DECEMBER 2018

ALL ASHORE A CREATIVE REFUGE IN TURBULENT TIMES

STREAMING CONFERENCE EXAMINES ECONOMICS OF LISTENING

MID-TERM ELECTION HIGHLIGHTS

December 2018

PRESIDENT’S MESSAGE 2 OFFICIAL REPORTS 4 LEGISLATIVE-POLITICAL UPDATE 7 NEW RELEASES 8 NEWS & NOTES 9 ORCHESTRA NEWS 10 HOLIDAY GIFT GUIDE 12 RESOURCES 16 TO YOUR HEALTH 17

Photo: Josh Goleman Josh Photo: UPBEAT 18 TAKE NOTE 20 FEATURE STORY 14 CLASSIFIEDS 21 PUNCH BROTHERS The Local 257 (Nashville, TN) quintet uses bluegrass instrumentation and blends genres to create EN FRANÇAIS 5, 10 a sound all its own. Punch Brothers (L to R) are: Gabe Witcher, Chris Eldridge, Chris Thile, Noam Pikelny, and Paul Kowert.

INTERNATIONAL MUSICIAN Official Journal of the American Federation of Musicians of the United States and Canada OFFICERS OF THE FEDERATION EXECUTIVE BOARD Vol. 116, No. 12 | December 2018 © 2018 American Federation of Musicians of the United States and Canada RAYMOND M. HAIR, JR., President JOSEPH PARENTE Publisher: JAY BLUMENTHAL ([email protected]) Cover Story: CHERIE YURCO 121 S. Broad St., Ste. 320; Philadelphia, PA 19107 1501 Broadway, Ste. 600; New York, NY 10036 Managing Editor: CHERIE YURCO ([email protected]) Cover Photo: JOSH GOLEMAN [email protected] [email protected] Advertising Director: KAREN GODGART ([email protected]) Contributing Writers: MEREDITH LAING, THERESA LITZ, TINO GAGLIARDI Graphic Designer: CHUCK SCHIELE CASSIDY VIANESE BRUCE FIFE, International Vice President 322 West 48th St.; New York, NY 10036 Digital Production Editor: JON DUFORT Translation/Traduction: MONIQUE LAGACÉ [email protected] 325 NE 20th Ave.; Portland, OR 97232 [email protected] DAVE POMEROY The International Musician (ISSN No. 0020-8051) is published monthly at 1501 Broadway, New York, NY 10036 by the 11 Music Circle N.; Nashville, TN 37203 American Federation of Musicians. Member Circulation phone: (212)ˇ869-1330 ext. 1-286. Non-member Subscriptions: ALAN WILLAERT, Vice President from Canada [email protected] $43.90/year US and Canada/$59.90 Foreign /$109. Visit: www.internationalmusician.org. (877) 928-6600 ext.116. 150 Ferrand Dr., Ste. 202; Toronto, ON M3C 3E5 TINA MORRISON Periodicals Class postage paid at New York, NY 10036 and additional mailing offices. [email protected] POSTMASTER: Send address corrections to: International Musician; 1501 Broadway, Ste 600; New York, NY 10036. 1912 N. Division St., Lower Level; Spokane, WA 99207 CANADIAN POST CORP. Pub. Agr. #40064709. [email protected] JAY BLUMENTHAL, Secretary-Treasurer Materials intended for publication should be directed to the International Musician; 250 S. Clinton St., Ste. 110; Syracuse, 1501 Broadway, Ste. 600; New York, NY 10036 JOHN ACOSTA NY 13202; fax: (315)422-3837 or email: [email protected]. The International Musician assumes 3220 Winona Ave.; Burbank, CA 91504 [email protected] no responsibility for loss or damage to unsolicited articles, photographs or art. [email protected] All material becomes property of the AFM. Advertising Rates: Visit www.internationalmusician.org 1220 M 2 December 2018 THE PRESIDENT’S MESSAGE Streaming: The Economy of Listening Guest Column by Mike Huppe, President and CEO, SoundExchange

Below are excerpts esis, but now may be our ally. And nowhere is pay for the recordings. And this follows a seems unprecedented, but perhaps it is not so from a keynote speech that more true than with streaming. Because historic jump of nearly 500% over the past 15 unprecedented after all. Wayne Burak Wayne given by SoundEx- with streaming—the thing you used to give years. Similarly, on the webcasting side, we’ve From the dawn of technology, the way we Photo: Photo: change President and away is now a key source of your income. fought hard to get you paid more fairly for your interact with music has continually changed. CEO Mike Huppe at the Streaming has changed what we call the eco- work, with rate increases of up to 175% for the And, at each step of these transitions, we’ve AFM-FIM International nomics of listening. Listening to music on the use of music over the past decade. That means Streaming Conference held in Burbank, California, had a battle over the economics of listening— radio used to be promotional. You heard it for more royalties in your pocket. October 2-3. SoundExhange (www.soundexchange. perhaps no different from the battle we have free, then bought it at a record store. Listening com) is the world’s premier digital rights organization, Equally interesting is what the streaming today. It followed a pattern that I call our trend was a tool to drive sales. Now, listening is the and has distributed more than $5 billion to recording revolution has done to the way we interact of engagement. ultimate commercial goal. The thing that used with music. That interaction has dramatically artists and rights owners. Think about it. A hundred years ago, the only to be just promotion is now a critical revenue changed over the past 10 years. From Alexa to way people heard music was live. You were Thank you, AFM, and especially Ray Hair, event. It’s no longer about a credit card hitting SiriusXM in the car to turning on Spotify on forced to move your body (or at least your for the invitation to spend time with you the cash register. The critical activity is the a smartphone, music is a constant presence ears) to the venue where music was performed. here today. I’ve been with SoundExchange music hitting a listener’s eardrum. You have in our lives. for 12 years, and I’ve seen firsthand what the to capitalize on that act of listening and make From the beginning of time, that was the only streaming revolution has done to our industry sure you are properly compensated. The streaming revolution has also changed the way music was consumed. That was the center and how technology has changed our world. type of music we listen to. Under the old sales of the economics of listening. The record sales model has morphed into model, revenues were primarily driven by new If streaming changes are mind-blowing, imag- Indeed, technology has wreaked havoc on a streaming economy that revolves around releases. A decade ago, we were constantly fed ine what our great-grandparents thought about our industry and on musicians. Many of you how—or even whether—you get paid. It is now new albums that dropped in any given week, the radio, which suddenly brought sound into are earning less from your art. Companies based on where a listener heard your music. and what their sales numbers were. The fuel their homes. They no longer had to walk to a have shrunk, consolidated, or disappeared How you, as an artist, participate in revenue for the industry was heavily dependent on venue; the music came to them. Radio started altogether. And entire formats are withering. is radically different depending on from what releases less than 18 months old. Now it’s no as a platform to broadcast live performanc- Over the last two decades, it’s felt like a full-on source the dollar enters the music ecosystem, longer focused just on new releases. It’s more es—an orchestra or a band playing in the radio battle for survival. whether through Spotify, Pandora, SiriusXM, about good and timely music, whether old or station around a hanging microphone. But that YouTube, etc. new. Catalog music has more impact in the What caused the slide? New technology only lasted so long. changed the way we consume music. Music We at SoundExchange have had success getting streaming world. Then in the ’30s and ’40s, records became sales went from albums to a la carte. Sales of artists a bigger share of the streaming econo- Now that listening is the consuming event, mainstream, and the radio station owner real- vinyl, cassettes, and CDs declined. But the my. We’ve fought hard to get royalty rates up. that heavy dose of catalog listening means ized that, instead of paying a band, you could industry is rebounding. SiriusXM satellite radio is a huge participant older music and more established musicians in the streaming economy—one of our biggest drop a few quarters on this little black, vinyl What’s spurred that growth? In many cases, it’s have the potential to participate even more licensees. Last year, we successfully won an disc and then play music all the time. the same thing that led to the initial decline: in the streaming revolution. In the prior “overnight” increase of 41% in the rates they technology. At times it seems to be our nem- sales model, older releases and back catalog That changed the economics of listening. There would often get stale in the record stores. If were court cases to prevent records from being these catalog records even managed to stay played on the radio, and some records were in the shop, they were relegated to the back printed with the words “for home use only, not or special bins. Not so in the streaming rev- authorized for radio play.” Swapping records olution. Today, catalog music can be reborn for artists standing around a studio mic was a on these new services. What’s old can become huge disruption—and arguably had as big an new again. impact as streaming does today.

Photo: Brian StewartPhoto: The streaming revolution has also changed Of course, records became 8-track tapes, then the music discovery process. In the old sales cassettes, then CDs. And each step of the way, model, with limited sources for music and it changed how we listened to music, how we distribution, breaking new product was often engaged with it, what we paid for it, and how top down. Radio was the primary way that that money got spread among the players. most people heard new music, and our social Then, we got to the Internet and suddenly we response followed. It totally made sense. Today, could listen to all types of music, whenever we music discovery and promotion is a bottom-up wanted, on demand, from all over the world. process based on social activity and mass That changed the economics of listening again. behavior, not just on what the radio stations But it was still tethered to the home. decide to play. Seventeen years ago, Apple changed that with (L to R) At The Economy of Streaming Media conference are Local 47 (Los Angeles, Technology—our old enemy—is helping the the iPod and then again with the iPhone. Then CA) member and music director Rickey Minor, Local 47 President John Acosta, AFM industry on its recovery. And the streaming we had thousands of songs at our fingertips President Ray Hair, SoundExchange President & CEO Michael Huppe. revolution has altered all of our relationships no matter where we were, untethered from with music. At first glance, this level of change the home. International Musician 3

Now, an iPod seems old-fashioned, because we are streaming music in real time on our phones. This is live, real-time access to the proverbial celestial jukebox. Adding to that, we FEEDBACK MARK YOUR have Alexa and other services that allow us to talk to our music! What used to be a one-way AFM Local 1000 (Nongeographic) recently sponsored a “Sexual Assault Prevalence: CALENDARS experience is now two-way. Myths, Facts, & Response” workshop presented the Maryland Coalition Against Sex- ual Assault (MCASA). It was chilling to learn that one in six women will be sexually The 101st AFM Convention Were these changes revolutionary, or simply assaulted in their lifetime and many never report their assault, for understandable and will be held June 17-20, 2019 evolutionary at each step? The streaming story complex reasons. Recovery is a long and lonely path, and the memory and repercussions at the Westgate Hotel & Ca- is not a story of decline or failure. It is a story can haunt a survivor for a lifetime. of something different. It’s a story of evolution. sino; 3000 Paradise Road; While many AFM members might feel this does not concern them, the workplace Streaming seems like a huge, earth-shattering Las Vegas, NV. Registration: environment for many of us (e.g., clubs and bars) may present more risks than a typical change to our profession. But there’s another workplace precisely because we are entertaining others who are out to have a good time. Sunday, June 16, 2019. way to look at it. Perhaps we should think of it as part of the evolution of the industry Sexual assault laws and resources for survivors vary from state to state. We urge every and of you as creators. All of these changes AFM local to investigate your local laws and resources, and to offer training to your that I just described seemed monumental in membership, if you have not already done so. À INSCRIRE À their day—as momentous as streaming seems Local 1000 also passed a motion to develop a sexual harassment/assault policy that today. But we managed to get through them. would apply to the “workplace” of the local, its members, and the executive board as VOS AGENDAS And who here isn’t a fan of evolution? After all, they carry out the local’s duties. We encourage all AFM members to learn about your Le 101re Congrès de la FAM local’s policy. without evolution we wouldn’t have opposable se tiendra 17 au 20 juin 2019 thumbs. And without opposable thumbs we All of us can benefit by knowing how to recognize harassment and assault and what to au Westgate Hotel & Casi- wouldn’t have Hendrix or Clapton or Yo-Yo do when we encounter it ourselves or witness harassment or assault on others. no; 3000 Paradise Road; Las Ma or Alicia Keys. So let’s agree that evolu- In solidarity, tion can be a good thing. If we are smart and Vegas, NV. Inscription : le adaptable in this time of drastic evolution, Susan Lewis and Janet Stecher dimanche 16 juin 2019. we’ll figure it all out. Members of AFM Local 1000 (Nongeographic)

“Luis and Clark… this cello has no boundaries.” Zuill Bailey, Luis and Clark owner, Artistic Director of “Classical Inside and Out” Series in Mesa, Arizona; the Northwest Bach Festival in Spokane, Washington;“El Paso Pro-Musica” in El Paso, Texas and the Sitka Summer Music Festival in Sitka, Alaska.

617-698-3034 luisandclark.com Photo © Isa Alnajem 4 December 2018 OFFICIAL REPORTS Hurricane Relief Extended to Hurricanes Florence and Michael by Jay Blumenthal, AFM International Secretary-Treasurer The AFM Interna- New AFM Emergency Relief Fund types of disasters. Therefore, future donations Understanding how best to monetize this tional Executive Similarly, a new AFM Emergency Relief Fund should be made only to the AFM Emergency work for AFM members has been a focus of Board (IEB) has has been created to assist members adversely Relief Fund. the current AFM administration. In an effort extended hurricane affected by major disasters such as wildfires It is our hope that the same generosity our to educate the membership, the recent AFM/ relief assistance to or tornadoes. Applying for this kind of assis- members demonstrated with the AFM Hur- FIM Economy of Streaming Media Confer- both Hurricanes tance requires a different application (AFM ricane Relief Fund will now be extended to ence, held in Burbank, California, identified Florence and Michael. If you were a member Emergency Relief Fund application), which is the AFM Emergency Relief Fund. Please note our best assumptions about where the music in good standing at the time of a loss as a result also available for download by following the that donations are not tax deductible. industry is headed and the challenges it pres- of a hurricane and continue to be a member in “get help” link on the AFM homepage. Please ents. All this must be taken into account as we good standing, reside in a county FEMA has make sure you use the correct application for Recording Musicians Association negotiate various agreements in film, sound designated a major disaster area eligible for in- the type of assistance you need (hurricane recording, and video games. The RMA plays dividual assistance, and incurred an uninsured I recently attended the Recording Musicians application for hurricanes and emergency a crucial role throughout the negotiation loss as described in the Hurricane Relief Fund Association (RMA) General Conference relief application for wildfires, tornadoes). hosted by Local 802 (New York City). process by identifying the issues that need to application, you may be eligible for assistance be addressed in negotiations and providing The AFM IEB provided temporary seed Ever-changing technology affects all of us from the fund. Applications are available for important rank-and-file participation at the money ($10,000) from the AFM General working in the music industry but none download through the AFM website (AFM. bargaining table. I want to thank and con- Fund to get the AFM Emergency Relief Fund more so than recording musicians. Digital org) under the Hurricane Relief “get help” link. gratulate RMA President Marc Sazer and started. However, continued assistance will distribution, satellite radio, video game music, After filling out an application, please follow the other re-elected or newly elected RMA require donations from our members. As we and new media “direct to Internet” are just a the directions by submitting the application officers. Working together, as we have been distribute assistance, Hurricane and Emer- few of the areas that are part of the changing and all supporting documents to your local. doing, helps to ensure a better outcome for If your local supports your application, they gency Relief Fund balances will decline. Once landscape. It has become increasingly ap- all musicians. will forward the application and documents to all monies in the Hurricane Relief Fund have parent that streaming is and will continue to the AFM for a determination. Any assistance been distributed, we will close out the Hur- be the predominant way recorded product Read more about the RMA Conference on page 6 and will be made at the sole discretion of the AFM. ricane Relief Fund and the AFM Emergency is delivered to the consumer, at least for the read SoundExhange President and CEO Mike Huppe’s Relief Fund will provide assistance for all foreseeable future. Streaming Conference keynote speech on page 2.

Deadline for the First Stage: January 4, 2019 Deadline for Second Stage Finalists: March 15, 2019 CHARLES MCDANIEL YOUTH AWARD 16 to 35 Years of Age PRESIDENT’S AWARD FOR LOCALS CHARLES WALTON DIVERSITY ADVOCATE AWARD Find complete award information at: AFM.org/awards Awards to be given at the AFM 2019 Convention 2019 Each award winner is selected from a variety of criteria AFM INTERNATIONAL AFM DIVERSITY COMMITTEE MISSION STATEMENT: To reflect the diversity of our musical community and further the mission of the AFM, the Diversity Committee with the assistance of the IEB, seeks to better represent our members, increase membership and raise the level of par- DIVERSITY ticipation by all through affirmative means. This will be accomplished by educational outreach, recruitment, offi- cer training and increased leadership opportunities at all levels. The American Federation of Musicians of the United States and Canada is committed to creating an inclusive environment where diversity will be valued and celebrated; AWARDS and where members, leadership, rank-and-file and staff will be inspired to contribute to the growth of theFedera- tion. We envision our organization as one where the leadership reflects and affirms the diversity of our membership. International Musician 5 Is the Album Doomed? by Alan Willaert, AFM Vice President from Canada

In a recent article Before we get too mired in what that ultimately a matter of time before they too yield to the try returns to the pre-Beatles era of track-led by Tim Ingham for means, it’s interesting to note that this is not ease of playlists. consumption, fans are being encouraged to Rolling Stone, some the case worldwide. In tech-savvy Japan, for Another telling statistic lies within the release develop a less-committed relationship with the startling statistics instance, physical sales still account for 87%. It of Drake’s album Scorpion, the hottest record- artist? Has the industry, in its zeal to monetize pointed to further seems the Japanese, much like Canadians and ing in the US this year, which is an astounding streaming to the max, sacrificed something erosion of the music Americans of yore, still want to feel the product 25 tracks long. The lion’s share of the streams more valuable that it could have realized? And model of the past, as consumption patterns in their hands, view the artwork, read the lyrics on Spotify come from only three tracks. What in their rush to rack up streams, have the artists continue to swing further toward single tracks. and other jacket information, and then display does that mean? Is it possible that, as the indus- forgotten about pacing an album, or creating According to the Recording Industry Associa- it prominently in their home. However, it’s only a beginning to end experience, in favour of tion of America (RIAA), album sales in the US recording more “filler content”? for the first half of 2018 (including downloads, CDs, and vinyl) were down 25.8%, compared On October 13, the UK music business to a year earlier. If that trend holds for the full launched a nationwide campaign called year, album sales will be half of what they were National Album Day, as the major labels, in 2015, or in terms of dollars, down by half a independents, and music retailers, with radio billion dollars compared to last year. coverage from the BBC, pushed to encourage album sales through public awareness. In- The CD album is bearing the brunt of this credibly, UK album sales fell slightly during damage. After a comfortable 6.5% drop in sales in 2017, in the first half of 2018, revenues gen- that week, the strongest bellwether yet of what erated by the CD album in the US were slashed the music industry has done, in its collective, nearly in half—down 41.5% to $246 million. corporate-minded greed. It has turned the work of musical artists into virtual store-shelf 2018 will go down as a landmark year for the trinkets, single-packet items stacked at the end acceleration of the decline in physical album of the aisle for immediate clearance. sales. Meanwhile, some of hip-hop’s biggest names released hotly anticipated new LPs, but At this time, I would like to extend best holiday exclusively on digital services for the first week. wishes for peace, love, and solidarity to all our Physical formats were made available only after members and their families, from the entire the initial rush was over. This new approach staff of the Canadian Office. May 2019 be speeds the demise of not only the CD, but also productive and prosperous for all of us in the brick-and-mortar retailers. labour movement. L’album est-il condamné à disparaître? par Alan Willaert, vice-président de la FAM pour le Canada Dans un récent article paru dans le magazine L’année 2018 marque un tournant dans l’ac- de temps avant que les habitants du pays du Le 13 octobre, l’industrie de la musique du RU Rolling Stone cite des statistiques alarmantes célération du déclin des ventes d’albums sur Soleil levant ne succombent, eux aussi, au côté a lancé une campagne nationale intitulée Na- sur l’érosion toujours plus marquée de l’ancien support physique. Parallèlement, certains des pratique des listes de lecture. tional Album Day. Couverture radiophonique plus grands noms de la scène hip-hop ont lancé modèle de l’industrie musicale, les consomma- Une autre statistique révélatrice concerne la de la BBC à l’appui, les grandes maisons de de nouveaux albums fortement attendus en ne disques, les indépendants et les détaillants ont teurs se tournant de plus en plus vers l’achat de sortie de l’album Scorpion de Drake, l’enregis- pistes individuelles. Selon la Recording Indus les offrant qu’en format numérique pendant la fait de la sensibilisation du public, encourageant - trement le plus hot de cette année aux États- première semaine. Les albums sur support phy- les gens à acheter des albums. Incroyablement, try Association of America (RIAA), les ventes Unis, qui comporte un étonnant 25 pistes. sique n’ont été mis en circulation qu’une fois la les ventes d’albums au RU ont chuté légèrement d’albums aux États-Unis ont reculé de 25,8 % Or, la part du lion des diffusions en continu pendant la première moitié de 2018, compa- folie initiale passée. Cette nouvelle approche ne au cours de cette semaine-là, une illustration fait qu’accélérer la mort annoncée du CD, mais sur Spotify revient à seulement trois titres. rativement à la même période l’an dernier. Les on ne peut plus claire de ce que les grands de aussi des détaillants qui ont pignon sur rue. Qu’est-ce que cela signifie? Est-ce possible l’industrie de la musique ont fait par leur avidité chiffres tiennent compte des téléchargements qu’en même temps que l’industrie retourne à Avant d’examiner de plus près les conséquences sans bornes. Ils ont transformé le travail d’ar ainsi que des ventes de CD et de disques vinyle. l’ère pré-Beatles de la consommation par piste, - de cette nouvelle réalité, il importe de souligner Si la tendance se maintient, les ventes totales les fans soient encouragés à développer une tistes musiciens en babioles pour étagères de d’albums pour 2018 seront deux fois moins que cette tendance ne s’observe pas à l’échelle magasins virtuels, emballés individuellement et mondiale. Au Japon, pays pourtant très axé relation moins forte avec l’artiste? Est-ce que élevées qu’en 2015. Il s’agirait d’un recul d’un l’industrie, dans son zèle pour monnayer au empilés au bout de la rangée pour liquidation demi-milliard de dollars par rapport à 2017. sur la technologie, les disques représentent immédiate. encore 87 % des ventes d’albums. Il semble maximum la diffusion en continu, aurait sa- Le CD est la principale victime de cette dimi- que les Japonais, comme les Canadiens et les crifié autre chose de plus précieux qu’elle aurait En mon nom et au nom de tout le personnel du nution des ventes. Après une légère baisse de Américains jadis, veulent tenir les albums pu réaliser? Et dans la course pour cumuler les Bureau canadien, j’offre mes meilleurs vœux de 6,5% en 2017, les revenus générés par les CD ont entre leurs mains, en admirer les illustrations, diffusions en continu, les artistes auraient-ils paix, d’amour et de solidarité pour la période pratiquement fondu de moitié aux États-Unis y lire les paroles et autres renseignements puis oublié de rythmer leurs albums de manière à des fêtes à tous nos membres et à leurs familles. pendant la première moitié de 2018, en baisse les classer par ordre alphabétique dans leur créer une expérience globale, et plutôt enregis- Que l’année 2019 soit productive et prospère de 41,5%, pour s’établir à 246 millions de dollars. bibliothèque. Cela dit, ce n’est qu’une question tré davantage de contenu de « remplissage »? pour nous tous au sein du mouvement syndical. 6 December 2018 RMA General Conference Highlights by Marc Sazer, President Recording Musicians Association and member of Locals 47 (Los Angeles, CA) and 802 (New York City)

The 2018 Record- (Santa Barbara, CA); AFM Convention Del- Electronic Media Services Division Director different kinds of tours that travel across the ing Musicians As- egate Steve Dress of Local 47; and Alternate Pat Varriale provided a comprehensive report continent on a regular basis and what strate- sociation (RMA) AFM Convention Delegate Malone. on the status of negotiations and current gies the AFM might employ to bring benefits, General Confer- coverage, and predictability to at least some On November 2, RMA hosted a forum open media issues. He participated in discussions ence met Novem- parts of this industry. to all AFM musicians, titled “Musicians/ with the delegates as a valued team member ber 2-3 at Local 802 in New York City. Media/Union.” The panel gave a PowerPoint throughout the conference. Local 802 Re- The conference reviewed reports prepared Delegates from New York, Nashville, and Los presentation on the history of our current pay cording Supervisor John Painting helped us by the Film Musicians Secondary Markets Angeles gathered to share reports, discuss structure for streaming in live TV, film, and analyze wage and other data that is critical Fund, the AFM & SAG-AFTRA Intellectual issues, hear from local and AFM officers and television film. A successful, wide-ranging to our understanding of employment trends Property Rights Fund, and more. We walked staff, and hold elections. round-table discussion with the attendees and across the different contracts and cities. our way through the pension fund website This year a new generation of delegates panel followed the presentation. It ended as AFM Rank-and-File Representative for Live online, reviewing the professional and effec- attended, bringing together varied experi- Local 802 meetings often do, with musicians TV Negotiations Jason Poss of Local 47 joined tive legislative advocacy resources available ences and perspectives. New faces included leaving for work on Broadway shows and our conference as a guest and participated in to all participants. Devin Malone of Local 257 (Nashville, TN) in concerts. our open forum. His broad knowledge of the A new committee was formed to help musi- and Martin McClellan and Allison Allport AFM Secretary-Treasurer Jay Blumenthal history of negotiations, contract issues, and cians lobby US Congress on behalf of pension of Local 47 (Los Angeles, CA). Our newly the real-life functions of our contracts greatly reform that will provide a lifeline to our pen- elected RMA Executive Board reflects this gave a comprehensive report on AFM financ- es, AFM negotiations, the status of the AFM enriched our discussions. sion fund. This is an effort we have discussed new generation of musicians: President Marc in the past, which we will all be ramping up. Sazer of Locals 47 and 802; First Vice Presi- office relocation, preparations for the 2019 One issue we discussed in some depth was dent Danny Rader of Local 257; Second Vice AFM Convention, and other issues that affect the importance of touring to musicians’ lives RMA would like to express our deepest President Roger Blanc of Local 802; Treasurer us all. Local 802 President Tino Gagliardi and finances. AFM Director of Organizing gratitude to the officers and staff of Local McClellan; Secretary Allport; Executive Offi- welcomed the conference and described his Michael Manley, who was previously AFM 802 for being such gracious hosts. We came cer Malone; Executive Officer Lara Wickes of history of involvement with negotiations both Touring/Theatre/Booking director, spent a away from NYC with a new and energized Locals 7 (Orange County, CA), 47, and 308 on Broadway and for national contracts, as very productive session with the delegates team—stay tuned; you’ll be hearing more well as his long participation in RMA. from each of the cities. He discussed the from us soon! International Musician 7

LEGISLATIVE-POLITICAL UPDATE Invest in Your Union’s Future Mid-Term Elections Upend Executive and Legislative While Expanding Branch Single Party Governance, Women Triumph! Freedom of Speech by Alfonso Pollard, AFM Legislative-Political Director and Diversity Director for American On November a lesbian and Deb Haaland (D-NM) of the State Legislation 6, the American Musicians Pueblo of Laguna tribe. Ayanna Pressley • Chambers gained: NH House, NH Senate, electorate voted to (D-MA) and Jahana Hayes (D-CT) are the ME Senate, MN House, NY Senate, CO overturn single party governance within first black women from their states elected to Senate Congress. By the end of the evening, Repub- Congress. In the Senate, Marsha Blackburn • Super majorities gained: OR House, OR licans maintained control of the US Senate, (R-TN) and Kyrsten Sinema (D-AZ) are the Senate picking up seats, while the Democrats took first women senators from their states. full control of the US House of Representa- • Republican Supermajorities broken: NC tives, secured by a 39-seat pick up. Election Statistics House, NC Senate, MI Senate • Trifectas gained: ME, NY, CO, NV, IL, NM The balance of power in the House, as report- AFL-CIO Director of Political/Electoral • Republican trifectas broken: WI, NH, KS ed by Real Clear Politics (RCP) November 20, & Issue Mobilization Julie Greene gave a is 234 Democrats to 200 Republicans. RCP November 7 report on the outcome of the What Results Mean for Musicians reports that the Senate remains in Republican election, minus a few races that were still For the three major policy issues on Cap- control with a 52 to 47 margin of victory and being counted. itol Hill that impact our lives and work as one race still being decided. Of the 36 states Governor Races: Seven Democratic gains: musicians (pension reform, arts policy, and and territories that held governor races, RCP Illinois, Kansas, Michigan, Maine, New copyright/intellectual property), bipartisan results show 23 Democrats (a pickup of seven Mexico, Nevada, and Wisconsin. Republicans House and Senate membership losses mark seats) to 27 Republicans (a loss of six seats). TASKFORCE FOR held on in Alaska, Florida, Georgia, Iowa, strategic changes as the House falls under The change in the House means that Demo- New Hampshire, Ohio, and Oklahoma. All Democratic control in January and the Senate EMPLOYMENT OF MUSICIANS, crats will control the speaker’s gavel and will Democratic incumbents won. remains under Republican control. PROMOTIONAL ORGANIZATION take control of vital committee chairmanships Senate Races: Net two Democratic losses: Pension Reform: At the end of the 2018 once Democratic leadership is voted in. AFL- Contributions to TEMPO, four losses—Donnelly (IN), McCaskill (MO), “lame duck” session, the Joint Select Com- CIO leadership, led by the AFL-CIO Political Heitkamp (ND), and Nelson (FL), plus two mittee on the Solvency of Multi-Employer PCC, the AFM’s separate Department, tracked the progress of elections gains—Rosen (NV) and Sinema (AZ). Pension Plans loses retiring co-chair Senator in all 50 state legislatures as well. segregated political fund are House Races: 39 net Democratic gains thus Orrin Hatch (R-UT), as well as Senator Heidi used to help Members of Women, People of Color, LGBT, far (42 gains and three losses). Five Congres- Heitkamp (D-ND). On the House side, all members are returning. Congress who support and Immigrant Candidates sional districts (CDs) remain outstanding. Overall, Democrats did best in the well-ed- Congressional Arts Caucus: Supports AFM issues remain in Make History ucated suburban districts, with some gains in National Endowment for the Arts (NEA), public office. Contributions For those seeking parity, the 2018 election blue-collar areas. They have not rebounded National Endowment for the Humanities to TEMPO are NOT tax offered hope for a government that reflects to pre-2016 levels, but did sweep the suburbs. (NEH), and Corporation for Public Broad- the society it serves. Groundbreaking firsts casting (CPB)—15 Democratic and Repub- deductible. Your decision to We unexpectedly picked up SC-1, the wealthy, were abundant. During this cycle, 185 women lican losses. give is strictly voluntary and Democrats and 52 Republican women ran for well-educated suburbs where a Trump Re- Senate Cultural Caucus: Supports NEA, is NOT a requirement Congress. At least 125 women were elected. publican defeated a moderate incumbent in NEH, and CPB—one loss, Hatch (retiring). An analysis by the Center for American the primary. The Republican gerrymander of membership in the union. Women and Politics at Rutgers University in Texas almost broke. We gained two CDs, House Judiciary Committee: Performance reported that 35 first-time women members and came close to gaining six more. In the rights legislation, Music Modernization Act For more information, were elected to the House of Representatives, one remaining race (GA-7) Republicans lead. (MMA) victory—11 members lost, including please contact: while 13 women were elected to the Senate. Gains: AZ-2, CA-10, CA-25, CA-39, CA-45, Chair Robert Goodlatte (R-VA). AFM Legislative This includes the youngest person ever elect- CA-48, CA-49, CO-6, FL-26, FL-27, GA-6, Senate Judiciary Committee: MMA and ed to US Congress, Alexandria Ocasio-Cortez IL-6, IL-14, IA-1, IA-3, KS-3, ME-2, MI-8, future performance rights legislation loses Political Director (D-NY), 29, as well as two Muslim women, MI-11, MN-2, MN-3, NJ-2, NJ-3, NJ-7, Hatch and Jeff Flake (R-AZ). Alfonso Pollard Ilhan Omar (D-MN) and Rashida Tlaib (D- NJ-11, NM-2, NY-11, NY-19, NY-22, OK-5, As always, the AFM’s work will continue, MI) of Somali descent. PA-5, PA-6, PA-7, PA-17, SC-1, TX-7, TX-32, and in some instances, communications will 202-274-4756 In addition, two Native American Represen- UT-4, VA-2, VA-7, VA-10, WA-8 intensify in order to meet the challenge of [email protected] tatives were elected: Sharice Davids (D-KS) Losses: MN-1, MN-8, PA-14 (All vulnerable reaching new members. We look forward to of the Ho-Chunk Nation who identifies as Democratic incumbents won.) your ongoing help in the new year. 8 December 2018 NEW RELEASES

John Legend Concert Artists of Baltimore Kathy Mattea Mike Daly A Legendary Christmas Symphonic Chorale / Pretty Bird Renascense Released October 2018 Baltimore Symphony Orchestra / Released September 2018 Released June 2018 Columbia Edward Polochick Captain Potato Mike Daly Music Handel: Messiah John Legend of Local 47 (Los Angeles, This is the first new album in six years for Renascence is defined as the revival of CA) released his first-ever holiday album, Released September 2018 the Local 257 (Nashville, TN) member. something that has been dormant. This featuring eight holiday classics, such as Naxos Records Though Kathy Mattea has enjoyed two is the third solo album from musician, “Silver Bells” and “The Christmas Song This recording of the holiday Baroque Grammy wins, four CMA Awards, four songwriter, and producer Mike Daly of (Chestnuts Roasting on an Open Fire,” classic features the Baltimore Symphony number one country singles, five gold al- Local 257 (Nashville, TN). The multi-in- as well as six new holiday tunes. Legend Orchestra, members of Local 40-543 bums, and a platinum greatest hits album, strumentalist plays steel guitar, slide, expressed his excitement for A Legendary (Baltimore, MD), the Concert Artists her continued career was in doubt when dobro, Weissenborn, steel drum, and Christmas in an Instagram post, “I’ve been of Baltimore Symphonic Chorale, So- her voice began to change a few years ago. percussion on the release. Daly wrote six wanting to do this for a long time.” prano Jennifer O’Loughlin, Alto Diana “The hardest thing was facing the question of the album’s nine tunes. He plays duets The album includes strings, horns, and a Moore, Tenor Nicholas Phan, and Bass of whether I would still be able to sing well with some of the world’s best steel players, trio of singers, including Sy Smith. Local Sidney Outlaw. enough to enjoy it. That was the acid test for including Lloyd Green and Dan Dugmore of Local 257, Greg Leisz of Local 47 (Los 5 (Detroit, MI) member Stevie Wonder The conductor is Edward Polochick, who me, and I had to be willing to walk through can also be heard on the album, playing a process that bumped me up against a very Angeles, CA), Robert Randolph, and founded Concert Artists of Baltimore English musician B.J. Cole. harmonica on “What Christmas Means in 1987. He is in his 20th season as music real possibility that, in the end, the answer to Me” and Esperanza Spalding sings on director of the Lincoln (NE) Sympho- might be no,” says Mattea. “These five special guests have been influ- “Have Yourself a Merry Little Christmas.” ny Orchestra, and has served on the She dug in with her vocal coach, and in the ential in the evolution of steel guitar and A critically acclaimed, multi-platinum conducting faculty of The Peabody In- end, produced the most poignant album influential in my life,” says Daly. “I wanted singer-songwriter, Legend has garnered stitute of the Johns Hopkins University of her career. Pretty Bird is an acoustic col- to showcase them with music that is a part 10 Grammy awards, an Academy Award, since 1979. lection of 12 songs—a number of powerful of the musical landscape right now. I didn’t want to make a country record, rather an a Golden Globe, a Tony Award, and an Celebrated for its vivid choral writing and covers that chronicle her journey back to Emmy Award, among others. He is the first singing and a couple contributions from her instrumental record where everything expressive density of solo arias, George happened to be played on steel.” African-American man to win an EGOT. Frideric Handel’s Messiah is considered husband, songwriter Jon Vezner. The title To promote the new album, Legend one of the greatest choral masterpieces of track comes from bluegrass singer-song- For example, 82-year-old Green, well launched a 25-date tour around North the Western canon. writer Hazel Dickens. Other tracks include known for his solo on Linda Ronstadt’s America on November 15 in Clearwater, “Chocolate on My Tongue” (Wood Broth- “Blue Bayou,” was playing something Florida, that ends December 30 in San ers), “Ode to Billie Joe” (Bobbie Gentry), and completely new on Daly’s “md.ldg.” “And Diego, California. “I Can’t Stand Up Alone” (Martha Carson). he really enjoyed it,” says Daly.

This section of your International Musician recognizes the latest recording projects from AFM To submit a recording, please send the following: members. We invite you to submit your next project to be listed here. In order to qualify, 1) Name of the recording your project must be covered under an AFM agreement. For more information on how to 2) Brief description (or press release) of the project. make sure your indie or studio project is covered under an AFM agreement please contact AFM Electronic Media Services Division. For US projects contact Director Pat Varriale: 3) Optional artwork (high resolution album cover or artist photo) (212)869-1330 (X234 or X233)/[email protected] and for Canadian projects contact Elec- Please send these submissions directly to the IM editor Cherie Yurco at [email protected]. tronic Media Supervisor Daniel Calabrese: 1(800)463-6333 X224 or [email protected]. Once we have verified that the work is signatory to an AFM agreement, we will schedule For projects involving symphony, opera, ballet, or chamber orchestras with collective bar- it to be listed here. We hope this will create interest and recognition for your work among gaining agreements, please contact AFM Director of Symphonic Electronic Media Debbie your peers. Newmark at (917)229-0225 or [email protected]. Questions? Contact Cherie Yurco by email or call (315)422-4488 X113. International Musician 9 NEWS & NOTES Music Lessons Unavailable to Stradivarius Lost for 35 Years Lower Income Students Is Back in Service A recent study performed by the Musicians’ In 1980, a Stradivarius violin was stolen Union (MU) in the UK found that families out of the office of Roman Totenberg at with a household income below £28,000 the Longy School of Music in Cambridge, (around $36,000) are half as likely to provide Massachusetts, and remained missing for a child the opportunity to learn an instru- 35 years. In 2015, the instrument was found ment as families with a household income when it was given to the FBI by the ex-wife of £48,000 ($61,600). Childhood interest of the thief. is the same, so it is often only monetary Totenberg passed away in 2012, at age reasons that prevent children from learning 101, so the instrument was returned to his an instrument. daughters—Amy, Jill, and Nina—who had The children not learning instruments are it restored. The sisters wanted to ensure also missing out on other positive effects. the instrument would go into the hands of After their children began lessons, 47% of a musician, so it became part of a project parents say they saw more confidence in called In Consortium, which provides their child, 42% say their child had better high-quality instruments from investors concentration, 35% reported happier chil- to aspiring young musicians. Amy, Jill, and dren overall, and 30% showed higher levels Nina looked on as Nathan Meltzer, a Juilliard of self-discipline and patience. violin student, received the instrument Studies have shown a similar disparity in during a ceremony in early October at the underserved children in the US. Rare Violins offices in New York City.

Fellowship Program Preps Tim Atwood Honored for Diverse Musicians for Career in Country Music America’s Orchestras Tim Atwood, a member of Local 257 (Nashville, TN), was honored with both a In hope of bringing more musical opportu- Proclamation from the 18th Congressional nities to underserved communities, the Los District of Illinois and the City of Peoria. US Angeles Chamber Orchestra (LACO), the Representative Darin LaHood and Peoria Inner City Youth Orchestra of Los Angeles Mayor Jim Ardis honored Atwood with (ICYOLA), and the University of California the award. (USC) Thornton School of Music have come “I’ve spent 38 years of my life in Nashville, together to create the Los Angeles Orchestra Tennessee, performing on the Grand Ole Fellowship. Opry,” says Atwood. “Today I travel the Launched in August, the program provides country taking my music to the fans. But, no four string musicians looking to further or matter where I find myself, Illinois is in my begin a musical performance career with a heart, and Peoria will forever be my home. It variety of opportunities. These opportunities was a great honor to be recognized by Mayor include: training with LACO musicians, Ardis and Representative LaHood. I hope I performing in a variety of concerts, teaching make Peoria proud, because I’m proud to be young musicians at ICYOLA, and pursuing from my hometown.” a music certificate at USC. A 50-year country music veteran, Atwood This year’s fellows, all Local 47 (Los Angeles, began his career playing gospel music at age CA) members, are Bradley Parrimore, a 13. He has toured with a variety of musicians recent Manhattan School of Music graduate; including Mel Street, Lynn Anderson, and Sydney Adedamola, who recently graduated Jim Ed Brown. Before beginning a 38-year from USC; Ayrton Pisco, a violinist who first career backing musicians at the Grand Ole played with the Brasilia National Orchestra Opry, Atwood appeared on many television at age five; and Juan-Salvador Carrasco, who shows and broadcasts. His credits include has performed in orchestras under Plácido Late Night with David Letterman, Nashville Domingo and Local 802 (New York City) on the Road, Opry Live, Hee Haw, and fea- member Yo-Yo Ma. The four fellows live and tures on CBS, NBC, and FOX national news. perform together as a string quartet. 10 December 2018 ORCHESTRA NEWS Orchestre symphonique de Longueuil Approves Houston Symphony Orchestra Kennedy Center and Long-Term Contract / Entente de longue durée à l’Orchestre Sees Significant Raises in Washington National Opera symphonique de Longueuil Three-Year Contract Musicians Sign New Contract At the beginning of October, musicians of In late September, musicians of the Wash- the Houston Symphony Orchestra (HSO) ington National Opera and Kennedy Center ratified a three-year contract that runs from Opera House Orchestras ratified three-year October 7, 2018, through October 3, 2021. agreements retroactive to September 1, 2018. HSO musicians are represented by Local Musicians were previously performing under 65-699 (Houston, TX). HSO is a 52-week one-year agreements with the Washington orchestra with an annual operating budget National Opera and The Kennedy Center. of $33.9 million. While there were slight raises with the agree- After holding salary at $97,240 for the ments negotiated last season, musicians will 2018-2019 season, musicians will receive see more substantial increases under this raises of 4% and 4.1% in the following two CBA. With pay raises in each year, com- seasons, respectively—bringing compensa- bined salary will increase to $74,241 by the tion to $105,300 by the 2020-2021 season. 2020-2021 season, up from $70,133. This Seniority pay will also increase under the covers seven weeks with the Kennedy Center new contract. Opera House and 342 work hours with the Orchestra size remains at 84 musicians, but Washington National Opera. Orchestra size The Orchestre symphonique de Longueuil (OSDL) negotiation committee and OSDL the bargaining unit will increase to 85 in remains 61 musicians. management, front (L to R): Local 406 (Montreal, PQ) President Luc Fortin and OSDL Board Chair Jean-Marc Léveillé; rear (L to R): Canadian Federation of the Musicians the 2020-2021 season, when the orchestra The tone at the bargaining table was collab- (CFM) Symphonic Services Division Director Bernard LeBlanc, musicians’ negotiation librarian will be added to the CBA. Also orative in these latest negotiations; manage- committee chair Gaëtan Chénier, OSDL and OSDL Foundation CEO Denyse Thiffault, new under this agreement, parents will be ment did not seek to reduce the guarantees and former OSDL and OSDL Foundation CEO and Director Gilles Choquet. able to take an additional two weeks of sick or propose salary cuts or freezes, as they had leave in the first six months following the last year. The two sides compromised on the Le comité de négociation et la direction de l’Orchestre symphonique de Longueuil (OSDL), birth or adoption of their child. contribution rates to the multi-employer 1e rangée (de g. à d.) : Luc Fortin, président et directeur général par intérim de la section 406 (Montréal, Qué.), et Jean-Marc Léveillé, président du conseil d’administration (CA) “We were able to achieve an agreement that benefits fund. Among other miscellaneous e de l’OSDL; 2 rangée (de g. à d.) : Bernard LeBlanc, directeur de la Division des services propels the HSO forward to become one CBA terms, it was agreed that all printed symphoniques de la Fédération canadienne des musiciens, Gaëtan Chénier, président du programs will now indicate that the mu- comité de négociation des musiciens, Denyse Thiffault, directrice générale de l’OSDL et de of the leading orchestras of the AFM,” says Local 65-699 President Lovie Smith-Wright. sicians are represented by Local 161-710 sa Fondation, et Gilles Choquet, ancien directeur général et membre du CA de l’OSDL et (Washington, D.C.). de sa Fondation.

Orchestre symphonique de Longueuil Les musiciens de l’Orchestre symphonique de Chicago Symphony Announces New Mexico Philharmonic (OSDL) in Quebec ratified a new contract at Longueuil, membres de la section locale 406 the end of October. The previous agreement (Montréal, Qué.), ont ratifié une nouvelle Strong Ticket Sales Ratifies Five-Year Deal for the musicians represented by Local 406 entente collective à la fin d’octobre. L’entente At its annual meeting in October, the Chica- Musicians of the New Mexico Philharmonic, (Montreal, PQ) had expired in July 2017 and précédente était échue depuis juillet 2017, et go Symphony Orchestra (CSO) announced members of Local 618 (Albuquerque), ratified negotiations began in July 2018. les négociations ont commencé en juillet 2018. an increase in ticket revenue for the 2017- a new five-year master agreement, effective 2018 season. At $23.3 million, sales were 2017-2022. This agreement, the third CBA The agreement covers six seasons, including La nouvelle entente couvre six saisons et $1.1 million higher than the previous bargained for the organization created in retroactive payments from the 2017-2018 prévoit le versement d’une rétroactivité pour season. CSO boasted an 86% subscription 2011, was reached after 18 months of bargain- season. Musicians will receive an average la saison 2017-2018. Les cachets − plus renewal rate for its main series—a high rate ing, two of which involved federal mediation. wage increase of 2% per year, including a bas pour les concerts et plus élevés pour les within the industry. The musicians accepted modest per service lower scale for concerts and a higher scale répétitions − augmentent en moyenne de 2 % rate increases after a 2017-2018 wage freeze for rehearsals. The number of guaranteed par année. Les musiciens ont consenti à l’utili- The orchestra presented a total of 443 con- and agreed to increased attendance require- services also increases under this contract. sation des enregistrements d’archives à des fins certs and events throughout the season, ments. The musicians granted greater sched- Musicians agreed to allow use of archival de promotion. selling out 63. That total includes 224 free community events, also up from the 2016- uling flexibility to allow the management and recordings for promotional purposes. « Il était important que cette entente permette 2017 season. CSO continues to reduce its board four years to achieve and maintain “It was important in this agreement that the à l’OSDL de bonifier son offre de concerts tout deficit. It was close to breaking even for financial stability. Musicians will no longer OSDL could improve its concert offerings en améliorant les conditions de travail de ses the 2018 fiscal year, reporting an operating hold seats on the New Mexico Phil Board of while also improving working conditions musiciens » indique Luc Fortin, président de deficit of $900,000. Directors. However, the board agreed to take for the musicians,” says Local 406 President la section locale 406. « Nous saluons les efforts part in a free program from the Federal Me- des deux parties dans cette négociation, et le CSO musicians, represented by Local 10- diation and Conciliation Service mediators to Luc Fortin. “We salute the efforts of both 208 (Chicago, IL) are negotiating a new parties in this negotiation and the work of travail de Gaëtan Chénier, président du comité improve communications and relationships contract. Their previous agreement expired among New Mexico Phil musicians, man- Gaëtan Chénier, president of the musicians’ de négociation des musiciens ». September 16 and the two sides have agreed agement, and the board. negotiation committee.” to a contract extension until spring 2019. International Musician 11 Musicians of the Vermont Symphony Orchestra Ratify First Union Contract

Vermont Symphony Orchestra Organizing/Negotiating Committee and Vermont Symphony Orchestra (VSO) management pose for a photograph following their successful negotiations.

(L to R) are Local 9-535 (Boston, MA) Vice President and Lead Negotiator Bob Couture, VSO Personnel Manager Eleanor Long, VSO Executive Director Ben Cadwallader, Negotiating/Organizing Committee Chair Nancy Dimock, and committee members Anne Janson, Hilary Hatch, Mark Emery, and Shelagh Abate. (Negotiating committee member and Organizing Committee Co-Chair Gabe Langfur is missing from photograph.)

Musicians of the Vermont Symphony Or- but its mission is to provide music to every beck. “The path to joining the AFM became A substitution policy will allow greater flexi- chestra (VSO) voted overwhelmingly to corner of the state. It plays in concert halls, clear with new management in place. VSO bility for members who are cobbling together ratify an agreement negotiated by a dedicated fields in small rural towns, as well as at Ben Executive Director Ben Cadwallader and complicated professional schedules. The orchestra committee, represented by Local and Jerry’s Concerts on the Green in Burling- Orchestra Manager Eleanor Long became VSO musicians will have sick pay and other 9-535 (Boston, MA) and VSO management. ton. With a strong statewide commitment to active participants in making this a reality.” personal leave advantages. There will be new section and assistant principal positions and This first VSO agreement was the result of an music education, VSO provides outreach to “This [agreement] is wonderful news for ev- all the musicians who perform with VSO will organizing process that included a National 20,000 Vermont students each year through eryone at the VSO,” says Cadwallader. “When I see significant wage increases. Labor Relations Board (NLRB) stipulated its SymphonyKids program. shared this with our executive committee there vote to recognize Local 9-535 as the bargain- “The VSO was my first professional contract, were high-fives all around. I echo Bob’s kind “It was wonderful to be a part of a negotiation ing representative, in cooperation with Local and it’s been my privilege to play music with sentiments about the personnel and process. where we were able to discuss issues and find 171 (Springfield, MA), Greater Springfield, great friends in one of the most beautiful When we began, I was ‘warned’ by many from ways to move forward together,” says Dimock. Berkshire County, and Vermont Musicians. places in the world,” says VSO Organizing within our industry and the private sector that “The musicians will benefit from a compre- “We are pleased with the cooperation Co-Chair Gabe Langfur. “I am thrilled to union negotiations would be arduous, conten- hensive contract, and we will ultimately have between Locals 9-535 and 171 and thank see this commitment to institutional growth tious, and divisive, yet nothing could be further a stronger organization that will benefit the Local 171 President Richard Melikian and from all parties—musicians, management, from the truth. Even when we disagreed, I players, management, and community.” Local 9-535 President Pat Hollenbeck. Our and the VSO Board—through affiliation was consistently inspired by the pervasive Emery adds, “Players, management, and the work could be a model for other regional with the AFM.” kindness, optimism, and professionalism from AFM demonstrated care and concern for one everyone involved (in particular, from Bob and orchestras around the country that have not Though negotiations were complicated, as another throughout.” yet found a way to organize. All professional the musicians committee).” first contracts normally are, and took six “I have had experience in first contract ne- musicians should have the benefit of the kind months to complete, they were collaborative “This process and the resulting contract have of productive negotiations we shared with the gotiations between nurses and their medical in every respect. The Organizing/Negotiating strengthened the VSO for decades to come, center, and it amazed me that this negotiation VSO,” says Local 9-535 Vice President and Committee was chaired by Nancy Dimock and I look forward to loudly offering a strong Lead Negotiator Bob Couture. bore no resemblance to that prior adversarial (VSO principal oboe) of Locals 9-535, 171, counter-argument next time I hear colleagues and rancorous proceeding,” says Hatch. “It “Local 171 was pleased to have been part and 443 (Oneonta, NY) and included Shelagh try to ‘warn’ anyone about negotiations and was clear from the start that VSO musicians of what I believe was perhaps the ‘first of a Abate (principal horn) of Local 802 (New unionizing,” adds Cadwallader. “I look for- and VSO management wanted to work to- kind’ organizing effort between AFM locals York City); Mark Emery (principal trumpet) ward to our continued work together over gether to produce a sound, fair contract. The in different jurisdictions representing the of Local 9-535; Anne Janson (second flute) the many years to come.” VSO is a remarkable orchestra, and it was musicians of the Vermont Symphony Or- of Local 171; Hilary Hatch (violin) of Local With this agreement, the VSO, founded in wonderful to see that harmony prevailed even chestra,” says Melikian. “We are confident that 171; and Langfur (bass trombone) of Locals 1934, becomes the newest AFM orchestra. in contract negotiations.” the cooperation in finalizing the agreement 9-535, 400 (Hartford-New Haven, CT), and Roster members will enjoy tenured status Everyone agreed that it was AFM organizing will greatly benefit the orchestra musicians 198-457 (Providence, RI). with solid job security—including peer and VSO.” and spirit of unity that brought the negotia- “Unionization has been a topic of conver- review appeals as part of a nonrenewal pro- tion to a successful agreement to the benefit VSO’s home base is Burlington, Vermont, on sation for years but wasn’t under serious cess. There will be meaningful agency for the of all parties. the picturesque banks of Lake Champlain, consideration until recently,” explains Hollen- audition committee in the audition process. 12 December 2018 Holiday Gift Guide Special Advertising Section

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It’s been 12 years since the young band of Today, each of the Local 257 (Nashville, virtuosic players known as Punch Brothers TN) members remains steadfast in his first gathered early in their careers. To- dedication to Punch Brothers, which re- gether, they have grown up in the industry, leased its fifth studio album,All Ashore, developing a deeper, more mature sound in July. Their first self-produced album is as a quintet, while each of them expanded a nine-movement suite of interconnected their multifaceted individual careers. themes and stories. International Musician 15

Chris Eldridge says it’s “huge” for career Punch Brothers are (L to R): “At the start we did a lot more chopsy, crazy musicians to join together in union. Acting Gabe Witcher (fiddle), Chris Thile playing. We don’t have a lot to prove in that (mandolin), Paul Kowert (bass), as spokesperson for the group he says, “As Noam Pikelny (banjo), and Chris department anymore, so that kind of creates musicians, in the face of people more rich and Eldridge (guitar). a space to work on other things. Singing is powerful than we are, it’s a big deal.” something we’ve been trying to get better at.” In 2006 mandolinist Chris Thile first gath- The group describes All Ashore, their fifth ered the group of like-minded 20-something studio album, as a reflection of how the polit- instrumentalists—Eldridge (guitar), Gabe ical landscape affects personal relationships, Witcher (fiddle), Noam Pikelny (banjo), and parenthood, and human interactions—a the band’s original bassist Greg Garrison— meditation on committed relationships. Thile specifically to complete his project coined The describes the album as a complete thought, a Blind Leaving the Blind. single nine-movement piece of music. “We started out working on this really am- Aside from The Blind Leaving the Blind, this bitious piece of music together, and as time was the first Punch Brothers album envisioned went on, we developed a voice as a band,” says Eldridge. “When we all got into a room with a big picture concept and sequence, says together it felt special.” After changing names Eldridge. “[We knew] this is where we want to a few times, the quintet settled on Punch start, this is where we want to be in the middle, Brothers—inspired by Mark Twain’s “A Liter- and this is where we want to end.” ary Nightmare.” He says they went into the recording session The Blind Leaving the Blind, Thile’s four-move- while some of the material was still rough. ment, 40-minute suite for bluegrass instru- “In the past when we’ve gone in to record, the ments debuted in 2007 at Carnegie Hall. a child. He made his first solo album at 13, vals. He played electric guitar from age nine music’s been pretty well locked down,” he says, Punch, the group’s first album on Nonesuch following in the steps of progressive bluegrass and then moved to acoustic after discovering adding that the change, to a certain extent, Records, featured the suite and other original players like Béla Fleck and Edgar Meyer, both Tony Rice. His former band Stringdusters won served a purpose. songs from the quintet. members of Local 257. Thile was IBMA Man- three IBMA Awards following the album Fork dolin Player of the Year in 2001, at age 20, and In the Road (2007). Mount Royal, his 2017 “There are certain times when we want the Four more albums, two EPs, and multiple tours a MacArthur Fellow at 31. album with Julian Lage, was nominated for tape to be rolling the first time. There is magic have followed for the bluegrass-influenced a Grammy. the first time we play it right that we never get group that defies genre definition. As the group In 2016 Thile took over hosting duties for Live back. We were trying to leave space for that from Here (formerly A Prairie Home Compan- has evolved, so has each of its members’ solo Eldridge is a member of the Live from Here intangible magic to appear,” he says. “But also ion). He released Thanks for Listening, a collec- careers. Garrison left after the first album and house band. Too modest to discuss his own tal- on this record, with everybody’s hectic lives, we tion of songs written for the program in 2017. ent, the virtuosic player says he sees himself as was replaced by the band’s youngest member, didn’t have as much time to prepare. We also a glue that helps keep Punch Brothers together. Paul Kowert. Fiddler Gabe Witcher performed in his family’s left space to be able to go back and revise stuff.” band as a youngster. He first jammed with With such a wide range of side projects going At the start, they were idealistic musicians who The blueprint forAll Ashore came from dis- Thile after meeting as children at a bluegrass on, Eldridge admits it’s harder these days to be were already recognized instrumentalists. It’s cussions the band had on tour. “The music festival. He is an accomplished producer who Punch Brothers. “We just have to be deliberate almost like the band grew up together as indi- really gets written collectively in a room with viduals, musicians, and friends, says Eldridge. took much of the lead in producing All Ashore. about it. Now that we’re older—adults in every ideas coming from anybody within the band,” “For such a long time the band was a core He also produced Grammy-nominated al- sense of the word—and we weren’t when the he says. “Thile will start singing dummy lyr- focus—everybody’s life orbited around Punch bums for Eldridge and Pikelny. band started,” he says families and work/life ics—something he learned from the Jayhawks’ Brothers. But now we all have other things balance are the biggest complicating factors. Paul Kowert records and tours with the Dave Gary Louris.” Real lyrics are added after the going on—people are married and have kids.” Rawlings Machine and released the album “It’s not full-time like when we were younger and I don’t think it ever will be again. There’s song is written. “The music that we make and the language, Unless with the band Hawktail in 2018. “Paul’s something beautiful about having new experi- rapport, and influences we’ve built on and an unbelievably incredible musician who can “Thile does all the lyric writing. We joke that ences—that’s so important. And then we bring developed together,” says Eldridge. “It’s been literally do anything that anyone can on the it’s sort of like the United Nations where every- that back to the band.” kind of a constant evolution to become bet- acoustic bass,” says Eldridge. He says that Paul body gets veto power on the lyrical front,” says ter at recognizing our strengths and playing keeps Punch Brothers grounded. “He’s pure For example, his work with Lage brought him Eldridge. “We won’t let something out unless to them.” in his sensibility of when music’s good and back to improvising. “That project, in a way, everybody is happy and that can be frustrating. when it’s not.” couldn’t have been further from what I do with There have been times where everybody is “Being in a band is much like being in a family Punch Brothers. I reconnected with being an digging what’s happening except one person. or a relationship. We’ve spent thousands of “Noam [Pikelny] is so ingenious at coming up improviser. Then when we came back to make Usually we work on it until everybody is hap- hours playing music together and we’ve cer- with incredible textures on his instrument,” the new record I had a new tool to play with,” py,” he says and usually everyone agrees the tainly grown together in that way—something says Eldridge. “He can play so sensitively—like says Eldridge. like the way siblings can really sing together.” the world’s most lyrical banjo player. He has new version is better. “That’s one of the cool Eldridge says. “The band is a real mutual such an intelligent and beautiful sense of cu- One thing that helps with scheduling, he ex- reasons to be in a band, as long as you’re with admiration society. Everybody loves music so riosity about the instrument and an incredible plains, is that the Punch Brothers management people who you trust and respect, five heads deeply and has their own musical personality work ethic.” Noam’s fourth album Universal team also manages many of their solo projects. are better than one.” that they bring to the stew of the band.” Favorite (2017) was nominated for a Grammy “That’s a really big deal. We are existing a Punch Brothers wound up the year with a and he was IBMA Banjo Player of the Year in couple years in the future; it’s a lot of planning He describes Chris Thile, as “one of the most November tour of Europe. They will be touring 2014 and 2017. ahead,” he says. brilliant musicians on the planet. He has an the US again in March 2019. “It’s a lifer band; incredible ability to mastermind the archi- Eldridge, whose first instrument was his voice, Known for their individual instrumental prow- there’s no doubt about it,” says Eldridge. “I can’t tecture of music.” A mandolin prodigy, Thile is the son of banjo player Ben Eldridge of The ess, in recent years the quintet has focused on imagine anything ever being more important co-founded the acoustic trio Nickel Creek as Seldom Scene and grew up at bluegrass festi- vocals, which Eldridge says is also its weakness. or sacred to us than Punch Brothers.” 16 December 2018 RESOURCES READING, WRITING, AND RHYTHMETIC: THE ABCS OF MUSIC TRANSCRIPTION

This book will improve your ability to transcribe music and help you make the connection between the music you hear and what it looks like on the page through a step-by-step approach. It comes with two CDs and a variety of listening, singing, playing, reading, and composing activities designed to prepare you to write down musical ideas and create transcripts. You will be working with more than 300 example songs from almost every genre. Reading, Writing, and Rhythmetic: the ABCs of Music Transcription, by Roberta Radley, Sher Music Company, www.shermusic.com

MARTIN BRESNICK: PARISOT FOR TWELVE CELLOS

This unique orchestration is a bold addition to the cello reper- toire. Martin Bresnick’s Parisot for Twelve Cellos is a musical por- trait of Bresnick’s admired colleague Aldo Parisot of Local 400 (Hartford-New Haven, CT). Divided into three movements to be performed without pause, “Paradox,” “Parallels,” and “Paragon,” represent attributes of the great cellist and teacher and reflect on Bresnick and Parisot’s shared musical path. Martin Bresnick: Parisot for Twelve Cellos, by Martin Bresnick, Carl Fischer, www.carlfischer.com.

… INTO THE BLUE FOR STRING QUARTET

Commissioned by the Trustees of the Saint-Gaudens Memorial and written in celebration of the Cornish Colony and Augustus Saint-Gaudens, the composition … into the blue captures ele- ments of the landscape, artwork, and friendships memorialized at the National Historic site. Its three main sections—“between the daylight and your dreams,” “imagined and immortal forms,” and “playful badinage”—are connected by cello solos and per- formed as one continuous movement. … into the blue for String Quartet, by Stephen Lias, Alias Press, www.presser.com.

RESTLESS FOR SAXOPHONE QUARTET

This rollicking four-minute piece for saxophone quartet is challeng- ing, but not virtuosic, and has been performed by groups ranging from advanced high school players to professionals. It was written for the Red Stick Quartet, which describes the piece: “The outer sections are filled with a jazz-influenced rhythmic and harmonic language, while the middle section offers great lyricism. This piece features all four members equally and works wonderfully as a concert opener or closer!” Restless for Saxophone Quartet, by Stephen Lias, Alias Press, www.presser.com. International Musician 17 TO YOUR HEALTH In Sync with Your Instrument An important yet often neglected component others and get feedback from professionals. of performance is proper biomechanics. Tech- To achieve a holistic outlook on your music nique, skill, and interpretation all contribute with and without your instrument—and above to a musician’s professional potential, but the all, to prevent injury—incorporate a training physical toll of holding an instrument and schedule that includes physical conditioning. playing it for hours puts a strain on the mus- It’s a challenge, says Türk-Espitalier, for mu- culoskeletal system. What’s more, the stress sicians to “dissolve” and replace old habits. can result in debilitative injury. According to “Faulty patterns have been practiced for many Alexandra Türk-Espitalier, a flutist, physio- years and are, therefore, firmly embedded into therapist, and researcher at the University of movement, playing technique, and behavior. If Music and Performing Arts Vienna, it’s often basic movement patterns have to be relearned, when a musician reaches the point of physical I recommend a time when few concerts are discomfort that physical conditioning takes scheduled.” Trying to resolve problems during center stage. a busy season can be difficult. She says, “Great In her book, Musicians in Motion: 100 Exercises care must be taken to ensure that a musician’s with and Without Instrument, Türk-Espitalier quality of playing is not diminished and the compiled 100 exercises to correct misaligned player does not become frustrated.” playing posture and relieve playing-related Her book is comprehensive, from causes pain and overuse syndrome. She has carefully and bad habits to warmup, cool down, and designed a system of training and exercise, breathing. There are solutions for almost every zeroing in on the source of the pain and ad- problem. Structured according to areas of the dressing issues with exercise, strength training, body and the associated physiological stress and specific routines for different instruments. factors, the routines are easy to follow. For Body Awareness, Breathing flutists and violinists, there are shoulder and arm exercises. Tension in the forearms, hands, According to Türk-Espitalier, who has worked and wrist can be reduced effectively with with many orchestras and virtuoso solo per- massage—the palm of the hand, the thenar, formers in Europe, problems can be corrected, and the hypothenar. For instance, with cellists, even for longtime professionals. Through massaging the thenar muscles of the right hand an analysis of movement and posture with is recommended. The exercises are suitable for the instrument, a number of problems can professional and recreational musicians alike. be pinpointed: misalignment; muscle tone dysbalance; lack of flexibility, strength, and Younger musicians are more tuned into instru- coordination; or faulty playing technique. She ment-specific fitness regimens. Türk-Espitalier tailors specific relevant exercises for musicians says, “In Germany, Switzerland, and Austria, to promote endurance, expression, and pain- music physiology is now even a mandatory free playing. subject at some music universities.” She explains that the younger generation of professional Instrumental technique correlates to body musicians is more familiar with the concept regions and awareness. Deep breathing and and uses the techniques to enhance their playing long airflow are directly related to the lower skills. She views musicphysiology as a critical spine. Hip joints should be open and the component of performance—playing with ease torso stabilized with an upright pelvis. Big and pain free in a competitive industry. sound and fast articulation require a free neck, flexible eyes, free ears, and flexible lower jaw. Türk-Espitalier has worked with individual For precise key touch you need light and long members of most of the major orchestras in arms, wide chest and collarbone, and free and Germany and Austria (Vienna Philharmon- flexible shoulders. ic, Frankfurt Radio Symphony Orchestra, WDR Orchestra Cologne, and more). She Alignment and Exercise in Daily Life has conducted orchestra-wide workshops Musicians are used to focusing on instru- throughout Germany. ment-specific coordination, but practicing Alexandra Türk-Espitalier, PhD, is a flutist, physiother- correct body alignment of joints and achieving apist, researcher in music physiology, and lecturer at muscle balance should extend to everyday the University of Music and Performing Arts Frankfurt activities. Türk-Espitalier notes that prevention and at the University of Music and Performing Arts should be designed according to strengths Vienna, where she is program leader of a postgrad- and weaknesses. To identify them, observe uate certificate course in music physiology. 18 December 2018 UPBEAT Pianist Thrives in the Jazz World Jazz and access to like-minded artists drew Jinjoo Yoo to New and unions made me realize that it is very important to fight York City. The 29-year-old South Korean pianist enrolled in together for our common rights,” she says. The Korea Musi- the Aaron Copland School of Music at Queens College in cians’ Union, established in 2013, was officially registered as a 2015, earning a master’s degree in jazz performance in 2017. labor union just last year. Yoo sees signs of major progress in She observes, “The fact that New York is a hub for talented the South Korean music industry, which has not historically musicians from all over the world—it’s something employers fostered a culture of negotiation. might take advantage of. I believe this is why artists need to Now performing with seasoned players, she says, “I think gather and act together. Better conditions for artists will im- finding the right people (colleagues, jazz authors, labels) to prove the quality of their work—jazz fans, the music industry, work with is very important. I was lucky to meet and get to our society, and community will benefit.” know some incredible jazz artists who helped me to adjust Yoo first heard a live jazz trio when she was 17, an experience to this city and enlightened me with their beautiful approach she says, “simply blew my mind! I thought, ‘jazz is weird and to the music.” I like it!’” She could relate to the way it seemed to describe the Fellow musicians promoted her musical development, cul- world—its joy, beauty, and pain. In South Korea, she studied minating in the 2018 release of her CD I’m Curious. She has sociology and economics, but joined the university’s jazz toured in support of the album in the US and Europe. Last band and found herself becoming increasingly immersed month she returned to South Korea to celebrate the album’s in the music. release there. “It represents a search for the music I love and “I still remember the first time I heard Bud Powell playing want to pursue,” she says. “I believe that I am still in the middle his tune ‘Cleopatra’s Dream.’ His music got stuck in my head of the journey.” She will tour the UK next year with trumpeter and I could not get rid of it. I bought a jazz harmony book Chris Hodgkins. and studied chords and voicings myself. The jazz lecture South Korean pianist In 2016, Yoo was invited as a guest artist to perform for the videos of legendary pianist Barry Harris [of Local 802] were JinJoo Yoo, a member of Book and Jazz Concert hosted by Root Impact, a South Ko- Local 802 (New York City), tremendously helpful. I still remember the thrill when I finally rea-based nonprofit active in the US in support of projects for met him in person in New York in 2015,” she says. moved to the Big Apple in 2015 to study jazz. greater social investment. The following year, she was selected Having a strong musical foundation prepared Yoo for the as one of the finalists for the Baku Jazz Competition. Yoo cred- rigors of learning a new genre. As a youngster, she took part Jackson Notier Photo: its her success to important lessons she learned watching other in piano competitions, but distinctly remembers it was not musicians: “They know how to put music before themselves. the classical music that thrilled her, rather the sound of the I try to be patient and honest in music, like them.” piano. “I always wanted to arrange or compose songs and Gordon, and Billie Holiday became part of her vernacular. She devoured the piano stylings of Mary Lou Williams, Wynton Of New York City, Yoo says, “This city always surprises me. improvise melodies over original songs. Unfortunately, no- Every night, somewhere in this city, great jazz music is hap- body recommended that I learn jazz because nobody from Kelly, Teddy Wilson, Sonny Clark, Art Tatum, Jimmy Rowles, and Carmen McRae. pening. I think this is the ‘jazz culture’ that we are missing my hometown knew about this music,” she says. in [South] Korea. This culture is firmly rooted in American “Learning jazz is like learning a language—a new vocabulary, In New York, Yoo joined Local 802. As a student in South history that cannot really be imitated. It is amazing to listen idioms, grammar, and expressions that help me communicate Korea, she worked with labor unions and non-governmental to and talk to the greatest jazz musicians in this world right with people,” Yoo explains. Jazz greats Charlie Parker, Dexter bodies. “My experience working with different organizations in front of you.”

The Making of a Percussionist: Serendipity Led to Success Drummer and percussionist Sean J. Kennedy first joined of Local 802 (New York City), with whom he wrote his One of the challenges he faced when writing his book I Used Local 45 (Lehigh Valley, PA) and later transferred to Local first book. to Play Drums with DeVitto, was developing a textbook for 341 (Norristown, PA). He says, “It was amazing how much An educator, bandleader, and composer, Kennedy cut his beginners and returning players that allowed them to learn networking was immediately available. Area musicians and chops in recording sessions for the famous Allentown Band. technique as a more natural process. “You could leave the page the people I knew increased rapidly, just by joining the local.” He’s led master classes and workshops in schools, universities, and still make music.” Throughout, he reminded students, He adds, “What was most amazing, because I was in the and jazz camps across the country and built a multifaceted “Listen to your recordings. Here’s some notation—but listen.” union, it was almost like I had street cred instantly. The sense career, working with marching bands and teaching at Mont- Balancing these two worlds has been the key to success for of camaraderie—I think that is what really thrilled me to be gomery County Community College in Philadelphia Kennedy, who says, “The more adaptable you are, and the part of this group.” Making art accessible to his students often means straddling more creative you are, the more opportunities to make mu- In his recent TED Talk, “Grooving with Serendipity,” Ken- the world of reading music and improvisation. For percus- sic—if you don’t pigeonhole yourself.” He emphasizes, “Just nedy explores the art of percussion through the lens of his- sionists, in particular, Kennedy says, “It’s about making it fit create; I’m trying to get everyone to that happy medium be- tory. It’s also a reflection on a journey of self-discovery, one into the context of whatever act we’re supporting. The same tween reading and improvising, based on their specific needs.” he calls a series of “happy accidents,” from being compelled can be true with your education and learning the drum set, Kennedy credits his teacher, drummer and percussionist Ray to join his high school marching band and discovering bass, or piano. I think to be successful you have to be able to Deeley of Local 77 (Philadelphia, PA) for his own inspired the drums to meeting his heroes, like Liberty DeVitto do everything.” (Continued on page 19) International Musician 19

(Continued from page 18) FREE SHIPPING The Making of a Percussionist: Serendipity Led to Success approach to teaching. When Kennedy talks include Camp Jam: Rock Solid Drum, nom- about the history of The Beatles, he says he inated as a 2011 Educational Drum Book hopes it’s a catalyst for students to mine You- of the Year in Modern Drummer magazine Tube or their parents’ old record collection. reader’s poll and Sixty Second Solos, which “I think it was Duke Ellington who said, won second runner up in the 2015 Drum- ‘There are two kinds of music, good and bad.’ mies, Drum! magazine’s readers poll award. So I break down those walls. I basically tell Kennedy has played with orchestras nation- them there are no genres. You could listen to wide. He’s performed with Italian operatic Bach and then put on Gershwin and they’re pop trio Il Volo, Roger Daltrey and mem- all communicating in their own way.” bers of The Who, The Strauss Symphony of He counts Deeley among his “heroes,” along America, Rocktopia Live, and Jerry Garcia with John Williams of Locals 47 (Los An- Symphonic Celebrations with Warren geles, CA) and 9-535 (Boston, MA), Dave Haynes. But, he says, “If I had a dream gig, Brubeck, and Vince Guaraldi. it would be playing standards from the great Kennedy’s “Kaku, Kupala (Fear in Neutral American Song Book with a guy like Tony Buoyancy)” original orchestral composi- Bennett. A small group, a lot of interplay tion premiered at Carnegie Hall in 2016, between the musicians, and room for per- performed by the 500-member Youth sonal expression.” Philharmonic International Orchestra, con- To learn more about artists and innovators in ducted by Jose Luis Gomez. Kennedy went the music industry, visit Kennedy’s website on to conduct the original choral piece “Lux and the podcast, Backstage at The Enhar- Contritum (Broken Light)” with orchestral monic with Sean J. Kennedy. Some of his accompaniment, commissioned by The guests include iconic drummer Hal Blaine Archdiocese of Philadelphia, which debuted of Local 47, The Philadelphia Orchestra in 2017 at The Kimmel Center’s Verizon Hall. Acting Associate Principal Bass Joseph Co- Two of his most popular jazz compositions, nyers of Local 77 (Philadelphia, PA), Atlanta “Ashley & Juliet” and “Boogaloo Sub,” will Symphony Orchestra Bass Michael Kurth of be included in the forthcoming Real Phila- Local 148-462 (Atlanta, GA), and big band delphia Book, Vol II. Kennedy’s other books leader Gordon Goodwin of Local 47. NEW FEATURES: ❱ Battery fuel gauge alerts you to You can see Local 341 battery levels for peace of mind. (Norristown, PA) member Sean J. Kennedy’s TED Talk at https://youtu.be/ ❱ Powered by a rechargeable lithium Polymer battery. Ku70874c3vg. ❱ Pleasing, natural, warm white light. ❱ Stiff flexible arm. ❱ Clips to ANY music stand or piano music rest. ❱ Compact, light and durable for use anywhere in the world! ❱ FREE PRIORITY MAIL shipping in the U.S.

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Photo: Aidan Kennedy Aidan Photo: Visit us at NAMM in booth #8551 20 December 2018 TAKE NOTE UNFAIR LIST POLICY & PROCEDURES To make the AFM’s International Unfair dispute must exist between the union and not the subject of concerted activity by the for organizations, establishments, or people List an even more effective way to support the employer at the time of placement on the union will not be placed on the International who have been placed on the International musicians during primary labor disputes, the International Unfair List. Unfair List. Unfair List, or for their principals. Any mem- AFM International Executive Board revised Such disputes may include, but are not lim- An employer placed on the International ber who violates this rule shall be subject the policy and procedures for placing and ited to: Unfair List will remain on the list only as long to penalties in accordance with Article 11, maintaining employers on the International Section 13 of the AFM Bylaws. 1) Lawful strikes in support of the union’s as a primary labor dispute exists, and the local Unfair List. As a result, the AFM’s Internation- provides written evidence of ongoing concert- In addition, according to Article 13, Section al Unfair List will be published in its entirety bargaining demands and/or demands for union recognition; ed activity against the employer. 4 of the AFM Bylaws, “Before accepting in the International Musician on a monthly any Traveling Engagement, members shall basis, so that members may be aware of all 2) Employer-initiated lockouts of musicians The Federation will publish the names of employers that are removed from the Inter- be responsible to ascertain that the organi- employers maintained on the International represented by the AFM or any of its locals; zation, establishment, or person for whom Unfair List. national Unfair List at the time of removal. 3) Union protests against employer unfair they propose to render musical services labor practices. Members’ Responsibilities has not been placed on the International Placements Unfair List.” Under the terms of this policy, a primary labor An employer that is openly anti-union but is Members shall not render musical services

International Unfair List CANADA: The Western Canadian Music Alliance Exec- MICHIGAN: Steve Trudell, dba Steve Trudell Entertain- PENNSYLVANIA: Karen Banos; Rittenhouse Music; 214 utive Director Robyn Stewart and Board Members: ment, LLC; Steve Trudell Music, LLC; Trudell & Associ- Richmond St.; Philadelphia, PA 19125—Placed at the Sean McManus, Carly Klassen, Christine Rogerson ates, LLC.; and Your Generation in Concert, LLC; 328 request of Local 9-535 (Boston, MA) Scott Johnson, Jason Smith, David Whitlock, Kim Four Seasons Dr., Lake Orion, Ml 48360—Placed at the Winnicky, and Michael Dawson; 1-118 Sherbrook request of Locals 1 (Cincinnati, OH), 2-197 (St. Louis, MO), Street; Winnipeg, MB R3C 284—Placed at the request 3 (Indianapolis, IN), 4 (Cleveland, OH), 9-535 (Boston, MA), RHODE ISLAND: Paul Van Anglen, President Newport of the Vice President from Canada 10-208 (Chicago, IL), 20-263 (Denver, CO), 34-627 (Kansas Contemporary Arts, Inc., Newport Contemporary City, MO), 40-543 (Baltimore, MA), 47 (Los Angeles, CA), 60- Music Series, 67 Lawton Ave.; Tiverton, RI 02878— 471 (Pittsburgh, PA), 65-699 (Houston, TX), 66 (Rochester, Placed at the request of Local 198-457 (Providence, RI) CALIFORNIA: Benjamin Mitchell, President Kaleido- NY), 72-147 (Dallas-Ft. Worth, TX), 77 (Philadelphia, PA), scope Chamber Orchestra of Los Angeles; P.O. Box 92 (Buffalo, NY), 126 (Lynn, MA), 148-462 (Atlanta, GA), 251801; Los Angeles, CA 90025—Placed at the request 161-710 (Washington, DC), 174-496 (New Orleans, LA), TENNESSEE: Steve Schnur; Electronic Arts; 209 Red- of Local 47 (Los Angeles, CA) 285-403 (New London, CT), 400 (Hartford-New Haven, wood Shores Pkwy., Redwood City, CA 94065—Placed CT), 444 (Jacksonville, FL), 506 (Saratoga Springs, NY), at the request of Local 257 (Nashville, TN) Cinema Scoring; c/o Erin Collins; Attn: SESAC 586 (Phoenix, AZ), 655 (Miami, FL), 802 (New York City) Los Angeles; 2150 Colorado Ave. Ste. 150, Santa Alan Umstead; Nashville Music Scoring, 920 Stuart Monica, CA 90404—Placed at the request of Local 47 Ln., Brentwood, TN 37027—Placed at the request of (Los Angeles, CA) Local 47 (Los Angeles, CA) NEW YORK: Ted Magder; Vice Dean for Academic Affairs Cypress Pops Orchestra; PO Box 434; Cypress, CA NYU Steinhardt School of Culture, Education, and 90630—Placed at the request of Local 7 (Orange Human Development; 82 Washington Sq. E., 4th Floor; TEXAS: Dallas Bach Society; PO Box 140201; Dallas, TX County, CA) New York, NY 10003—Placed at request of Local 802 75214—Placed at the request of Local 72-147 (Dal- (New York City) las-Fort Worth, TX) Jennifer Walton; Collective Media Guild; 3553 Atlan- tic Ave. Ste. B; Long Beach, CA 90807-5607—Placed at The Dallas Pops Orchestra; PO Box 1811; Allen, the request of Local 47 (Los Angeles, CA) James Quinn; Hoboken Productions, Inc.; 57 Colonial Ave.; Warwick, NY 10990—Placed at the request of TX 75013—Placed at the request of Local 72-147 Local 369 (Las Vegas, NV) (Dallas-Fort Worth, TX) MASSACHUSETTS: Video Game Orchestra; PO Box ☛ In support of other AFL-CIO entertainment unions, please also 230247; Boston, MA 02123—Placed by the Federation Joe McGinty; Carousel Studio; 61 Greenpoint Ave.; check the American Federation of Television and Radio Artists Brooklyn, NY 11222—Placed at the request of Local (AFTRA), Actor’s Equity Association, American Guild of Musical Shota Nakama; PO Box 230247; Boston, MA 02123— 802 (New York City) Artists (AGMA), and American Guild of Variety Artists (AGVA) “Do Placed by the Federation Not Work” notices before accepting work. International Musician 21

TAPS Local 1 (Cincinnati, OH)—Jerald E. Robinson*, Jack Local 161-710 (Washington, DC)—Douglas Lawler CLASSIFIEDS Shallat* Local 189 (Stockton, CA)—Thomas Dutart Local 3 (Indianapolis, IN)—Kirk M. Kuetemeier Local 247 (Victoria, BC)—Don Scott Local 5 (Detroit, MI)—John Dana Local 400 (Hartford-New Haven, CT)—Eric Dahlin Local 7 (Orange County, CA)—Kris Grayson Berry Local 802 (New York City)—Glen Daum, Gary Local 16-248 (Newark-Paterson, NJ)—Stan Gasior* Decarlo*, McDonald Payne*, Robert A. Taylor, Harriet Local 20-623 (Denver, CO)—Virginia Bonvicini* Wingreen* Local 30-73 (St. Paul-Minneapolis, MN)—Everett Goulet*, Maurice O. Turner* Local 34-627 (Kansas City, MO)—Donald A. Accurso* * Indicates Life Member Local 101-473 (Dayton, OH)—Elmer M. Sloan*

Taps listing must be submitted by the local (separate from roster updates). Send a request using the format above to: [email protected]. Please note, the IM does not print member obituaries, eulogies, or tributes.

CHANGES

Local 105 (Spokane, WA)—New Vice President Eugene Jablonsky Local 123 (Richmond, VA)—New primary contact Administrative Assistant David Hartley Local 186 (Waterbury, CT)—New President Joseph Spitzer, Cell: 203-559-5452, Email: [email protected], 10 Marsh Pond Lane, Monroe, CT 06468 Local 443 (Oneonta, NY)—New President Ruth Berry, Cell: 706-495-4455, Email: [email protected]; New Secretary-Treasurer, Daniel Hane Local 518 (Kingston, ON)—New address 1326 Channelview Rd., Kingston K7L 4V1, Cell: 613-484-3554

Members and officers can access a monthly update to the List of Locals online at http://members.afm.org/member/ library/ in the Miscellaneous folder. Information changes, such as new local officers, addresses, and phone/fax numbers are updated monthly. Officers should send information changes/updates to [email protected]. Local officer changes are listed here each month.

CLASSIFIED AUDITION ADVERTISING POLICY

All audition ads from US or Canadian If there are any issues/problems with the Laurence Hofmann at [email protected] symphony orchestras to be printed in the position advertised or the language in to gain access. International Musician must be covered by the ad, it’s up to the local officers and the The International Musician will do its best to an AFM collective bargaining agreement. orchestra management to resolve the accommodate ads submitted after a given Auditions are advertised monthly in the conflict before the ad will be published in deadline as long as there is space available. International Musician. As a service to the International Musician. If you have any questions regarding members, they are also posted on the AFM. The IM must receive confirmation/approval deadlines or availability of space, contact org website. from the AFM local that the ad is approved [email protected]. All advertisements are Orchestra management must submit the prior to its publication. (Military, training/ subject to acceptance by the publisher. The ad information and contract size to the educational, and foreign orchestras are publisher will not accept advertisements International Musician office by the 10th exempt from this approval policy.) that are illegal, discriminatory, defamatory, of the month prior to the month to be or an infringement on a third party’s rights. Any audition deposit, meant to ensure a published (i.e., June 10 for the July issue). The International Musician has the right candidate’s appearance at an audition, must The IM will e-mail back a formatted proof to refuse or edit any ad copy deemed be fully refundable upon the candidates’ of how the ad will appear when published. inappropriate or offensive. For more appearance or timely cancellation. The AFM. information and a schedule of IM deadlines All symphonic audition ads must be org website has an Audition Date Scheduler and publication dates, contact: classifieds@ For complete advertising specifications approved by the AFM local that has feature to help orchestra management afm.org. jurisdiction over the orchestra. It is the avoid scheduling conflicts with other visit internationalmusician.org responsibility of the orchestra to forward orchestras. Please contact AFM Symphonic the formatted ad to their AFM local Services Division Contract Administrator, EMAIL: [email protected] PHONE: 315-422-0900, ext. 116 president/secretary-treasurer for approval. Communications and Data Coordinator FAX: 315-422-3837 22 December 2018

AUDITIONS AUDITIONS International Musician 23

AUDITIONS AUDITIONS FOR SALE

ALPHORNS, ALPHORN ACCES- SORIES, and Alphorn music for all abilities. Alphorns available in multiple makes and price ranges. Contact: Tony Brazelton [email protected] www.salzburgerecho.com

BASSOONS: Heckel 6K- Complete Mechanical Rebuild in Feb of 2014. Modernized to high ‘E’. Current Ser- vice and Setup. $33,000 Evans Bassoon Studio (914) 478-0946

BASSOON: Puchner Mod 5000 (23) ‘Gentleman bell’- Virtually brand new. Additionally setup for average sized hands. Superb. $27,000 Evans Bassoon Studio (914) 478-0946

BASSOON: Gebruder Monnig. Late model Diamant Pro, ‘thick walled’ w/1 piece ‘gentleman’ bell. $12,000. Evans Bassoon Studio (914) 478-0946

BASSOON: Weisberg “No-Flick” system. Latest iteration mounted on an affordable rebuilt original Ernst Riedl bassoon. Very rare opportunity to explore the system. Please call the shop for more information. Sorry, local trials only. $11,000. Evans Bassoon Studio (914) 478-0946

CONTRABASSOON: Mollenhauer, Lyell Lindsey Model #6xx ca. 1975. Auxiliary high vent, right hand aux. Eb, and pinky F#. Complete overhaul. Evans Bassoon Studio (914) 478-0946

CELLO: John Burdette ‘Dom Moniag- nana’ model. $35,000. Original owner

NOVEMBER 2018 and paperwork. 916-220-5193

FLUTE Serial #311 of approx. 600 STAY IN TOUCH hand-made by George Koregelos, open hole, B-foot, sterling silver, modified G for better high E. Barbara Euell WITH THE IM ([email protected]) $3500 obo The International Musician is available on the first of Lawrence each month in the member’s section at afm.org. PERCUSSION INSTRUMENTS - Goldberg Mallets and Sticks, 55 year collection MUSIC DIRECTOR TAKES BROADWAY’S Your Local reports all address changes to the from three continents, All Symphony ANASTASIA ON TOUR Federation, which insures uninterrupted delivery of quality, A few one of a kind, Call 914- 377-6032 MUSICIANS CELEBRATE PASSAGE OF the IM. The sooner you tell your local you’re moving, MUSIC MODERNIZATION ACT the faster your address is changed, especially now VIOLIN BOWS, 2 by Voirin, excellent CALL FOR 2019 AFM DIVERSITY AWARD NOMINEES that many locals report address changes online. condition Los Angeles. Contact dvio- CFM TAKES PART IN FOLK MUSIC [email protected] ONTARIO CONFERENCE 24 December 2018

AUDITIONS AUDITIONS

AFM MEMBERS SEEKING EMPLOYMENT:

The American Federation of Musicians does not have agreements with FOREIGN ORCHESTRAS and Cruise Lines advertising vacancies in the International Musician. There- fore, members are advised that the employment in these or any other orchestras outside the jurisdiction of the Federa- tion should only be accepted after proper research. International Musician 25

AUDITIONS AUDITIONS WANTED TO BUY

HIGH PRICES PAID FOR YOUR CDs ,Records & DVD’s— Classical, Jazz (BlueNote, Prestige, Riverside, Mosaic, Etc.), Rock & more. No Col- lection Too Large! Fast payment since 1980. Princeton Record Exchange, [email protected], 609-921-0881.

RECORDS TOP DOLLAR—For 1950s and 1960s jazz LPs. Labels such as Bluenote, Prestige, Riverside, New Jazz, etc. Travel to buy collections. Jerry (801) 277-7100.

SERVICES

AUDIO RESTORATION & MAS- TERING—Preserve vinyl recordings, cassettes, reel-to-reel, DAT, ADAT and multitrack old analog tape formats to digital. We can surgically repair, and re-master your media. Info@BlueRidg- eRecording.com 484-951-1420 www. BlueRidgeRecording.com

SHIPPING YOUR PIANO— with Lone Wolf Trucking is a “grand” idea! An independent, long-distance mover specializing in coast-to-coast residential relocation. 1-800-982-9505 Alamogor- do, New Mexico. ICC MC-256289. www.lonewolftrucking.com.

EDUCATION/TRAINING

CONDUCTING workshops, on- line lessons, coaching, Saito method textbook - Empower your gestures with precision and artistry - Wayne Toews [email protected] 306.373.6408 www.conductorschool. com 26 December 2018

AUDITIONS AUDITIONS

AFM SYMPHONY AUDITION COMPLAINT HOTLINE 330-322-2265 International Musician 27

AUDITIONS AUDITIONS

AFM MEMBERS SEEKING EMPLOYMENT:

The American Federation of Musicians does not have agreements with FOREIGN ORCHESTRAS and Cruise Lines advertising vacancies in the International Musician. There- fore, members are advised that the employment in these or any other orchestras outside the jurisdiction of the Federa- tion should only be accepted after proper research.

Skip the paper issue

while staying up to date at AFM.org For AFM Information Systems support, email: [email protected] 28 December 2018

AUDITIONS AUDITIONS

AFM SYMPHONY AUDITION COMPLAINT HOTLINE 330-322-2265