associated musicians of greater New York www.Local802afm.org MarchAllegro 2020 l Volume 120, No. 3 oto: Carly Zavala Carly p h oto: Celebrating Women’s History Month THE RHYTHM OF BROADWAY

ELISE FRAWLEY NY Phil unveils largest REMEMBERS THE LEGACY WOMEN IN JAZZ women-only commissioning OF FRANCES PERKINS COME TOGETHER initiative in history n YOUR UNION STAFF

LOCAL 802 OFFICERS ORGANIZER Adam Krauthamer, President Lily Paulina IN THE AFTERNOON Karen Fisher, Financial Vice President JAZZ Andy Schwartz, Recording Vice President FIELD REPRESENTATIVES Theresa Couture Executive Board LIVE SHOWS AT LOCAL 802 Marisa Friedman Janet Axelrod, Lynne Cohen, www.Local802afm.org Shane Gasteyer Monica Davis, Pete Donovan, Elise Frawley, Kyle Hoyt, Morris Bob Pawlo Kainuma, Caryl Paisner, Bobby Shankin Todd Weeks Trial Board Local 802 MUSICIANS HEALTH Fund Cenovia Cummins, Sylvia D’Avanzo, Administrator Javier Gándara, Bill Hayes, Gloria McCormick Joanna Maurer, Mary Ann McSweeney, Warren Odze, Louise Owen, Dan Peck Allegro Mikael Elsila (Editor, Advertising Delegates to AFM Convention Manager and Graphic Designer) Adam Krauthamer, Pete Donovan, Javier Gándara, Bill Hayes, Dean LeBlanc, HEADQUARTERS: 322 West 48th Street, Caryl Paisner New York, NY 10036 Delegates to New york city Phone: (212) 245-4802 WALLY DUNBAR AND JAZZ ELEVEN BILL WARFIELD AND THE Central Labor Council Web site: www.Local802afm.org Thursday, March 19 @ 5 p.m. HELL’S KITCHEN FUNK ORCHESTRA Adam Krauthamer, Bill Hayes, Thursday, March 26 @ 5 p.m. OFFICE HOURS: Daily 9:30 a.m. to Caryl Paisner 5:30 p.m., except Saturdays, Sundays, Join us in March for live shows at Local 802 to support the Local 802 Musicians’ Delegates to New York State AFL-CIO and holidays Emergency Relief Fund. For more information, contact Bettina Covo at (212) 245- Adam Krauthamer, Lynne Cohen DUES WINDOW closes at 3 p.m. 4802, ext. 152 or [email protected]. Delegate to United Hebrew Trades CHECKS WINDOW closes at 4:30 p.m. Bobby Shankin (5:30 p.m. on Wednesdays) JAM SESSIONs ARE BACK AT LOCAL 802 Supervising Officers ALLEGRO (ISSN 0002-5704) is published Our bi-weekly jazz jam session is back at Local 802 from 6:30 p.m. Adam Krauthamer: Radio City, monthly (except for a combined July/ to 9 p.m. Upcoming dates include March 9 and March 23. For more Lincoln Center Orchestras, Theatres, August issue) at an annual subscription info, see www.jazzfoundation.org/monday-night-jam or contact Joe Organizing rate of $30 for non-members in the U.S. Karen Fisher: Petrucelli at the Jazz Foundation of America at (212) 245-3999, ext. Single Engagement and $35 out of country, by Local 802, Concerts, Symphony, Opera, Ballet, 10, or [email protected]. Associated Musicians of Greater New York, Music Performance Trust Fund 322 West 48th Street, New York, NY 10036. Andy Schwartz: Electronic Media, Single Engagement Club Dates, Hotels, Periodicals postage paid at New York, NY Nightclubs, Jazz, Latin, Music Education, and additional offices (USPS #013-880). REDUCE YOUR RISKS! POSTMASTER: Send address changes to Musicians’ Emergency Relief Fund Local 802 member Katherine Hannauer ALLEGRO, Local 802, 322 West 48th Street, MANAGING DIRECTOR AND (pictured at right) and Nick Cerbone are New York, NY 10036. SENIOR ADVISER presenting a series of free workshops at Jon Kantor Allegro is printed at Bayard Printing Group, Local 802 about how to reduce your risk of communications and which is a union shop. developing repetitive strain and other injuries. markETING associate To reach Local 802: (212) 245-4802 Both are occupational therapy students at SUNY Maria DiPasquale To reach Allegro: (646) 765-9663 or Downstate Medical Center. The workshops DIRECTOR OF FIELD SERVICES [email protected] or are open to all Local 802 members, and the Leo Gertner Allegro, Local 802, 322 West 48th Street, final two dates are Friday, March 6 and Friday, MUSIC PREP ADMINISTRATOR New York, NY 10036 March 13. RSVP’s requested but not required David Will – feel free just to show up! Send an e-mail to [email protected] to Personnel Administrator register or for more info. Lisa Mejia

2 Allegro | March 2020 n advertising

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40 years’ experience Jaap van Zweden Music Director Specializing in the preparation of INCOME TAX returns for musicians and entertainers Announces the following vacancies: SECTION CELLO (2 Rotating Positions) Open Monday to Saturday, 9 a.m. to 6 p.m. Deadline to submit Recorded Prelims: March 28, 2020 Semis: April 19, 2020 Come in or call for appointment Finals: April 20, 2020 SECTION VIOLA (2 Rotating Positions) Martin Ozer Prelims: May 31, June 1, June 4, 2020 420 Lexington Avenue, Suite 2440, New York, New York 10170 Semis: June 5, 2020 Finals: June 8, 2020 [email protected] Please send your one-page resume to: [email protected] Please include the position you wish to apply for in the email subject line. Visit our website: www.nyphil.org/auditions

(212) 245-4870 The New York Philharmonic Audition Committee reserves the right to dismiss immediately any candidate not meeting the highest professional standards at these auditions. Surprisingly Reasonable Rates The New York Philharmonic is an equal opportunity employer, and is proud to be a partner orchestra of the National Alliance for Audition Support (NAAS).

March 2020 | Allegro 3 n NEWS & VIEWS STRENGTHENING OUR UNION COMMUNITY IS OUR PRIORITY

by accepting such engagements, but the landslide union election victory Ramirez and I thank them for sharing we also cheat our colleagues by setting DCINY orchestra musicians won last these inspirational journeys. See page 14. president’s a precedent that it’s acceptable to year when they organized (see page We’re also happy to be publishing an report undervalue us and our work. 6 for an update). Musicians had hard update from Women of 802 (on page 5) one-on-one conversations with each as well as several other features: ADAM KRAUTHAMER Even as we want to encourage our other and realized that the only way to l The New York Philharmonic is members to help us organize non- improve their working conditions was making history by commissioning 19 union jobs, I want to emphasize that by standing together as a union. This compositions written by women – the no one should ever look down on is the fight for our collective future as largest such commission ever done – in musicians who are trying to survive union musicians – a fight that every honor of the 100th anniversary of the [email protected] and are forced into the unfair decision 802 musician must take up. Wherever 19th amendment, which granted women (212) 245-4802, ext. 100 to take work that doesn’t value their we perform – Lincoln Center, musical the legal right to vote. See page 9. worth. Many of us have faced this theatre, TV bands, jazz clubs, recording l On page 10, please enjoy a timely exact scenario more times than we studios, music schools, or anywhere else story about all-women groups in jazz, n mid-February, my office sent out want to admit. It is a reality that over – we have the collective power to change which features special shout-outs to an e-mail blast to all members of the last 30 years, the amount of work our future for the better as a union. Local 802 members Roxy Coss and Local 802 about a Josh Groban gig under union contracts – and our Sherrie Maricle. Ithat was taking place at Radio City membership numbers – have greatly WOMEN’S HISTORY MONTH l We’re honored to publish a guest Music Hall. Here’s what we sent out: diminished. Decades of attempting March is Women’s History Month commentary by Laura McQuade, to address the problem of non-union and we’re honored that our cover story the president and CEO of Planned AFM members are advised that work by punishing, threatening or highlights eight musicians and their Parenthood of Greater New York, to the Josh Groban show taking place pressuring union members has been tips for women on Broadway. These commemorate the 47th anniversary of at Radio City Music Hall on Feb. 14, an abject failure and, one could argue, interviews were initiated by Local 802 Roe v. Wade. See page 33. 2020 is not currently covered under has made the problem even worse. The members Janna Graham and Mariana …plus much more! Enjoy this issue! a union agreement. Josh Groban gig was a good example of It has been alleged that Steve ground zero where change must start Trudell/Trudell Orchestras, who to take place. LOCAL 802 FORMS PENSION SUPPORT COMMITTEE is listed on the AFM International Decades ago, in a very different time Unfair List, may be seeking out local for our industry, many rank-and-file 802 MISSION: To hear, and record in writing, members’ stories about the musicians for these engagements. musicians fought and won advances impact of the pension reductions; to draw public attention to these real-life (Mr. Trudell may be using other across our industry. Many of these ramifications; to provide information to people who seek help in financial entities to hire for this gig under the courageous musicians helped build planning about resources available at Local 802, at the pension fund itself, names of Gina Corso/Jersey Gina, this union and are still within our ranks and at the state and federal level; and to continue to develop relationships Karen Banos/Rittenhouse Music, or today. Unfortunately, as our industry in government to impact future legislation. other subcontractors.) came under increasing pressure, we as Please be aware that at this time this a union lost touch with the collective AREAS OF FOCUS is a non-union date with no contract engagement that helped fight and 1. Gathering personal stories of members (with their consent) pertaining to protections for fair wages, health & win so many of our important battles. their pensions, how their future is impacted and what they plan to modify if welfare, pension, or other benefits This left generations of musicians reductions occur. that come with union contracts. disconnected from our union. 2. Formation of political action and press communiqués Local 802 has reached out to event There is only one way for our 3. AFM and 802 resources available to members producers, who so far have refused union to get non-union work 4. City, state and federal resources available to members to guarantee that musicians hired under a union contract: return to 5. Providing speakers and seminars for members for these performances will earn that tradition of community-wide fair wages and benefits in line with collective engagement and action. VOLUNTEERS and INDIVIDUAL STORIES are needed. If interested in industry standards. We have seen it work. Just look at the participating, please e-mail Lynne Cohen at [email protected], Caryl As professional musicians, we must solidarity and engagement behind the Paisner at [email protected], or Andy Schwartz at aschwartz@ take a stand against taking jobs at latest Broadway contract, the rally local802afm.org. We have already heard from about a dozen volunteers and sub-standard rates far below what we to support the Chicago Symphony will be holding our first full meeting soon. deserve. We not only cheat ourselves Orchestra at Lincoln Center, and

4 Allegro | March 2020 n women’s history month

WOMEN OF 802 Small, tangible steps can lead towards larger goals P e x els E hlers from : M agda art c kground ba

By the Women of 802 Committee recognize and channel the power and ers in the Workplace Act requires that ness or nonprofit. Additionally, in keep- [email protected] leadership skills of the women-identify- employers maintain adequate environ- ing with our mission, we would like ing members of 802 by promoting net- ments for breastfeeding mothers to to offer a space for inclusion and sup- f you were to interview the few working, fostering specific support, and pump while at work to maintain an ad- port. We will be developing community thousand women and women- increasing gender parity. All three pil- equate milk supply. This includes a pri- events over the coming months, work- identifying members at Local 802, lars of this mission are essential to cul- vate room with a lock and a refrigerator ing with fellow committees across 802 Ithe largest local of the AFM, you tivating a fulfilling and equitable work in which to store milk. There are obvi- to offer safe spaces for discussion and would have thousands of perspectives environment. There is also no silver bul- ous logistical constraints in small the- socializing. on what it is to be a musician in any let to solve all possible issues in one fell aters and freelance workspaces. Local The idea of “women,” and gender given field, thousands of perspectives on swoop; instead, we must build piece by 802 will now provide space within the more broadly, is not monolithic. It the intersection of factors such as race, piece, with input from the larger com- building for nursing mothers to pump takes many individuals to contribute ethnicity, religious or philosophical belief munity on issues and policies that di- that meets the criteria outlined by state ideas about policy, in and out of the systems, and any number of qualifiers rectly affect the lives and well-being of law. In the meantime, we will fight for workplace, to shape our union into an added to the experience of gender. members. workplace recognition and accommo- inclusive environment. Ultimately, this Given these innumerable permutations, Among the many issues that affect dation of new mothers and families. We enables us to do what we love most – the challenge remains — how to address women in the work place and person- hope that members who are working in work as performers, teaching artists, inequities and inadequacies we all know ally, maternity and family concerns im- the vicinity of 802 can take advantage composers, arrangers, instrumentalists, to be true in the workplace and broadly pact a significant portion. For those who of this space. We would also like to work electronic musicians – unencumbered through society? choose to begin a family, concerns about with fellow unions to address bringing by discrimination or lack of opportu- Like our own experiences as musi- balancing childcare and a career are par- workplaces up to this standard. nity. Achieving these lofty goals will cians, it’s important to address each is- amount, and haven’t been addressed ef- We are also aiming to provide a series take real-world grit and determination, sue with attention to detail, creativity, fectively by federal law. The New York of workshops, free to all members who but as women and musicians before openness to new perspectives, and per- Paid Family Leave Act was a good start, would like to attend, that can provide us have demonstrated, building upon sistence. This was a winning formula for but financial support is still dependent some tools that have historically been small goals is the way to achieve larger, labor leaders, politicians, activists, and on individual employers, and the length barriers to equity in the workplace. long-term gains. musicians who paved the way for all of of covered leave is short in comparison Some topics we’re looking to cover are us to move forward toward inclusivity. to other industrial countries. negotiating strategies, understanding Contact Women of 802 at: The mission of Women of 802 is to The New York State Nursing Moth- contracts, and developing a small busi- [email protected]

March 2020 | Allegro 5 n NEWS & VIEWS

UNITED FOR A FAIR CONTRACT DCINY musicians have been very busy since the last time we reported in Allegro. As many of you know, Distinguished Concerts International New York has been operating as a producer and presenter of music out of Carnegie Hall and Lincoln Center for 11 years. Last year, musicians came together to unionize with the support of Local 802, winning our National Labor Relations Board election with 89 percent of the vote on Aug. 16, 2019. Since then, the orchestra elected a representative negotiating committee, circulated a bargaining survey, and began negotiations in late November 2019. By the time this issue of Allegro goes to print, we will have completed three rounds of bargaining with management. Generally, our negotiations have revealed DCINY management’s lack of knowledge for how professional musicians should be treated and compensated. The committee has spent more time than anticipated explaining the merits of industry standard practices regarding work rules, premium payments, and transparent hiring processes. Management has clearly stated that they have no desire to conform to industry standards when it comes to the treatment of its musicians. During our unionization campaign, we were grateful for the support of the larger 802 community, and we may need to call on 802 musicians for solidarity again as we continue to fight for a fair first contract. Follow us @DCINYOrchestra on Facebook, Twitter and Instagram to stay updated on our negotiations and find out how you can support us. –DCINY Orchestra Musicians CENSUS 2020: Every New Yorker counted! he 2020 census is here! For various in the Departments of Education, Hous- Beginning this month, you can respond sus offices. The role of these offices is to reasons, in past years a significant ing and Urban Development, Agriculture, to the census online, by phone or by recruit, select, hire, train, manage, and number of New Yorkers have not and others, all of which also have pockets mail. It’s up to us to shape the future pay all office and field staff who work Tparticipated in the census. Without of funds that in part stream to the arts. Ad- of our communities! Learn more at within the designated boundaries of the a complete count, our city’s fair share of ditionally, special government grants are 2020CENSUS.GOV. geographic territory assigned to the office. congressional representation is at stake, given to areas with large populations of The Census Bureau is in the process of as are billions of dollars in federal fund- historically marginalized communities. If TEMPORARY CENSUS JOBS AVAILABLE opening 248 offices to support the 2020 ing for health, education, transportation, the census doesn’t get an accurate count of Looking for a part-time gig with flexible Census. As these offices become ready for infrastructure such as bridges and tunnels, these populations, then arts organizations hours to supplement your income? Apply business, they are listed at: 2020census. and many other programs that New York- engaged with those populations could be for a temporary census job! The Census gov/jobs/pay-and-locations. Applying for ers rely on. hindered in the amount of money they Bureau will soon be launching a Census one of these jobs is simple. Visit 2020cen- Specifically for the arts community, can get through government grants. field operation, known as Nonresponse sus/jobs/how-to-apply or call 855-JOB- the census has the potential to seriously For all these reasons, it’s critical that our Follow-up. Census Takers will knock on 2020 and select option 3 for more infor- impact the distribution of dollars from members participate in the census, and doors to follow up with households who mation. Most applications will remain the federal cultural agencies. But popula- that we as union members engage with have not responded to the census ques- active throughout the 2020 Census and tion-based funding allocations also exist our friends, family, and communities to tionnaire. The office positions, which are may be considered as positions become throughout the government, including make sure that every person is counted. more limited, will be located in area cen- available. Apply today!

6 Allegro | March 2020 I NTE NTION The Power of the Heart

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Workshop Monday, March 16 1-3 pm • Yamaha Artist Services Featuring: 689 5th Ave. #3, New York Dr. Kathleen Riley Musician, Author, Lecturer, Researcher, and Coach In this workshop, you will learn techniques to help you focus during your performances and reduce performance anxiety.

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8 Allegro | March 2020 n women’s history month c t 19 / proje via nyphil . org MONTAGE PHOTO NY Phil unveils largest women-only commissioning initiative in history ‘Project 19’ commemorates the 100th anniversary of the 19th Amendment

NE HUNDRED years ago, composers a platform and catalyzing rep- Goldner,” a multimedia installation by American women legally resentation in classical music and beyond. artist Nives Widauer that examined the gained the right to vote with Project 19 launched in February with challenges women faced during the uni- Othe ratification of the 19th the first six world premieres. The orches- versal suffrage movement, focusing on the Amendment. It was a much-needed tra will premiere the next two commis- first woman to become a member of the victory, but only a partial one – poor sions in May and June. Eleven more will Philharmonic, harpist Stephanie “Steffy” women and women of color were still follow in future seasons. Goldner (1896–1962), among other pio- denied their voting rights through The 19 composers are Nina C. Young, neering women of the Philharmonic. Im- a variety of legal and illegal means. Joan La Barbara, Nicole Lizée, Paola ages of letters, recordings, home movies, Nonetheless, the symbolic achievement Prestini, Tania León, Ellen Reid, Olga and family memorabilia were projected C h en Jiyang p h oto: is worth celebrating, even as we continue Neuwirth, Sarah Kirkland Snider, Unsuk onto the inside of the harp case she used to battle disenfranchisement and voter Chin, Mary Kouyoumdjian, Caroline for touring. suppression all the way to this day. In Mallonee, Jessie Montgomery, Angélica At Project 19 performances, members of recognition of this ongoing struggle Negrón, Maria Schneider, Caroline Shaw, the League of Women Voters of the City of for justice, the New York Philharmonic Anna Thorvaldsdottir, Joan Tower, New York will be on hand to provide voter introduces Project 19 – a multi-season Melinda Wagner and Du Yun. registration services and discuss civic is- initiative to commission and premiere In addition, Project 19 composers sues. League members will also answer 19 new works by 19 women composers – are mentoring female students in the questions about important voting issues the largest women-only commissioning New York Philharmonic Very Young of 2020: deadlines for registration, dates initiative in history. Composers Program. And public school of the primaries and general election, and

Project 19 was born of the conviction students at Kaufman Music Center’s roll-out of the upcoming census. wh it lane p h oto: that an orchestra can participate in con- Special Music School High School are More information on Project 19 is versations about social imperatives and studying the music of all 19 of the available at nyphil.org/project19 even change the status quo. Through commissioned composers, as well as the Project 19, the Philharmonic can mark a historical context of the 19th Amendment Jessie Montgomery (above) and Maria “tectonic shift in American culture,” said and its impact on music history. Schneider are two of the composers New York Philharmonic President and In February, the Philharmonic’s Project commissioned by the New York CEO Deborah Borda, by giving women 19 presented “The Special Case of Steffy Philharmonic for its Project 19.

March 2020 | Allegro 9 n WOMEN’S HISTORY MONTH EQUAL ACCESS Women in jazz come together

GUEST COMMENTARY MONIKA HERZIG

Jazz pianist Monika Herzig, a member of AFM Local 3 (Indianapolis), is the head of the research committee for the Jazz Education Network. Her latest project “SHEROES” features the world’s leading female jazz instrumentalists and was cited by DownBeat as one of the best releases of 2018. She is also the author of “David Baker: A Legacy in Music” and “Experiencing Chick Corea: A Listener’s Companion.” Upcoming tour info and videos can be found at www.monikaherzig.com.

arch is Women’s History Month and this year we are also celebrating the 100th Manniversary of the women’s suffrage movement. While female jazz performers are not a novelty anymore, they still make up only one fifth of the Monika Herzig’s “SHEROES” project includes Rosa Avila (drums), Jennifer Vincent (bass), Reut Regev (trombone), Leni Stern (guitar), field. As an advocate and researcher, I’d Jamie Baum (flute) and Monika Herzig (piano). The band just released its third recording, “Eternal Dance,” on Savant Records. Not like to share some of the hidden history pictured are guest artists Lakecia Benjamin (alto saxophone), Akua Dixon (cello) and Mayra Casales (percussion). that I’ve uncovered. Throughout the history of jazz, female emphasis on looks was a tough pill to traveled on many USO tours.) bers: “When male sidemen were making musicians had cut their teeth in vaude- swallow for members of female touring Other notable ensembles from that era $125 to $150 per week, we got $50.” ville acts, carnivals and theaters but bands, but they were willing to do so in ex- were Ada Leonard’s All American Girls, Obviously there was no shortage of World War II enabled a period of drasti- change for the opportunity to hone their Ina Rae Hutton and Her Melodears, Helen capable female musicians, but as soon cally new working conditions for women. skills and work as professional musicians. Lewis and her All-Girls Syncopaters, The as men returned from the war, the male A shortage of workers and entertainers “It was my only way to get out on the road Parisian Red Heads, Ivy Benson and her musicians reclaimed their jobs in the opened the doors to performance and and perform,” said saxophonist Roz Cohn, All Girl Orchestra, Clara De Vries and Her entertainment business. It took decades touring opportunities. a member of the International Sweet- Jazz Ladies, Gloria Gaye and Her Glamour after the war for women to demand their Musicians and observers at the time hearts of Rhythm, the most prominent of Girls Band, and Gracie Cole and Her Or- rightful place in jazz and bring the issue remember the public perception of these the all-female bands. “There was virtually chestra, to name just a few. to the public’s attention. groups as freakish, with comments such no integration into male bands,” Cohn re- When women and men did play in the In 1977, pianist Marian McPartland as “they play like men,” and a general members. (Local 802 member Carline Ray same groups, women were paid less, as formed an all-female quintet to prove a “look first, listen second” attitude. The also played bass in the same group, which trumpeter Laverne Wollerman remem- point to Newport Jazz Festival promoter

10 Allegro | March 2020 n WOMEn’S HISTORY MONTH

The International Sweethearts of Rhythm, active during the 1940s, was the first integrated Roxy Coss (left) and Terri Lyne Carrington are strong advocates for women in jazz. all-women’s band in the United States. (Local 802 member Carline Ray played bass in the group.) Pictured above is the Sweethearts’ trumpet section in 1944: Ray Carter, Johnnie All-female ensembles provide a support From my personal experience as a tour- May Stansbury, Toby Butler and Ernestine Tiny Davis. group and a safe space to create, experi- ing jazz pianist, I can attest that others ment, and express. The need for such a frequently assume that I’m a vocalist and George Wein, who had claimed that it Fuller, Ellen Rowe, Jane Bunnett, Mayra space was confirmed in many interviews in need of expert backup. This happens wouldn’t be possible to find a night’s Casales and even pop superstars Beyonce I’ve read and conducted as part of my when I meet new audiences, new pre- worth of female talent. and Adele. Providing much-needed role research, especially the need to dimin- senters and new colleagues alike. Thus A few years later, two Kansas City models and opportunities for free expres- ish the competitive nature in the usu- the pressure of having to prove superior women, Carol Comer and Dianne Gregg, sion are still top arguments for forming ally male-dominated environments. Par- capacities and perform beyond expecta- challenged the lingering boys’ club in jazz these bonds ticipation allows for musical growth and tions is especially strong when women with the presentation of the Kansas City Another example of cutting-edge jazz strengthening of self-esteem. This is also enter new situations. This adds psycho- Women’s Jazz Festival, which ran from advocacy for women is the We Have Voice a mission of the increasingly frequent logical and social pressures that can inter- 1978 to 1985. collective. Fourteen female and non-bina- events like Jazz Girls Days, as well as all- fere with the quality of the performance. Besides Marian McPartland, established ry instrumentalists and vocalists released female jazz camps. In a recent panel discussion at the 2019 jazz performers Mary Lou Williams, Mary a Code of Conduct, articulating what a The presentation of all-female groups Jazz Education Network Conference in Osborne, Dottie Dodgion, Betty Carter, more equitable workplace might look helps change deeply rooted perceptions Reno, Berkley High School Band Direc- Toshiko Akiyoshi, Melba Liston, Carol like and setting expectations for change. that associate femininity with weak- tor and founder of Jazz Girls Day, Sarah Kaye, Joanne Brackeen, Carmen McRae, A member of the collective, Grammy- ness and less quality. Local 802 member Kline said: Jane Ira Bloom, Carla Bley, Stacy Rowles, nominated saxophonist Tia Fuller, said, Sherrie Maricle, leader of the DIVA Jazz “There is a certain very small percent- Dianne Reeves, Sheila Jordan and others “I think slowly but surely we’re doing the Orchestra, shared the following story in age of women who can deal with the ste- began headlining next to emerging art- work and there is some shift happening. a 2018 interview with documentary film- reotype threat – and everything else. A lot ists, competition winners and a new wave I especially see it with my students and maker Kay D. Ray: “When I was a kid, my of those 2 percent of women are sitting of all-female ensembles spearheaded by the younger generation. That’s some- fantasy was to play in the Woody Herman on this panel and are sitting among you. Bonnie Janovsky’s and Ann Patterson’s thing that’s near and dear to my heart. band. I loved that band so much and I still But…we need everyone’s voice in com- Maiden Voyage Big Band. Patterson re- I’m seeing the pain, psychological, physi- love it. I remember back in the day you munity. We don’t need 2 percent of wom- members: “We wanted to change people’s cal, emotional pain that it’s caused with would send a cassette tape. They sent the en to break through; we don’t need the attitudes toward women musicians. Back women and sometimes men, too.” cassettes around blind. My friend who big schools to get better at recruiting those then it was assumed a woman couldn’t Terri Lyne Carrington, another mem- was playing bass in the band at the time 2 percent of women. We need education play as well as the guys. We knew that ber of the collective, was inspired to said, ‘Everybody thought your tape was that reaches all of our women and all of one good woman musician could change found the Berklee Institute for Jazz and great. But then they found out you were a our students – and all of our men too.” that kind of attitude. But if there were 17 Gender Justice. Similarly, the Women in woman and then they laughed and threw Ideally the issue of gender will soon be of us, it would make more of a statement. Jazz Organization, under the leadership of it away.’” a moot point and all musicians will be We also wanted a place for women who saxophonist and Local 802 member Roxy To combat this widespread sexism (and judged just by their chops alone. But in wanted to be in a big band to play and get Coss, has emerged as another important nepotism), activists demanded blind order to reach this goal, all-female groups experience and exposure.” advocacy organization. auditions in the classical world starting in pave the way as a training ground, where Even then, all-female groups were still Research has made it clear by now the 1970s, with the result of a 30 percent they provide safe spaces and role models viewed as a novelty, or an emerging field. that it’s not biological factors but social increase of hiring female musicians in and mentors for our future generations. But now, two decades into the 21st cen- and psychological factors that influence orchestras. tury, we’re enjoying a new wave of all- female participation in jazz. Hence, the Stereotyping has also been shown to in- For a longer version of this article that female ensembles led by Renee Rosnes, role of contemporary all-female ensem- fluence the actual performance of those also includes all of the sources cited, e-mail Terri Lyne Carrington, Sherrie Maricle, Tia bles is to mitigate some of these factors. who believe they are being stereotyped. the author at [email protected].

March 2020 | Allegro 11 n women’s history month VIEWS FROM THE BOARD A PIONEERING WOMAN FOR LABOR RIGHTS It’s never been more important to remember the visionary work of Frances Perkins

University of Pennsylvania, and had won a fellowship with the New York School of Philanthropy. A brief job as a elise teacher in Chicago years earlier led her frawley to work with the poor and unemployed in settlement houses. There, she was introduced to accomplished social reform leaders of the day, including Jane Addams, Ellen Gates Starr and Elise Frawley is a violist and a member of Grace Abbott. She learned about trade the Local 802 Executive Board. She has unionism and further solidified her been a member of Local 802 since 2011. commitment to social and labor justice. [email protected] She made her way back east through Philadelphia, where she accepted a posi- tion as general secretary of the Philadel- “‘Social justice’ is more than a shibboleth phia Research and Protective Association, with her; it has been the maxim of her life, which worked against sex trafficking of and if it carry her far, no one can say that immigrant girls and African-American the need is not great.” women coming from the South. Finally, – New York Times editorial, 1933 settling in New York City, she studied c .27059 malnutrition of school-aged children in n March 25, 1911, Frances Hell’s Kitchen. Perkins, then executive Landing her job with the Consumers secretary of the New York League fulfilled a years-long dream after OCity Consumers League, was working with a former mentor and activist, enjoying tea with friends in Washington Florence Kelley. Perkins was often lobby- Square Park. At just 31 years old, her ing for social and labor reforms in Albany c e/ h e c .gov/resour .lo career accomplishments were already – limiting work for women and children innumerable. She had established in factories to 54 hours per week, regulat- herself as a bonafide policy expert ing sanitary conditions in bakeries, enact-

oto: www p h oto: and leader for liberal social reform at ing fire protection for factories, and taking Frances Perkins (1880-1965) was an American sociologist and worker-rights advocate a historic moment in labor organizing, part in other causes. This particular after- who served as the U.S. Secretary of Labor from 1933 to 1945, the longest serving in that and had already begun shaping noon in March, however, would push her position, and the first woman appointed to the U.S. Cabinet. As a loyal supporter of her municipal policies for the benefit of work beyond the scope of local law and friend Franklin D. Roosevelt, she helped pull the labor movement into the New Deal women and exploited workers. She inspire her to think on a vastly larger scale. coalition. She was one of only two original members of the Roosevelt cabinet to remain had studied at Mt. Holyoke, Columbia Washington Square Park, not unlike in office for his entire presidency. [WIKIPEDIA] College and the Wharton School at the today, was a bustling community hub

12 Allegro | March 2020 n women’s history month that fateful Saturday. Children ran around and guidance. Through a series of federal the central fountain as old men were public works programs, Perkins led the engrossed in chess games. Visitors strolled government allocation of billions of fed- under the iconic arch. Without warning, eral dollars to employ close to two million the blare of fire engines cut through the people to build schools, roads, post offices balmy afternoon air. Horrified onlookers, and highways. Only a year later, in 1934, including Perkins, turned their gaze to the Perkins led the Committee on Economic northeast corner of the park, where out Security, which led to the legislation of a factory building, plumes of smoke known as the Social Security Act. A year billowed – and women jumped out of high later, it was signed into law. It included floor windows to their deaths. Witnessing not only a guaranteed income for retirees, this horror transformed Perkins, and it but unemployment compensation, work- became, in her words, “the day the New ers’ compensation and disability aid. She Deal was born.” was also able to eliminate child labor from Out of the ashes of the Triangle Shirt- the vast majority of industries, freeing up waist Factory fire, a strengthening labor children of working class families to invest movement emerged, particularly among in their education and grow beyond earn- women and immigrant workers. Perkins, ing income for the family.

in particular, heeded this calling in a way w ikipedia p h oto: Her political wishlist was incomplete that was personal. Years of policy devel- Francis Perkins looks on as Franklin by the time she left her cabinet position, w ikipedia p h oto: opment and organizing on behalf of tex- Roosevelt signs the bill creating the U.S. although it demonstrates she was noth- Frances Perkins on the cover of Time tile workers for safe working conditions Employment Service on June 6, 1933 ing short of a visionary. Her dream of uni- magazine, Aug. 14, 1933 had led to this moment. A Committee versal healthcare remains elusive, despite on Safety was immediately formed, with accomplishments in labor policy at the several politicians and administrations to business as usual, and maintained her Perkins appointed as executive secretary, state level. She was appointed as his over the years attempting to legislate it position of allowing Bridges to remain to research the tragedy and recommend secretary of labor, the first woman to into law. As World War II began and took in the country. The House Judiciary preventative measures. She expanded the hold a cabinet position in the federal precedence over domestic priorities, Per- Committee ultimately ruled on the side of scope of policy reform to include sweep- government. The policy goals she outlined kins maintained her commitment to the Perkins, although among certain factions ing changes in the way factories were for him turned out to be his legacy as rights of individuals, managing to thwart of voters and the government, her image operated and how the conditions within president and the continued aspirations a program developed by FBI Director J. was forever tarnished. them affected workers and their families. of politicians even today. She sought a Edgar Hoover to fingerprint and keep a Perkins served through both of FDR’s She was an effective lobbyist, and her vi- 40-hour work week, demonstrating her dossier on all U.S. citizens. She was par- terms until he died in April 1945. After sion was adopted into New York state law, ability to evolve in her thinking – having ticularly horrified by the internment of she submitted her letter of resignation, which became a model for other states and sought only years prior a 54-hour work Japanese-Americans, two-thirds of whom President Truman asked her to serve as eventually the federal government. Thou- week. She wanted to put an end to child were citizens, in the name of national se- a representative to the International La- sands of female immigrant workers orga- labor, establish a minimum wage, create curity. Her life’s work in labor rights and bor Organization meeting in Paris. It was nized, with the politically skillful Perkins unemployment compensation and developing programs like the New Deal a long time coming for her. Over a decade leading the charge in government. The workers’ compensation, route federal aid centered around the belief that govern- earlier, she had convinced FDR and Con- decades-long dominance of unregulated to states for unemployment relief, create ment, at the federal and state level, should gress to apply for membership to the ILO industrialism was coming to a close. All of a national pension for retirees, begin an serve for the benefit of the individual. to solidify America’s global commitment this before women had the right to vote. effective federal employment service, and She attracted political enemies, to workers’ rights. It was one of the many Frances Perkins’ crowning achieve- – last but not least – establish universal including conspiratorial congressmen actions that Perkins took over her career ment, of course, was her work with Presi- health insurance! These policies were who managed to subsume her in political to prioritize labor and support unions. dent Roosevelt on the New Deal, a series referred to collectively as the New Deal. mire. They created a scandal for her The last two decades of her life were of visionary and transformative laws that The first 100 days of FDR’s presidency in centered around Harry Bridges, who led a characteristically productive. She served impact virtually every individual in the 1933 gave way to sweeping infrastructural 1934 Longshoreman’s strike on the West as the commissioner of the Civil Service U.S. to this day. Their working relation- development, thanks to Perkins’ vision Coast. It was alleged that he identified Commission, which advocated for sepa- ship began when FDR served as governor as a Communist, in addition to being rating one’s private life from whether of New York, where he appointed her to Social security, workers’ Australian, prompting an investigation they were qualified to apply or be hired oversee the entire labor department as the by the Labor Department and the FBI to for a job. She lectured at the University state’s industrial commissioner. She chal- comp, and the 40-hour work deport Bridges as an undesirable alien. of Illinois, and in the last few years of her lenged then-president Hoover’s assertion week were all, in many ways, The Labor Department under Perkins life, was appointed as a faculty member at that, as the Great Depression deepened, found no justifiable cause to follow Cornell’s School of Industrial and Labor employment was on the rise and eco- the brainchild of Frances through on deportation. This sparked Relations. She became a member of the nomic recovery was in sight. This critique Perkins. Her legacy is intact outrage from members of Congress, who Telluride Association at Cornell, being the catapulted her to the national spotlight, formed a special House Committee on Un- first woman to live at the house dedicated her assessment supported by years of New and her story deserves to American Activities. The chairman, Martin to scholarly thought and advocacy. She York state labor statistics showing a deep be known, especially during Dies, called for Perkins’ resignation, and died in May 1965 as she lived – commit- decline in employment. a cascade of hate mail poured into the ted to the rights of the people, inspired by FDR’s ascension to the presidency Women’s History Month Labor Department. Through the six- the unique surroundings of the pro-labor was thanks, in part, to Perkins’ month ordeal, Perkins managed to attend environment of New York.

March 2020 | Allegro 13 n women’s history month THE RHYTHM OF BROADWAY In honor of Women’s History Month, eight percussionists share their inspiring stories about playing on Broadway

Thanks to Janna Graham and Mariana Ramirez theatre. My uncle is a percussionist and intro- for suggesting this story and reaching out to duced me to the world of playing for shows. I used their colleagues with terrific questions. If you to sit in the pit with him and watch the orches- have your own story to share, please e-mail tra play. I started taking drum lessons after my [email protected]. parents surprised me with my first drum set for Christmas, and I’ve been hooked ever since. Janna Graham: I grew up in a musical and ar- tistic family. My dad is a jazz pianist and singer/ songwriter, and I started learning piano, percus- Tell us a little bit about your sion and drum set when I was 3. We would have lots of family jam sessions when my brother and musical history and how it I were growing up (and still today whenever I’m led you to Broadway. back in Atlanta). I studied classical percussion, jazz drum set and vibraphone in college. I had the chance to work with a Broadway music director Rosa Avila: I started playing drums at age 16 in during my last semester, and she offered me an Mexico and won entrance to my local conservatory Off Broadway show. I moved to NYC about three of music. While I was still a student, I earned a chair years ago and since then I’ve played three Off in the Xalapa Symphony Orchestras in Veracruz, Broadway shows, subbed on one Broadway show, then moved to Mexico City to attend the Escuela and now I have my first Broadway show. I am so Superior de Musica for a year. I next moved to Los grateful to be here. It definitely feels surreal…like Angeles to attend the Musicians Institute, where all the time! I studied with amazing teachers like Joe Porcaro, Jessie Linden: I grew up in the Cleveland com- Ralph Humphrey, Casey Scheuerrell and Peter Ers- munity theatre scene. By high school, I had fallen kine. Right after my studies there, I won a major gig in love with percussion and decided to pursue a with legendary singer Andy Williams, which lasted career playing for Broadway shows instead of act- for many years. Because of that gig, I got to play with ing in them. Like most children, I knew very little, major artists like Ann-Margret, Petula Clark, Glen if anything, about the reality of doing this, but it Campbell, Debby Boone and the Lennon Sisters. I was a dream and I chased it. moved to NYC in 2000, began freelancing while still Mariana Ramirez: I grew up in Mexico City touring a lot, and started my quest to play on Broad- and studied classical percussion at the National way. It took many years, but I finally got a shot when Conservatory of Music. I played with the Na- I played the show “Summer: The Donna Summer tional Symphony of Mexico, Orquesta de Mineria Musical.” This past year, I was very fortunate to work and Orchestra Carlos Chavez, among others. I on four Off Broadway shows. I am enjoying it a lot! also enjoyed playing contemporary music with Elena Bonomo: I’ve been playing the drums chamber ensembles and traditional Mexican ROSA AVILA since I was a kid, and I’ve always loved musical music. As I grew up in Mexico, I didn’t know

14 Allegro | March 2020 n women’s history month much about Broadway. It wasn’t until Vietnam through the U.S. Embassy. after a couple years after I moved to Through these experiences, I was able the states that I saw a production of to make connections and build a repu- “Lion King,” and I was mesmerized. tation as a seasoned pop/rock player, Then I started dreaming of playing on the exact skill set needed for my first Broadway one day. That dream came show “Head Over Heels.” true in 2018 when Javier Diaz asked Yuri Yamashita: I majored in me to sub on “Once on this Island.” classical percussion at Juilliard and Since then, it’s been a dream to play on Mannes. I continue to study Latin and different Broadway productions and Brazilian percussion and sing bossa have the opportunity to explore differ- nova as a hobby. I have performed ent music styles and combinations of and worked in many genres, including percussion and drumset setups. classical, contemporary/new music, Chihiro Shibayama: I was born and experimental, theatrical, Latin, raised in Yokohama, Japan. When I Brazilian and pop. I’ve played with was 16, I moved to the U.S. to attend everyone from Duran Duran to the Interlochen (both the camp and the Metropolitan Opera, including the school itself), where I was able to imag- Munich Philharmonic, Santa Fe Opera, ine my future as a professional musi- American Composers Orchestra, New cian for the first time. My career as a Jersey Symphony, Alarm Will Sound, professional musician started when I Bang On A Can’s Asphalt Orchestra, moved to NYC and attended Juilliard. Wordless Music Orchestra, Tan Dun, Playing on Broadway was one of my and Tyondai Braxton’s Hive, to name a dream jobs, but I didn’t know how few, and I also performed a concerto as to get there. My first breakthrough a percussion soloist with the Milwaukee was winning a Radio City Christmas Symphony Orchestra. But the way I got Spectacular audition. That was my to Broadway was this: I was the principal first union work out of school, and it’s timpanist of a small freelance orchestra where I met so many great musicians here in NYC. One of the guest musicians who worked on Broadway. When I who heard me play recommended me asked them how to enter the Broad- to his friend who had a percussion chair way world, they suggested I reach out on a Broadway show. The book had a ELENA BONOMO to Broadway percussionists and ask to lot of timpani playing and he happened sit in to watch them play. It took a bit to have a spot for an extra sub. I’m of courage, but I cold-called almost all very thankful for him giving me the the percussionists for major Broadway opportunity to break into this business. shows. Everyone kindly responded From there, my network expanded. I and let me watch their show. I had no subbed on over a dozen shows, and I’m expectations it would lead to work, but currently playing percussion in “Tina: then one of the percussionists contact- The Tina Turner Musical.” ed me. His show was closing and he asked if I would be interested in learn- ing the show, even though I would only get the chance to play for a few shows before it closed. Of course, I jumped What is your favorite at the opportunity! I got such valuable experience in how to be a good sub on thing about playing on Broadway, how nerve-racking the first Broadway? show feels, and how satisfying it feels after playing a great show. Dena Tauriello: I spent nearly 20 Rosa Avila: I love working in NYC JANNA GRAHAM years as a member of the rock band and not having to tour much anymore – Antigone Rising and our opportunities except when I want to! I’ve been touring ran the gamut. We toured relentlessly, since I was in my 20s and it feels like I including opening slots for the Roll- paid my dues on the road so that now I ing Stones, Aerosmith and the Allman can stay home and do this amazing work Brothers. We signed a label deal with in town. Playing on Broadway is the best Lava/Atlantic and played numerous gig I could ever want. It requires a skill TV performances (Tonight Show, To- set that I have, it pays the bills, and I get day Show, VH1). We served as cultural to play amazing work with high-caliber ambassadors to Israel, Palestine and continued on page 16

March 2020 | Allegro 15 n women’s history month THE RHYTHM OF BROADWAY FROM page 15 Yuri Yamashita: I love being able musicians, the best of the best! And I get to tweak my playing and try different to live at home while doing it. sticks, mallets, drum heads and toys to Elena Bonomo: I love playing for make it better in every performance. I musical theatre because I’ve always also enjoy building musical connections loved playing all styles of music, and with other musicians in the band and theatre is a great way to incorporate learning from them. Because we play many different styles into one show. the same music every day, we can listen I love the process of creating parts to details from various sections and with composers and choreographers instruments. I always notice something and coming up with grooves that new. It’s fun to hear how different complement what’s happening on musicians play the same book as well. stage. I also love the rush of being on stage and performing for new audiences every night. Janna Graham: I love playing with Do you have any a phenomenal 25-piece orchestra eight times a week. The music from “West suggestions or tips for Side Story” is some of my favorite women who want to music ever, so it’s extra special. I also love being part of a gigantic show and play on Broadway? hearing how the audience reacts a little differently each night. It’s a super fun Rosa Avila: Be consistent; a lot of job! Sometimes it doesn’t feel like a theatre is about being consistent. Of job at all. I love all of the people in the course, always work on reading. Also, orchestra too. it’s very important to know how to play JESSIE LINDEN Jessie Linden: I like how in live with a conductor and a click track since theatre, each show has thousands of most modern stuff is done that way. Be designed details meant to be replicated professional, bring good positive energy, day after day, but in each performance be on time, do the job – and go home! there are nuances within those details Elena Bonomo: Find mentors in that – in combination with that show’s the industry who are doing what you audience – makes each one unique. want to do and learn from them. Be the Mariana Ramirez: I love the diversity kindest and hardest working person out of styles and rhythms on Broadway. I also there. enjoy very much when the choreography is Jessie Linden: Fortunately, more and carefully coordinated with the percussion more people are looking for you, so and drum parts, like Timoune’s dance in focus on yourself and don’t let others’ “Once on This Island.” successes discourage you. Chihiro Shibayama: I love knowing Janna Graham: Be as prepared as DENA TAURIELLO that I’m a part of a show that so many possible. Play musically. Keep your people will experience and remember. eyes on the music director as much as I also love getting to know fellow possible so you can lock in together. musicians. Playing the same music Be positive and friendly! Try not many times gives me the opportunity to complain – but also stand up for to strive for perfection. I enjoy that yourself if you’re being treated unfairly. challenge. When you first move to NYC, take pretty Dena Tauriello: I love how it truly much any gig, even if it doesn’t pay well. takes a village and how there are so It will be worth it because you’ll meet many people working hard to make lots of other musicians who might hire shows happen eight times a week. Being you or recommend you for gigs later on. a part of that team is such a pleasure. Mariana Ramirez: Be consistent, There is a constant undercurrent of don’t give up, be nice with everybody pressure to play within the context of around you, work hard and be grateful. so many moving parts and variables. I Chihiro Shibayama: The bottom love that challenge. line for anyone who wants to play on

16 Allegro | March 2020 n women’s history month

Broadway is to meet people who are Campbell, Georgia Stitt and Meg Zervou- already working in that scene. It’s O.K. lis. There are so many others too. There to reach out to people you don’t know is an amazing community of female mu- to build your network. Musicians on sicians here. We lift each other up and Broadway are hired by recommendation, help each other in our careers and lives. not by audition. I also recommend that Everyone must check out www.Maestra- you strive to build a strong reputation as Music.org. Their mission is to “provide a great player who is easy to work with. support, visibility, and community for Dena Tauriello: I think it’s no different the women who make the music in the than anyone trying to break into any musical theatre industry.” Their website field: work hard at your craft and be has a database of female musicians, plus really good at what you do. Being humble resources and statistics on gender equal- and easy to be around will also go a really ity in the industry. Many female musi- long way. Be punctual (which means be cians have gotten work and made new early), and be prepared. Set yourself up connections through Maestra. to be successful when hired to do a gig. Jessie Linden: It’s been wonderful Network with people in the industry to meet so many fantastic musicians in while being respectful of their time. this community, as well as other folks Yuri Yamashita: It’s important to be working alongside us. One fond memo- able to play different styles and genres ry I have is from the first show I played – and it’s also important not to be a at “Come From Away.” It marked the difficult person to work with. As a sub, first time four women performed in the I learned the books based on minute onstage band of eight! The whole cast details of how each music director and crew were very excited, and it cer- conducted. It’s also important to reply tainly made for a very memorable first promptly, and communicate clearly day. While I hope that one day soon, with the person you are subbing for. gender equity in Broadway pits isn’t so rare, I appreciate how supportive they were that day, and still are! MARIANA RAMIREZ Mariana Ramirez: I’m very grateful Tell us about the for the musicians’ network in New York City – not only the female musicians. I support you receive got very good opportunities thanks to from the network of some of my male colleagues in addi- tion to my female colleagues. I am very female musicians in proud to see that female musicians are NYC. coming together to support each other, looking for a stronger voice and repre- sentation in the music world. Rosa Avila: NYC is very special be- Chihiro Shibayama: I feel supported cause it is home to the best musicians by seeing fellow female musicians’ suc- in the world. I get to work with a lot of cesses in NYC, including Broadway, TV amazing female musicians in several all- shows, award shows and more. It means women bands. These bands are not about more young girls can see that women gimmick: these are very high-level musi- can be great professional musicians. cians, female or not. I think we all sup- This is especially powerful on tradition- port each other; we’re all going though ally male-dominated instruments such the same stuff trying to make a living. as drums, percussion and brass. Elena Bonomo: The support I’ve re- Dena Tauriello: As musicians, it’s im- CHIHIRO SHIBAYAMA ceived from other female musicians in portant to encourage and support each the industry has been incredible. There other, regardless of gender. That be- are so few of us that the community is ing said, I’m happy to see more female super strong. I always get excited when I drummers and percussionists having meet other female musicians (especially opportunities in the Broadway commu- drummers) on a gig because it means I nity. I appreciate receiving calls to sub can add more people to my network! We and try to reciprocate whenever possi- are all here to empower each other and lift ble. Sometimes schedules do not align; each other up, and it’s super rewarding. however, it’s still nice to be considered. Janna Graham: I got my start here be- Yuri Yamashita: I am grateful for ev- cause of a few incredible women. I have ery musician who trusted me and gave to give a shout out to Mary-Mitchell continued on page 18 Zavala Carly p h oto:

March 2020 | Allegro 17 n women’s history month THE RHYTHM OF BROADWAY

FROM page 17 playing field by taking the initiative to me the opportunities to play or sub. I see hire more women. There are so many in very recent years that the network of women who are capable of doing these female musicians is forming and getting jobs and are ready to go – they just need stronger. But over a decade ago, when to be given the chance. I started subbing on Broadway, there Janna Graham: Hire diverse groups was no such network and I didn’t think of musicians! Be sure to listen. Help much about my gender or the various when you witness injustice. genders around me. My focus has been Jessie Linden: I think we can all be to become a good musician. But when allies to any underrepresented group I did have the opportunities to work by continuing to work towards more with great musicians who happen to be diversification in our community. Even women, they were very inspiring. though not everyone is always in a posi- tion to hire, we often have power in how we provide recommendations! Mariana Ramirez: I think some How can male male musicians are already allies to fe- male musicians. Music is one of the few musicians be allies to things that does not look for gender, female musicians, in race or any difference. Music brings peo- ple together and talent can open doors. your opinion? I think the most important thing is to be able to have a community of musicians, Rosa Avila: In my opinion, it shouldn’t regardless of gender, who support and be about gender. I think removing the “fe- respect each other and give opportuni- male” in front of drummer would be a nice ties to each other. start. I get a little tired of being referred to Chihiro Shibayama: In a professional as “female drummer” in town. Call me a environment, I want to feel like I’m a drummer. It just so happens that I play musician, not a “female” musician. I’ve drums for a living, and this has nothing been fortunate to have wonderful male to do with my gender. I think the younger colleagues who recommend me for work. generations are starting to not care about When you are in a position to hire or rec- these labels, which is a good start. Every ommend musicians, please remember time I get approached by younger musi- your talented female colleagues. One time cians, they call me a drummer, not a “fe- I was subbing on a Broadway show where male drummer.” That’s what I want to the drummer and bassist were also female see more of. Playing music is not about subs. We were all so excited because we gender and it never has been. In Mexico know how rare that is. I hope that in the as a teenager, I dealt with the problem of near future, we’ll see this happening more. YURI YAMASHITA being told, “Hey, you can’t play drums – But for that to happen, we as female per- that’s for boys.” And my answer would cussionists need to support one another. always be, “Says who? How did this start? Dena Tauriello: Allies are allies… I don’t think so!” This always made me that means being kind, supporting each want to play drums even more. It fueled other and offering a helping hand when me. I am happy that the next generation possible. In the event I receive e-mails of musicians doesn’t have to deal with or calls from people to come watch the that. It should be a thing of the past. book or get coffee, I do my best to make Elena Bonomo: We are all musicians. the connection happen. My experience The goal is to not have a divide between has been that the drumming commu- male and female musicians, but to have nity is inclusive and supportive. everyone play together in the commu- Yuri Yamashita: In addition to nity and not have to think about gender. being a good musician, I find the most Because there are fewer women who are important thing in this industry – or visible in the industry, men can help any industry – is being a good human with the process of creating an equal being and supporting your colleagues.

18 Allegro | March 2020 It’s music to your ears

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c c kp h oto. m er” via isto h epal “t by p h oto Dr. Ellen Finkelstein, Au.D. [email protected] Doctor of Audiology www.EastSideHearing.com n women’s history month MEET MY MANAGER Clara Schumann’s surprising role in the career of Johannes Brahms

By styra avins [email protected]

lara Schumann just celebrated her 200th birthday! Most peo- ple know her as the wife and Cmuse of Robert Schumann, as one of the very great pianists of the 19th Clara Schumann at about century, and the center of the emotion- 30 years old; Johannes ridden triangle comprising herself, her Brahms at 20 husband, and the unusually talented and unknown young composer who burst in on their lives on Oct. 1, 1853. There is more to her than that. She was a fine composer, whose songs and in- strumental music are now at last get- ting the attention they deserve, and she played a central role in setting the for- mat of the solo artist concert program that we enjoy today. for Brahms in the long run: he wrote evident mental illness were unalloyed to read, cataloguing everything in Rob- What this story is about, however, is a letter to the young man’s parents as- disasters. The Schumann household ert’s library (many years later Clara told something else: the role she played in suring them of their son’s great talent, which had seemed such a haven to one of her daughters that Brahms knew fostering Johannes Brahms’s musical and enclosed a copy of “Neue Bahnen.” Brahms was now in turmoil and despair. every piece of paper in the Schumann career when it seemed threatened to But such opulent praise has its price. Clara was devastated and pregnant. library), studying all the scores there, founder, after the traumatic events fol- It is the very rare Nobel laureate who Brahms’s reaction was to gather with studying early music, reading all leading lowing Schumann’s attempt at suicide goes on to do other great work having friends and try every way he knew to important music treatises and teaching and Brahms’s own emotional turmoil as once received the prize: how does one help Clara. There was some energy left himself counterpoint, eventually in an he fell in love with her at the same time follow it? Not only will colleagues judge, for composing; he did manage to finish exchange of exercises with his closest as reverencing her husband. the laureate is aware that nothing in the the Trio, the Op. 9 Variations by Him musical friend, Joseph Joachim. In 1854 Even the scantiest biographical future is likely to come up to the work on a Theme by Her, as he called it for a Clara had even agreed, most excep- sketch of Brahms’s life mentions the that won the prize. Brahms was not un- time, and the Ballades, Op. 10. But af- tionally, to address him in the familiar essay Robert Schumann wrote for the aware of his situation. Shortly after he ter that he struggled. For all intents and “Du” form, the only man outside of her Neue Zeitschrift für Musik, shortly after wrote to Schumann anxiously, purposes his creative life had stalled. He family to gain that privilege. There’s the 20-year old crossed the Schumann “.…The praise that you openly be- experimented with fugues, some of the no doubt her attention gave Brahms a threshold. “Neue Bahnen” announced stowed upon me will arouse such ex- works we now know as WoOs (Works sense of purpose in a time otherwise of in rather grandiose language: “He is traordinary expectations of my achieve- Without Opus). A few other works great emotional turmoil. In this regard, come, a young blood by whose cradle ments by the public that I don’t know were eventually published, but primar- however, Clara’s help was incidental: graces and heroes kept watch. He is how I can begin to fulfill them even ily he was in battle with the two-piano she needed him as much as he needed called Johannes Brahms…like Minerva, somewhat. Above all else it induces in sonata/symphony/piano concerto her. This is the period which has attract- fully armed from the head of Jove.” me the greatest caution in the choice of which would only emerge as his Piano ed popular attention, but her most im- Thrust abruptly into the spotlight, which pieces to publish.” Concerto Op. 15 several years later. At portant help was something else. It was feted shortly afterwards in Leipzig when Nevertheless, life was good; by Christ- one point he even wrote to Clara that practical, directly related to his activi- the leading music publishing house mas, Brahms’s first four opuses were in “he was written out.” He kept his feet ties as a working musician. In the long published his first four opuses forth- print, and he joyously returned home on the ground, so to speak, by essen- run, it was at least as important for the with, there is no doubt that Schumann’s to his parents for the holidays. He soon tially becoming a part of the Schumann future of Brahms’s career as Robert’s actions jump-started Brahms’s career in began work on his Op. 8 trio, a glorious household (although he did not live canon blast, and possibly more so. a spectacular way. if extravagant work in its first version. with them, contrary to many accounts) Of immediate concern for Brahms Robert Schumann took yet another All that would soon change. Robert’s – helping to run it when Clara was away, was money. He had been trained for a action perhaps even more important suicide attempt in February and his including teaching the younger children continued on page 35

20 Allegro | March 2020 n advertising

22 Allegro | March 2020 n NEWS & VIEWS SOLIDARITY AT THE TABLE Bargaining committees and union negotiators need to stay united

he primary concept of union- ism is solidarity, which is pre- mised upon the principle that legal Tthere is strength in numbers. corner While it may be impossible for a single worker to effect workplace change, a co- harvey mars, hesive group of workers acting together esq. with one voice can. Time has proven that a unified group of employees is Harvey Mars is counsel to Local much greater than the sum of its parts. 802. Legal questions from members As long as its unity is unbroken, true are welcome. E-mail them to workplace justice is a possibility. Con- HsmLaborLaw@HarveyMarsAttorney. versely, if unity is fractured, that frac- com. Harvey Mars’s previous articles ture can be exploited for the benefit of in this series are archived at www. those seeking to exploit employees. HarveyMarsAttorney.com. (Click on Unfortunately, there are many factors that may compromise solidarity within “Publications & Articles” from the top a union. Some factors may be interper- menu.) Nothing here or in previous sonal in nature and others may be based articles should be construed as formal on political factors within the union or legal advice given in the context of an community. If these factors are allowed attorney-client relationship. to overwhelm the underlying solidarity, a organization is the certified exclusive out the input and involvement of the union’s efforts will undoubtedly fail. The bargaining representative of its mem- union, and a union cannot adequately group will no longer function as a union. How this tension can be resolved is not bers. The union has the primary obliga- represent its members in negotiations Ironically, I have found that one of the an easy task. No simple solution exists. tion to negotiate agreements. The union without the involvement of bargaining greatest threats to solidarity can ema- Oftentimes a union’s constitution and – not the bargaining committee – bears unit employees. Active communica- nate from within a union’s core internal bylaws contain procedures intended to the legal responsibility to fully and fairly tion is a key to maintaining a healthy structure. To put it more bluntly, there is mitigate this problem. For instance the represent its members. The union is the relationship between both. Neither can an innate tension between a union and Local 802 bylaws contain provisions entity that will ultimately approve and lose sight of their ultimate objective: its own bargaining committees, which that permit bargaining units (in limited sign the agreement. the negotiation of a collective bargain- are made up of rank-and-file members. circumstances) to employ and pay On the other hand, members of the ing agreement that provides beneficial The fact that this is counter-intuitive for their own negotiators. However, negotiating committee are rank-and-file economic and workplace advancements. makes it no less true. Sometimes a our bylaws also require oversight of members of the bargaining unit. They Certainly this is the foundation for com- committee’s bargaining goals and strat- bargaining committees by the Executive are the ones who must work under the mon ground between the two. egy are not congruent with the union’s Board. Therefore, it’s entirely possible negotiated agreement, and they are the While it may seem difficult at times, – and the seeds of conflict are sown. that an agreement achieved by a ones in the best position to know what unions and bargaining committees Sometimes bargaining committees de- bargaining committee is rejected by the workplace terms should be implement- must find a way to yield to the other sire independence from the union and union’s governing body. This is a result ed, eliminated or modified. Bargaining and find a proper balance that permits its professional negotiators. Other times no one wants. Thus Executive Board committees and their parent unions their equal co-existence. As Abraham the union needs to actively guide nego- involvement in the negotiation process must understand and appreciate the Lincoln aptly noted, a house divided tiations in case other bargaining units’ is essential. symbiotic co-dependent relationship cannot stand. This is even truer for agreements could be compromised by Ultimately, committees must be that they share. internal union relations and collective poor bargaining results. mindful of the fact that the union as an Committees cannot bargain with- bargaining.

March 2020 | Allegro 23 n advertising

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o you play on Broadway? ll Theatre Committee meeting If yes, then the Theatre minutes Committee is your committee! ll Theatre Committee delegates list DOur meetings are open to all An update from your ll Theatre Committee bylaws, Local Broadway musicians, including subs. 802 bylaws and AFM bylaws If you have any business or concerns ll The Broadway contract you wish to be discussed, contact us ll Broadway-related Local 802 staff at BroadwayTheatreCommittee@ directory gmail.com. The committee meets every ll Meeting handouts (which can be other Wednesday at 5:15 p.m. at Local viewed digitally during meetings) 802. Our meetings in March will be on March 4 and March 18. Additionally, the Theatre Committee has now established a dedicated Slack Bringing the Broadway community together Workspace, which enables Theatre It is a golden age for the Broadway Committee members and subcommit- musical. Ticket sales are at all-time highs, tees to work and communicate remotely and exciting new and original theatre in a private and secure manner. works are being produced that continue All of these digital resources can be to push the envelope of the art form. accessed directly from your mobile Any given day of the week, theatregoers device. To join the Theatre Committee have an incredibly wide range of shows stitute, your perspective as a Broadway holders can also achieve delegate status e-mail list or Slack Workspace, e-mail they can choose to see, representing musician is always welcomed and valued by attending at least 12 out of 24 The- BroadwayTheatreCommittee@ many different musical genres and in the Broadway Theatre Committee. atre Committee meetings. gmail.com. styles. It is this musical diversity that An important service the Theatre Meetings makes the Broadway community Committee has provided is maintaining Get involved unique. It is rare to see such a varied At Theatre Committee meetings, we the website www.BroadwayMusicians. There are many ways Broadway mu- community of musicians who each work together to address the needs of com. The site highlights Broadway sicians can participate in the Theatre have particular specialties and different Broadway musicians, and strive to in- orchestras by providing names, bios, Committee. If you sign up for our e-mail personal journeys as can be found on form members about important news headshots and links to personal web- list, you will receive our meeting notic- Broadway. Considering this variety and and developments. We rely on the col- sites of orchestra members. Thanks to es, and can also find our Active Member how the Broadway community consists lective knowledge of our members as the generous efforts of Theatre Commit- Checklist, which includes: of different bands and orchestras each well as support from Local 802 staff and tee member Justin Vance, who has vol- performing in different theatres all leadership. unteered countless hours helping build l across town, one might wonder how Some recent topics that have been on and maintain this site, it has become l Keeping up with the latest Theatre we operate as a cohesive and organized our agendas include: an invaluable source of publicity and Committee meeting minutes. l community? For many decades, the ll Health and safety concerns. branding for the Broadway community. l Making sure your show has prop- Broadway Theatre Committee has been ll Special situations requests. According to Squarespace Analytics, our er delegate representation. l the vehicle by which Broadway musicians ll The state of our pension fund. site received 141,730 page views, and l Making sure your show’s page on have come together and drawn upon ll Understanding new provisions of 27,029 unique visitors in 2019 alone! BroadwayMusicians.com is up to date. our community’s collective breadth of the Broadway contract. E-mail broadwaymusicianswebsite@ knowledge and diverse perspectives. Additionally, during our new “Con- gmail.com with any information you The Theatre Committee leadership More specifically, the Broadway The- tract Q&A” meeting segment, we make would like to have included on the looks forward to continuing to serve atre Committee is the rank-and-file space for members to ask questions and website. our members. Please always feel free to players’ committee that we are entitled learn about our Broadway contract. communicate with us about your needs to form under both Local 802 and AFM Theatre Committee at your fingertips as a Broadway musician and committee bylaws. Recognized as such, the The- Representing Broadway musicians The Theatre Committee has devel- member. When we keep open lines of atre Committee serves as the liaison be- One important responsibility of the oped a deep infrastructure of digital communication with each other, it is tween Broadway musicians and Local Theatre Committee is to elect a negoti- tools and resources that members can amazing what we can achieve. 802 leadership and staff. It is through ating committee to represent Broadway access from all Theatre Committee e- the Theatre Committee that we strive musicians during contract negotiations. mails. Our Theatre Committee Google Sincerely, to ensure that all Broadway musicians In matters such as these, all Broadway Drive is becoming a one-stop shop for have a voice, and can lean on and learn orchestras vote through their elected many resources that are useful to Broad- Tom Monkell, chair from their fellow community members. delegates. Each orchestra is entitled to way musicians. By simply clicking the [email protected] Whether you have been playing two primary delegates and one alternate Theatre Committee Google Drive link on Broadway for decades or months, delegate to represent their orchestra. in any Theatre Committee e-mail, you Jan Mullen, vice-chair whether you are a chair holder or a sub- Broadway musicians who are not chair can access: [email protected]

March 2020 | Allegro 25 n NEWS & VIEWS alter karling alter oto: w p h oto: STAMFORD FOREVER! With loyal musicians, a strong committee and a dedicated management, the future of the Stamford Symphony looks brighter than it’s ever been

By peter weitzner the orchestra committee. While other 1970s to what is now billed as “the best conservatory days, which extend back [email protected] arts institutions are shutting their doors regional orchestra between New York even further. When not appearing with every other week, the Stamford Sym- and Boston.” What started as a labor of the Stamford Symphony, our members t seems that an orchestra is just phony has weathered many storms over love – with Skitch Henderson as its first can also be found playing in any number like a farm. The practice of running the last couple of generations that seem conductor – was steered by Roger Nie- of New York’s finest performing groups a farm can be like riding a roller to defy all the odds. I’ve been pondering renberg in the 1980s into a completely -- the Metropolitan Opera, New York Icoaster. Some years the weather how this can be so, and although I don’t professional orchestra. Musicians are Philharmonic, New Jersey Symphony, doesn’t cooperate. In other years, fields have a definitive answer, I think I have covered by a Local 802 contract, and Orchestra of St. Luke’s, American Sym- must be left barren to replenish the soil. some ideas. many of us have deep roots in this or- phony, Mostly Mozart, New York Pops, Such is the continuum we’ve found in The Stamford Symphony is a long- ganization and have been playing to- NY City Ballet and countless Broad- the Stamford Symphony Orchestra, running organization that has morphed gether for over 40 years. In fact, many way shows. Many of us have substan- where I serve as the de facto chair of from a community orchestra in the of us have been colleagues since our tial chamber music credits, including

26 Allegro | March 2020 n NEWS & VIEWS

Our new CEO was as an orchestral ad- Sue Lorentsen, Lois Martin, Laura Bald ministrator in the U.K. in a past life and and Lisa Tipton. Over the years we’ve served as an important development gathered an enormous amount of officer at the New York Philharmonic information pertaining to other regional for five years. He has expertise in major orchestras as well as the Stamford gifts, personal and planned giving, as community itself. Local 802 has been well as patron services, and has been a instrumental in helping us maintain gift to the orchestra since Barbara hand- our artistic and professional integrity ed him the baton. Russell demonstrates over the years. When threatened that great enthusiasm and excitement in his we were just another can of beans by commitment to growing the orchestra Stamford’s experiment with a union- and his boundless and infectious ener- busting lawyer, we were sustained by gy has managed to get us out of a short return to conditions beginning four Local 802’s concert department, which downward spiral of financial losses. The years prior to that. That year and a half helped us hold onto our self-respect and future looks bright. provided a great training ground for our professional demeanor. Our board, chaired by the indefatiga- committee as we developed a wonder- It’s no accident that the Stamford ble Alan McIntyre, has also been instru- ful working camaraderie (remember, Symphony is not only thriving but the Lark Quartet and American Brass mental in our ability to maintain our we were already friends and great col- stands to make great strides in the Quintet. Some of us serve as artistic financial and artistic success. It is com- leagues) and each of us grew into our near future. The self-respect and pro- directors of chamber music series and posed of genuinely interested and active roles as committee members. fessionalism that permeate our artis- festivals. We teach at Juilliard, Mannes, members, some of whom also serve at We finally completed that four-year tic performance also flow through our Columbia, the School for Strings and the League of American Orchestras as deal and we agreed to a first-year wage ever-growing personal relationships many other institutions. But although board members or directors. The recent freeze. (But we made the “wage freeze” with our audiences, management and we have so much on our collective search for a new music director took at retroactive -- since that season had al- board members. Here’s hoping that plates, we always bend over backwards least a season longer than expected and ready passed!) I asked the CEO whether other orchestras will follow our lead to ensure that we show up for Stamford the search committee was extremely we could do the next negotiation with- and create meaningful relationships Symphony functions. patient and collaborative in helping us out a lawyer and she agreed, as it had with all of their stakeholders. Then we The orchestra has been blessed with find the right person for the job. Board been a traumatic experience for her as can follow Leonard Bernstein’s direc- strong continuity, not only in rostered members and musicians saw eye-to-eye well. My years of attending board meet- tion and “make music more intensely, musicians but also in management, during much of the process. With Rus- ings paid off as our mutual respect for more beautifully, more devotedly than staff and board members. Our person- sell Jones at the helm, the first hurdle each other blossomed. Our next con- ever before.” nel manager, violist Adria Benjamin, was finding a music director who would tract was decided in an hour and a half has been a stalwart presence who’s satisfy and inspire the musicians of the – instead of a year and half – and no Bassist Peter Weitzner has been helped maintain the artistic quality orchestra. Our patience finally bore fruit lawyers were needed at the table! a member of Local 802 since 1975. and congeniality of our members over when we all agreed to welcome Michael Over the years, we’ve benefited from Musicians in the Stamford Symphony many years. Stern, who officially begins his tenure the likes of the Emerson Quartet, Sarah recently opened their new season. Allegro It was only three years ago that we next season! Chang, Wynton Marsalis and others photographer Walter Karling was granted were interviewing for a new CEO. Bar- When I first joined the musicians’ who were generous enough to perform access to a rehearsal and took the photos bara Soroca had held that position for committee around 12 years ago, I was benefit concerts to help us raise much- on these pages. More photos from this an incredibly spectacular 39 years! thrust immediately into contract ne- needed funds. We’re looking forward session at www.local802afm.org/allegro/ Barbara turned over the reins to our gotiations with management. We were to seeing what new development ideas articles/stamford-december-2019 current CEO, Russell Jones, after an already deep into a recession, and cor- Russell has up his sleeve. Partnering exhaustive search that included a team porate funding had steadily begun to with a professional fundraising consul- of both board members and musicians. dry up drastically. At first I was reluc- tancy and the addition of Michael Stern This search for a new CEO was happen- tant to join the committee because the seem like some great steps in the right ing at the exact same time that we were then-current CEO and conductor both direction! also in search of a new music director wanted me to run. I was wary of their I am so honored to serve on the to succeed Eckart Preu, who had held intentions and feared they thought they committee with my incredibly the position for the past 12 years! could try to manipulate me. I began to thoughtful and intelligent colleagues, attend board meetings as a representa- tive of the musicians and soon became the first contact between the musicians’ committee and management. That first negotiation I was involved in lasted one and a half years, since symphony management had hired a powerful union-busting lawyer to run their side of the table. We had one memorable meeting that lasted until two or three in the morning as the lawyer attempted to strip away the current contract and

March 2020 | Allegro 27 n advertising

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28 Allegro | March 2020 n NEWS & VIEWS GIVING BACK TO THE COMMUNITY This winter, Local 802 members Kyle Hoyt, Joshua Zarbo, Sita Chay, Kyra Sims and David White participated in a day of service on MLK Day, where they got the chance to mentor aspiring young high school musicians. Here’s what they had to say...

SITA CHAY: “It was a meaningful experience for me and I was so thrilled to see fellow members of Local 802! I got to connect with young, curious, passionate minds who remind me how precious raw dreams are, and how pure aspiration plays an imperative role throughout the career.”

a long time to really take myself seriously JOSHUA ZARBO: “In the spirit of as a hornist. If someone who looked like MLK, mentoring is an opportunity to me had come to my school playing the hear from a younger generation, listen French horn and took the time to men- to them express their dreams, and pro- tor me – wow, who knows how much vide encouragement and guidance to faster I would have developed as a musi- help them make their dreams a reality.” KYLE HOYT: “I always love to serve on cian! I’m very fortunate to be where I am MLK Day to try and honor Dr. King’s lega- now, and am so happy to pass along the cy of serving our fellow citizens. Coupling knowledge I’ve gained on the journey.” helping the younger generation of musi- DAVID WHITE: “I know how incred- cians and this day was a rare opportunity ibly important people taking time to for service that I could not pass up.” offer guidance and advice to me as a KYRA SIMS: “I decided to mentor be- young musician was. So I jump at any cause I wish that I had had more musi- chance I have to pay that forward. It’s cians in my life growing up who looked encouraging to see so many kids en- like me. My mom is a doctor, so in some gaged and asking such intelligent and ways I always knew I could grow up to insightful questions. The future is in do anything I wanted, but it did take me good hands.”

March 2020 | Allegro 29 n advertising

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30 Allegro | March 2020 n NEWS & VIEWS NOTES FROM THE FIELD WHY MUSICIANS NEED UNION STEWARDS

By Leo Gertner [email protected]

hat good is a contract if you can’t enforce it? One of the great benefits that Wcomes with having a union is the protection of collective bargain- ing agreements. But arguably what’s even more important is the ability to en- force them and other workplace fairness standards. That’s where union stewards come in. A union steward is a fellow worker who either volunteers or is cho- sen by their coworkers to represent the union at work. The first line of defense against contract violations, arbitrary and abusive treatment, unsafe conditions, and other problems at work is a union steward. Local 802 has identified the lack of a comprehensive steward program as an obstacle to strengthening our union. We need stewards to make sure our con- tracts are being enforced and to educate other members about the many benefits of being a member of a union and 802 specifically. That’s why we’re in the pro- cess of developing a program to sign up members as stewards in their workplaces have the right to information from the status when dealing with the employer Responsibility and train them on the rights and respon- employer when investigating union is- on union matters, including when it re- Being a steward is an important job that sibilities of stewards. sues. If a problem cannot be resolved di- quires representation of union members. requires one to be responsive and fair to We’re also developing tools, includ- rectly with the supervisor, stewards can When acting as a steward, a union mem- coworkers, while also learning when to be ing a comprehensive steward manual request a grievance meeting or contact ber is legally equal to a boss! As the Na- diplomatic with the employer and when that will include information on legal their assigned Local 802 business rep- tional Labor Relations Board has written, to escalate. Stewards must report viola- rights and organizing tools stewards resentative to escalate the issue. When “The relationship at a grievance meeting tions of the contract and law when they can use to increase our effectiveness at members are faced with a disciplinary is not a ‘master-servant’ relationship but see them. They must also become famil- 802 workplaces. We must ensure that action, they have rights to have a union a relationship between company advo- iar with employer policies and past prac- we have leaders at every show, orchestra steward present in the room with them. cates on one side and union advocates on tices to be able to argue over terms and pit, and classroom who understand our (This is called your Weingarten right, the other side, engaged as equal opposing conditions at work. Stewards should at- contracts and are available to help fellow named after a 1975 Supreme Court deci- parties in litigation.” The Board has also tend union-sponsored trainings whenev- 802 members as soon as problems arise. sion.) Stewards also organize meetings to said, “Some profanity and even defiance er possible and stay informed about what check in with coworkers and organize for must be tolerated during confrontations the union is doing throughout the indus- Who do stewards do? union priorities, like contract campaigns over contractual rights.” try. It is an important job that requires Stewards are our frontline leaders and for fellow musicians. But the equality principle doesn’t only seriousness and a respect for the stan- representatives, solving problems at apply during grievances. Labor lawyer dards thousands of union musicians have work and making sure everyone knows The equality principle Robert Schwartz advises that it also ap- fought for in the past. A strong steward their rights. Stewards are knowledge- You might ask, how can stewards do plies when a steward “argues a contract program is a critical building block to a able about the union and its contracts, their job if they need at times to confront matter, attempts to resolve a problem, more vibrant, inclusive, and strong Local making sure that new members are in- their own employer? Don’t they risk be- investigates a complaint, requests infor- 802 and labor movement. We hope you troduced to the union. When musicians ing retaliated against? The law not only mation, presents a grievance, disputes a will consider becoming a steward. Please have concerns, a steward’s job is to lis- makes it illegal to treat stewards different- decision affecting the bargaining unit, or contact me at Lgertner@Local802afm. ten and investigate incidents. Stewards ly from other workers, it boosts stewards’ leads a union protest.” org or (212) 245-4802, ext. 108.

March 2020 | Allegro 31 n advertising

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32 Allegro | March 2020 n women’s history month LET’s KEEP ABORTION SAFE AND LEGAL On the 47th anniversary of Roe v. Wade, we must remain vigilant

tion care regardless of what happens at hear June Medical Services v. Gee. This testing and counseling, transgender hor- guest the federal level. One year ago, New York is the first abortion case the Supreme mone therapy and vasectomy. Through became the first state to enshrine the Court will hear since President Trump a threefold mission of clinical services, commentary protections of Roe v. Wade in its state law handpicked conservative Justices Gor- education, and advocacy, we bring better when we boldly passed the Reproductive such and Kavanaugh to sit on the bench. health and more fulfilling lives to each LAURA Health Act. This ignited several other Their decision could render protections new generation of New Yorkers. As a McQUADE states to pass similar progressive policies under Roe meaningless. Dismantling voice for reproductive freedom, we sup- Laura McQuade is the president and that protect abortion access and priori- Roe contradicts the desire of most Amer- port legislation and policies to ensure CEO of Planned Parenthood of tize sexual and reproductive health care. icans. Nearly 8 in 10 Americans do not that all New Yorkers will have access to Greater New York As we commemorate the 47th anni- want to see Roe overturned. the full range of reproductive health care versary of Roe v. Wade, we know that ac- Access to abortion is a fundamental services and information. cess to abortion is on the line like never issue of economic justice and opportu- Planned Parenthood of Greater New ARCH IS Women’s History before. Extremist politicians have shown nity. A recent analysis from the Turn- York remains committed to our mission Month, and this year is also us they will stop at nothing to ban abor- away Study published in Social Science & of building a world where all people the 47th anniversary of Roe tion and punish patients for accessing Medicine found that most people are pri- have access to the health care and edu- Mv. Wade, the landmark Su- basic health care. We won’t stand for this marily relieved after having an abortion; cation they need so that they can build preme Court decision granting women – not now, not ever. and five years later, almost all people still the families and futures they want and the constitutional protection to access Here in New York, we showed the believe it was the right decision for them. deserve. The work of our compassion- abortion. On this monumental anniver- country what’s possible when we come Since 1916, Planned Parenthood has ate and highly skilled health center staff sary, it is clear that the right to sexual together to protect and expand access been an advocate for and provider of makes this possible, and ensures the and reproductive health care is under to sexual and reproductive health care. sexual and reproductive health services communities we serve get the best care siege by the Trump-Pence administra- The Reproductive Health Act makes and education for New Yorkers. Provid- possible, every day – no matter what. tion and capricious politicians. Right abortion safe, legal and accessible in ing more than 100,000 patient visits an- now, more than 300 state bills aim to New York even if Roe is overturned na- nually, our health care centers in Man- Laura McQuade is the president and restrict abortion access and 25 bans tionally. Planned Parenthood of Greater hattan, Brooklyn, the Bronx, Queens CEO of Planned Parenthood of Greater New are in effect across the country. These New York is whole-heartedly committed and Staten Island offer sexual and re- York. The opinions of guest commentaries extreme attacks have one goal in mind to being a resource for all New Yorkers productive health services, including in Allegro do not necessarily reflect the – to challenge Roe v. Wade or render it and people across the country who need gynecological care, birth control, can- opinions of the staff, members or officers of meaningless by blocking access to care. access to the full range of family plan- cer screening, pregnancy testing, abor- Local 802. To submit a guest commentary Here in New York, however, we are ning services – including abortion care. tion, testing and treatment for sexually or a letter to the editor, send an e-mail to leading the way to ensure access to abor- This month, the Supreme Court will transmitted infections, HIV prevention, [email protected]. Looking for counseling? Help with substance abuse? Someone to talk to about finances, affordable housing or health insurance? We’ve got you covered The Actors Fund provides all kinds of free social services to professional entertainers, including musicians. Members of Local 802 can call on the Actors Fund for almost any kind of free help you can imagine. Start at (212) 221-7300, ext. 119 or [email protected] or ActorsFund.org/Local802

March 2020 | Allegro 33 n advertising Allegro-Final_Revised:Ideal Music 10/8/15 10:55 AM Page 1

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34 Allegro | March 2020 n women’s history month MEET MY MANAGER Clara Schumann’s surprising role in the career of Johannes Brahms

FROM page 20 career as a virtuoso pianist, but resisted dare to program a Beethoven sonata, giving concerts, much to the distress of and under the influence of her hus- his parents. So in 1855, in the course of band Robert, Clara herself programmed one of her tours, Clara stopped off in works of Scarlatti, Mendelssohn (after Hamburg and spent a day and night at his death on every one of her concerts), the Brahms family home. During that Chopin, Schumann, Beethoven, even visit, she came to an understanding on programs with assisting artists, and with his parents: she agreed to help even when it was still considered a du- him resurrect his career as a pianist, and bious, courageous, or foolish practice. the parents agreed to cease sending re- Brahms didn’t need to be convinced to proachful letters about the time he was follow suit. Clara’s point of view must “wasting” composing music. “I have surely have reinforced his inclinations resolved to play more often this win- and after 1853, the date of his meeting ter,” he was soon writing to one of the with the Schumanns, he never pro- Hamburg conductors, while confessing grammed salon music again. “it costs me some effort to overcome my Clara knew how to arrange her con- trepidation…” cert tours. Early in life her father had During the next months, he per- required her help in arranging her formed in Danzig, Bremen, Hamburg, tours otherwise organized by him. That Leipzig, Kiel, Altona, Göttingen, and Co- meant writing letters, making travel ar- logne, sometimes in concerts Clara had rangements, finding and renting per- arranged. By Christmas he could send Above, the Paris salon of the singer Pauline Garcia-Viardot ,circa 1853. At the time, formance spaces, deciding on programs money home for the Christmas goose, concerts commonly took place in the homes of the wealthy. and printing them, as well as printing and later 50 Thaler for his father’s 50th and distributing tickets. At age 19, as birthday. In 1858, Clara attended the trial run of ting performances also count. Here too Clara Wieck, now Royal and Imperial Clara also encouraged him and kept Brahms’s First Piano Concerto. A letter Clara was of enormous help. Chamber Virtuoso, she organized an up his morale, buying him books he to her half-brother, Woldemar Bargiel, Let’s step back in time and look at the extensive tour to Paris not only without longed for (Plutarch’s “Lives,” for ex- exudes satisfaction: “I think you must public music scene in Europe during the her father’s aid but without his bless- ample). be pleased to hear that the rehearsal time Brahms grew up and first came to ing, and with vituperative endeavors to In addition she encouraged him to came off splendidly…The whole thing the notice of the Schumanns. malign her and cause the tour to fail. teach, as she did throughout her life. is wondrous, rich, deeply felt, and such There was no music industry as we A few months later she returned home She sent him some of her own students, unity withal. Johannes was blissful…I know it, no concert agents, almost no from that tour having made her name in notably Fräulein Laura von Meysenbug, wish you could have seen his blessed artist concert series. Most concerts were Paris. Brahms observed her many times sister of the Hofmarschall at the Court happiness…” “benefit concerts” arranged by the con- as she made such arrangements, and of Lippe-Detmold, a tiny duchy between By the time Brahms left Detmold, his cert giver, rather than recitals. They took learned from her. Hanover and Dortmund. It was a con- creative powers had returned. Ready for place in private places, often in the sa- Clara also taught him how to invest nection that would soon prove extreme- publication were the two Serenades, the lons of the wealthy (see illustration on money, and coached him in the neces- ly important, as it led to Brahms’s first Four Songs for Women, Harp and Horns, this page). Such concerts included as- sity and art of letter writing, an essential real job. For three months of the year for the First Piano Concerto Op. 15, Ave Ma- sisting artists of more or less fame, and tool of the time. the next three years (1857-1859), he was ria Op. 12, Psalm 13 Op. 27, the Begräb- a program of miscellaneous items: the contracted to give piano lessons to the nisgesang Op. 12, Songs and Romances usual constellation included a vocal ele- he key to success in a musical Princess Frederike, play at court for the Op. 14, the First String Sextet, Five Songs ment, solo piano operatic paraphrases à career was not first prize in a Prince, and conduct the amateur Cho- for Soprano and Piano Op. 19,and Three la Liszt, Thalberg, or Henri Herz (1803- competition, or a MacArthur ral Society. The salary for three months Duets for Soprano and Alto Op. 20. Six 1888), what we call salon music. There TGenius award, but contacts provided him with sufficient funds for of them were accepted for print that might be one serious sonata or duet. with aristocrats, influential people the rest of the year, particularly since, year. Clara performed in such concerts, as and potential patrons. Brahms was now back in Detmold, Laura von Mey- Clara was clearly pleased she had did Brahms at his first concerts from remarkably lacking. He grew up in the senbug continued as his student and a done her job. his 14th year (but recall his Bach Fugue Free and Hanseatic City of Hamburg, considerable number of other women But had she? Writing music is only the at 15 years, the first concert of his own). an independent republic and proud of in Detmold followed suit. beginning, after all; publishing and get- Franz Liszt was the first superstar to continued on page 37

March 2020 | Allegro 35 n advertising

36 Allegro | March 2020 n women’s history month MEET MY MANAGER Clara Schumann’s surprising role in the career of Johannes Brahms

FROM page 35 it. There was no aristocracy. There was as Laura von Meysenbug from Detmold, a composer, which Clara helped him de- commerce – Hamburg was the largest Julie von Asten, and Clara Wittgenstein velop. But with the increased interest in port in German lands, and one of the in Vienna. When Brahms made his first Clara Schumann as composer, there are largest commercial ports anywhere. It trip to Vienna he came armed with now considerable discussions about the was Lutheran, utilitarian, given to hard introductions by Clara to the Wittgen- high quality and skill of her own com- work, plain facades, and plain speaking. steins and the von Asten families, who positions, revealing why Brahms had so It had no nobility to patronize the arts, in turn led him to the most influential much faith in her judgment. no powerful clerical presence which musical figures in Vienna. Within six One more example of Clara’s aid to required a steady supply of music weeks of arrival, Brahms had, with a Brahms remains: the large number of and musicians. Instead, it had a large splash, made a name for himself. his works she premiered. They were burgher class, people who were used Many of Brahms’s most important and eighteen in all, including one of his most to the idea of making money. True, enduring friendships were struck up in pianistically demanding, the Handel there was music – a Singing Society Clara’s home. He met composer and con- Variations Op. 24. Her efforts began in and the Philharmonic Orchestra (a ductor Ferdinand Hiller through Clara, 1854 with two movements of his third pick-up orchestra without a set roster and Julius Stockhausen through Hiller ch via w ikipedia Piano Sonata and continued until 1888, of musicians). Without patronage to – both musicians became important when she gave the first performance of keep these groups solvent, they became colleagues of Brahms. Hiller, conductor his third Violin/Piano Sonata Op. 108. above all vehicles for the presentation of the Gurzenich Orchestra in Cologne, The list includes the famous Lullaby, of commercially appealing visiting was the first to program the D Major the Liebeslieder Waltzes (with Brahms virtuosi: Franz Liszt, Clara Wieck Serenade outside of Brahms circle, the playing the other piano part), the Op. Schumann, Jenny Lind, Joseph Joachim. composition brought to his attention 39 Waltzes, the two-piano version of

The development of public music by Clara, who carried the music with L enba Fran z von BY I M AGE the Piano Quintet Op. 34b, and all four performance (as opposed to private her when she was invited to concertize which they did with some hesitation. books of his Hungarian Dances. It was performance in aristocratic venues) in Cologne. Brahms’s professional rela- Convincing N. Simrock to publish the she who introduced Brahms’s music had been stimulated by the rise of the tionship with Hiller would persist for Op. 17 Four Songs for Women’s Chorus, to Vienna in 1856. The list is stunning middle class in London, Paris, and then decades. Stockhausen, the pioneering 2 Horns and Harp was harder work, but witness of Clara’s determination and Vienna, for whom music was an accept- singer and teacher of Lieder, quickly be- she accomplished that as well. unique ability to promote the “other” able method of upward mobility. A fluid came one of Brahms’s major recital part- Perhaps the most remarkable ex- genius in her life. boundary developed between the aris- ners and remained a life-long colleague. ample of her work on Brahms’s behalf There is a well-worn saying: “Behind tocracy and wealthy middle class, where Brahms’s friendship with Hermann Levi is the history of his arrangement of a every great man there stands a wom- personal contacts were the sine qua non was initiated by Clara, who had met the Gavotte by Gluck, written in 1868 for an.” In the case of Brahms, however, of a thriving solo concert career, usu- young conductor and pianist in Baden- Clara to use. Published in 1871, Clara the woman stood not behind him, but ally meaning, people of wealth, friends Baden when he had just arrived in Karl- acted as Brahms’s agent in negotiations steadfastly at his side, and sometimes and patrons with large salons. Brahms sruhe to take up his position as First with the publisher Bartholf Senff in well in front of him. had no such contacts, but Clara had all Kapellmeister of the Court Orchestra. Leipzig. While on tour in England, she the contacts one could wish for, and She immediately introduced them to then sold the English publication rights Styra Avins has been a member of she used them for him. Since her teen each other. Although later broken off to Novello, sent the contract to Brahms Local 802 since 1961. She is the author years she had been introduced to lead- by Brahms, his friendship with Levi was in English, and told him where and how of “Johannes Brahms: Life and Letters” ing artists – Goethe, Cherubini, Dumas, one of the most fruitful and important to sign it. Played in more than 40 of her (Oxford University Press, 1997/2001) Heine. Now she was in contact with the of his life. Pauline Garcià Viardot was an- concerts, it was republished in numer- as well as many articles and book Princess Anna von Hesse, a Prussian other connection made through Clara – ous other editions, and became one of chapters concerning Brahms’s life, his princess well known for her musical her fashionable home in Baden-Baden Brahms’ most popular pieces during his correspondence with members of his interests. Clara arranged for Brahms to was open to him during all the summers lifetime thanks to Clara’s many elegant circle, and the performance of his music. dedicate his Piano Quintet to the Prin- he was resident there, and she sang the performances of it. She wrote the entry for Brahms in the cess in return for which the princess premiere of the Alto Rhapsody. Missing in this account is the advice “Oxford Companion to Music.” As a cellist, gave him the autograph of Mozart’s G Approaches to publishers on Brahms’s and moral support Brahms asked of she has played with the Seoul Symphony, Minor Symphony #40, a document he behalf are yet another aspect of Clara’s Clara when he sent so many of his com- the American Symphony, the New cherished for the remainder of his life. direct aid. Breitkopf & Härtel published positions to her before publication: the York City Opera Orchestra, the Queens Clara led him to wealthy students such the Piano Trio Op. 8 at her urging, focus here is rather the practical life of Symphony, and many chamber groups.

March 2020 | Allegro 37 n advertising

38 Allegro | March 2020 n NEWS & VIEWS OWN YOUR POWER potential errors will more likely happen WINNING ON when thought about beforehand. So what takes your personal power STAGE away? Many things, including fear, doubting yourself, not trusting your tal- DR. DON GREENE, PHD ents/training/abilities, negative think- Winningonstage.com ing, feeling helpless, or claiming that things are out of your control. Those ideas argue against your own personal ven though I’m an eternal op- power and ability to make the right timist, I know that mistakes are things happen. Arguing against your ca- inevitable. Live musical events pabilities will negatively affect your in- Eoften happen in less than ideal ner drive, self-confidence, and perceived conditions. There are many factors in- competence to accomplish the things volved that can result in random acci- that you need to do to be successful. dents and unforced musical errors. You can strengthen your personal

Accidents are unwelcome events that power by being accountable for all of m o happen due to external circumstances your thoughts, beliefs, emotions, ac- in the physical world. They just hap- tions, and results. Taking full responsi- pen. However, many musical mistakes bility for all of these things is not easy. in live performances and recording ses- It takes a paradigm shift from think- sions can be anticipated and hopefully ing that many things are out of your prevented. Prevention requires a better control to believing that you are solely understanding of these unforced errors responsible for bringing your conscious and exploring potential ways to dimin- intentions into reality. ish them. Choose to focus on doing your best via pexels. c w ilson da p h oto: Some of the mistakes that musicians regardless of external circumstances, make on stage or in a recording session or anyone else around you. Realize that your physical and mental practice hab- When you’re speaking to friends or are not accidents. These mishaps are your real power does not come from its, your daily routine, are well as diet, colleagues about the upcoming event, created consciously or unconsciously outside of yourself, but from within. It exercise, sleep, and rest. use only optimistic language. Don’t even by individual performers, and what is fueled by a strong desire for excel- Once you become accountable for joke about anything other than doing they do, or fail to do, in the time lence, with confidence in yourself be- everything under your control, you your best. Commit ahead of time to be- leading up to the performance. A yond any doubt. can stop looking for excuses or some- ing responsible for everything that will lack of readiness, confidence, focus, Decide that you are going to take full one to blame for your mistakes. When be under your control at the event, and emotional stability – and especially responsibility on a daily and continu- you’re willing to acknowledge your role accept the rest. Arrive at the venue ear- a lack of personal power – will cause ing basis for everything that you have in making mistakes, you will make less ly. Get ready. Focus on performing your you to create mistakes in reality. For control over. Focus on the specific ac- of them. Imagine ahead of time just the best. Trust yourself, as well as your tal- example, you might entertain thoughts tivities, projects, tasks, thoughts, be- way that you intend the performance to ent, training, and experience. Once you about the worst possible scenarios long liefs, and behaviors that will lead to go. Create it flawlessly in your mind first start, keep your mind in the continuing before you show up to the gig. These performing your best. These include then realize it in reality. present moment and on the music.

Dr. Don Greene, a peak performance psychologist, has taught his comprehensive approach to peak performance mastery at Juilliard, Colburn School, New World Symphony, Los Angeles Opera Young Artists Program, Vail Ski School, Perlman Music Program, and the U.S. Olympic Training Center. During his 32-year career, he has coached more than 1,000 performers to win professional auditions and has guided countless solo performers to successful careers. Some of the performing artists with whom Dr. Greene has worked have won jobs with the Metropolitan Opera Orchestra, Concertgebouw Orchestra, New York Philharmonic, Chicago Symphony, San Francisco Opera, Montreal Symphony, Pittsburgh Symphony, National Symphony, Cincinnati Symphony, Pacific Northwest Ballet, and the Dance Theatre of Harlem, to name just a few. Of the Olympic track and field athletes he worked with up until and through the 2016 games in Rio, 14 won medals, including five gold. Dr. Greene has authored ten books including “Audition Success,” “Fight Your Fear & Win,” “Performance Success,” and most recently “College Prep for Musicians.” In 2017, Dr. Greene was named a TED Educator and collaborated with musician Dr. Annie Bosler to produce the TED-Ed talk “How to practice effectively…for just about anything.” The video went viral and received over 25 million views across Facebook and YouTube. For more information, visit winningonstage.com, winninginsports.com and collegeprepformusicians.com.

March 2020 | Allegro 39 n advertising

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40 Allegro | March 2020 n NEWS & VIEWS REQUIEM

Jimmy Heath Claudio Roditi Serkin performed with the world’s he jazz saxophonist Jimmy laudio Roditi, 73, a trumpeter, major orchestras and collaborated Heath, 93, a member of Local flugelhornist and composer, with Alexander Schneider, Pamela T802 since 1959, died on Jan. Cand a member of Local 802 Frank, Yo-Yo Ma, and the Budapest, 19. Mr. Heath was long recognized since 1977, died on Jan. 17. Mr. Roditi Guarneri, Orion, Shanghai, and Dover as a brilliant instrumentalist and a was known best for integrating post- String Quartets, among others. He magnificent composer and arranger. bop elements and Brazilian rhythmic was a founding member of the TASHI m Mr. Heath was the middle brother of concepts, which he did with power Quartet, with violinist Ida Kavafian, o the legendary Heath Brothers, who and lyricism. This versatility kept him cellist Fred Sherr, and clarinetist included bassist Percy and drummer consistently in demand as a performer, Richard Stoltzman. An eloquent and h . c y h eat Albert (Tootie). Jimmy Heath recording artist and teacher. Born persuasive advocate for the music of performed with nearly all the jazz in Rio de Janeiro, Mr. Roditi started the 20th and 21st centuries, Mr. Serkin . j i mm greats of the past 50 years, including studying music as a young boy and championed the work of Schoenberg, Dizzy Gillespie and Miles Davis. One by the age of 20 was named a finalist Webern, Berg, Stravinsky, Stefan Wolpe, of Mr. Heath’s earliest big bands in at the International Jazz Competition Messiaen, and gave world premieres Philadelphia included John Coltrane, in Vienna. There, he met his idol Art of works by Luciano Berio, Hans oto via www p h oto Benny Golson, Specs Wright, Cal Farmer, who encouraged him to follow Werner Henze, Alexander Goehr, Leon Jimmy Heath Massey, Johnny Coles, Ray Bryant and his dream to play jazz professionally. Kirchner, Oliver Knussen and Charles Nelson Boyd. Charlie Parker and Max Mr. Roditi next moved to Boston to Wuorinen. He gave the world premiere Roach sat in on one occasion. In 1948 study at Berklee and then began a busy performances of Lieberson’s three piano at the age of 21, Mr. Heath performed career in NYC, playing and recording concertos, Takemitsu’s “riverrun” at the first international jazz festival with Charlie Rouse, Herbie Mann, with the Los Angeles Philharmonic, in Paris with Howard McGhee, sharing Paquito D’Rivera, Joe Henderson, and Wuorinen’s Piano Concerto m the stage with Coleman Hawkins, Slam Horace Silver, Tito Puente and McCoy No. 4 with the Boston Symphony o Stewart and Erroll Garner. Mr. Heath Tyner, among others. Beginning in Orchestra. His extensive discography performed on more than 100 record 1989, Mr. Roditi toured for five years ranged from a recording featuring albums, including 12 as a leader. He as a member of Dizzy Gillespie’s six Mozart piano concertos, awarded wrote more than 125 compositions, United Nation Orchestra and later the Deutsche Schallplattenpreis and many of which have become jazz joined the Dizzy Gillespie All-Star Big acclaimed by Stereo Review as Best standards. He also composed seven Band, a tribute group. He also led his Recording of the Year, to the complete suites and two string quartets. For own bands, toured worldwide, and keyboard works of Schoenberg. Mr. more than a decade, he served as recorded over 20 albums. He taught Serkin taught at Mannes, Juilliard, c m ent. m anage . m usi c arts a professor of music at the Aaron extensively, including at the Lionel Bard and Tanglewood. He is survived Copland School of Music at Queens Hampton School of Music and the by his children Karina, Maya, College, where he premiered his first Amsterdam Conservatory of Music in Elena, Stefan and William, brother

symphonic work, “Three Ears,” under the Netherlands. Mr. Roditi is survived John, sisters Elizabeth, Judith and via www p h oto the baton of Maurice Peress. Mr. by his wife Kristen. Text above edited Marguerite, and two grandchildren. Claudio Roditi Heath also taught at the New School, from Mr. Roditi’s entry at www. Obituary information from www. Jazzmobile, Housatonic College, and musicartsmanagement.com. kirshbaumassociates.com and the the City College of New York, and New York Times. conducted workshops and clinics around the world. He is survived Peter Serkin m by his wife Mona, daughter Roslyn, eter Serkin, 72, a pianist We also remember . . . o son James Mtume, brother Tootie, and a member of Local 802 grandson Fa Mtume, six additional Psince 1978, died on Feb. 1. George R. Berardinelli, trumpet grandchildren, and seven great- Mr. Serkin was admired equally Vic Carlton, saxophone grandchildren. Mr. Heath’s musical life for his performance of established Roy Haskins, bass was much too rich to condense into repertoire and as a consummate Paula Kabnick, bass this small space. For much more, see interpreter of contemporary music. Lyle Mays, piano* www.jimmyhealth.com (where this His music-making demonstrated keen (*a tribute will appear in c c iates. m asso .kirs h bau text first appeared in a longer format). understanding of the masterworks of the next issue) Musicians who have stories about Bach as well as an exceptional grasp playing with Mr. Heath can e-mail of diverse musical styles, ranging To report the death of a member, call

them to [email protected] from Stravinsky to Messiaen, Tōru (212) 245-4802, ext. 128. E-mail obituaries via www p h oto for possible publication. Takemitsu and Oliver Knussen. Mr. to [email protected] Peter Serkin

March 2020 | Allegro 41 n meet our members why we joined the union To join Local 802, call (212) 245-4802 or visit www.Local802afm.org h ey D eid h ra Fa p h oto: COLLEEN RUDDY alejandro senior AVIGAIL MALACHI

I JOINED LOCAL 802 to be part of a larger ent styles of music. I’ve been involved have access to a supportive network of School of Music and earned my degree network of great musicians and to be in chamber music, orchestras, cinematic talented musicians. I have decided to in music education for piano and voice. able to perform in union productions touring performances such as “Star dedicate my career to both music and I focused mostly on musical theatre and here. I would love to be involved in Wars in Concert,” jazz, rock and country theatre, and I’ve taken several different ended up music directing all throughout more touring opportunities of all differ- bands, musical theatre productions, and paths since coming to New York. I re- college. I live for contemporary grooves ent styles – but in general I’m looking I have played electric bass on stage for cently stepped down from my position and am discovering my love for pop/ forward to playing music with old and an episode of NBC’s “The Voice.” Music as the program administrator for the rock-infused musicals and repertoire. new friends. One of my favorite gigs was impacts the world around us in so many NYU Steinhardt vocal performance pro- Music makes me alive and I get so ex- with The Who at Fenway Park. It was so ways and it also mirrors aspects of life. gram to pursue a career as a freelance cited about it. I’m constantly geeking much fun, and I really enjoy being part of The resonance of the sound is what was pianist and music director. Since leaving out about castings, new musicals, cast productions that have a rock or pop side first important to me, but then as things NYU, I’ve worked for several theatres recordings, music directors, and Insta- to them. I started playing the bass at the have evolved, I began to realize the and organizations as well as multiple gram takeovers by my favorite musical age of 10 after realizing that I could play other ways that music benefits people. youth theatres and training programs. theatre stars and creative teams. I’m the theme from “Jaws” on the upright Resonance is found everywhere, and the My favorite recent gig was at Transcen- looking to learn more and serve this bass. I thought it was the coolest thing opportunity to experience resonance is dence Theatre Company in Sonoma, community of music, theatre, and art as ever (and still do). I went on to achieve truly a gift. In addition to performing live California, where I music directed their best as I can. awards in high school, and began playing and working on recording goals, I teach “Fantastical Family Night.” Transcen- Alejandro Senior electric bass in jazz bands and combos as privately and also work with students dence has such an incredible commu- [email protected] well. I then studied at Carnegie Mellon who are blind or visually impaired. nity of talented individuals and loving and Boston University. It was a privilege Colleen Ruddy sponsors and I’ve had a great time mak- I re-joined Local 802 last year after I to learn in environments where musical [email protected] ing music there for the past four years. was offered an opportunity to join the theatre thrived and at places that en- I’m so excited to serve as music supervi- Off Broadway production of “Fiddler couraged students to think outside the I joined Local 802 because I wanted to sor for their upcoming summer season. I on the Roof in Yiddish” on Stage 42. box. I have always loved playing differ- be a part of a larger arts community and attended the University of Miami’s Frost I’m so glad that I had the privilege to

42 Allegro | March 2020 n meet our members why we joined the union To join Local 802, call (212) 245-4802 or visit www.Local802afm.org

NAPOLEON REVELS-BEY NICOLE PATRICK HARRY MACKENZIE INGLIS be part of this unique production. It rently at the Abraham Joshua Heschel I hope to continue meeting wonderful and long-distance road cycling. I joined was an exceptional experience with an School and the Spence School in NYC. people and making music with the sup- Local 802 because I want to diversify outstanding cast and orchestra. I also Avigail Malachi port of the union. I recently returned the performance work I do, and many of enjoyed playing the Off Off Broadway [email protected] from a three-week artist residency in the musicians I like and respect are also show “Tango + Tango” at the Thalia Melbourne, Australia, with an experi- Local 802 members. Let’s not forget, of Spanish Theatre in Queens along with I first joined the union when I was 16 mental trio called Chaos Hands (visual course, the important function unions Latin Grammy winner Raul Jaurena and and recently renewed my membership in projections, electronics and drums). play in today’s gig economy. A favorite other star tango musicians, singers and Local 802. I see music as part of my soul’s The time and space were such a luxury, gig of mine was playing a concert of dancers. My musical goal in NYC is to journey, and my ongoing musical goal is but I’m thankful to return to this inspir- Piazzolla and Vivaldi at MILK Studios in play music to as many audiences as pos- to make the best contribution to the arts ing city. I grew up in Miami and then Chelsea: unusual cross-purpose space, sible and keep being an integral part of that I can. I’m a drummer and percus- relocated to Ann Arbor, where I studied nice acoustics. I am constantly on the the music community. I studied classical sionist who has enjoyed a lifelong career, percussion and jazz at the University of lookout for fresh concert spaces just clarinet performance in Jerusalem and playing everything from Broadway to per- Michigan. It was there that I began to like that – as well as Broadway pit work. moved to NYC to earn my master’s de- formances with Aretha Franklin. I studied explore collaborating with dancers and Please feel free to reach out should you gree at Mannes. I lead my own klezmer with Warren Smith and Bernard Purdie, multimedia artists, both of which in- need a viola/violin Broadway orchestra band called 12th Night Klezmer, and I’m and at SUNY College at Old Westbury. I form a lot of my current work. sub, or if you’d like to collaborate on a resident artist with the nonprofit orga- founded Nassau Performing Arts, where Nicole Patrick some chamber music! My musical nization “Music Talks,” which produces I serve as a teaching artist, and I also cre- [email protected] philosophy is simply that music is cross-genre music to audiences of all ated my own company, Revels-Bey Music. culture – and culture is all of us. The ages in the tri-state area. I believe music Napoleon Revels-Bey I hail from sunny South Africa, but I more we engage each and every citizen can help change the world for the better [email protected] studied in the midwest and earned my with music in some way, the more and I do my best delivering this message master’s degree in viola performance connected we become. especially when I teach young musi- I joined Local 802 after getting some here in NYC. Apart from playing the king Harry Mackenzie Inglis cians. My main teaching gigs are cur- work opportunities through the union. of instruments, I love jazz piano, politics [email protected]

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44 Allegro | March 2020 n NEWS & VIEWS

Discussion held. 2020-21 membership directory. renewal. Krauthamer reported on board Discussion held. It was moved and seconded Executive subcommittees and assigned Financial Vice President Fisher to approve for payment the JLC board minutes committee members. reported the salary increase for non- membership renewal as submitted. Discussion held. bargaining unit employees, set at Discussion held. Krauthamer reported on plans for 1.74%. Motion carried unanimously. Monday, January 14, 2020 performance reviews to be rolled out Discussion held. Krauthamer presented an invoice eeting called to order in 2020. Cohen discussed the reopening of in the amount of $16,650.83 from at 11:12 am by President Discussion held. the Club Room. Cushman & Wakefield for real estate Krauthamer. Present: Krauthamer reported on organizing Discussion held. brokerage services. MFinancial Vice President efforts at the local. Meeting adjourned at 2:32. It was moved and seconded to Fisher, Recording Vice President Discussion held. approve for payment the invoice from Schwartz, Executive Board members Krauthamer reported on the plans Tuesday, January 21, 2020 Cushman & Wakefield as submitted. Davis, Donovan, Frawley, Hoyt, for the social engagement team and Meeting called to order at 11:16 am Discussion held. Kainuma, Paisner, Shankin. announced that the team would meet by President Krauthamer. Present: Motion carried unanimously. Minutes of January 6, 2020 reviewed. with the board next week. Financial Vice President Fisher, Krauthamer presented a retainer It was moved and seconded to Discussion held. Recording Vice President Schwartz, agreement for legal services from Kevin approve the minutes of January 6, Board recessed at 12:50. Executive Board members Axelrod, Case of Case Arts Law LLC pertaining 2020 as corrected. Board reconvened at 1:12. Executive Donovan, Frawley, Hoyt, Paisner, to negotiations between Local 802 and Discussion held. Board member Cohen joins via Shankin. New York City Ballet. Motion carried unanimously. telephone. Minutes of January 14, 2020 Executive Board member Davis President Krauthamer presented Krauthamer reported on budgetary reviewed. present at 11:27. requests from three members for matters. It was moved and seconded to Executive Board member Cohen leaves of absence from Broadway Recording Vice President Schwartz approve the minutes of January 14, present at 11:28. shows. reported on the recording department 2020 as corrected. It was moved and seconded to It was moved and seconded to budget. Discussion held. approve the retainer agreement with approve the leaves of absence as Discussion held. Motion carried unanimously. Case Arts Law LLC as submitted. submitted. Schwartz presented a request from President Krauthamer presented Discussion held. Discussion held. the Local 802 Broadway Show Bowling requests from two members for leaves Motion carried unanimously. Motion carried unanimously. Team to have the local cover payment of absence from Broadway shows. Personnel Director Mejia present. Krauthamer reported on matters of the Spring season fee of $90. It was moved and seconded to Mejia reported on a performance pertaining to the off-Broadway It was moved and seconded to approve the leaves of absence as review process. production of Emojiland. approve for payment the Bowling submitted. Discussion held. Discussion held. Team fee of $90, payable to BC/EFA. Discussion held. Mejia excused. Krauthamer reported on an Discussion held. Motion carried unanimously. Krauthamer reported on board upcoming AFM meeting on the topic Motion carried unanimously. Krauthamer presented an invoice in subcommittees. of streaming to be held in Los Angeles. Schwartz presented a quote from the amount of $200 from Jewish Labor Discussion held. Discussion held. Sterling Forms for the printing of a Committee (JLC) for membership continued on page 46 Krauthamer reported on his attendance at AFM Sound Recording Labor Agreement negotiations. Discussion held. Krauthamer reviewed the Executive Jonathan Tunick recalls Board meeting of January 6, 2020 held with representatives of Indie Musicians Caucus. Discussion held. Buster Williams’ lush sound Krauthamer reported that Local 802 will interview internship candidates hanks so much for Peter from CUNY. Zimmerman's interview with Discussion held. musicians’ Buster Williams in the February Executive Board member Axelrod Tissue of Allegro. I would like present at 11:45. to add to the list of Buster’s many Krauthamer reported on planning voice accomplishments the year or so that for the 401(k). E-mail letters to Allegro@ he spent as a member of the orchestra Discussion held. Local802afm.org or write to Allegro, for the original Broadway production Krauthamer reported on the DCINY Local 802, 322 West 48th Street, New of Stephen Sondheim’s “Company.” I negotiations. York, NY 10036. Letters must be no remember with pleasure his lush sound, Discussion held. more than 300 words. propulsive time and the good times we Krauthamer reported on the Local had during the Boston tryouts. 802 organizational goals for 2020. – Jonathan Tunick

March 2020 | Allegro 45 n NEWS & VIEWS

Discussion held. from Spivak Lipton in the amount of Executive Board member Axelrod Executive Fisher reported on negotiations $2,681.25 for professional legal services requested information on the status of between Local 802 and American pertaining to the establishment of the a potential AFM-EPF trustees meeting board minutes Ballet Theater for a successor collective 401(k) plan. with the membership. bargaining agreement. Discussion held. Discussion held. Discussion held. Motion carried unanimously. Axelrod requested information on FROM page 45 Fisher reported on her attendance at It was moved and seconded to the progress of the Emerging Artist Krauthamer reported on the a meeting NYC Central Labor Council. approve for payment an invoice from Project grant winner. opportunity for AFM-EPF participant Discussion held. Spivak Lipton in the amount of $5,775 Schwartz reported on the work comment on the Fund’s application Recording Vice President Schwartz for professional legal services in the under contract performed by Roxy under MPRA. presented a proposal for scale wages month of December 2019. Coss Quintet and read a message of Discussion held. pertaining to a benefit performance to Discussion held. appreciation from member Coss. Krauthamer reported he would meet be produced by Voices for the Voiceless Motion carried unanimously. Discussion held. with the committees of New York at Town Hall on February 6, 2020. Krauthamer reported on the status Schwartz reported on the progress Philharmonic and New York City Ballet It was moved and seconded to of negotiations between Local 802 and of planned improvements to the Club next week. approve the scale wages. DCINY. Room and Room B. Discussion held. Discussion held. Discussion held. Discussion held. Krauthamer reported on a voluntary Motion carried unanimously. Director of Field Services Gertner and Axelrod and Krauthamer excused at adjustment to the salary of Managing Schwartz submitted quotes for a Organizer Paulina present. 2:59. Fisher assumed chair. Director Kantor. printing of the Local 802 membership Gertner and Paulina presented a Fisher presented a successor Discussion held. directory. report on DCINY negotiations. collective bargaining agreement Krauthamer reported on matters Discussion held. Financial Vice President Fisher between Local 802 and Victor Herbert pertaining to compensation for legal Schwartz presented an overview of excused at 12 noon. Renaissance Project Live!, Inc. counsel. budgeting, organization and workflow Discussion held. Executive Board member Hoyt Discussion held. in the Recording Department. Fisher present at 12:14. excused at 3:03. Krauthamer reported on plans for Executive Board member Cohen Gertner and Paulina excused. It was moved and seconded to training sessions for the Executive excused at 2:53. Board recessed at 1 pm. approve the agreement with Victor Board and committees. Discussion held. Board reconvened at 1:14. Herbert Renaissance Project Live!, Inc. Discussion held. Executive Bord member Frawley Krauthamer reported that as submitted. Krauthamer reported on the status reported on matters pertaining to negotiations between Local 802 and Discussion held. of negotiations between Local 802 and member communication. Not-for-Profit theatrical employers will Motion carried unanimously. DCINY for a first collective bargaining Discussion held. resume on February 7, 2020. Fisher announced a date of June agreement and appointed Executive Meeting adjourned at 3:34. Discussion held. 17, 2020 for the next membership Board member Davis as board liaison Krauthamer reported on his recent meeting. to the negotiating committee. Tuesday, January 28, 2020 meeting with the orchestra committee Discussion held. Discussion held. Meeting called to order at 11:15 am of New York City Ballet. Fisher excused at 3:15. Recording Board recessed at 12:52. by President Krauthamer. Present: Discussion held. Vice President Schwartz assumed the Board reconvened at 1:05. Financial Vice President Fisher, Krauthamer reported on the status of chair. Members Schroeder, Reza, Vance Recording Vice President Schwartz, the club room assessment. Schwartz reported on his meeting and Pecoraro of the Social Engagement Executive Board members Axelrod, Discussion held. with a representative of Hank Lane Team present. Member Monkell Cohen, Donovan, Frawley, Hoyt, Krauthamer called the meeting into Music to negotiate a settlement of a present via Skype. Kainuma, Paisner, Shankin. executive session at 1:17. grievance. The team presented an overview of Minutes of January 21, 2020 reviewed. Krauthamer called the meeting out Discussion held. its work. It was moved and seconded to of executive session at 1:36. Schwartz reported on the status of Discussion held. approve the minutes of January 21, Discussion held. negotiations for a successor collective Schroeder, Reza, Vance, Pecoraro and 2020 as corrected. Krauthamer reported on matters bargaining agreement between Local Monkell excused. Discussion held. pertaining to the 2020 Local 802 802 and Apollo Theater covering the Board recessed at 1:56. Motion carried unanimously. budget. Amateur Night at the Apollo band. Board reconvened at 2:08. President Krauthamer presented Discussion held. Discussion held. Financial Vice President Fisher requests from four members for leaves Krauthamer presented a request for a Schwartz reported that a tenured reported on matters pertaining to of absence from Broadway shows. special situation from the producer of ensemble had been given its notice by American Symphony Orchestra. It was moved and seconded to the Broadway production of Six at the The Sahara Plaza and on the response Discussion held. approve the leaves of absence as Brooks Atkinson Theater. of Local 802 to the employer. Fisher reported on matters pertaining submitted. Discussion held. Discussion held. to an archival recording by Riverside Discussion held. Executive Board member Frawley Krauthamer and Fisher present at Symphony. Motion carried unanimously. discussed proposals brought to 3:28. Krauthamer assumed the chair. Discussion held. President Krauthamer presented the board by Social Engagement Schwartz reported on plans for a Fisher reported on negotiations invoices for legal services from Spivak Committee. unified member services model on the between Local 802 and Mostly Mozart Lipton LLP. Discussion held. second floor and for improvements to Festival for a successor collective It was moved and seconded to Board recessed at 2:20. the processing of data and checks in bargaining agreement. approve for payment an invoice Board reconvened at 2:29. the Recording Department.

46 Allegro | March 2020 n NEWS & VIEWS

Discussion held. received by the board from the Social Meeting adjourned at 3:32. Engagement Team. Discussion held. Tuesday, February 4, 2020 Board recessed at 12:10. Meeting called to order at 11:14 am by Board reconvened at 12:16. President Krauthamer. Present: Finan- Krauthamer reported on a meeting of cial Vice President Fisher, Recording Vice the board’s Politics Subcommittee with President Schwartz, Executive Board consultant Chris Carroll pertaining to members Axelrod, Cohen, Davis, Dono- the development of a political program van, Frawley, Kainuma, Paisner, Shankin. at Local 802. Minutes of January 28, 2020 reviewed. Discussion held. It was moved and seconded to Director of IT Mosher present. approve the minutes of January 28, Mosher presented proposals for 2020 as corrected. modernizing technology at the local. Discussion held. Executive Board member Cohen Motion carried unanimously. excused at 1:01. President Krauthamer distributed Discussion held. LM-2 forms to board members. Cohen present at 1:11. Discussion held. Mosher excused. Krauthamer presented a request from Executive Board member Davis a member for a leave of absence from a reported on her attendance at Broadway show. negotiations between Local 802 and It was moved and seconded to approve DCINY. the leave of absence as submitted. Discussion held. Discussion held. Board recessed and Krauthamer Motion carried unanimously. excused at 2:18. Krauthamer presented an offer of Board reconvened and Financial Vice a discount from Manhattan Plaza President Fisher assumed the chair at Health Club to be added to the Member 2:34. Resource Center listings. Fisher reported on the status of Different from the rest. Discussion held. negotiations between Local 802 and Krauthamer reported on upgrades to Mostly Mozart Festival for a successor the club room. collective bargaining agreement. Discussion held. Discussion held. It was moved and seconded to Fisher reported that she had met approve $5,260.45 for the purchase and with musicians of American Symphony installation of theatrical lighting to the Orchestra, American Classical Orchestra club room. and Riverside Symphony and planned Discussion held. to meet with musicians of Little Motion carried unanimously. Orchestra Society. Krauthamer reported on the process Discussion held. of booking rehearsals in the club room. Fisher presented a booklet containing Discussion held. information from NYCOSH. Krauthamer reported on the agenda Discussion held. for the membership meeting of Recording Vice President Schwartz February 26, 2020. reported on his and Fisher’s Discussion held. participation in a meeting of the board Krauthamer reported that he will of Art Workers Resource Center. be meeting with the Not-for-Profit Discussion held. theatrical employers on Friday and Cohen presented a draft mission will meet with the member bargaining statement of the board’s Pension committee today. Subcommittee. Discussion held. Discussion held. Krauthamer reported that he would Cohen excused at 3:05. “The month I spent going to Dr. Tatz was, be meeting today with the orchestra Executive Board member Frawley in my opinion, as important to my well-being committee of New York Philharmonic. reported on the NYS Nursing Mothers Discussion held. in the Workplace Act. and to my artistry as a full year of violin lessons.” Krauthamer reported on a meeting Discussion held. Executive Board members Axelrod with member Roxy Coss. Bryan Lee Discussion held. and Shankin excused at 3:14. Krauthamer discussed proposals Meeting adjourned at 3:22.

March 2020 | Allegro 47 n MEMBERSHIP INFO New and readmitted members To join Local 802, visit www.Local802afm.org/join-today

Brandon David Adams (conductor) Robert Edwards (trombone) Matthew R Meckes (piano) Sara Serpa (vocalist) Elizabeth Arce (trombone) Jed Feder (drums) Ilana R Mercer (viola) Catherine T. Sheridan (trumpet) Marta Bagratuni (cello) Sean P. Fitzgerald (guitar) Mark Miller (trombone) Viola C. Smith (drums) Brad Bailey (drums) Mary Gatchell (piano) Sam P. Minaie (bass) Leslie Strait (flute) George A. Berry (trombone) Kimberly A. Hayes (guitar) Aiden Moore (electric bass) Katelan Terrell (piano) Lasse Bjerknaes-Jacobsen (trumpet) Curtis Holtgrefe (saxophone) Ashlyn Olson (violin) Renato Thoms (latin percussion) Christopher Bonner (cello) Raul Ignacio Rios Morales (trumpet) Todd Walter Olson (piano) Jeff Turlik (guitar) Tom Burns (drums) Buffi Jacobs (cello) Daniel Piering (cello) Roger E. Butterley (guitar) Alex Jeun (trombone) Troy Luther Rinker Jr (bass) Jesse C. Vargas (keyboards) Sean P. Cameron (piano) Marybeth Kern (saxophone) Hernan Jay Rodriguez-Sierra (saxophone) Fay Victor (vocalist) Rosanne Cash (guitar) Sooyun Kim (flute) Jonathan Saraga (trumpet) Kenny Wang (viola) Andy Clausen (trombone) Joel Lambdin (violin) Frank Saverino (piano) Shay Wetzer (drums) Sylvie Courvoisier (piano) Chi-Ching Lin (percussion) Kathleen A. Scarborough (violin) Matthew Wolfe (guitar) Francisco Dipre (trumpet) Roger Marsh (guitar) Julia Schade (piano) Reginald Young (electric bass)

l Contact information for the musicians on this page (and for any member of Local 802) Local 802’s Resource can be found in our electronic membership directory. Start at http://info.Local802afm. Center contains curated org and log in, then click on the DIRECTORY links and information button from the top menu. that guide members l All new and readmitted members of Local 802 are eligible to be interviewed in Allegro in to entrepreneurship our “Why We Joined the Union” column (see opportunities and page 42). If you want to participate, send an social services. e-mail to [email protected]. l The next orientation session for new members of Local 802 is Wednesday, March 11 START HERE: at 5 p.m. in the Executive Board Room on the fifth floor of Local 802 at 322 West 48th Street. www.Local802afm.org/ For more information, contact Shane Gasteyer resource-center at (212) 245-4802, ext. 143 or Sgasteyer@ Local802afm.org. To join Local 802, start at www.Local802afm.org/join-today.

48 Allegro | March 2020 n breaktime

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65 SAT e.g. Carolina’s motto) &4 œ œ œ. œ  œ œ œ œ. œ  66 Record ____ 59 “You Are What You ___” (John Mitchell) (Joni Game” Circle “The ANSWER: Simon/Peter Yarrow 1968 movie) For answers,see www.Local802afm.org/Allegro AFFORDABLE HOUSING FOR MUSICIANS? START HERE: actorsfund.org/services-and-programs/housing

March 2020 | Allegro 49 n Marketplace | to advertise in allegro, e-mail [email protected] or call (646) 765-9663

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50 Allegro | March 2020 n LIVES & Stories The Band Room

ack in the 1940’s, there was had landed. The wind blew the music l l l a club on Times Square called a little farther along, and Jack followed the Zanzibar. It featured head- Bill it, continuing to play. Terry said, “By My friend the late Jack Segal, the Bliners like Nat Cole and Louis the time I cut the band off at the end, songwriter, told me this story long Jordan. At the time, I was serving in crow I swear Jack was playing his part from ago. When he and his first wife, Lillian, the Army, based in Maryland, and got center field!” That was the beginning decided to get married, they flew to the chance to visit New York on a three of a long relationship that Terry had Maryland where it could be done day pass. I didn’t go to the Zanzibar be- with a fine trumpet player who was quickly. On their return to New York, cause it was too expensive. But a New [email protected] also a very funny guy. Lillian called her mother to give her York friend of mine had gone there www.BillCrowBass.com the good news. Her mother didn’t say once when the Duke Ellington band l l l a word about the marriage. “You flew!” was in residence. He told me that they she cried. “Why didn’t you tell me? I had Duke’s piano on a platform which, l l l Saxophonist Kirby Tassos’s uncle would have worried!” during the opening number, was slow- John wanted to be an opera singer, but ly lowered from an opening in the ceil- On Facebook,Terry Gibbs told this to pay the rent he worked as a camera- l l l ing to the bandstand with cables at the story about the late Jack Sheldon: man at NBC. In the 1940s, one of his four corners. Two winches operated When Terry had his Dream Band in first jobs was to film the NBC orches- Peter Zimmerman told me he once the cables. On the night my friend was California in the late 1950s, he said the tra under Toscanini. When Toscanini saw Frank Foster leading a quartet in there, one of the winches failed, but band was so much fun that nobody ever discovered that his cameraman was an a jazz club. Between sets, Peter told the other continued to lower its two took off. But on a pair of one-nighters aspiring opera singer, he asked Kirby’s Frank that the most exciting music cables. The piano and Duke’s piano that he booked opposite Miles Davis’s uncle John to sing something for him. he ever heard was Frank’s big band, bench were attached to the platform, sextet, trumpeter Stu Williamson After he sang, Toscanini said, “What a “The Loud Minority,” playing John so there was no danger of them sliding couldn’t make it. So, on the advice of talent! He sings in all keys at once!” Coltrane’s “Giant Steps,” with Frank off, but the whole thing was at a steep his alto player Joe Maini, Terry hired wailing a solo over the horn sections. angle when they finally got the winch Sheldon. Jack was nervous on the first l l l Peter asked him if he would play that stopped. gig, which was on a bandstand set up tune on the next set. Frank began the My friend said that Duke never lost on the pitcher’s mound in a ballpark Scott Robinson was playing at the set by announcing that someone had his aplomb. He just hooked one foot in Tucson, Arizona. He was sitting at Jazz on the Mountain Festival up at requested that he play the most difficult around a leg of his piano bench, con- the end of the trumpet section next Mohonk Mountain House. There was song in the whole jazz repertoire. Peter tinued to smile at the audience, and to Al Porcino, Ray Triscari and Conte a dinner hosted by WBGO, and Amy said, “The rhythm section started in, continued playing while the stage- Candoli, three of the best in the Niles was saying a few words on the Frank stepped up, and the first note hands solved the problem, gradu- business. And he was a little unsure microphone about “having all these he played was a ‘wrong’ note, after ally righted the platform, and lowered of his sight-reading ability. On about incredible musicians... and each one which he took a pretty darn good solo. Duke successfully to the bandstand. the third number, a wind came up and more amazing than the last!” Cornet I never found out whether he played The guys in the band had continued blew Jack’s music off the stand onto player Kirk Knuffke, seated next to that first note deliberately as a joke on playing, as if nothing unusual was the ground. Jack jumped down and Scott, leaned over and said, “That’s the ‘requester.’ He had a great sense of happening. continued playing his part where it why I’m always late!” humor, so I wouldn’t put it past him!”

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March 2020 | Allegro 51 Allegro Published by AFM Local 802, Associated Musicians of Greater New York, 322 West 48th Street, New York, NY 10036 Th e T riangleFire.org . R e m ber oto via www p h oto TRIANGLE SHIRTWAIST FIRE 109th anniversary The Triangle Shirtwaist Fire was the largest industrial disaster in the history of New York City. Most of the victims were immigrant women. The fire led to legislation requiring improved factory safety standards and helped spur the growth of the ILGWU textile workers’ union. This year’s commemoration will be on Wednesday, March 25 from 11:30 a.m. to 1 p.m. at the corner of Washington Place and Greene Street, the site of the original building. For more information, see www. RememberTheTriangleFire.org. JUNE 2020 Membership Meeting WEDNESDAY, JUNE 17 @ 5 P.M.

The meeting will take place here at Local 802 JUNE 17 2020 (322 West 48th Street, between Eighth and Ninth Ave.) Admission to meeting by paid-up membership card only