in Hagerstown, Maryland. My musi- York City is to compose and play mu- Ralph Bowen recent gig, as always, was from some- cal goals in the city are threefold: 1) to sic. I mainly write for TV and film. I body seeing me in a local club, and finish my doctoral degree, 2) to secure got my most recent gig through people Why did I join Local 802? I had recently passing my name along. I play upright teaching positions in or near the city, I know at various music production been given a sub position as first guitar and electric basses, and sing a little. and 3) to gig Broadway shows. It has houses around the world. My principal on the show “Rock of Ages” and was Gregory M. Jones been a lifelong dream of mine to play a instrument is guitar. hired to be guitarist and music director Broadway show; I’ve worked very hard Naren Rauch for another show hopefully coming in Why did i join Local 802? Prior to to hone my doubling and tripling skills the spring to NYC. I was informed of moving to New York, I was a music since high school and I am thrilled at Why did I join Local 802? Because I’ve all the great benefits of the union and teacher in two districts in western the opportunities here in the city. I done a lot of Music Performance Trust the need to join, so I did. My musical Pennsylvania for several years and was know musicians pay their dues to get Fund gigs in the past and wanted to goal in New York City is to enjoy some a member of AFM Local 41. I was very in pits, but I’ve played that game in start doing them again. My musical more positions in Broadway shows. I actively involved as a woodwind musi- the Pittsburgh area and have reaped goal in New York City is to be a work- got my most recent gig through word cian for musicals at area and regional the rewards of patience and network- ing musical artist. I work with a classic of mouth. They found me because I was high schools, universities, church and ing! I got my most recent gig through soul/rock & roll oldies band doing the previously the guitarist for rock legend community theaters, and summer- an invitation to perform at the annual music of the 50’s, 60’s, and 70’s, per- Lita Ford and I had made friends with stock theater, including productions U.S. Navy-sponsored Saxophone Sym- forming Motown, music of the Stylis- Joel Hoekstra who is the main guitarist with the Mountain Playhouse and posium at George Mason University in tics, classic rock, standards and Broad- for the show. My principal instrument Totem Pole Playhouse. I’m currently Fairfax, Virginia. My principal instru- way music. I am primarily a singer, but is guitar. a DMA student at Manhattan School ment is saxophone (soprano through I accompany myself on guitar. Thomas Cavanagh of Music, studying classical saxophone baritone). I also play flute/piccolo and Lawrence Rush Are you paying too much tax? As a musician, your employers are legally required to pay their fair share of your Social Security and Medicare taxes. If you’re paid cash for gigs, you’re losing money. How much? If you make $30,000 per year as a musician, you lose $2,295 out of your own pocket when you are misclassified as an independent contractor. Tell your bandleaders and employers to pay you as an employee – it’s your right, and it’s the law. For more information, contact the Organizing Department at (212) 245-4802.

March 2011 | Allegro 31 n advertising Musical Instrument Loans actorsfcu.com

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32 Allegro | March 2011 n BREAKTIME | CROSSWORD

by BestCrosswords.com Novem- CROSSWORD PUZZLE bemr 2010 ar 2011 ch Across 1- Ad word; 5- Cloak; 9- Combustible matter; 13- Actor Baldwin; 14- Continuously; 16- Greek peak; 17- Ark builder; 18- Slender freshwater fish; 19- CALENDAR Gather, harvest; 20- He loved Lucy; 21- Send information to Mikael Elsila at Banned insecticide; 22- Womb; 24- Broad [email protected] valley; 26- Play thing; 27- Amphetamine tablet; 29- How to dress for a ball; 33- Pond scum; 34- Colombian city; 35- Trickery; Jazz Jam 36- Highly respectful way of addressing There is a jazz jam on most Mondays at a man; 37- Jackie’s predecessor; 38- Able Local 802, from 7 to 10 p.m. Upcoming dates to; 39- Child support?; 41- Iowa city; 42- include March 7, March 14, March 21 and Profits; 44- Located; 46- Cost; 47- Clock March 28. For more information, call Joe face; 48- Member of the Conservative Petrucelli at the Jazz Foundation of America Party; 49- Watched; 52- Mac; 53- Small at (212) 245-3999, ext. 10, or e-mail Joe@ children; 57- Prissy; 58- Toothbrush JazzFoundation.org. brand; 60- Langston Hughes poem; 61- Capital of Norway; 62- Monetary unit of building your career the former Soviet Union; 63- Calf-length Local 802 and the Actors Fund are hosting an skirt; 64- Collar type; 65- Not e’en once; all-reserved panel discussion entitled “Beyond 66- Earth Day subj. the Gig: Building Your Career as a Musician.” The event will be held in the Club Room on Down Wednesday, March 9 from 11 a.m. to 3 p.m. 1- Quartz grains; 2- Burn soother; 3- There will be time set aside after the seminar for Meadows; 4- Spiny anteater; 5- Icily; 6- networking and discussion. Space is limited and Battery terminal; 7- Heating fuel; 8- SASE, registration may be closed by the time Allegro e.g.; 9- The paw of a foreleg; 10- Consumer; goes to press. (We had alerted members about 11- Biblical birthright seller; 12- Drinks (as this event via our electronic newsletter 802 a cat); 15- Nonpile cotton rug of India; Notes.) For more information, contact Cindy Answer at www.TinyURL.com/AllegroCrosswordMarch2011 23- Male cat; 25- Hydrocarbon suffix; Green right away at [email protected] or 26- Ancient Greek city-state; 27- Small (212) 245-4802, ext. 180. yeast-raised pancake; 28- Everglades bird; 29- Noted; 30- Lawful; 31- Grassy plain; Membership orientation SIGHT-SINGING CHALLENGE 32- Cravings; 33- Inquires; 34- Humped The union holds its regular orientation for new ruminant; 37- Bullfighter; 40- Good members this month on Thursday, March 17 at spirit; 42- Needlefish; 43- Whenever; 11 a.m. in the Executive Board Room. For more 45- Afflict; 46- Person who robs; 48- Silk

information, call Maureen Cupid at (212) 245- fabric; 49- Lodge letters; 50- Formerly, 4802, ext. 111. Boy” “Danny ANSWER: formerly; 51- Hawaiian city; 52- Small child; 54- Auricular; 55- Commotion; 56- FREE HEARING TEST Earth; 59- Flee Protect those ears! Our monthly free hearing test takes place at the end of March (date TBA*).. t A professional audiologist will check your ears and create a baseline measurement for you. tion! Reservations are required. *Contact Robin Are you trying to Donach at (212) 245-4802, ext. 101. reach musicians? Ô benefits for jazz musicians New loca Want to reach the eyes of thousands Do you play jazz? Want to get benefits? On 149 west 46th S to’s of professional musicians each month? Ô (212) 391-1315 Tuesday, March 22 at 12 noon in the Club Room, Allegro is the most efficient and you are invited to a seminar to learn how to use economical way to reach out to this Robertoswinds.com the union’s LS-1 form to earn health and pension highly educated and select market. benefits on your gigs. For more information, Rober E-mail [email protected]. We contact Michael Donovan at mfdonovan@ also offer advertising in our electronic Local802afm.org or (212) 245-4802, ext. 141. Winds newsletter!

March 2011 | Allegro 33 n Marketplace | to advertise in allegro, e-mail [email protected] or call (646) 765-9663

lessons available VIOLINIST IN PAIN? Have you been to physi- baby bass, five pc drums $265, Gibson S.G. cians, chiropractors, acupuncturists, etc. with- guitar $95, trmbn $95, sax $275, bass $65, Do you want to learn the correct mechanics out really being helped? Many people claim amp $75, five ch PA $195. (516) 377-7907. of playing a wind instrument? Have you always they can alleviate the pain. I offer a free first wanted to learn how to do circular breathing? lesson to demonstrate that pain can be elimi- DOUBLE BASSES FOR SALE. New Stock! Vintage Frank Pedulla (M.M., Juilliard) is now accepting nated quickly, and that you can still play with- Italian $85K, French $35K & $12.5K, German students. Learn range expansion/air stream out pain – even if you have been injured. My $22K, American $15K, Czech $8K. New basses control; embouchure/endurance; posture/re- approach is based on a combination of Alex- built to order starting at $2K: (860) 535-9355 laxed approach; breathing/circular breathing; ander Technique and the playing principles of UptonBass.com phrasing/technique; musicianship. (718) 706- D.C. Dounis. Contact Larry Johnston at (212) 7085. www.BonePlayer.com. 874-5350 or [email protected] REAL ESTATE services for musicians For Sale. Newly remodeled manufactured FOR SALE house in Bradenton, Florida mobile park. Park hand facings for clarinet and saxophone violin made by sergio peresson. Warm has pool, clubhouse, close to shops, ameni- by Wolfe Taninbaum, creator of the Otto Link and robust sound. Certificate of authenticity ties, and entertainment. Low monthly lot fee. WT facing. See www.FocusedFacings.com or signed by Sergio Peresson in 1972 with 3 bedrooms, 2 baths, patio and carport, fully contact Wolfe Taninbaum, 4280 Galt Ocean complete detailed description of instrument furnished. Call (941) 565-2445 for more infor- Drive, Apt. 18-L, Ft. Lauderdale, FL 33308, tel. including wood, varnish and dimensions. in mation. (954) 561-7804, e-mail [email protected]. pristine condition. For details, contact Cecilia at [email protected]. Professional and very affordable web position available design available for artists, musicians and small Steinway apartment (medium) grand piano ARTISTIC DIRECTOR & CONDUCTOR POSITION businesses. Please visit www.ShoshanaKertesz. (5’7” in length), serial number M404817, in Energetic conductor and artistic director sought com/webd or call (347) 417-1266 good shape, needs some work. Mahogany/ at NJ Intergenerational Orchestra (NJIO), a black finish. Best offer accepted. For info, e-mail I BUY RECORDS. Large or small collections, fair nonprofit organization based in north-central Sheri at [email protected] prices offered. Matt Rubendall, (917) 575-0268. NJ. Responsibilities include artistic direction of [email protected] UPRIGHT BASSES cheap. Violin $60, cello all orchestras, ensembles and programs within cheap, trumpet $80, flute $95, clarinet $70, NJIO and conducting the principal orchestra. Ideal candidate must have a proven record of success as a conductor, strong leadership, Is there The New York communication and interpersonal skills, work Conducting Studio Classical Chinese well with adults and kids and be committed to NJIO’s multi-generational mission. Applications money offering private instruction in Acupuncture due by March 25. Details at www.njio.org/ search.htm. Questions? E-mail: search@njio. ­­Score Reading & Preparation Margaret Steele, M.S., L.Ac org Baton Technique l Orchestration & waiting Composition l Audition Preparation Offices in Manhattan & Peekskill, NY Each course of study is tailored to your individual needs. For brochure and information, contact: classical-acupuncture.com for you?

The New York Conducting Studio Gary S. Fagin, director (914) 739-0546 Go to Local802afm. Paul Gavert Studio, 853 Seventh Avenue, 7B org. From the top menu New York, NY 10019 advertise in allegro! (917) 592-0796 l [email protected] Discount for bar, select Links, then GaryFagin.com local 802 members [email protected] Unclaimed Checks

Earn a degree in performance or composition with low or no LEHMAN COLLEGE tuition. Designed for Local 802 members. The City university of New york Also: Master of Arts in Teaching (M.A.T.) in Music 250 bedford park boulevard west bronx, ny 10468 Call Dr. Bernard Shockett at (718) 960-8247

34 Allegro | March 2011 n LIVES & Stories The Band Room

hile I was on the road with Rumor has it, he died by popular demand. John Altman got this story from Mike Art Farmer in the Gerry Mul- He would show up on a gig with no strings Lang, and passed it along to me: Ar- ligan Quartet back in 1959, Bill on his bass. Since he was the leader, he chie Shepp was playing a gig at Shelly’s WArt used to tell me about got away with it. His theme song, wouldn’t Manne Hole in Los Angeles some time his early years in jazz. He loved Dizzy Gil- crow you know it, was ‘No Strings!’” in the late 1960’s. One night, two heav- lespie’s playing, and tried to sound like ily tattooed bikers wandered in, looking him. But there wasn’t a lot of work for l l l for a hospitable bar. They had a number bebop trumpet players in Los Angeles at of drinks, staring impassively at Shepp that time, and in order to make a living as [email protected] Scott Robinson told me about a gig while he played. Then, during one of a musician, Art played with blues bands www.BillCrowBass.com he played at the Ear Inn in downtown Shepp’s particularly raucous bouts like Johnny Otis and Big Joe Turner. Manhattan, with Jon Kellso’s jazz group. of honking and squealing, one biker Turner didn’t care for bebop, preferring Greg Cohen was on bass. They were leaped to his feet and yelled out, “You backgrounds in the style of pianists like cording, and also a long-time colleague of about to begin their first set when some- keep dishing it out, and I can take it!” Pete Johnson and Jay McShann. Art said mine here at the Local 802 office. John one came up and asked, “How long will when Turner first gave him a solo, the and Ray were rehearsing at Town Hall you be playing?” Greg said, “I hope to l l l next blues chorus he sang was: ”Play me with the Little Orchestra one day, and Ray have about 20 more good years. Then the boogie! Don’t play no bebop for me!” told the contractor, Izzy Gusakov, that a I’ll probably kick the bucket.” While I was surfing around the TV Art said he came to appreciate Turner couple of the musicians had a record date news channels one day, I paused briefly more after he left his band. But he was hap- at 1 p.m. “Could we shorten the breaks a l l l on an interview that a sports reporter py to land a chair with the Lionel Hamp- little and leave ten minutes early, so we was conducting with a baseball man- ton organization. “Lionel would shuck and can make it to our job on time?” Gusakov, Every traveling musician has at least ager, whose response to a query about jive to keep the audience happy,” said Art, a hard man, said, “Not a chance!” one horror story about taking musical the team’s prospects was: “That’s a “but when he got on the bandstand, he There was a large clock in the hall visible instruments on airplanes. In contrast, question to be remained.” always came to swing. I learned a lot from to the musicians, and on each break, Ray Randy Landau sent me a good-news sto- that man. And bebop was okay with him. slipped over to the clock and set it ahead a ry about four flights he recently made l l l He let me play however I wanted.” few minutes. So, when the clock said 1 p.m., on British Airways, from New York to Art found some new ideas about im- and Gusakov released the musicians, Ray London to Munich, back to London and On my first trip to Paris with the provising when he studied George Rus- still had time to make it to his record date. home. He was carrying two bass guitars Gerry Mulligan Sextet in 1956, I killed sell’s Lydian system of tonal organization. in a gig bag, and on each flight was al- a rainy afternoon at a Champs Elysées By the time Art joined Mulligan, he had l l l lowed to pre-board. The crew said they movie theater where an American found his own voice on the trumpet, and wanted to be sure he could secure prop- western was being shown, with subti- he developed a sound that was all his own. Howard Danziger wrote to remind me er space in the overhead. Randy thanked tles in French. In one scene, a fearsome about what once were called “phantom” them profusely and told them they were looking bad guy burst through the sa- l l l bass players in the club date field. He says: now in his will. They responded by ask- loon’s swinging doors and walked to “These were bassists who wouldn’t know ing him to be sure and play well, so he’d the bar, radiating danger. To the cow- John Pintavalle gave me a story about a correct note if it shook hands with them. have lots of money to leave them. ering bartender he growled, “Gimme the late Ray Alonge, one of the fine They were too numerous to mention, all a shot of red-eye!” The subtitle read: French hornists of the golden era of re- except one. His name was Mike Bianco. l l l “Un Dubonnet, s’il vous plait.”

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March 2011 | Allegro 35 Allegro Published by AFM Local 802, Associated Musicians of Greater New York, 322 West 48th Street, New York, NY 10036 Return service requested

Play ball!

Interested in playing softball? The Local 802 team needs you. Games take place in Central Park at noon on Mondays. Play is modified fast pitch and the season runs April through August. If you are interested or know anyone who might be, please contact Clint Sharman (917-440-5566, Clint@TromboneMan. com) or Wayne du Maine (917-721-9087, [email protected]

Save the Date june 2011 Membership Meeting WEDNESDAY, JUNE 15, 2011 • 5 p.m.

The meeting takes place here at Local 802: 322 West 48th Street, between Eighth and Ninth Avenues.

Admission to meeting by paid-up membership card only