The Musician Journal of the Musicians’ Union Spring 2014 theMU.org
Sexism in music Inside Investigating the portrayal of female musicians Live Performance Dept A new MU department for members in the live arena Profile: Lisa Knapp Exclusive interview with the innovative folk artist ABO Conference report On carving a brighter future for orchestras across the UK contacts Union HQ Regional Offices
General Secretary Head of Government Relations London John F Smith & Public Affairs Regional Organiser: Naomi Pohl Isabelle Gutierrez 33 Palfrey Place, London SW8 1PE Assistant General Secretary t 020 7840 5504 Horace Trubridge (Music Industry) In-House Solicitor f 020 7840 5599 David Fenton e [email protected] Assistant General Secretary David Ashley (Finance & Administration) Legal Official East & South East England Dawn Rodger Regional Organiser: Paul Burrows National Organiser 1a Fentiman Road, Bill Kerr (Orchestras) Communications Official London SW8 1LD Keith Ames t 020 7840 5537 National Organiser f 020 7840 5541 Diane Widdison (Education & Training) Recording & Broadcasting Official e [email protected] Michael Sweeney National Organiser Midlands Ben Jones (Recording & Broadcasting) Royalties Manager Regional Organiser: Stephen Brown Phil Kear 2 Sovereign Court, National Organiser Graham Street, Dave Webster (Live Performance) Sessions Official Birmingham B1 3JR Peter Thoms t 0121 236 4028 f 0121 233 4116 Live Performance Official e [email protected] Kelly Wood Wales & South West England Orchestras Official Regional Organiser: Paul Westwell Danny Longstaff 199 Newport Road, Cardiff CF24 1AJ Music Education Official t 029 2045 6585 Fran Hanley f 029 2045 1980 e [email protected] Education & Equalities Official Union HQ Bindu Paul North of England 60—62 Clapham Road Regional Organiser: Morris Stemp London sw9 0jj 61 Bloom Street, Manchester M1 3LY t 020 7582 5566 t 0161 236 1764 f 020 7582 9805 f 0161 236 0159 e [email protected] e [email protected] w theMU.org Scotland & Northern Ireland @WeAreTheMU Regional Organiser: Sheena Macdonald 1 Woodside Terrace, Glasgow G3 7UY t 0141 341 2960 f 0141 332 8709 e [email protected] report John Smith reports on Political Fund outcome The votes are in for our Political Fund ballot and the poll revealed solidly positive results. General Secretary John Smith looks at what this means for the Union.
Securing the Political Fund means that we can prepare ourselves and devote resources to the next General Election, which will take place in May 2015. Those of you that read the very good article by It appears that in future, the Labour Party Isabelle Gutierrez (MU Head of Government will be seeking a firmer commitment, which Relations & Public Affairs) in the Winter may mean trade union members who wish 2013 issue of The Musician will understand to vote having to opt for a reduced price how the Political Fund works, and why it associate membership of the party. No is important for us to maintain it and doubt there will more on this later this year. use it for the benefit of MU members. “I encourage you all to participate As the article and the Members’ Handbook in the process that leads to the
© Katharyn Boudet Katharyn © 3 explain, just under John Smith, half of our Political decisions made on your behalf.” General Secretary Fund is spent on our affiliation to the Labour Party. You will have I close with a quick mention of the third FIM no doubt heard from reports in the media International Orchestras Conference, to be that the relationship between the affiliated held in Oslo at the end of February – which unions and the Labour Party is set to was sadly too late to be reported in this change. Ed Miliband has said that he wants issue of The Musician. We are expecting Thanks to all of you who took the time to to extend the concept of one member one orchestral musicians from every continent to vote in our recent ballot on the retention vote (OMOV) to the Labour Party leadership attend. They will have an opportunity to take of our Political Fund. As you’ll see from the elections. Currently, the parliamentary party part in debates with orchestra managers, to report in this issue of The Musician, the (MPs and Peers), constituency parties, exchange information and to build their own turnout was 17% of members who received and affiliated unions have one third of the networks of like-minded people. ballot papers and of those, 75% voted to Electoral College votes each. retain the fund. As our statistician friends It promises to be a great occasion, and tell us, those figures represent a robust You may recall that last time round we you’ll receive a full report in the Summer result that secures the Political Fund for circulated a ballot paper to each member issue of The Musician. another 10 years. that pays the political levy, the member then had to sign a declaration confirming John Smith Having said that, it’s a shame that more that they broadly supported the Labour members don’t take the opportunity to Party’s aims and policies. They were get involved in our structures through then able to vote and the MU votes were this kind of ballot, and the elections that subsequently included with those from the MU regularly holds for regional the other affiliated unions. committees and for the Executive Committee. The Union’s internal democracy relies on our committees being representative of our full membership, and I encourage you all to participate in the process that leads to To hear more from the decisions that are made on your behalf. John, visit theMU.org
The Musician • Spring 2014 “I like the idea of putting digital sounds with acoustic instruments.” Lisa Knapp 22
4 Contents Spring 2014
The Musician • Spring 2014 18
This issue... On the Frontline Inbox Advice 6 European Union Parliament 12 Letters, emails and tweets 34 How musicians can develop approves regulation of from MU members an additional new career instruments on planes 38 Improving your online profile 7 MU launches Teacher’s Toolkit Features 40 Debunking MU myths 8 The Union and EIS join forces 14 Sexism in music – examining 9 New app for future managers the portrayal of women Reviews 29 Music Hubs 43 CDs and downloads Reports 3 MU General Secretary Profiles Union notices 10 Advice on Section 22 Lisa Knapp 2 Key contacts Committee nominations 30 Dave O’Higgins 42 Ask Us First 18 The MU’s new Live 46 Tributes Performance Department 49 MU Political Fund Ballot 5 26 The Association of British 50 Legal help for MU members Orchestras (ABO) Conference 51 Member benefits
Find out more at MU Contributors musiciansunion. org.uk/join-the- Katie Andrew Brian mu/benefits/ Nicholls Stewart Glasser Katie is a Andrew writes Brian Glasser freelance journalist for The Times, The is a jazz writer and and editor whose Guardian, Classical author. He also writes features and reviews Music and BBC Music song lyrics, lectures have appeared in Magazine, among on film at University titles such as MOJO, others. He is also College London and Top 5 benefits The Guardian and Director of Southwark has a crime novel Kerrang! p14 Voices. p26 due out in 2014. p30 1. Insurance schemes 2. Legal assistance 3. Nationwide network Neil Tracey Will 4. Rights protection Crossley Kelly Simpson A journalist and A singer- Will has 5. Career and editor who has written songwriter, one half contributed to a range business advice for The Guardian, The of jazz duo Tracey of music magazines, Independent and The & Jason and an MU including Total Guitar, Daily Telegraph. Neil is member. Tracey Guitarist and Mixmag. also an MU member has also written for He recently published For more and fronts the band books on pop, jazz his first book, Freedom on benefits Furlined. p18 & p22 and rock. p34 Through Football. p38 see page 51 On the Spring 2014
frontlineThe latest news, views and events from the world of music.
New regulation could satisfy campaigners fighting for the right to carry instruments on board air carriers
6 FEBRUARY 04
European Union Parliament supports regulation for instruments on planes The EU Parliament has voted in © Getty Images favour of a new proposal that would finally solve the problems that musicians face when The MU and FIM (International “The MU has been lobbying on this travelling on planes with their Federation of Musicians) has issue for years and reached an instruments. The text must now lobbied hard and set up a petition, agreement with the Department also go before the European signed by more than 40,000 for Transport in 2006, but we have Council before it is approved. people. MU General Secretary long been saying that it is only John Smith said: “I am delighted by working at a European and The proposal would revise Air that the European Parliament has international level that we can Passenger Rights, meaning that voted in favour of this proposal successfully tackle this issue. “the air carriers must accept that will make such a difference smaller instruments into the to working musicians. “Existing law allows each airline to passenger cabin and must clearly set their own policy... this proposal indicate the terms and conditions would bring much needed for the transport of larger uniformity to the whole sector.” instruments in the cargo hold”. fim-musicians.org
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february Attitude Is Everything is working 28 to improve the experience of january 07 deaf and disabled music fans 30
Six days of success for MU releases new Independent Venue Week teaching resource JANUARY With 18 venues hosting six days “Public funding The MU has produced of music between 28 Jan to 2 Feb, for orchestras a Teacher’s Toolkit 13 IVW reminded audiences of the down by 14% featuring a series vital role small venues play in live of fact sheets music. All the venues engaged according combining practical artists according to the MU’s Fair to new @ advice and guidance Play Guide, which helps artists and aborchestras on professional Help Musicians UK promoters to negotiate mutually development, with a © Sarah Lee The Musicians beneficial deals. Radiohead research series of articles by Benevolent Fund has bassist Colin Greenwood was #abo14 educationalist Paul Attitude Is Everything’s changed its name official ambassador and gigs were #artsfunding Harris. Contact your State of Access report to Help Musicians curated by artists, promoters Regional Office to Not investing in disabled access #investfor UK. Since 1921, the and labels. “The struggle to order a Toolkit or visit to live music is damaging ticket 7 Benevolent Fund compete with large, sponsor- success” musiciansunion.org. sales, according to charity has provided a vital backed venues makes it a @WeAre TheMU uk/advice-downloads Attitude Is Everything. Their State lifeline for thousands tough and challenging time for education/2014/02/ of Access report revealed that of professional independents,” said IVW organiser @LostArts 03/teachers-toolkit/ the UK music industry is losing musicians, from Sybil Bell. Neil Cooper, drummer Also in recognition out on £66m in annual revenue giving advice to with Therapy said: “I’m extremely of music teachers, by not offering online booking to young players to pleased to hear the MU are February saw the deaf and disabled customers. The aiding musicians moving forward with the Fair Play prestigious Music report also revealed that 83% of who have suffered Venue [see page 20] campaign. Teacher Awards disabled gig-goers were put off an injury. Executive Small venues are essential to all for Excellence at buying tickets in the past year due director, David Sulkin, musicians at all levels. We should the Barbican’s to inaccessible booking systems. OBE, said: “We are never forget their importance.” Garden Room Suzanne Bull MBE, CEO at Attitude proud of our history & Conservatory. Is Everything noted: “Our ethos as the Musicians Colin Greenwood: Awards were given is about working in partnership Benevolent Fund bassman and in 12 categories with the music industry to find and what we’ve ambassador including the MU- solutions.” To read the full report for IVW achieved so far, but sponsored Hub visit attitudeiseverything.org.uk we are equally aware Innovation Award, of our responsibility won by Brighton’s to reach even more SoundCity. For the full people, so we’ve list of winners, head changed our name to to musiceducation Help Musicians UK.” expo.co.uk JANUARY For more, visit the new website helpmusicians.org.uk 27 © Getty Images
The Musician • Spring 2014 J anuARY april 21 06
“Just signed NI changes for up to some entertainers february National Insurance The Infinity Project from great looking regulations for Music for Youth: inspiring entertainers are our future musicians FREE online due to change as a © Getty Images courses with 04 result of lobbying @feutraining from, among others, thanks to @ the MU and its WeAreTheMU.” members. After 6 JULY April, those engaged @mattlawton in a performing bass T he MU and EIS announce capacity will pay joint membership agreement Class 2 and Class 4 Members of the MU and the NI contributions (NIC) 08 Educational Institute of Scotland as self-employed are set to benefit from being earners rather than supported by both organisations, Class 1. Registration 8 who will work together on can be carried out at campaigns and the delivery of hmrc.gov.uk/working/ services to improve conditions intro/class2.htm Music For Youth launches for musicians and music teachers Members can contact music composition project across Scotland. John Smith, MU their MU Regional MFY, with sponsorship led by the General Secretary said: “Working Office for advice or NUT and the Musicians’ Union, together we will strive to ensure from HW Fisher & has devised a resource pack to that music education in Scotland Company at media@ support the teaching of creative remains an option that is open to hwfisher.co.uk@ music-making by non-specialists all.” Members will be eligible for austeritybus to 6-12 years. Called Infinity Begins discounted subscription rates. With ‘I’, the project also offers theMU.org children the chance to perform their work alongside other participating schools at the MFY National Festival performance, Into Infinity, in Birmingham in July 2014. The event will see over 8,000 young musicians playing all genres from classical through to junk percussion. For more details and to download the free resources, visit mfy.org.uk/infinity
Larry Flanagan, EIS General Secretary “Into Infinity in Birmingham (left) and John Smith, will see over 8,000 young MU General Secretary
musicians playing all genres.” Madden Hayley ©
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02 “I’d a great afternoon at the @MusicEdExpo in LDN yday. Thanks 2 the New MU appointments Isabelle Gutierrez has been @WeAreTheMU promoted to the role of Head of who took the time Government Relations & Public 2chat. #helpful SXSW, 2013 – one of the Affairs for the Musicians’ Union. showcases available to bands #informative” using the British Underground Isabelle is leading a team based guide, Explore International
at MU HQ consisting of Keith @tracejonesmuso © Getty Images Ames, Communications Official, JANUARY and Maddy Radcliff, Campaigns “If you’re an and Public Affairs Officer. The team’s responsibilities include instrumental 01 membership communications, teacher and the Union’s national campaigns think that @ and events, brand management 9 and social media strategy. Isabelle WeAreTheMU is British said: “For the first time all of the not for you think Underground MU’s communications and public again! Dedicated FEBRUARY release guide affairs’ activity will be coming Arts Council-funded, from a single team and I’m excited staff to help not-for-profit about the work we’ll be able to with all areas. organisation British do, both politically and in terms #MUteaching” 05 Underground has of communications materials.” @Dave_Hughes released a free showcasing guide The Recording & Broadcasting for musicians called team has been enhanced by the “MU launches Explore International. appointment of Maddie Hennessy Teachers Toolkit The site details over as Licensing Officer. Maddie New app released for 50 key showcases in previously worked as Music for members... via wannabe music managers North America and Entertainment Performance @WeAreTheMU.” Music Inc is a free app that allows Europe and aims to Executive at the BBC. Ben Jones, @benjaminhewlett future industry players to take simplify the complex National Organiser – Recording on the role of music manager. world of funding as & Broadcasting, said: “I am Produced by UK Music, the well as map the UK delighted to welcome Maddie to “I just joined @ Intellectual Property Office and agencies working the team. Collectively, we look WeAreTheMU! Aardman Animations, Music Inc is in the field. There forward to the challenges ahead Get involved at designed to give young music fans are also features, in aiming to deliver the very best an insight into the industry. Jo Dipple, case studies and service and advice.” Commenting themu.org/join UK Music CEO, said: “Our goal is to a calendar. Visit: on her appointment, Maddie #WeAreTheMU.” give young music lovers a taste of exploreinternational. said: “I’m excited to be working @NilsenMikael what it’s like to work in the music co.uk or follow with a great team in an important industry and convey a message @Explore_Int organisation and look forward to about the value of creativity in a providing guidance, information fun and interactive way. Players will and support for our members in see how vital every stage in a challenging industry.” the music-making process is.” @WeAreTheMU #MusicInc
The Musician • Spring 2014 get involved and make the Union work for you MU Assistant General Secretary, Horace Trubridge, explains the reasons behind recent changes to the structure of the industrial and specialist sections and sets out the process for Section Committee nominations...
You may already be aware that the Musicians’ Union’s Executive Committee (EC) has taken the decision to make some changes to the structure of the industrial and specialist sections.
The changes are designed to enable the Section Committees to work more effectively in advising the EC on issues that affect The following sections remain members across all areas of the profession. unchanged and will also hold their To that end we need to make sure that the committee elections this March 10 Section Committees are truly reflective of the to align with the new Section different kinds of work that members Committees: undertake under the auspices of each of the l The Teachers’ Section Union’s departments. For instance, the Live l The Music Writers’ Section Performance Section Committee should l The Theatre Section comprise of members who work regularly in all areas of live performance. This would include This is where you come in gigs in pubs, clubs, festivals, busking, hotels, If you would like to be considered colleges, holiday camps, cruise ships and for the Section Committees concert halls. Equally, the new Recording and simply photocopy and complete Broadcasting Section Committee should the form on the opposite page, comprise of members who are session or download it from the MU musicians, contracted artists, home recording website and return it to the artists and others in order to ensure that all address stated. If you need any aspects of recording and broadcasting are advice or assistance in seeking properly represented on the new committee. nomination then contact your Regional Organiser who will be Nominations for all of the Section Committees, happy to help. Did you know? except the Orchestra Section Committee, will Horace writes a monthly column for The now take place in March every two years Remember, you can seek nomination Huffington Post at huffingtonpost.co.uk/ starting from 2014. For the two new Section for more than one Section Committee horace-trubridge/. Follow the Union on Committees (Live Performance and Recording Please pay special attention to the box in Twitter @WeAreTheMU and Broadcasting) the EC has decided that, in the form to the right, which asks you to set the first two years of operation, the out what kind of work you regularly undertake. committees will be selected from nominated This is the information we need to ensure “Your Union needs members to ensure a comprehensive spread that we have members on the new committees of representation as described above. In 2016, that represent all the different and diverse you. Get involved when the new committees come up for areas of work that musicians undertake. re-election they will be decided by ballot. Committee members will be expected to and help to shape attend meetings at least twice a year and will be reimbursed for any travel expenses and/or MU policy.” loss of earnings where applicable.
The Musician • Spring 2014 report
c omplete this form to be nominated for the Section Committees 2014 once completed, please return to: ‘Section Committee nominations’ MU HQ, 60-62 Clapham Road, SW9 0JJ by Friday 21 March
neam (print):
m/ship number:
signature:
nominated by (print):
m/ship number:
signature: 11
Please indicate which Section Committee you are seeking nomination to. You will need one form for each Section Committee.
Live Performance Section Music Writers’ Section Recording & Broadcasting Section Teachers’ Section Theatre Section
p lease give details below of the nature of the work that you regularly undertake. Continue on a separate sheet of paper if necessary: “Changes are designed to enable the Section Committees to work more effectively...”
You may photocopy this form, which is also available on the MU website: theMU.org
The Musician • Spring 2014 Follow us on Twitter @WeAreTheMU soundcloud.com/ inboxThese pages reflect the diverse range of multi-channel musicians-union communications between the Union and its members. Find us at theMU.org Email us TheMusician@ We welcome your contributions via email, Twitter or letter. TheMU.org
Cash not beers The MU urges Was recently told in response by a its members to always get session promoter there was no budget but agreements signed they could offer us some beers! #WorkNotPlayMU Pete David @sneekypedro Bad reception Once told: “Why should I pay when Yo t ur Edi or I can use a CD?” when refusing 12 eqv of £3/hr to play a wedding and Welcome to the reception. Rude #WorkNotPlayMU Spring 2014 issue Charlotte Taras @charlottetaras of The Musician. We hope you approve Get signed of the refreshed Always get session agreements © Getty Images. format including signed – @WeAreTheMU can a new size, provide these @greeniedrums He was leading the band playing rant? @WeAreTheMU paper stock and #sessionmusicians alto. Not long after this they were Neil Morgan @NeilMorganGtr emphasis on colour Generator @GeneratorNE moved to Buzz Bomb Alley in photography. Essex and I lost touch. I see that John Bennett memories Tour support he is still painting modern art at Does anyone remember the Our drive to deliver European govs give financial 93 – the same age as me! guitarist John Bennett who was a quarterly review support to touring artists and Jack Buckley, Bristol active in the years following the of the Union’s wide- promoters. With our heritage, ours war and into the 1960s? He was ranging activities should do the same if not more. Respect the teachers a busy musician who played jazz together with Tommy Gun Lynam Having teaching work cancelled with several big names, and also in-depth profile @TommyGunLynam at the last minute as they’d found worked in London pit and theatre interviews, reports, someone who’d do it for free. bands, including at the Palladium. advice features, Music in wartime Familiar story! #WorkNotPlayMU reviews and The tribute to Tommy Whittle VickyTremain @VickyTremain Despite this, I have found it difficult tributes, remains as sparked off memories of wartime to trace any connections other stong as ever. when I played in a band on an AA Viva The MU! than with Jamaican singer Bobby site. The leader was Alan Davie, Fine bunch of folk representing Breen and his band, who gigged I look forward to who financed Tommy Whittle to MU members @WeAreTheMU & in Gerrard Street in the mid 1950s. receiving your buy his first sax. they made me feel v welcome. This was prior to the opening of thoughts on the Cindy Douglas @DouglasCindy Ronnie’s, and probably at another new look. Alan taught me to play the sax, cellar nearer to Newport Place. coaching me until I was good No pay, no play Breen often had Sam Walker, Keith Ames enough to play in the site band. So… What’s everyone’s preferred another Jamaican, on tenor sax. TheMusician@ response when asked to work for Bennett’s daughter is looking theMU.org free? Ignore, politely decline, or for more details of her father’s
The Musician • Spring 2014 letters
associates and/or any personal Shout out reminiscences. Any information, Can we all just give a massive however small, would be welcome. thanks to @WeAreTheMU My thanks for any leads that for keeping us all on stage :) members can supply. Keep music live!!! Val Wilmer, London Los Pierce The Veils @13KindsOfSassy MU members should send any information they may have for Early call Val, via the Editor, preferably by Hideous early USA visa emailing: [email protected] appointment then if I can escape the embassy onto @WeAreTheMU Ballroom bits for the regional committee. Thank you to those answering my Heather Cairncross @Altovoice Editor query about the moustachioed Keith Ames (MU) Director of gentleman (Mario Fabrizi) in Handbook help Consultant editor FuturePlus UK Archer St, and further info that it My new MU handbook arrived Neil Crossley Jayne Caple was the late great Tony Crombie today. Full of useful information as Art editor Senior account manager (who I did not instantly recognise) usual. Thanks @WeAreTheMU Mark Bradley David Parker that he was talking to. OriginalJazzHistory Writers Group account director @OriginalJazzHis Katie Nicholls Fiona McDaniel Andrew Stewart Reading the Tribute section Editorial director Neil Crossley Mark Donald (Winter 2013) on the sad passing Community music Tracey Kelly of Andy Mackintosh reminded Lovely to have @WeAreTheMU Brian Glasser Art directors me of my Mecca Ballroom Circuit giving this week’s @Music_at_York Keith Ames Stuart Hobbs Dermot Rushe days during the 1960s, in London Community Music MA seminar. Will Simpson David Fenton Repro and the suburbs. I was in a vocal/ Great food for thought, thank you! Roy Delaney Future Pre-Press instrumental quartet and played Emily Crossland Production editors Printed at 13 opposite many of the Mecca @EmilyCrossland Katie Nicholls Precision Colour Printing Big Bands of the day like Cyril Roy Delaney Stapleton, Denny Boyce, Johnny Hub reality Production and See page 02 for the Howard and Ray McVay, and My experience of a Hub was procurement manager contact details of at tea dances at the Empire that it made all the experienced Matt Eglinton Musicians’ Union offices. Leicester Square where Ken teachers redundant and instead Client production co–ordinator Mac was resident. employed youngsters on a Tracy Nugent pittance. @WeAreTheMU These bands housed a bank of fartycat @fartycat top-quality musicians, who were often playing either as deps or Top tips as a bread and butter job while @WeAreTheMU Received some combining session, TV and jazz great advice from the MU recently work – and many went on, as regarding learning contracts All information contained in this journal is for informational purposes only and is, to the best of our knowledge, correct at the time of going to we know, to further fame in their for private instrument tutors & press. This journal is published by Future Publishing Limited on behalf of Musicians’ Union. Neither Future Publishing Limited nor Musicians’ field of expertise. It was a great students. Thanks! Union accept any responsibility for errors or inaccuracies that occur training ground. Imani Hekima @Imanifesta in such information. Readers are advised to contact manufacturers and retailers direct with regard to the price of products/services in the journal. Publication of an advertisement does not imply any form of Andy Mackintosh’s tribute recommendation. Organisations offering financial services or insurance are governed by their relevant regulatory bodies and problems with speaks of Maynard Ferguson. such services should be taken up with those bodies. Neither Future I played opposite him when he Publishing Limited nor Musicians’ Union accept any liability for the quality of goods and services offered in advertisements. We do our joined Mecca in the provinces. best to avoid inaccuracies, but if you believe that an error has been A great showman, but it wasn’t made, please contact the editor straight away before taking any other “European govs give financial action and the Union will take appropriate steps. If you submit material really his scene! to this journal, you automatically grant Future Publishing Limited and Ann French aka Jill Jay, Croydon Musicians’ Union a licence to publish your submissions in whole or in support to touring artists and part in any edition of this journal that is published worldwide in any format or media throughout the world, and you grant Musicians’ Union a licence to publish your submissions in whole or in part in any format or media for Glad mag promoters... ours should do the purpose of promoting any products or services referred to in your The Musician just arrived in this submissions. Any material you submit is sent at your risk and neither Future Publishing Limited nor Musicians’ Union nor their respective morning’s post. Super impressed the same if not more,” employees, agents or subcontractors shall be liable for any loss or with the efficiency, thanks! damage. © Future Publishing Limited and Musicians’ Union 2014. All rights reserved. No part of this journal may be used or reproduced without the Barry Dallman @BarryDallman88 Tommy Gun Lynam @TommyGunLynam written permission of Future Publishing Limited and Musicians’ Union.
The Musician • Spring 2014 sexismin music British musicians raise the issue of sexism in music as the pop industry pushes boundaries with its portrayal of its female stars…
14 Feature by Katie Nicholls
When Miley Cyrus swung nakedly into view An insidious trend in her Wrecking Ball video, she kick-started Social media, 24-hour broadcasting and a debate on the portrayal of women in music. online content has seen the music industry Lily Allen responded with the satirical track clamoring for attention, sometimes using Hard Out Here complete with an ironic video sexualised images of its stars to gain full of twerkers. Sinead O’Connor wrote Miley notoriety. It is expedient for the music an open letter expressing concern for Cyrus’ industry to maximise on the belief that ‘sex perceptions of empowerment, while Charlotte sells’ and, according to Charlotte Church, Church considered how young female young female artists in the pop genre are artists are treated in the pop industry in her being pressurised by record label executives Peel Lecture for BBC 6 Music, stating: “It’s into wearing revealing outfits. Classically- a male-dominated industry with a juvenile trained saxophonist Sarah Ings, who plays perspective on gender and sexuality.” across the genres as well as managing other artists, believes that reality shows such as From Kate Perry’s sweet-as-sugar innuendos The X Factor are compounding the problem to Rihanna’s explicit lyrics to the top-shelf by focusing too much on appearance and narratives in rap videos, the image of the too little on the years of training and hard female artist as a sexual object pervades. work that goes into developing musical Female musicians, claims Charlotte Church, talent. “They promote the person as are “encouraged to present themselves as someone who sweeps streets and they just hyper-sexualised, unrealistic, cartoonish, wake up one day and realised they could as objects, reducing female sexuality to sing! They’re tricking the public.” a prize you can win”. Albeit more benign, other genres such as classical are also adopting a prescriptive look for its female artists. “It has filtered into other genres,” says jazz musician and Chair of the MU Executive Committee, Kathy Dyson. “If you’re a classical soloist there is pressure to
The Musician • Spring 2014 feature
look like a model. There’s greater exposure in pop and there’s more media coverage, so “It’s a male- the more economic value something has the dominated more prevalent the images are.” industry with Jacquelyn Hynes, folk musician and Chair of the MU Equalities Committee believes: “There a juvenile is less pressure on female performers in folk to look a certain way, and you certainly don’t feel perspective you have to wear make-up or wear revealing clothing, but I wouldn’t say any genre is devoid on gender of sexism. What does make me uncomfortable is seeing female musicians of all genres and sexuality,” squeezed into uncomfortable dresses and awkward poses on album covers – a male Charlotte Church musician said to me recently that the ones who won’t do that won’t get the work.”
Definitions of beauty While the majority of female artists would concur that being comfortable and proud of your appearance is an unquestionable positive, it’s the image of perfection and 15 beauty, which pervades popular music that requires scrutiny. “It’s not about being fit and healthy. It’s about being unattainable, doll-like. It’s confused feminism,” says Kathy Dyson. “Modern-day feminism says you can be whoever you want to be, so if you want to look like a Barbie doll or Beyoncé that’s fine. On the other hand you should be able to look however you like and still be acceptable. That hasn’t happened. You can’t look ordinary or normal.”
Sarah Ings suggests that the hyper-sexualised portrayal of women in music has resulted in female musicians feeling self-conscious about simply wanting to look good on stage. “It’s natural for a girl to brush their hair, put on a bit of make-up and wear a dress. That’s normal. When I was growing up and I got to perform on stage, I thought it was cool because I got to wear that dress that I could never normally wear. What I find happens is if a girl puts on a dress and a bit of make-up and goes onstage they get torn apart for it.” © Getty Images.
The Musician • Spring 2014 A matter of choice While the transgressive nature of Madonna’s videos and outfits caused outrage in the 80s, she maintains that she has always had artistic control over her performances and that her explorations of sexuality were her own. Undoubtedly, Rihanna and Lady Gaga would say the same. “There is nothing wrong per se with wearing revealing clothes if it is the woman’s choice and she is happy with it,” says Jacquelyn Hynes. “I don’t believe there is anything wrong with a sexualised performance if that is the performer’s choice Is Miley Cyrus and the area they want to investigate. The asserting her problem arises if there is a pressure to do so.” role as an adult performer, or has she been As well as the overt influence of what Church sexualised refers to as the ‘middle-aged men’ in the music by a male- industry, there are the more subtle pressures dominated music industry?
that stem from cultural hegemony regarding © Getty Images. perceptions of women. “This begs the question of our free choice in the wider context of the been happening for so long and the industry For Sarah Ings, a young musician working pressure on all women to look a certain way, be is failing to recognise that some of the least hard to forge a career in the music industry, 16 a certain size. We are up against a multi-million objectified women artists who are the most in the focus on how a woman looks on stage pound industry that in some respects relies control of their careers are the ones who have rather than the talent and skill she displays for its business on engendering insecurity in made more money than most (Adele, Emeli as a musician is frustrating. She is currently women,” says Jacquelyn. Sande to name just two). The ‘sex sells’ mantra re-branding her all-female group Sahara and is pretty unenlightened in a country like the the issue of image is pertinent. “As much as Musicologist and author Professor Sheila UK that has so many talented songwriters and we all like dressing up, we’re thinking about Whiteley believes that some female pop performers whose music speaks for itself.” going down a more casual route. We feel stars are not using the medium of music like it’s more sustainable if we strip away as a platform for creative exploration, but A negative impact the image and just give the audience some that, “combined with the combination of trash There are plenty of fast-rising, British female awesome playing. It’s nice to dress up and and flash and girly-girly image embraced musicians successfully carving careers in the feel good about yourself,” she continues. by Katy Perry and Taylor Swift, and the music industry with the focus firmly fixed on “I enjoy going to the gym and, as a performer, their musicianship, Cate I think it’s important that you eat well and are Le Bon, Laura Mvula and physically fit so you can do what you need “There is nothing wrong per se Birdy among them. But to do on stage. I personally wouldn’t feel with wearing revealing clothes with some prominent empowered by dressing up, but I would feel female musicians empowered by going on stage and being if it is the woman’s choice.” extolling the value of extremely good at what I’m doing.” their bodies as much as psychodramatic posturings of Lady Gaga it their talents, the messages being sent out to “My hope,” says Vanessa Reed, “is that young does seem that the complexities surrounding young women is compromised. Musicologist women entering into the industry focus on gender and identity have largely been reduced Sheila Whiteley has written extensively on role models who demonstrate how women to provocative body images framed by an constructions of femininity in pop, she asks: can take control and direct their career, often pornographic narrative.” “To what extent does contemporary pop both gaining enormous popularity and respect reflect and construct a pervasive pornification without conforming to anyone else’s vision PRS for Music Foundation Executive Director of contemporary youth culture and how does of success. There are women who managed Vanessa Reed says the music industry has a this impact on their young target audience?” it in the 80s and 90s and 00s too, like PJ responsibility to ensure that a diverse range Harvey and Annie Lennox. It’s important that of artists are recognised in order for female the industry’s awards and prizes recognise artists to feel like they have genuine choices in these contributions too. Harvey’s double how they are portrayed. “If women are feeling win of the Mercury and Annie Lennox’s forced into stereotypes, it’s because it’s strong views on what’s happening in
The Musician • Spring 2014 feature
Chai ng ng attitudes We look at two projects working towards a more positive portrayal of women in UK music. Lily Allen’s the industry at the moment should be an video for inspiration to anyone – male or female Hard Out Rewind and Reframe Here poked – who wants to create an industry that better A platform for young women to fun at over- reflects who we are in the 21st century.” have their voices heard about the sexualised content of music videos. They are pop singers, Seeds of change asking the music industry to stop but was itself criticised Both Kathy Dyson and Vanessa Reed creating over-sexualised images for its sexist believe that changing perceptions of female of women and for video sharing imagery musicians will emerge in an organic way, at a sites not to host them. grassroots level. Kathy says the investment of rewindreframe.org the Musicians’ Union in training and education will play its part in a ‘critical mass’ of women Women Make Music who will voice their objections about the In response to the low percentage unrealistic and homogenous way female of registered women songwriters artists are expected to look. “It’s all about the and composers in the UK (14%), collective response that says: ‘This is how you PRS Foundation for Music set up are, make the best of who you are, not just this successful foundation in 2010.
© Getty Images. what you look like’,” says Kathy. prsformusic.com
“Some of the least objectified Adding to the debate Women on sexism around gender Hannah Reid from women artists are the ones who stereotyping in the music London Grammar industry, little-known After receiving a sexist Tweet have made more money than most.” Hungarian singer Csemer from Nick Grimshaw’s Radio 1 17 Boglarka has gone viral breakfast show Hannah told the Sarah Ings with her video revealing the unobtainable NME: “Putting my looks up for fears that the artifice of a Photoshop transformation while debate was wrong. And it’s just focus is more on what a she performs her song Nouveau Parfum. The how casual it was. It does say woman looks video has been watched by over three million something about casual sexism.” like than how viewers and has received both national and well she international press coverage, proving this can perform Lauren Mayberry issue is of huge interest on a wide scale. from Chvrches After posting a screengrab of an Sarah Ings is optimistic about her future as inappropriate message on the a female artist in the UK, believing, “we are band’s Facebook site, Lauren in a transition period. People are becoming received a barrage of troll-like less interested in a person’s image and more messages. “I’m incredibly lucky to
© Nikola Milcic Nikola © concerned about how talented someone be doing the job I do,” she told The is.” In a continued bid to keep the debate Guardian, “but does that mean Hannah Reid from London active, Kathy Dyson will be bringing a motion I need accept that it’s okay for Grammar to the TUC Women’s Conference in March people to make comments like maintains 2014 regarding the sexualisation of women this because that’s how women it should be in the entertainment industry. “It calls on in my position are spoken to?” her music, not her looks, media executives to take responsibility for that is up their audiences,” says Kathy. “For promoting Kate Nash for debate talent, individuality and authenticity rather The Brit-winner has been highly than relying on sexual provocation. It’s calling vocal about sexism in the music on them to take responsibility and support industry. “I’ve experienced more Charlotte Church and Lily Allen and say: sexism than I thought I would,” ‘You’re right, this is appalling’.” she told the BBC. “I’ve been asked to do things I find unacceptable in photoshoots. I’ve been heckled by men in a crowd. It’s always a big deal, ‘Here’s another female
© Getty Images artist’. ‘Female’ is not a genre.”
The Musician • Spring 2014 taking to the stage As musicians look less to recordings and more to the stage to generate income, the MU responds to this paradigm shift with a new Live Performance Department... Feature by Neil Crossley
In an era of profound transition within the Why did the MU feel there was a need for a music industry, musicians are adapting to Live Performance Department? shifting business models as income streams Dave Webster: The MU has expanded the roles 18 are depleted. Amid concerns about paltry of the National Organisers in recent years; we streaming revenues and piracy, one factor have a National Organiser for Orchestras, for has signalled a resoundingly positive note Recording & Broadcasting and for Education – live music is increasingly becoming the & Training. We now have a specific National principle source of revenue for musicians Organiser for Live Performance. Many as we move into the 21st century. The growth members have a portfolio career involving live of the live music sector is helping to offset the performance, recordings, theatre, orchestral damage to recorded music revenues with live work and teaching. It’s practical that we have music incomes, in effect, eclipsing them. four National Departments that reflect these areas of work. The four Departments also This shift has driven the creation of the Live reflect the industrial sections of the Union. The Performance Department, set up by the Live Performance Department will be servicing Musicians’ Union in October 2013, to cater for the needs of those members in the Live the needs of MU members working in the live Performance Section and the Theatre Section. arena – from busking and grassroots small venues to theatres and touring musicians, What effect has the economic downturn had to cruise ships and function bands. The new on live music in recent years? department will also deal with issues such DW: One of the biggest problems has been as instruments on planes and working visas. the closure of venues. While there’s still a lot of live music going on, there are more bands The new Live Performance Department will struggling for fewer places to play in. be run by Dave Webster, National Organiser for Live Performance, and Kelly Wood, Live Kelly Wood: Artists are finding that they’re Performance Official. Here they talk to The doing the same gigs and the same shows for Musician about the aims of this department. less money because businesses are struggling.
How do you see the role of the Live Performance Department? KW: It involves improving the live advice we offer to our members and potential members
magazine Guitar Branston/Total Joseph ©
The Musician • Spring 2014 feature
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“Live music is increasingly becoming the principle source of revenue for musicians as we move into the 21st century.”
The Musician • Spring 2014 and increasing our profile within the live industry. We know that we’re very relevant to the live industry – the musicians and the employers – but I’m not sure everyone sees it that way. There are still a lot of performing musicians who are probably not aware that we Kelly Wood exist but they’d be in a better position if they and Dave did know and they joined. We can’t get round Webster: at all the venues and all the musicians, but what the heart we can do is ensure that we educate our of the Live Performance members by providing resources like the Department
Fair Play Guide and the Live Music Kit so that Monk Rob © they can do the talking for us. we’re as relevant to live music as anything else their relationships with venues in their region. What do you think is your biggest challenge? within the music industry in terms of what we Generally speaking, we are often made aware DW: Getting the message out there to a lot provide for our members. of those venues and promoters who don’t treat of gigging musicians and the young start-up our members fairly or properly. Members come bands that maybe don’t see the MU as being What has been your involvement supporting to us and, of course, we help them to sort it relevant. There’s also a political perception of, Independent Venue Week? out. But what is also the case is that there are ‘What is the point of a trade union within the KW: We’re on board because we support live some very supportive venues and promoters 20 rock and roll circuit?’ When you’re coming out music in general and we recognise that there out there. They’re right on side with the Fair of college and forming a band, you go out and are thousands of great venues in the UK that Play Guide and they’re right on side with the start gigging and many must wonder about often don’t get a lot of support for what they Musicians’ Union and they really want to do the the relevance of a trade union at that level. do, but they act as a launch pad for emerging very best they can for the musicians. So there is a political message to be put artists. A lot of them are run on blood, sweat across and that’s just as important. We’re and tears. There are venues that appear Because of Independent Venue Week (IVW), there to support musicians, live music and very professional and they’re actually run by we’ve launched an initiative called the Fair Play the places where our members work, so I Venue, which is really all about the venue and see the Union as a very positive influence “There are some very the promoter working together to say: ‘Yes, we in their burgeoning careers. agree with the principles of the Fair Play Guide supportive venues and and we agree with the Musicians’ Union stance KW: It’s getting really hard to survive as an on supporting live music and musicians’. We emerging band and when you look at the roles promoters out there.” can then say to them, ‘Well, that’s a Fair Play that musicians are having to take on alongside Venue’ and give them a sticker to put in their the music – you usually have to be your own volunteers essentially, which isn’t the way we window. We are planning on taking our Fair tour manager, manager, live agent – to do all would choose it to be, so there is a need for Play Venue campaign forward now that IVW of that when you’re not actually getting any more support in these venues. has finished for this year. It was great that money in [is tough]. You’re probably having Independent Venue Week and our Fair Play to hold down a job elsewhere. We need to As well as empowering your members, you’re Venue campaign found some joint traction. find ways of people making money from live empowering the venues where they work too? Also, this means that when members come to performances on the grassroots scene; not DW: When I took on this role, I went to speak to us looking for venues in which to perform, the just expenses but real money. all of our Regional colleagues and I asked about MU is able to point them in the right direction.
DW: We need to help musicians in the do-it- In 2012, the MU launched the Live Music Kit, yourself start-up position before they get into aimed at venues. What exactly is that? management contracts. Everything a musician KW: It’s a resource that came about as a does will, at some time, come down to having a consequence of the Live Music Act. It was a negotiation with someone about remuneration great opportunity for premises to start putting and we do a lot of work with our Contract live music on. We couldn’t expect landlords Advisory Service to make sure decent and publicans to have an understanding of management deals are in place and decent how to host and promote live music overnight recording/broadcasting deals are in place. So so we put together a kit that details all the
The Musician • Spring 2014 feature
different elements of gigs and live music – Dave including things like health and safety, paying webster your bands – everything you need to put a I had a 20-year show on at your pub or cafe or restaurant. We career as a freelance advertised it off the back of the Live Music Act portfolio musician, as and we’ve been asking musicians to share a drummer and percussionist. I it, because we know that artists are more came out of college and started involved with the promotion side of things now. Theatre and on tour. The recession has made working in theatre. I got into negotiations difficult; however we always strive teaching, examining for the Also in 2012, the MU launched its Work to ensure that minimum fees for our members Guildhall and writing. I went and Not Play campaign with the aim of combating increase. Our members on tour struggle with worked on a cruise ship, in holiday the trend of professional musicians being accommodation and subsistence rates and camps, function bands and I asked to play for free. How widespread is have to delve into their wages to make ends had my own jazz trio. I worked that problem? meet. This is of concern to us. Health and in the West End as well, which DW: There seems to be an accepted safety is also high on the agenda, with health kept me out seven days a week. perception that it’s okay to ask musicians and safety inspections done for each new That was one reason I came to to come and work for no fee. We take great show using musicians in the West End. It’s work for the Union. Attending my exception to that because, like any other harder for inspections on tour with shows first Conference in 1999 showed worker within the industry, whether it’s the constantly moving around the country. me just how widespread and people putting the stage together or the The Musicians’ Union will be looking at how important the work of the MU was, catering, there is never a question that those we can improve on this. so I became an activist, chairing people won’t be paid. Why should the artists – the then North London Branch, the people who are headlining, the people who What would you like the Live Performance and Theatre Section Committee, the public are coming to see – be considered Department to achieve (or have started) by and as a West End Theatre any differently? Musicians out there have to this time next year? Steward. The great thing about make a living and it’s tough. DW: Greater relevance as far as the rock and working for the MU is that I’ve roll side of things [musicians] are concerned. been able to support and work for KW: Many musicians are prepared to play for Theatre musicians know we’re there, because a lot of the musicians I knew from 21 free and that sets a precedent. It also allows they work under our collective bargaining my playing career. employers to think: ‘It’s okay because I’ve agreements. Orchestral musicians know employed so many people for free, what’s the we’re there and teachers know we’re there problem?’ It’s hard to put it right after that. for very similar reasons. We want to develop kelly wood our presence to musicians working in rock I graduated from I think artists can negotiate. They need to be and pop, jazz and folk and all the kinds of live Salford University well enough informed to say: ‘Okay, is this going performance musicians you get. We want to with a BA in Music, I’m to be worth it for us?’ If an event organiser or be equally relevant to every one of them. the Live Performance promoter says: ‘There’s no fee’, bands should Official for the Musicians’ Union challenge them and remind the employer that KW: You hear of a venue, or an employer that’s and I also play keyboards they’ve got overheads to cover. The addition of having problems and you phone them up to (Hammond, Farfisa, Nord) in a mileage payments and a food and drinks rider say: ‘We’re hearing from members that you’re band called The Lovers [with can make a deal more attractive. having some trouble and we’d like to help.’ ex Inspiral Carpets singer Tom The response is usually: ‘I thought you were Hingley and long-time The Fall West End theatres are places of work for just there to help musicians.’ They think we’re members Steve and Paul Hanley]. many MU members. What are the specific going to be against venues because they’re I spent about 10 years touring issues for people working in theatres? employers. We’d like to hear about the issues small venues with The Lovers DW: We are soon to re-open negotiations they’d like us to take on. and we have released a couple of with producers in the West End, in Regional albums and singles as well as a DW: Any dialogue we can have with someone few radio sessions, including live promoting or putting on live music is good sessions for BBC Radio 2, Radio for the musicians, the Musicians’ Union and 6 Music and XFM. Most of the the industry. The MU is very highly respected work we were doing was around and we want to enhance our presence to all small venues: nationwide tours, musicians working in the live performance weekend gigs, festivals. We spent sector equally, giving the MU greater visibility a lot of time playing in all the kind and to maintain our classic campaign of venues that we’re now talking Keep Music Live. about and trying to support.
The Musician • Spring 2014 22 Wild undaunted London folk songstress Lisa Knapp blends sounds and voices from the past and the present into her winning palette of musical colours.
Feature by Neil Crossley © RM Collins RM ©
The Musician • Spring 2014 pro file
Year, Best Album and Best Original Song. As she undertakes rehearsals for dates later this year, Knapp talks exclusively to The Musician about her work, her inspiration and her abiding love of traditional folk. It’s not often that folk artists cite drum’n’ bass, acid house or Jimi Hendrix among their The new album got an incredible response. formative influences, but then south London- You must be feeling pretty fulfilled right now? Lisa Knapp born Lisa Knapp challenges preconceptions You know, it’s all come as an amazing surprise. at every turn. I mean the Folk Awards was just amazing. You on the MU obviously don’t make the album to get that Knapp first emerged in 2007 with her debut kind of stuff, to get such a reaction, but it has Whatf in luenced album Wild And Undaunted, an innovative work just been great. you to join that blended traditional folk and self-penned the MU? songs with fiddle, hammer dulcimer, banjo Why such a long gap between albums? I joined around the time my and sonic delights from the digital age. MOJO When Wild And Undaunted first came out, I did debut album came out in 2007, magazine hailed Knapp as “a major discovery” quite a lot of touring and festivals for a couple primarily because of the gear while The Observer noted that “it’s easy to see of years, and I wanted to spend more time with insurance certificate. Reading why this singer is the toast of the folk scene”. my daughter. Plus, my partner Gerry Diver, who the magazine, it is nice to know produced both albums and is a big part of the that there’s a network of other Seven years on and Knapp has just released collaborative theme on the album, had his own people doing the same stuff her second album, Hidden Seam, produced album, The Speech Project, that came out a that you’re doing. I think a lot of by husband/musical partner Gerry Diver few years ago. So I was supporting that. the more political issues that and featuring guest appearances by James the MU is involved in are really Yorkston, Marry Waterson, Martin Carthy, I also got asked to take part in the BBC Electric important – the whole digital Kathryn Williams, Alasdair Roberts and Prom’s Tribute to Lal Waterson, and work with thing and PRS. It becomes really Pete Flood. The album may fit neatly within a few other songwriters: Kathryn Williams, important when you’re relying the folk genre, but its broad sonic palette James Yorkston, Alasdair Roberts. That on it and it’s part of your income. 23 spans genres from world music to ambient experience really inspired me to write, I think. I have rung them up a few times and beyond. Inspired by the fragility of our I’ve always written and there were a couple of to ask advice. environment and its elements, Hidden Seam original songs on the first album. But I wanted inspired a rich vein of songwriting from Knapp. to just do a whole album of written songs and it took me ages (laughs). God, I’ve got so much Doo uni ns still Once again, critics have reached for respect for songwriters after doing that. have a place in superlatives in their praise. Mark Radcliffe the 21st century? described it as an “amazing, beguiling, Did you have collaborators in mind for I think the unions are incredibly enigmatic piece of work”, and the album has specific tracks on this album? important for working people, yielded three nominations at this year’s BBC Not really… until I started recording. The track with globalisation and the Radio 2 Folk Awards – for Folk Singer of the that James Yorkston sang on, Black Horse, it capitalistic way of working. was James that introduced me to that. That’s It’s arguable whether we’d a Lal Waterson tune. We did a tour of Scotland have any holiday or any rights “God, I’ve got so and it was just a little ditty that we were at all as workers if there singing, and when I came home I just thought weren’t trade unions. I think much respect for it would be good to get him to record it. it’s a very important movement, particularly in the current way songwriters after that,” But then Gerry said: ‘Why don’t you ask Marry that the economy works. Waterson to sing it?’ I said: ‘Oh no, I couldn’t, Lisa Knapp on penning the I couldn’t’. But I did, and it’s just a real privilege songs for her second album to have her singing on it. And it was wonderful to have Martin Carthy play on the album. I adore his work.
The album’s opening track Shipping Song, uses the Radio 4 broadcast of the Met Office shipping forecast as its lyrical template. You have also woven in an American Marine sound test from the 1950s, along with the noises of sea creatures and spinning motors. What appealed to you about this theme?
The Musician • Spring 2014 then I got into Pimlico School, which runs a music scholarship, and I played violin there for a couple of years. Then at 13 or 14 I got really fed up with the whole classical thing and I just dropped it. And I didn’t play fiddle for years. Then, having sort of given it all up It’s just like a mysterious landscape to me, I really got into pop music, then Public Enemy, and the language behind it is like a specialist hip-hop and rave. That’s just what was language. I love the sound of some of those popular where I grew up. words, so I’d been playing with the idea of that for a while. And I’d been sort of messing How did you get from there to traditional folk? about re-ordering the place names. I was very I began to get really interested in more interested in the idea of water, and a lot of acoustic-based songs, via friends such as the stuff relates to water as a metaphor for Naomi Bedford, a great friend who’s also umpteen other things. We just happened to a singer. She had a great record collection be jamming one day, and Gerry grabbed the that she’d inherited from her parents, which autoharp and started banging it – I don’t know contained a lot of 1970s folk – Fairport why – but with the soft beater it kind of gave Convention, Shirley Collins – and then I came this lovely warm sound. across The Waterboys’ Fisherman’s Blues.
Sound-wise, you are spanning genres and From there I started going to folk clubs, blending digital sounds with traditional such as The Court Sessions in Tooting. At instruments. Was that a plan from the outset? that point there really weren’t many younger A little bit. Certainly, in Shipping Song where people doing it at all. In those days it was there are those little sounds, I wanted it to like, if you said you were into folk music, a have that sort of landscape, that sound, and tumbleweed would pass through the room I just found those marine sounds online. (laughs), because it was really so different. In 24 Actually, I really do like the idea of putting that part of London there’s a really strong, digital sounds with acoustic instruments established Irish traditional music scene. So Despite learning violin in in a way that sounds, for want of a better I just kind of got the fiddle out, started playing its more classical form word, a bit organic. It seemed like a really for a while, went for a few lessons, and just at school, Lisa tired of good opportunity in that song to put in little started joining in. playing music and got creatures from the sea and to give that more into listening to hip-hop and going to a sense of being the sea. How did you go from playing classical violin raves. Only later in life into doing folk? did she find herself being Your musical development growing up in I watched a lot of players that I admired. There slowly drawn into the south London was fairly diverse, ranging wasn’t really much English folk music being world of folk music from drum’n’bass, raves and learning Hendrix played around that part of London, so really it songs. How did you develop as a musician? was Irish music, which I love. It’s so local to me I was really lucky, because at my primary – it could have been called South Wimbledon school you could learn an instrument and music. But people were so welcoming and hearing someone that I could really relate you didn’t have to pay. They had a school open – the whole experience of just playing to. It was quite a revelation. orchestra, they had a school choir and I had a music together, it’s a really special thing in lot of music that was classical. I’d played the culture. You could be sat next to a barrister In the early noughties, you recorded a violin for six years by the time I was 11. And and a bricklayer – that unifying experience version of the traditional song Blacksmith. of just the tunes and the music, it really is By chance, the producer Youth heard the so special. So it was a real privilege to be track at a studio and did a remix, which he “I like the idea of putting welcomed into that. then included on a compilation of work by contemporary folk and acoustic artists. Was digital sounds with I just looked at musicians that I admired, such that a pivotal moment for you? as Martin Hayes and Paddy Canny. There’s It was, yeah. We recorded that song for acoustic instruments,” also a great teacher in London called Brendan Gerry’s debut album, which was a really Mulcare, a great Irish fiddle player. I went to traditional Irish album. Youth happened to Lisa Knapp on the multi-layered him for a while. At the same time I developed be doing a folk project of his own at the time, soundscapes of Hidden Seam an interest in singing. I came across recording quite a few artists and putting gigs people like Shirley Collins, who is one of my idols, June Tabor – a fantastic singer – and Anne Briggs. The first time I heard Anne
Briggs it was really like the first time I was Klasener Teresa ©
The Musician • Spring 2014 profile
May songs
Last year, I did a little EP of May songs – some traditional © James Wright James © and some that I’d written – and I’ve got another one coming on in Portobello Road. It was the very first out this year. There’s lots of bubblings of interest outside the folk club folklore about May up and down community of acoustic-based folk music. the country, which I’m really So it was really exciting. interested in. And at what point did you think, ‘This is It’s not as easy to promote a career for me’? an EP as it is an album. You I think I’d got the bug from recording those won’t get reviews in the glossy songs for Gerry. I’d started practising and music mags. But having said getting a few arrangements together. And I that, the world and folk music went on a course run by Chris Wood, a singer- magazines like fRoots and songwriter, fiddle player and guitarist, who Songlines will, and the myriad was doing these courses exploring English folk of online folk music magazines music – but really imaginatively and creatively. will still look at EPs. I suppose, I went on that for a week and it really inspired because it’s an EP, it doesn’t me, so a few things came together and I have to have a massive press thought: ‘Sure, why not just make an album’. thing. But it got some nice I don’t suppose at the time I thought it would Radio 3 play last year – a bit glean huge interest, but it was great. of Late Junction, and actually The Folk Show on Radio 2 – What live work are you doing to promote which is fantastic. Hidden Seam? 25 We’ve had a few gigs coming in up until March. One thing that’s really nice I’m hoping to do a really good run of festivals © RM Collins RM © about the traditional folk this summer. We’re looking at Green Man media is that they are there and the Larmer Tree. But the recession has for people who are making hit since the last lot of touring I did in 2007. I that kind of music and using think it’s tough to get people through the door, that kind of material, which is promoters are finding it tough, artists are needed and is good. finding it tough, I think it’s sort of stratified. It’s either super successful or the middle ground, which has sort of sunk.
What are the challenges of recreating the sound of the album in a live setting? Is it scalable? Can you go out as a two-piece? Not really no. With the last album we had been able to do two – or three – pieces. But this one needs drums, and if you need drums you need bass. The preferred option is at least five of us, just to get all the textures in there. But it’s all doable with a bit of Loop Station stuff and just digging in there. It’s really quite thrilling.
What do you think the teenager who was into raves and drum’n’bass would make of the Lisa Knapp of 2014? Oh God (laughs), I think we’re pretty much
© James Wright James © the same person really. I still like a bit of drum’n’bass now and then – still listen to it. I love listening to all sorts of music. Who knows, maybe I’ll turn into a disco diva one of these days (laughs).
The Musician • Spring 2014 Conference delegates (from left): Sir Peter Bazalgette (Chair, Arts Council England); Kathryn McDowell (MD, London Symphony Orchestra); Ed Vaizey MP (Minister for Culture, Communications and Creative Industries); Paul Morley (journalist and broadcaster)
26 ABO Conference: New Directions The ABO Conference 2014 focused on the value and purpose of classical music and carving a brighter future for orchestras. Feature by Andrew Stewart
Present realities and future aspirations Role revaluation occupied minds at 2014’s ABO Conference at Messages about the intrinsic value of classical the end of January. The annual event, hosted music and its spiritual importance in a world by the London Symphony Orchestra and of uncertainty, rapid technological change and Barbican Centre, returned to London after social inequality took precedence. Journalist a 25-year absence. Around 290 delegates Paul Morley’s keynote address focused on gathered in the capital to debate everything orchestral music’s transcendent power. from philanthropy and professional Morley, a recent convert to classical music, development to appraisals and wellbeing. At expressed his “dreamy optimism” in the the event, entitled New Directions, the LSO’s orchestra’s future. His vision was one in which managing director Kathryn McDowell, invited orchestras would concentrate on playing delegates to create the conditions necessary music and avoid “taking on menial community for collaboration. “These are tough times,” tasks that appear to perform musical healing, she observed. “But they are also times of as if they should become a worthy social great opportunity.” And McDowell’s cautious service rather than abstract-driven custodians optimism gathered strength as the three-day of a momentous, genuinely psychedelic, conference unfolded. reality-shaking musical tradition”.
The Musician • Spring 2014 report
P aul Morley, Journalist
“The orchestra must … set itself up as a confident, compelling alternative to commercial standardisation. If the orchestra survives in a neutered, reduced, exiled form in the new world, because it was so worried about losing its audience … it might as well not exist at all. Its future must be as the most extreme challenging version of what it is and was… It must not be put off by the fact that classical music and the orchestra clash with prevailing cultural norms but make a virtue of it, connect with those increasing numbers of people unconvinced, even
© Jessica Bernard Jessica © repelled, by Google, Apple and co… It is classical music, whether Morley’s message, with its false dichotomy from the 18th century or last week, between pure music and social responsibility, that seems to me to be more clashed with conference sessions about about challenge, mystery and audience development, education and compared to what it could have been!” Vaizey’s metamorphosis, and the essence 27 community engagement. He implored second “glimmer” came from the ABO’s State of what it is to be human.” delegates to articulate the importance of of Britain’s Orchestras 2013 survey, which orchestral music without clouding the story recorded a 44% increase in contributed with concerns about funding, audience income, much of it from private sources, Sir Peter development and sustainability. Musicians, since 2009/10. “We see government funding Bazalgette, managers and commentators, in Morley’s as absolutely core to support for the arts, Chair, Arts Council ideal world, would “exaggerate [classical but it is important as well that we continue England music’s] more radiant poetic and breathtaking to encourage a philanthropy culture in this elements, sell it not as a local community country,” Vaizey insisted. “If you talk about the economic service… but as a brilliant, ground-breaking case for the arts before the example of unique artistic endeavour”. Michael Eakin, ABO chair and Chief Executive intrinsic value of culture, you of the Royal Liverpool Philharmonic Orchestra, sound – in Oscar Wilde’s famous pressed the politician to address words – like somebody who “Morley’s message clashed potentially catastrophic local knows the price of everything authority arts funding cuts. He asked and the value of nothing. The with sessions about whether supporting culture should holistic case for investment in be added to the list of local authority the arts has to start with the community engagement.” statutory responsibilities. Vaizey intrinsic value of culture. It also rejected the idea and called on arts includes arts and society... arts Funding cuts organisations instead to engage creatively and education… [and] arts and Conservative MP Ed Vaizey prefaced with their local authorities, pointing to wide the economy. Public investment in Morley’s polemic with a masterclass in the local variations in arts funding. He suggested arts and culture is a tiny amount of art of smooth politics. He acknowledged the that local authorities should be mindful of money that has a massive return. “difficult funding climate” for UK orchestras the economic and social importance of arts We need to hitch arts and culture before noting “two glimmers of light”, the organisations when setting cultural budgets. to the general creative agenda first reflected in the 5% overall reduction in for the next government. It is a government funding to Arts Council England Nurturing a happy workforce universally acknowledged truth (ACE) and national museums: “It is a victory, The subject of player appraisals, revisited as that a politician in possession of part of the ABO and MU’s joint Staying Happier a manifesto is in need of an idea. For Longer agenda, generated constructive That is the opportunity for the input from musicians and managers. Session next 12 months.”
The Musician • Spring 2014 chair John Summers, chief executive of the is a four-year programme underwritten by Hallé Orchestra, suggested that “appraisal a £1 million Arts and Humanities Research is about improving people’s lives”. Council grant. Launched in 2013, it is led MU General by Conservatoires UK (CUK) and involves Secretary In the context of musicians fearing appraisals, John Smith scientists from Cardiff University and Cardiff Tania Hardy Smith, president of Symphony Metropolitan University. The nine CUK Orchestra Musicians’ Association, Australia institutions will work closely with and a cellist with the Victoria Symphony musicians and their employers, Orchestra, presented an overview of the with the MU and ABO, to draw consensual model developed at the VSO on the expertise of the British since 2002. She spoke of the need to involve Association of Performing players from the start of the process, for Arts Medicine (BAPAM) and the organisation to promote effective International Health Humanities communication and for the orchestra’s artistic Network. director and section leaders to receive training in feedback-related discussions with players. “The health and wellbeing of our From left: Sir Nicholas Kenyon, members is very important to John Smith, General Secretary of the MU, Managing Director of the Barbican us,” noted Diane Widdison, the Centre, and Sir Peter Bazalgette, recalled how appraisal discussion was Chair, Arts Council England MU’s National Organiser - Live
triggered in the UK following the phasing out Bernard Jessica © Performance and Teaching. “We of the default retirement age in 2011. The MU work closely with BAPAM and wished to address concerns about retirement Musician’s Hearing Services in Harley Street in a humane way, hence the introduction of “Players want to talk in order to help players. People come to us performance appraisals into the wider Staying with physical injuries and increasingly with Healthy for Longer debate at the 2012 ABO about artistic matters, psychological problems.” She added that Conference. “[Our] members revolted,” John the MU is looking to be more proactive and recalled. “... the word ‘performance’ means about where they are offer practical support to members, not least 28 something totally different to a musician. We with their playing.” through initiatives such as the Union’s new had to find ways of thinking about dialogue Wellbeing Week. “We’re excited to be part of that was going to be mutually beneficial [to the project and to see how we can bring the players and management].” he noted. “One of the reasons we’ve been benefits of its research to our members.” slow in getting [appraisal systems] off the Delegates underlined the importance of ground is lack of money. Musicians might Future models creating a firewall between formal capability want [orchestras] to invest in their having In other sessions, delegates received positive procedures and an informal dialogue designed specialist coaching. And you can’t provide that news about the Detroit Symphony Orchestra’s to help musicians grow. John Summers without money.” John Summers noted that impressive turnaround since the end of its identified this “crucial dividing line”. “By the the greatest benefit of appraisals flows from well-publicised six-month strike in 2011. The time the [performance review] process kicks the opportunities they provide as a platform role of UK conservatoires in shaping the in, it’s too late. Appraisals are not [only] about for honest dialogue. “I don’t think that costs orchestral future was explored by Jonathan [discussing] things that are wrong; they’re money,” he concluded. Freeman-Attwood, principal of the Royal about talking about things that are going well.” Academy of Music, and Claire Mera-Nelson, Welsh National Opera’s chorus and orchestra Trinity Laban’s director of music. Mera- John Smith cited examples of poor appraisal director, Peter Harrap, reported on his Nelson noted the difficulties in predicting practice from the Royal Mail and the teaching organisation’s pragmatic approach. Harrap conservatoire graduates’ work opportunities profession. “We have to be conscious that and WNO orchestra manager Phil Boughton over a 40-year career, comparing the relatively anything we introduce doesn’t increase stress convened appraisal rounds with sectional fixed status quo for orchestral musicians [within an] already extremely stressful job.” principals and all the players. “It’s important in 1974 with today’s fast-changing world of The ongoing exploration of appraisal methods, that everyone knows that everybody [within work. “The ongoing dialogue we have with the he added, had seen positive progress. “If we WNO’s music department] is in the same boat,” profession is incredibly important,” Mera- get this right, it will be a good system.” Harrap explained. “Players want to talk about Nelson observed, “but it doesn’t always work artistic matters, about where they are with as well as it should. I feel increasingly that Bill Kerr, Musicians’ Union National Organiser their playing and whether they need help.” we are too fragmented as a sector and don’t – Orchestras, spotted an elephant lurking in advocate together.” Her message of ‘united we the conference rooms. “All this costs money,” Health and wellbeing stand, divided we fall’ emerged as the mantra Finding ways to help musicians flourish for ABO Conference delegates. surfaced in the ABO’s Musical Impact session. Delegates received an overview of a new research initiative into the health and wellbeing needs of musicians. Musical Impact
The Musician • Spring 2014 hubs Music Education Hubs – the real picture so far In the wake of 2013’s Ofsted report on Music Hubs, the Musicians’ Union asked its members to feedback on their experience of working within the new structure.
By Diane Widdison, MU members’ feedback National Organiser As a trade union it is our responsibility to (Education represent, support and advise our members. and Training) In 2013 we saw an unprecedented rise in the number of legal cases and calls for support by members who teach. Many of the MU’s officials are former professional musicians and teachers and, as Union members work across Valuing the workforce all areas of music education, we are uniquely The main issues to address are ones of positioned to comment on the progress of accessibility and opportunity, but also of the Music Hubs in England. quality of teaching. The teaching workforce is vital for the success of the aspirations of the The Musicians’ Union is continuing its In answer to the Ofsted report, the Union NPME. It is important to invest in teachers commitment to ensuring the successful asked its members who work in education to who are working now as well as attracting 29 provision of music education. This is a feedback on the introduction of Music Hubs. In the workforce and leaders in music valuable area of work for MU members but we February 2014, the MU submitted a education for the future. are also concerned about accessibility to comprehensive account of music education and the opportunities this the impact these changes creates for the next generation of musicians. have had on music services in “In 2013 we saw a rise in the England, as documented by In November 2013, Ofsted released a report MU members. number of calls for support on the progress of the Music Hubs in England by members who teach.” entitled, Music in schools: what Hubs must do. Our response to the Ofsted The publication of the Ofsted report caused report is a summary of the much consternation within our membership information we received, looking behind the Our recommendations are: and raised questions regarding the political headlines as to why Music Hubs are paying 1 The Government works alongside Ofsted motivation for the report. the price for Government policies that do not to ensure that schools get a consistent add up – even though there is a National Plan message that music education is both The original Ofsted headline, Music Hubs fail to for Music Education (NPME) and a commitment important and relevant. improve music education, only served to to funding. 2 That future national funding decisions are undermine the work Hubs have been doing to made quickly and that the current level of try to engage with schools. It was also felt to The Musicians’ Union report concentrates on funding is, at the very least, maintained. be demoralising for teachers who have, in very the workforce, who we represent, and how 3 The data collection requirements from Hubs difficult circumstances, continued to deliver they have been negatively impacted by the are revised to ensure they are fit for purpose. lessons and provide tuition to pupils changes resulting in job losses or an erosion of 4 That governance arrangements of throughout this period. terms and conditions. Music Education Hubs are more closely scrutinised to ensure greater accountability The Ofsted report was based on a small In the response, we also raise concerns about and transparency. sample of 31 schools and did not take into the opportunities and access for pupils to account any of the data that Hubs have been music education and what effect this will have To read the MU response in full visit: asked to produce for the Arts Council. The on the musicians of the future. musiciansunion.org.uk/news/2014/02/05/ Ofsted visits began in February 2013, just mu-calls-for-government-to-do-more-for- months after Hubs came into existence, yet music-education/ they are blamed for faults in the delivery of music education that was out of their remit.
The Musician • Spring 2014 30
© Rob Monk p rofile Blowing the of plentyhorn UK jazz saxophonist Dave O’Higgins talks about his life in music, the importance of a broad education and why jazz needs protecting…
Feature by Brian Glasser
Dave O’Higgins has done so much for so long that has produced a number of albums and it’s hard to believe he’s not in his 50s yet. The contributions to other projects, including Perceptions of Derbyshire-raised saxophonist was a leading recording horn section parts. jazz in the media light in the last major UK jazz boom back in “The media often views jazz in 31 the 1980s and since then he’s hardly stopped, How much time do you spend on the various the same way as it views pop: it touring internationally, putting out 14 albums strands of your professional life? likes new. A lot of the attention of his own, appearing on countless others as It varies. I do two and a half days a week I got in the 1980s was because a sideman and working for big orchestras. teaching during the 25 weeks of term time I was in my mid-twenties, a year, and I’m quite active in the exams rather than it being about how He’s also had a long commitment to period too. The job at LCCM has been very well I was playing. My band teaching – at Leeds, Goldsmiths, and now nice for me – it’s relieved the pressure of were quickly signed to BMG, the London College of Contemporary Music staring at the phone. It means that I can be which gave me a tremendous (LCCM) – and in recent years has become more relaxed about what to me is the most leg up. Jazz is actually more increasingly involved with the MU. The other important aspect of my world in music – being like classical music in that project that has occupied him recently is the a performing musician. It takes the stress out musicians carry on maturing for design and construction of a home studio of trying to make a living entirely out of that. a long time; because the media likes something new, they miss I really enjoy the session work too. Playing out on the stuff that’s actually “Being a part of this with the LSO or RPO on a film score really getting good. Talented young makes the hairs on the back of my neck stand people get more attention fantastically-conceived on end. Being a part of this huge, fantastically than the talented people who -conceived palette of sound is a massive were fresh out of college 20, 30 palette of sound is thrill. I spend roughly a third of my remaining years ago and who have now time as a sideman, and two thirds as a leader really grown into something. a massive thrill.” – although the line between those can be The culture of instant celebrity a bit blurred, like when I’m the frontman in has impacted on the so-called Brubecks Play Brubeck [a quartet with Dave intelligent arts.” Brubeck’s three sons on piano, bass and drums]. It’s a nice balance, but it took me until my mid-40s to find it!
Where do you stand on the debate about whether jazz can be formally taught? It’s a tricky question. Actually, I did an academic music degree. I didn’t study jazz at
The Musician • Spring 2014 college because at the time it was only Leeds that was doing it and I wanted to come to “I find myself selling them London. I viewed my apprenticeship as being the National Youth Jazz Orchestra (NYJO) for a fiver – barely more rather than my degree. I learned about the sessions side in NYJO, and the jazz side from than the price of a drink!” doing small groups of my own. Dave O’Higgins on the effect that The formal approach offers the students Spotify has had on his CD sales a lot of advantages, insofar as they get a large quantity of information given to them succinctly and clearly. At the same time there’s an aspect that counts against, because they don’t have to search it out for themselves, the oral tradition is lost. So it’s helping musicians develop earlier, but in a different way. I try to nurture creativity and individuality in my students but, by definition, going to college to all learn from the same group of teachers is not that creative. So I encourage them to go to lots of gigs, because that’s where they’ll get as much of the essence of jazz as they will from coming to all our classes.
What sort of ambitions do you currently have? This is where my little studio comes in. It’s got a small Gretsch jazz drum kit and an upright 32 piano and I can record small groups here. I went on a production course at LCCM and learned the basics. Then I started to put it into action, calling in favours from sound engineers. I’m really into the Prestige and Blue Note labels recording sessions from the late 1950s and early 1960s, which were mostly recorded by Rudy Van Gelder in his mum’s living room!
The sound is timeless and very natural. I like © David Redfern the effect, say, of the drums spilling onto the other instruments. It’s also nice because live audience. I got to hear every musician in it means musicians play all together in the the UK on there. My fond dream is to set up same room like they would on a gig, without something like that and produce sessions of headphones. It helps them swing and it helps jam sessions with great musicians who maybe them play with dynamics. wouldn’t play together otherwise.
My hope is to be able to find a home for all It’s very easy to get stuff out there – on my the sessions we’re doing here – so far around website (daveohiggins.com) I put out a lot 60 albums’ worth. I would like to help the jazz of tracks that we’ve done here – but the industry by arranging sessions that the public difficulty is getting any payment for things. can hear. I feel the jazz scene misses what The bottom has fallen out of the CD market I used to listen to on a Sunday night: Peter in every genre, and I think it’s affected the Clayton’s programme Sounds Of Jazz on BBC cottage industries like jazz the most. I used Radio 2. He used to have two British bands in to be able to get my CDs distributed into local the studio each week, broadcast on national shops, but that’s stopped completely. So I radio – half an hour for each band in front of a just sell at gigs. And because it’s so easy to rip things or listen to things on Spotify, people resent the old price of £10 a CD. I find myself selling them for a fiver – barely more than the price of a drink! Can you expect a band to make an album for nothing because it will
get given away? Or could that be in our © David Redfern
The Musician • Spring 2014 profile
interest as musicians? I’m trying to work out After three years in the National Youth Jazz what the next thing is – we all are! Orchestra, Dave joined guitarist Dave Mullen’s What made you join the MU? band, before playing I think I joined when I was still at uni – but for Martin Taylor, Jason Rebello and Jamie certainly as soon as I entered the professional Cullum. He has also arena. I thought it was a good idea to have appeared as a busker in some solidarity with my fellow musicians. an episode of Mr Bean We’re usually self-employed and if we’re going to have any sort of a voice we need to get together and create a communal one.
Have you ever had cause to use its services? My a be it’s because Yes. Legal advice about record contracts, I’m a Londoner queries about copyright issues and regarding I’ve lived in London since I came chasing payments for things, which is a grey down to college. I considered area because so much is done by verbal moving to New York in my late contract. I’ve been on a Section Committee for twenties, when I was going about three years now. We see whether the there as often as I could afford Union can do anything about things that are to. It was a very formative time. very important to working musicians. I made an album called Beats Working For A Living there, with I went to the biennial conference last year and some amazing musicians; Joey it was eye-opening to see how the Union really Calderazzo, Adam Nussbaum, works and meet everyone involved in it. I was James Genus and Joe Locke. very impressed by the commitment and how I did a lot of gigs out there well-organised it all was. It made me think with some great players like that if we can actually be bothered as working 33 Eddie Gomez and Dave Kikoski, musicians to take part in this, we’ve got a and I had some wonderful direct line through to people that can make experiences. But I was never a difference. We can at least start to put the brave enough (or daft enough) wheels in motion – although there’s a degree to make the move permanent. of patience required!
Later, I got some gigs in South Can the MU help the future of jazz? Africa just after Nelson Mandela Yes! At the immediate level, it’s tough for jazz was elected. It was such an musicians. We’re being squeezed so much, but exciting time. They were getting we want to play so we’re inclined to undersell international musicians in for ourselves. It’s very hard to say to musicians: the first time and we were ‘Don’t go out for under 150 quid if it’s over doing gigs with black and 100 miles away’. But we have to open up that white musicians. I spent a lot discussion with musicians, promoters and of time there and I was offered funding bodies. More long-term, I have some a couple of full-time jobs at serious worries. Funding is being cut in the Cape Town University and at arts, but jazz has always had an inordinately KwaZulu-Natal University. I just small amount of the pie anyway. felt that moving to South Africa was a one-way ticket. I would Jazz has been around for 100 years or so, and have loved to have done it in it’s starting to be a genre that needs funding many ways, but I decided not to. in order to preserve it in the same way that So here I still am! classical music always has, otherwise it just wouldn’t exist anymore. The situation is becoming critical. The music itself will always move and change and morph with stuff, but the historical aspect of it urgently requires some sensible, sustainable preservation.
Dave O’Higgins is touring the UK from March
© Rob Monk Rob © to July. For more info visit daveohiggins.com
The Musician • Spring 2014 Using your musical skills in fresh areas…
34 © Getty Images. advice
What to look for: Branching Out Musicians that need to supplement their performing income may have surprising options for opening up their portfolio, as Tracey Kelly discovers.
While most musicians dream Brainstorming of making their living 100% It’s a good idea to spend a little time “Even as a performer, from performing music, this is brainstorming to generate ideas and to see not always realistic on planet how the ground lies. Matt Wanstall, Regional there may be a lot Earth, and sometimes not Officer for the MU for the North of England, even desirable. After all, highly suggests that members extend their earning of different things successful artists have a lot power by considering the obvious first: a musician can do,” more of the business side of trying different types of performance, or music foisted on them than many even unusual combinations of skills. “Even Matt Wanstall creatives would care for. And in as a performer, there may be a lot of different the current digital market, even things a musician can do. Someone may have FEU Training artists signed to labels are having their own artistic project, but they may be able If it’s training you are after, the FEU (Federation 35 to make up for shortfalls in CD to play in a covers or functions band as well.” of Entertainment Unions) offers downloads and download sales with income and workshops designed to help build on sourced elsewhere. “Some musicians might write or arrange for existing talents and open up new avenues other people,” Wanstall continues. “They may for creative freelancers from the MU, Equity, But all is far from lost. With a have a studio, so as well as recording their own NUJ and the Writers’ Guild. Workshops such little imagination and savvy material, they could record other bands, or do as ‘Diversifying Your Portfolio’ help musicians it’s possible to come up with sessions online remotely for other artists, for work out what transferable skills they have to ingenious ways to boost your instance. DJing is another option – parties and expand their careers. income by utilising your musical weddings can be lucrative – as is playing in talents in tandem with skills in elderly people’s homes.” “Many of the musicians who’ve attended other areas while remaining a our workshops have built on their core skills performing musician, singer or Doing a bit of research can help locate gaps to extend their portfolio”, says FEU Training composer. Some of the roads in music-related enterprises in your area. project manager Frances Dredge. “For you could travel might not seem For example, if you are a singer who is good example, a singer/songwriter might learn how obvious at first, but inventive with children, you may want to try running a to produce recordings, make music videos, solutions can be found. music group for toddlers or primary school and even set up music events. children. You could even run a Rock School- We ask some industry experts for type course for adults, or a seniors’ choir that “In such a competitive industry where their insights and explore some takes place during the day for retired people. advancing technology has an increasing of the clever and innovative plan If your skills include working with disabled part to play, it’s sensible to adapt and learn ‘B’s that musicians have used to people or those with psychological issues, new skills to take advantage of new areas of expand their portfolios… music therapy is worth looking into. demand, as well as to ensure work continuity and a regular income stream,” says Dredge.
Sometimes, the input that comes from others at the workshops sparks new ideas; contacts from across the creative disciplines can be made. The good news is FEU courses are free to Union members and are held in cities across the UK. For more information on what they have to offer, go tofeutraining.org
The Musician • Spring 2014 Teaching trends Professional musicians at all career levels enjoy sharing their knowledge with others, whether they be children or adults. It can be tremendously rewarding, and often enlightening for the tutor as well as the student. And there are many different flavours of educating. MU Education “The variety of doing different and Equalities Official Bindu things is what keeps it fresh,” Paul comments: John Wheatcroft “Teaching is something that two-thirds of our members have in their portfolio – whether they’ve arrived at it via a formal route, or they give private lessons.” “We try and keep it as real world as possible – “To be a peripatetic teacher, you don’t need to I think I’d be a lousy teacher if I didn’t play.” have qualified teacher status if you’re working in a classroom, but obviously the more training So did he retrain as a teacher? “I kind of and experience you have, the better the trained on the job. I’ve been teaching almost teacher you will be.” since I started playing professionally, when I was 17. I was teaching a night school rock The Arts Council has put together a guitar class at 18, and I just maintained it all Certificate of Music Education (CME) course, along. Not only was it a source of income, but due to launch soon. For more information it was also something I was really interested 36 explaining the course, entry requirements in and I found I enjoyed it. The variety of doing and funding, visit the Arts Council website different things is what keeps it fresh.” at artscouncil.org.uk So how did he get to pen a magazine column? S olution Advice Tandem careers “I was an avid magazine reader, and used to With Noise Solutions, Simon Someone who has built a very successful read in Guitarist about all the players I admired. Glenister has created a very portfolio career is MU member John I think I must have learned to write by osmosis!
successful alternative music- Wheatcroft. A talented jazz and rock guitarist, And I also had good recommendations. Like a © Getty Images. related career – one where he he is also head of the guitar department at lot of jobs in the industry, it’s what you know still has time to be a performing Tech Music School, gives private lessons, and who you know.” drummer. So what advice would and writes a blues guitar column for Guitar he give to other musicians Techniques magazine. We asked him how he Clever Solutions wanting to marry musical skills came to wear so many different musical hats. Simon Glenister came up with a unique idea with other talents? for branching out through doing community “Look at what your skill set is. “I don’t personally separate them. On the social work. A drummer with folk-electronica There was a plan to use music, face of it, they’re very different things, but band Tunng, he’s also founder and director but the Noise Solution model essentially they’re all related. I’m passionate of Noise Solutions (noisesolution.org) an hadn’t been sorted out when about playing guitar, and I’m also passionate innovative social enterprise that uses music to I started the organisation. about talking about playing guitar. If I wasn’t help vulnerable young people. I just took things that I liked and being paid to teach, I’d still be talking about packed them all together. It’s it with my friends and sharing ideas, and So what made Glenister want to diversify? a question of taking stuff that effectively doing exactly what I do “I’ve been a professional musician for 20 years. you’re genuinely interested in the classroom. Tunng is the fourth signed band I’ve been in, in and excited by. Because if but it’s not a regular income. In real life, the you’re excited by something, “These days, tutors are experienced bills have to be paid, especially if you’ve got that enthusiasm is catching and practitioners, hopefully, trying to share the kids,” he notes. “One of the things I started you can enthuse other people. benefit of our experience,” says Wheatcroft. doing when I wasn’t earning enough money And you just need to start. from the music side of things was to work with Get an idea, make it your young people who had issues around mental conviction and start.” health or challenging behaviour. So I had these noisesolution.org two concurrent careers – the youth work and the music work – and there came a point
The Musician • Spring 2014 advice
T op 5 Tips Our services are there to help you navigate the minefield 1 Make a list of your skills, both musical and non-musical, then write down a list of possible services stemming from them that may generate an income stream. Brainstorm ideas. 2 T he MU provides information on training in different areas of music. You can search the MU Members’ Handbook or website for information on courses at theMU.org You can use your skills as a musician to diversify 37 into a broad range of other activities that can 3 fill your time and pay the You’ll find a wide variety of bills, from giving classes, to recording other artists information and advice including and even becoming a DJ e-courses tailored to freelance needs, at the FEU Training site, at feutraining.org about four years ago where the funding at the Getting it together organisation I was working for was coming to “I’m actually quite a lazy musician and have 4 an end. That seemed like an opportunity to used a lot of short cuts, being self-taught. With For information on retraining bring the two worlds together – to utilise all the young people with chaotic behaviour, you need as a teacher, the Teacher’s Toolkit is skills I had from both areas.” to grab them really quickly. I can use those available on the MU website. Watch the skills to get people making music that they like, e-bulletins and The Musician for news of really quickly. To that end, we use computers the new CME teaching qualification. “Being self-taught, to show them how to make drum’n’bass or techno or dubstep,” he says. I can use those skills 5 Noise Solutions was launched four years ago A sk your Regional Office to get people making and has grown exponentially. Last year, it took for advice; MU staff are up to date the position of the 23rd fastest-growing social with the latest legislation and music that they like, enterprise in the UK. Now boasting four tutors, opportunities, and can point you it works with social services and is a non- in the right direction. really quickly,” profit organisation, without the aid of grant Simon Glenister funding, operating as a profitable business. Noise Solutions is doing so well that Glenister and his colleagues are looking at franchising never just hope for the best the model they have created in Suffolk, aiming In music, more than many other to get it out through the UK. How’s that for TOP professions, good things only drop portfolio inspiration? TIP into the laps of the well-connected. So get out and make those connections!
The Musician • Spring 2014 improve your profile
online Social media can be a valuable way to get the message out there, but you have to find the right medium for you, as Will Simpson discovers.
The right stuff Leeds-based singer songwriter Jen Armstrong Social media can be a terrific quickly found herself hooked on social media. tool for promotion, as Jen Armstrong (below right) will testify “I’d encourage anyone to play around and see – but don’t neglect your music which ones work for you,” she advises. “All are fairly user-friendly. Even with something like YouTube it’s easy to set up an account and 38 make a video that can be as simple as you There can’t be many musicians sitting at home at a piano.” closest touching point between you and your working in the UK today who fans. It’s a great research tool to get proper aren’t aware of the need to have Jen is on Facebook, YouTube, Instagram, real time feedback about what people thought some kind of online presence. Twitter and has even streamed a gig of hers about the gig that night. There is a wealth of Quite simply, not marketing via a site called Ustream. She also films her help and information you can find on there.” yourself on the net isn’t an option own video blog. “It’s called You’ve Been Pinked any more. If you are interested in – A Day In The Life Of A Wannabe Superstar. Selling yourself finding more work, more gigs They’re just 10 minute clips that will involve Of course, rather than building a fanbase for and want to increase your some talk from me, footage from gigs or their own original material, many musicians are fanbase, then it’s essential. behind the scenes. It’s another way for people simply looking for more work and indeed there to get involved with what you’re doing.” are platforms that are specifically designed for But how to go about it, and this such as LinkedIn’s various music-related where? It’s easy to become Sharing the joy groups or musicteachers.co.uk overwhelmed by the sheer scale Like Jen, Jimmy Cannon (one half of folk duo of choice available to musicians Burton Bradstock) is a Facebook user. He Brad Lazarus runs the giggingsuccess.com in 2014. Do you content yourself warns that it’s often a while before you see website, a digital resource tool for covers with a Facebook presence and a return on this activity. “Through Facebook bands. For him the marketing of bands in this your own website? Or do you set people will see a post from me saying ‘gig sector has changed enormously in the past up a Twitter account, a Bandcamp here’ or ‘I’m doing some recording’ and they’ll few years. “The real challenge for musicians site? Join LinkedIn? Instagram? register it. I’d love the 1,600 people that are my now is being everywhere all of the time, which SoundCloud? Or all of them? ‘friends’ to turn up to my gigs, but the reality is of course is impossible. The barriers – and that it’s more like six. But it’s the awareness of cost – to entry has come right down and the what you’re doing that is important. It’s good competition is fierce, which makes it all the to be on the scene in some form, and if that more important to stand out.” can’t be physically on the scene than you can be virtually on the scene.”
Meanwhile, Dave Levin is a working drummer who also tweets professionally for TV shows such as The Voice. At last count he has over 2,400 followers of his own. “For me it’s the
The Musician • Spring 2014 advice
Jazz/folk duo Burton Bradstock: Jimmy Cannon and Dorian Ford (right) © Peter Sinden Peter ©
PAPI ERCL P MARKETING
© Getty Images One way for musicians to find more work – particularly in the “Everything should come back to your own covers/function band market – website. I almost see it like a wagon wheel. is to use a device called Google 39 You’ve got the band’s website in the middle AdWords. If you put any word and everything should be filtered through, go into the search engine, the round those spokes and return back to your first thing that comes up at website. It’s your property and the only thing the top of the page is usually a you control. It’s your asset.” sponsored link. This is what Is known as paperclip marketing. Finding the difference Brad Lazarus explains: “Say Everyone we spoke to for this article reiterated you’re in a swing band. You the importance of researching your market could use Google AdWords and standing out. “Look at things that are a to display an ad that would come top of any search that lists, say, the words ‘London “It’s another way for swing band’.
© David Jackson Photography Jackson David © people to get involved “It’s a very competitive market, so anything that can give you Many artists prefer to get by on a Facebook in what you’re doing,” an advantage is good. There account plus SoundCloud or Bandcamp. “You Jen Armstrong are other sites that are coming can certainly get by fine now without your own up like gigsalad.com and website,” says Jen Armstrong. “I use mine to bit different,” says Dave Levin. “There is one gigmasters.com that, in effect, set up who I am. It’s the beginning of where rapper I follow on Twitter who does a hip-hop act like agencies, but most my branding starts, which I then take through quiz every Sunday. Not just his followers but people if they are looking YouTube, Facebook and the rest of it.” hip-hop fans in general check it out, and he to book a band will still use gets loads of engagement.” Google, so it’s invaluable.” Brad Lazarus warns against putting all your eggs in the Facebook basket. “So many bands Of course, in the midst of all this don’t neglect build their presence there, but Facebook could the most important thing – the music. “I think decide tomorrow that you have contravened in terms of time the ratio needs to be 80:20,” some rule and they will pull your page down. says Jimmy Cannon. “That’s 80 on the music And your thousands of fans are just gone. and 20 on marketing. If you spend too much Done. You’re over.” time online you’ll never write any music!”
The Musician • Spring 2014 EM PLOYment “ The MU takes a cut when it reaches an agreement with fact: FILE an employer.” “Employers will not like the fact I’m in a union.”
Paul Burrows, Regional Organiser Debunking – East & SE England, responds: “The MU takes no cut from employers or engagers. The benefit comes from having a the myths relationship whereby we can discuss members’ concerns The music industry and the trade union and improve them through £ negotiations. You cannot movement have witnessed untold be discriminated against for being in a trade union. Having changes down the years. Unfortunately, an agreement with the MU means a number of inaccuracies about the that prospective employers can budget in advance for a project. Musicians’ Union and its role in the 21st They are often very appreciative that their employees are obtaining century still persist. Here, we aim to lay professional advice on their some of these myths to rest… working terms and conditions.” 40 U nderstanding On joining Atk wor what we do “I don’t need a union, I have an “Don’t you insist on set rates?” “ The MU promotes its accountant and a solicitor.” members to the industry.” “If I’m a member, I will become “Why should I join? I only play too expensive for employers.” “The MU is part of PRS / PPL.” in pubs & clubs at weekends.” Dave Webster, National Organiser Naomi Pohl, London Regional MU General Secretary, John – Live Performance, responds: Organiser, responds: “Whilst the Smith, responds to the first two “The MU insists on engagers Musicians’ Union is part of UK myths: “Your Union represents paying rates that are set out in Music and regularly partners musicians working in all areas one of our many Collective other trade bodies in of the industry, from big names Bargaining Agreements. These campaigning for the rights playing stadium venues to ensure musicians are paid and interests of musicians bands and solo acts just agreed fees and there is no room and the industry, both starting out. Advice and to be paid any less. Clearly our nationally and worldwide, we are support are available to members can negotiate rates the trade union for musicians in members, whether they in excess of MU minimums, the UK and fulfil a very different play once a month in their local but at least you will be role to collecting societies such venue – where they can still be £ guaranteed acceptable as PRS for Music or PPL. We subject to exploitation and non- terms and conditions. offer musicians networking payment – or work every day in Where we promote minimum opportunities through events, concert halls, studios, classrooms freelance rates, these should be seminars and workshops. or at home. Musicians’ Union used as a benchmark. It’s often We’re not an agency and do services include financial and legal the case that pubs and clubs may not specifically represent or help, designed to save musicians not be able to meet those rates promote individual members.” hard-earned money and these are where a band is working, then we often vital in securing their future encourage members to negotiate in the industry.” an acceptable rate and that’s where our Fair Play Guide comes into its own.”
The Musician • Spring 2014 advice
E XPERtise On staying T echnoLOgy P olitics “ The officials and officers a member “ The MU is against new “ The MU has less influence at the Union know nothing “You have never done technology. It was against and power these days.” about music.” anything for me.” synths, isn’t it against sampling too?” Isabelle Gutierrez, MU Head of Horace Trubridge, Assistant “I’ve never had to use the MU. Government Relations and Public General Secretary – Industry, It’s just an expensive diary.” Ben Jones, MU National Organiser Affairs, responds: “The MU is responds: “Many of us were – Recording & Broadcasting, actually very active in parliament professional musicians before we Keith Ames, MU Communications responds: “MU members often and in Europe – and our lobbying came to work for the Union. For Official, responds: “The MU has embrace new technology and has helped to bring about changes example, I had a successful and always supplied a comprehensive use it to further their careers, such as the Live Music Act, which varied career as a pro musician range of benefits of membership, for example, recording remote makes it easier for small working on hit records, West End many of which are automatically sessions online. We advise venues to put on live music, shows and international tours. triggered when a musician our members about and the Term Extension John Smith was a tuba player joins the Union. The true value technological advances Directive, which extended for the orchestra at English of membership is in having – most recently regarding copyright for performers National Opera, so between bespoke help and advice streaming services. to 70 years from 50. We have 68 us we have probably from a knowledgeable team of Sampling can be creative and MPs and Lords, from all political experienced every kind of Union professionals, if and when inspirational and can introduce parties, who we speak to on a work that a musician might required. Such help can be both musicians and audiences regular basis and who work encounter. National Organiser face to face and includes to new artists and performers. with us to achieve real change and violinist Bill Kerr was with Continuing Professional Obviously, permissions need to for musicians.” the Hallé for 13 years, plus Development for those be sought and the appropriate Regional Officer Paul Gray (Eddie musicians who face changes rights in the composition and/or & the Hot Rods, the Damned and of career. If you do not need the recording need to be cleared, HRAVE YOU SAY UFO), In-House Solicitor David services of the Union for any but this can prove beneficial “You are not interested Fenton (The Vapors) and Sessions length of time, then you can to both parties.” in encouraging activists Official Pete Thoms (Landscape), consider yourself very lucky. Be anymore.” 41 all saw stage and chart success.” aware that even if you do not need personal assistance, the Union is Euq alities Diane Widdison, National always fighting on your behalf and “ The MU seems to be Organiser, Education & Training, ST ARTing OUT has won numerous campaigns on mostly men.” responds: “Musicians have many “You do nothing for young behalf of musicians.” opportunities to get involved in people.” Bindu Paul, Secretary to the MU the Union, both through dedicated Equalities Committee, responds: Committees – such as their own Emily Stewart, MU Regional R epresentation “Women make up a significant Regional Committee, as well Officer, responds: “The MU is “Don’t you just represent percentage of the Union and its as the dedicated Sections and particularly concerned with the gigging musicians?” Officials and Officers. In fact, Equalities Committees. Plus, issues facing young musicians. the first female member of our members can stand for the On a national level, we work with “You only represent orchestral, Executive was elected onto the Executive Committee and our the TUC Young Workers’ Forum theatre and jazz musicians.” Committee in 1948 and our biennial policy-making Conference to highlight issues faced by our current EC Chair is Kathy also gives the chance for any young members and take a motion Bill Kerr, MU National Organiser Dyson, jazz guitarist and paid-up member to be a delegate to the annual conference – Orchestras, responds: “The educator. The MU works and represent their particular reflecting the interests MU continues to be an inclusive to protect the rights interests at the highest of young musicians. organisation with membership of all musicians. Our level. Our campaigns, such The MU brought in the open to all musicians. We services and benefits do not as Work Not Play and Lost student rate of £20 to try represent employed and self- discriminate against your sex, Arts, and the distribution and extend the benefits of an employed players from across ethnic background, sexuality or of the Live Music Kit, rely MU membership to attract all disciplines, whether they if you have a disability. However, heavily on the contributions and as many young musicians work in orchestras, in the clearly we can help if you are efforts of members. Musicians as possible. It’s particularly studio, the live arena, as discriminated against because are encouraged to spread the important to us that younger composers and writers, or in of one of these protected word about the Union throughout musicians aren’t taken advantage education. Our Officials are on characteristics. The MU is here the year and can contact their of by unscrupulous companies. call to musicians working at home to fight for the rights of all our Regional Office to find out more The Contract Advisory Service and abroad and our services are members and especially those about being active in their area.” has saved hundreds of young not dependent on the genre the who are most vulnerable.” musicians signing up to potentially musician is working in.” career-ending deals.”
The Musician • Spring 2014 ASk us first It is in the interest of all MU members to read this list carefully.
If you are offered any work or agreements by anyone listed below, before you accept, please consult either the contact shown here, your Regional Office, or MU Legal Official Dawn Rodger (tel 0161 233 4007, email: [email protected]).
— Big AL Entertainment Group / — Isle of Wight Jazz Festival — Royal Shakespeare Company Big AL Entertainments Ltd Limited / Isle of Wight Folk Productions in London Jen Hunter on 0141 341 2963 & Blues Festival Limited / Naomi Pohl on Philip Snellen / Geri Ward 020 7840 5532 — Bigfoot Arts Education Paul Burrows on Fran Hanley on 020 7840 5544 020 7840 5536 — Speckulation Entertainment Limited — Brian Soundy / UK Jazz Radio — Keko Promotions London & Now Emily Stewart 020 7840 5540 — W ayne Maughn / Maughan Dawn Rodger on 0161 233 4007 or Jen Hunter on 0141 341 2963 — Leo Alexander Jo Laverty on 020 7840 5535 — Celtic Music / CM Distribution Horace Trubridge on — Live & Unsigned 020 7840 5512 Kelly Wood 020 7582 5566
3842 — Classical Festival Company Ltd / — Music Management (UK) Foreign claims Serenata / Anthony Malpas / Limited; Sally Civval When undertaking activities Lesley Malpas with a contracting party abroad, Paul Burrows on 020 7840 5536 — The Music Practice Ltd members are strongly advised Jen Hunter on 0141 341 2963 to ensure fees are paid up — Craigholme School for Girls front before the contract is (Glasgow) — Online Music Ventures Limited performed and that an advance Jen Hunter on 0141 341 2963 / Andrew Smales is obtained against any future royalty payable. — David Shepherd and — Orchestra Europa Limited Members are reminded of Brian Daniels t/a D and B Rule XI.3, to “submit written Productions Ltd — Pamela Aird at The Unicorn contracts for professional Dave Webster on 020 7840 5512 Theatre in Abingdon activities abroad to the Musicians’ Union before they — E nglish Martyrs Roman — P lay Recording Studios Ltd are entered into”. Members Catholic School Naomi Pohl on should note that requests for Fran Hanley on 020 7840 5544 020 7840 5532 legal assistance in relation to claims abroad must be — E uropean City Guide — P tarmigan Productions Ltd / considered against the Union’s Jo Laverty on 020 7840 5535 Mr Brian Willets / Ptarmigan criteria for legal assistance. Promotions Ltd Such claims are often not — Expo Guide Dave Webster on cost-effective to pursue and Jen Hunter on 0141 341 2963 020 7840 5512 if no up-front payment is obtained, members may — Grubser’s Limited remain completely unpaid Naomi Pohl on for their services. 020 7840 5532
— Hemming’s Leisure The latest edition of the Ask Us First list can be obtained from the ‘Advice & downloads’ section by logging into theMU.org
The Musician • Spring 2014 reviews To get your CD reviewed Reviews, The Musician, or photos (minimum and public. We try to send recordings, full 60-62 Clapham Rd, 300dpi resolution) to: help as many members contact info, biog and London SW9 0JJ. [email protected] as possible, and PR material to: Copies of the recording preference is given You should also forward must be available to MU to members not your cover artwork and/ members, the industry previously reviewed.
Reviewer: Keith Ames reviews A look at some of the new albums, EPs and downloads released by MU members for 2014, together with links for more information on the featured artists.
43
bad ass brass Zwierzchowska Haller Eleonora ©
ad Ass Brass have lived up to their moniker since forming in 2008 B ad ass brass Live by delighting their fans with adrenaline-fuelled performances that capture the energy of New Orleans and repackage it with some Paul Munday and his bona fide British personality and a sprinkle of eccentricity. jazz crew bring their considerable talents to B the fore in this follow-up Bad Ass Brass have been creating flute) and Mike Poyser (sousaphone). to their self-titled debut. a storm on the UK live circuit with This, their second album is replete with Singer-songwriter Beth power-packed gigs that leave their Bad Ass’ funky, energetic sound, which Rowley’s rich vocal sits audiences reeling with the punch of their is further enhanced by guest vocalist beautifully next to some New Orleans brass-inspired jazz. The Beth Rowley. Their self-titled debut fast inspired soloing from eight players here are of some renown became a Jazz FM favourite and this this genuinely talented including Jon Stokes (trombone), Paul record promises similar success. eight-piece ensemble. Munday (trumpet), Sam Bullard (sax and badassbrass.co.uk badassbrass.co.uk
The Musician • Spring 2014 instrumental folk composer
N meil Ca pbell Jamie Taylor S imon Mayor Carlo Bowry Introducing The Art Of Gordon Ross Outside Line Mandolin Metamorphosis /Acoustic Debut release from One of the world’s Dan Phelps Counterpoint acclaimed guitarist, leading mandolin Shadows Jamie, Matt Anderson players, Simon Mayor Campbell and Bowry (sax), Dave Walsh has developed an Dan Phelps is a pianist perform Philip Glass’s (drums) and Garry outstanding reputation composer and music Metamorphosis, parts Jackson (bass). Subtle both live and as a guest tutor. This recording I to V, with an exquisite and refined playing on numerous recordings. focuses on 10 of his own arrangement for classical command respect This album displays adventurous pieces that and electric guitar and throughout both original his matchless playing benefit from the talents an interpretation of pieces, Someone New and breadth of genres, of James Grindle (violin), Steve Reich’s Acoustic Suite and Three Colours: from classical to Jemma Wells (cello) and Counterpoint, parts I to III. Blues Suite. ragtime. Superb. Karyn Phelps (piano). neilcampbell.org.uk jamie-taylor.com mandolin.co.uk phelpsmusic.com
S imon Franz Black D ai & The Goulding On Angel’s Wings Ramblers Open Window Duw Duw A leading light in easy Fourteen tracks listening, Franz has An organic, swinging 56n from jazz multi- made it onto multiple masterpiece where 11 Sleevenotes 44 instrumentalist Simon radio playlists. His cuts of British country, featuring a host of comforting manner Zydeco, skiffle and blues A soundtrack-style special guests. Intricate and topline, graceful join with the occasional production of eight and precise, sunny and keyboard playing classic – such as The exploratory pieces. late night, a welcome framed by the sounds Chicken And The Hawk From the scene-setting album of gorgeous of nature is sweetness – to capture Dai & The opener Time And Wine compositions and and light personified. An Ramblers inordinately through to the classical fine performances. album to relax the mood. tight live sound. Fragments, this album tinyurl.com/officialSGM franzblack.com daiprice.com engenders a wealth of emotions, sometimes hidden but always stand out artistic and fulfilling. www.colonpress.com We’ve selected an album and a single track that just get better with every listen, and are well worth adding to your collection...
H eidi Browne Philip Herbert Lost In Grey & Philip White Garym Ba ford Silent aria Soundtrack Singer/songwriter and self- To Breathing taught multi-instrumentalist Respected composer and Heidi Brown is a BBC pianist Philip Herbert’s This composer and Introducing Pick for 2013. love of tasteful keyboard arranger follows his This album of fragile, flourishes lift this new track debut, jadj, with an acoustic songs displays her that is due to feature in the album of electronic (well justified) confidence Let’s Dance International expressionism. Part in her material and voice Festival in May, and is a new age, ambient and and should garner plenty of delightful collaboration classical, the feel is press attention. with oboist Philip White. relaxed yet an underlying heidibrowne.co.uk philipherbert.org tension captivates. tinyurl.com/gbamford
The Musician • Spring 2014 reviews blues, jazz & swing rock
K airos R obin Phillips W ily Bo Ensemble Sing. Play… Walker & The Rejoicing Blues For Pleasure Danny Flam Big Band Since their foundation The latest set from one Self-titled A drian Nation over a decade ago, of the capital’s leading Live At Kairos Ensembles’ jazz singer/pianists Wily Bo Walker et al hit Crossroads sax/piano/tuba/drums aims to bring vocalese hard on The Openator, combination has to the fore. Consisting followed with a bluesy, This guitarist, vocalist delighted audiences. of a number of classics, late-night Wily original, and storyteller These 14 instrumentals Robin has also gathered Moon Over Indigo. The demonstrates his are a prized addition a top drawer range of depth and ability of the supreme skill for to their portfolio of guests including Ian frontman and his band blending clean, six- elegant, tasteful and Shaw, Anita Wardell, and are clear to all. Pure string sounds with a timeless jazz. Steve Fishwick. brass-led magic. warm and mature voice. kairosensemble.com tinyurl.com/robphil wilybo.com An album of tender and impressive material. pop, soul & Latin adriannation.co.uk
Gone to lunch S onrisa A ntony Radio Pop Vol.1 A Taste Of Latin Jawahall The Runaway Drummer Michael Led by vocalist/ Natkanski and classical flautist Kath Kimber Seven tracks of Monster Jaw 45 singer Lisa Westerhout and acoustic guitarist heartwarming British Get A Tattoo have produced a series Anthony McTiffen, pop/soul overladen of eight singles featuring Sonrisa have a tender with mood-enhancing, This hard rock trio from six female vocalists approach to Latin, jazz dynamic melodies. Leeds and Bradford and a cast of musicians. and flamenco. Traces The Weekend’s Here deliver heavy riffs No Love Today, sung of Arabic, Cuban and is a super-smooth intro and Sabbath rhythms by Mia Tizzano, is the African music blend to a hook-driven and topped by the distinctive stand-out track of this with Brazilian for an hit-laden offering. vocals of frontman contemporary collection. invigorating experience. facebook.com/antony. Mik Davis. An excellent gonetolunchmusic.com sonrisamusic.co.uk jawahall introduction to the band. tinyurl.com/monsterjaw singer-songwriter
C hris Capel Grumbling The Spent Ginger BeauBowBelles Convictions Smooth To The Moon The Rough A stand-out debut Four-piece BeauBowBelles The album from this Wales- Seventeen original regularly perform in and Broadcasts based singer-songwriter. songs of pointed around London, playing a Silvertown Embracing his principal observation about life mix of ethereal originals, influences (Joe have been lovingly hot club swing, romantic A promising force of Strummer, Neil Young, crafted by singer/ acoustic observations and nature from South Wales Richard Thompson and writer and multi- unusual covers featuring boasting a dynamic Bob Dylan) he tells of instrumentalist a variety of traditional presence, captivating growing up in SE London. Jana Heller in this instruments (violin, flutes, lead vocals from James The 10 cuts have an air light-hearted CD accordion, bells, guitar Davies and a deal with of realism, honesty and recorded with and kick drum), with Right Recordings LTD. pure British quality. Andrew Gilhoole. verve and vitality. tinyurl.com/ chriscapelmusic.com grumblingginger.com thebeaubowbelles.com thebroadcasts
The Musician • Spring 2014 tributes
calling was jazz. However, with the genre still a niche concern
in early 1950s London, he had (L-R) Pete Moore, to make some sort of living and Johnny Mercer so joined the dance bands of and Ken Barnes Roy Fox and later Ted Heath.
Things really began to change © Ken Barnes for him with the opening of Ronnie Scott’s in 1959. The new Pete Moore known as the Pearl & Dean club revolutionised British jazz, Arranged for the stars of stage theme tune. For many people and when Tracey was hired as and screen and wrote many the famous ‘baba-baba-baba- house pianist he found himself familiar advertising jingles. baba-ba-ba-ba’ vocal is the at the centre of the scene very embodiment of a trip to the – learning from and playing Pete Moore was a composer, cinema, and it’s still being used,
© Getty Images. with the top-line American arranger and conductor whose in a slightly updated version, musicians who guested there. name may be unfamiliar but some three decades on. Growing in confidence, he whose music is known to Stan Tracey began composing himself. His millions the world over. Born Of the piece, Moore himself Influential and highly-acclaimed most famous work, Under Milk in London in 1924, Pete was a stated: “Many people in the UK 46 pianist and composer from the Wood, was inspired by the Dylan quiet and unassuming man who music profession have accused golden age of British jazz. Thomas radio play, but Tracey seldom gave interviews and me of writing music for the also went on to compose the was reputed to rarely go out future and well ahead of its time. Stan Tracey, who died in music for the filmAlfie and the looking for work: the jobs came Having regard to the longevity of December 2013, aged 86, was acclaimed big band work Seven to him. This led to his industry this piece I can only thoroughly one of the key figures of 20th Ages Of Man. nickname, The Invisible Genius. agree with that sentiment!” century British jazz and a pianist who won the admiration of the Tracey’s career ebbed towards Academy-trained, he embarked His work has recently seen a American greats. At one concert the end of the 1960s, but after a on a musical career in the late new lease of life among easy with Sonny Rollins, the sax fallow period he returned in 1973, 1950s. As an arranger he worked listening enthusiasts. Tracks legend was moved to declare: celebrating 30 years of music with some of the greatest names he recorded under the names “Does anyone here realise just at a sold-out gig at the Queen in show business, including Bing how good he is?” Elizabeth Hall. He launched his Crosby, Fred Astaire, Gene Kelly, “People have own label, Steam Records, and Peggy Lee, Peter Sellers and accused me of Born in south east London, was awarded the OBE for his many more. He also provided writing music for the Tracey’s first instrument was services to music in 1986 and the orchestrations that can be found the piano accordion. The young CBE in 2008. He never stopped in the repertoires of the LSO, future,” Pete Moore musician was barely 16 when he working, and his final album The Boston Pops and the Rochester joined the ENSA (Entertainments Flying Pig – a stirring collection Symphony Orchestra. He also of the Pete Moore Orchestra National Service Association) inspired by a visit to the old WWI wrote for scores for stars of (Catwalk, Pure Instrumental concert party during WWII. It battlefields of Northern France the calibre of Liberace, Bert Bliss, Just Enjoy The Music) and was over this period that he – was received warmly by critics Bacharach and Marvin Hamlish, Pete Moore’s Solid Rockin’ Brass learned the piano and met just weeks before his death. among others. (The Fat Man) for labels including a number of entertainers, Fontana and Rediffusion have including Bob Monkhouse Will Simpson As a composer he wrote the become hugely collectable. with whom he worked as an jingles for TV commercials for accompanist immediately “Does anyone here products as high profile as Pete died in November last year, after being demobbed. realise just how Coca-Cola and Lux soap, but he aged 89, but his music will live on was perhaps most famous for for many years beyond him. Rather than the world of light good he is?” a 28-second piece of music he entertainment, Tracey’s true Sonny Rollins wrote called Asteroid, otherwise Terry Wheeler
The Musician • Spring 2014 Tributes
Nicholas Busch Dave Higgs Terry Yates Principal Horn for the Guitarist and songwriter Regional Organiser great British orchestras. of Eddie & the Hot Rods. and true MU legend.
Born in north Devon, Essex boy Dave started Terry was one of the old Nick, with his sister Julia his musical career school; a champion of and their mother Sheila, in The Fix with Lee trade union traditions, moved to London after Brilleaux, but soon whose raison d’etre his father, composer and Steve McManus went on to form his was the MU and all that concert pianist William Popular bass man from Jimmy Hardwick own band, Eddie & the it represented. Terry Busch’s early death in stage and soundtrack. Legendary West End Hot Rods during the was the MU’s Organiser 1945. He became a First restaurant pianist. pub rock boom in 1975. for the Midlands, the Horn player at the age of West End musician They quickly forged East and part of the 19 with Sadler’s Wells. Steve McManus, whose Jimmy Hardwick, the a solid reputation on North East Districts. credits included Chitty long-serving pianist at the live circuit, and My first encounter with He later joined the Chitty Bang Bang and the London theatreland were soon signed by him back in the early London Philharmonic The Witches Of restaurant, Joe Allen, Island Records. After a 1980s was at an Ipswich Orchestra in 1973 as Eastwick, has died aged has died after a short handful of moderately Branch meeting when Principal Horn, a position 48. Steve, who played illness at the age of 88. successful singles it he persuaded me to join he held until illness led to bass and double bass, was the Top 10 hit Do the local committee. his retirement in January battled cancer for the Born in Stafford, Jimmy Anything You Want To 2006. In between, he last five years. was persuaded to move Do at the height of Terry became not just was Principal Horn of the to London by his actress punk’s bluster in 1977 a great friend but also BBC Concert Orchestra, As well as performing friend Sue Nicholls. He that thrust them into my mentor when I was and the Philharmonia in the orchestra pit on played at the opening the limelight. appointed to the Union’s Orchestra’s Second many West End shows, night of Joe Allen in team of organisers. Principal then Principal including Betty Blue January 1977 and went On 21 December, the I can recollect his almost – an orchestral career Eyes, Steve also on to perform six nights band posted this fanatical enthusiasm 47 spanning an astonishing featured on the a week until his death, message on their when regaling us with 47 years, 33 of them soundtracks for films tinkling the ivories for a Facebook page: “Sad tales of his involvement with the LPO. and television host of stars of stage news today, folks. in the BBC strike of productions including and screen. Original guitarist and 1980. And who better While backing people Torchwood, Doctor Who founder member Dave than he on the picket to the hilt, Nick was and The Hunger Games. “An institution. Higgs sadly passed line? For Terry’s stature straight in his dealings Tributes have been paid Always smiling, away this morning after was imposing and well and no-one was above to the musician, with losing his fight with suited to intimidating reproach if they fell musical supervisor always charming,” cancer. Dave was a when required – an beneath standards. He and orchestrator Mike Stephen Fry huge influence on many advantageous asset was a great friend, a Dixon writing on Twitter people and regarded as for a union official in worthy adversary and that he would be “very, Stephen Fry described one of the finest rhythm those days! respected by all who very missed”. him as: “An institution. players around. RIP.” knew him. Always smiling. Always Although he wouldn’t
Matthew Hemley – charming. I shall miss Getty images © Roy Delaney admit it, his health was
© Richard Haughton. Photo courtesy of the London Philharmonic Orchestra Philharmonic London the of courtesy Photo Haughton. Richard © Patrick Garvey originally published him dreadfully.” On its failing with a heart in The Stage website, Joe Allen said: condition exacerbated “Every actor who ever by the stress of the job. performed in London’s Sadly this was to lead West End has been to his early retirement Nick Busch: serenaded by Jimmy at in the early 1990s, and, the best one time or another and despite a less than of British he adored them all. He encouraging prognosis horn men was a true legend of the at that time, he endured musical, theatrical and until last year. In the restaurant world and history of the MU, will be sadly missed.” Terry Yates is one of the legends. Roy Delaney Bob Bennett
The Musician • Spring 2014 and in 1958 he got the gig as Beryl Auty She travelled across Great Terry White portrait artist on the hit TV Show Violinist and pioneer in Britain, then later the world, Multi-talented man of music, Dotto. When the show finished women’s orchestral music. sometimes smiling, sometimes war hero and cartoonist. Terry went back to being a intoxicated, but always 100% bandleader and eventually joined Beryl Auty, who has died aged focused. Beryl then discovered Terry White, cartoonist, pianist, the Bernard Delfont Organisation. 73, was the first woman to a violin from Cremona, musical director, composer, lyricist be appointed to lead a major hometown of Stradivarius, an and multi-instrumentalist has died During this long and happy orchestral violin section, that of instrument equal to her gift. after a short illness, aged 89. association Terry was MD and the Sadler’s Wells’ Ballet. She accompanist to many big stars of was also a noted artist, she After two unsuccessful He began learning the piano at the day, including Val Doonican, studied car mechanics and marriages she met Roger eight and by 12 he was playing in Morecambe & Wise and Max Wall. was occasionally a bricklayer. Fyfe, her devoted partner until dance bands at the Tottenham He was personal pianist, MD for Sir her recent passing due to a Palais. In 1942, aged 18, he joined Norman Wisdom for 15 years and Beryl was first lent a violin at cardiac arrest at their holiday the Navy, serving on landing ships MD for comedian Dave Evans. the age of four by her friend’s cottage in France. on D-Day. After the war, he joined father, which she played with the Tailor & Cutter magazine as a His wife, Carmel, predeceased teachers including her mother, A woman of skill, dedication, journalist then as a cartoonist. His him in 1973. He is survived by a Thomas Armstrong, Rosemary kindness and application. cartoons were hugely successful daughter and three sons, eight Rapaport and Frederick Grinke grandchildren, seven great- of the Royal Academy. Roger Fyfe “Terry was MD and grandchildren and one great- accompanist to many great-grandchild. big stars of the day.” Jane Moss Dennis Knight He began as assistant chorus Jane Moss Concert pianist, opera trainer master, then a répétiteur until and committed educationalist. his retirement, upon which he worked for their educational 1848 Born in Sunderland, Dennis programme, the Floral Opera. orchestras, joining the BBC took up the piano when he He loved to help singers at any Colin Verrall Symphony Orchestra in 1965. was 11, and by 1943 had won level and was noted for being Violinist, member of Bournemouth Three years later he took up the a scholarship to the Royal able to bring out the best in Symphony Orchestra and principal second violin chair at Academy of Music in London. almost any performer. chamber music enthusiast. the Bournemouth Symphony Upon leaving, he worked as a Orchestra, where he stayed professional concert pianist, A skilled raconteur, passionate Born in 1943, Colin joined the until 2007. He was famed for his while teaching the instrument supporter of Sunderland FC and Guildhall School of Music Junior musicianship and kindness. His at a number of schools across a deeply spiritual man, Dennis Exhibitioners’ School as a boy, great love was chamber music London. During this time he continued to coach singers and eventually going on to study with and, in his later years, he had his also conducted the Grosvenor play the piano near perfectly Eli Goren in 1961. own quartet. Colin leaves behind a Light Opera and Enfield Grand until very recently, despite his wife, two sons and six grandsons. Opera groups. In 1965 he joined increasing ill health. As a graduate he played in the Royal Opera House, where many of the major London Roy Delaney he stayed for the next 26 years. Bob Saunders
Nelson Mandela The MU also notes the sad passing of: Honorary Member • Cathy Stroud (oboe d’amore, cor anglais) of the MU • Richard Henry Thomas (bass) • Nelson Mandela (Honorary MU member) • Kenneth Goff (saxophone) • Don Kassell (drums) • Alan Sparkes (guitar, banjo) • Des Lumsdon (saxophone) • Roger Best (viola) • Peter Francis (bassoon, LSO) • Freddie ‘Fingers’ Lee (piano) • Ronny Jordan (guitar) © Getty Images.
The Musician • Autumn The Musician • Spring 2014 2013 notices MU Political Fund Review Ballot – Independent Scrutineer’s Report This report is issued in accordance with the Trade Union and Labour Relations (Consolidation) Act 1992 as amended.
I am satisfied that there are no reasonable into question. I have not been requested Result of ballot grounds for believing that there was any by any member or candidate to inspect or contravention of a requirement imposed examine a copy of the membership register. of members: by or under any enactment in relation to The Resolution is that the political objects set the election. I examined the membership register at my out in section 72 of the Trade Union and Labour own instance and no matters were revealed Relations (Consolidation) Act 1992 be approved I am satisfied that the arrangements made which needed to be brought to the attention as an object of the Union. with respect to the production, storage, of the Musicians’ Union. distribution, return or other handling of the Do you vote in favour of the resolution? voting papers used in the election, and the The Musicians’ Union did not appoint an Yes 3,784 (75%) arrangements for the counting of the votes, Independent Person under Section 77A No 1,252 included all such security arrangements as of the Act. were reasonably practicable for the purpose Spoilt ballot papers 10 of minimising the risk that any unfairness or Anne Hock malpractice might occur. Managing Director, Popularis 49 Total ballot papers 27 January 2014 received 5,046 (17%) I have been able to carry out my functions without such interference as would make Any member of the MU requiring a copy of Total ballot papers it reasonable for any person to call my the Scrutineer’s Report should write to the dispatched 30,300 independence in relation to the union General Secretary enclosing an SAE.
get involved in its work, please contact the Group (PA APPG), organises receptions at the Further information Education and Equalities Official: House of Commons that give performers the Equalities Committee opportunity to meet and discuss issues with Every MU member deserves equal Bindu Paul members of both Houses. In addition, the opportunities, the same rights to good service, 60-62 Clapham Road, MU plays a leading role in the International fair representation, respect and dignity while London SW9 OJJ Federation of Musicians (FIM), the international they are working, and access to Union support T 020 7582 5506 organisation for musicians and their unions. and assistance. E [email protected] For more details, visit fim-musicians.org
On behalf of its members, the MU continues to C amPAigns and lobbying Have we got your details? lobby on a diverse range of equalities issues, The MU campaigns on behalf of its members So that you can fully benefit from MU which have included keeping the streets safe at local, national and international levels. The membership, the Union needs to have your for musicians at night, mental health prejudice MU is in regular contact with the Department current email details, phone number and street and the barriers to accessible travel faced by for Culture, Media and Sport (DCMS) and address on file. To submit, amend or check the disabled freelance workers. ensures that musicians are represented during contact details that the MU currently holds for vital debates that affect musicians working at you, visit the online directory of members at Should you wish to be kept informed of the all levels of the industry. The MU, as part of the theMU.org or get in touch with your Regional activities of the Equalities Committee, or Performers’ Alliance All Party Parliamentary Membership Administrator (see p2). The Musician in audio and on CD In addition to providing The Musician on CD to visually-impaired musicians upon request, the large print versions of The Musician Extra, plus all documents provided by the MU, including rates and advice leaflets, can be requested in large print.
The Musician • Spring 2014 Partnership service If you are in a band, duo or trio, then you are probably in a partnership. We strongly advise members to use our Partnership Advice Service (PAS run by NMD Solicitors) to find out more about your rights and obligations as a partner. Providing the band are all MU members, the NMD can draft you a bespoke partnership agreement so you can avoid © Getty Images those expensive and career-ending disputes over who owns the band name, the website, the recordings, the MAKING THE MOST OF YOUR UNION songs – and all the other nuts and bolts of being in a band. Injury cover If you are unlucky enough to suffer an injury at work, in a road traffic accident or wherever, our Accidents Plus service (run by Thompsons Solicitors) will pursue any viable personal injury claim at no cost to you, and help you get the compensation you deserve. “In the last three years Legal help Thompsons have collected over £250,000 in damages for The MU offers a host of legal advice as a part members pursuing personal injury claims,” says David 50 Fenton, the MU’s In-House Solicitor. of its membership. The Musician explains what Money matters advice you can get and what you are covered for... Probably the most common problem faced by working musicians is non-payment for, or cancellation of, gigs and sessions. Our In-House Legal Official, a qualified solicitor, The Union’s legal services aim to provide specialist advice Is there something can advise and assist you with any money claims up to on all areas of law that musicians are likely to encounter in that we do within £10,000. For claims over £10,000, more complex issues, the course of their careers. Here are just a few of the most the MU that you legal advice on your situation or extracting yourself from important legal services the Musicians’ Union offers, that would like to know those unwanted contractual ties, our In-House Solicitor all come free as part of your membership. a little more about? can advise and assist. Where necessary, viable claims are Or perhaps there is out-sourced to one of our specialist music litigation firms for Contract advice an element of your High Court action, again generally funded by the Union. If you or your band are offered a music deal – recording, professional life publishing, management, production and so on – then that you need a little Know your rights our Contract Advice Service (CAS run by P Russell & Co advice on? Either Prevention is better than cure, so be sure to check out Solicitors) can advise you on it. On top of that, if all of your way, we might be our Ask Us First list; use our Standard Contracts for your band are MU members, or they join the Union, we can able to help. Drop us gigs and sessions; check out our Specimen Agreements negotiate the deal for you using CAS Aftercare. Alternatively, your questions to the and notes so you know what they’re talking about when if you are offered an employment contract – perhaps in an address at the front they offer you a deal and read the MU Members’ Handbook orchestra, or for instrumental teaching – our Employment of the magazine or thoroughly because it contains just about all you need to Contract Advice Service (ECAS run by Slater & Gordon via Twitter at know on how to survive in the music industry. Solicitors) will advise you and help you to negotiate it. If you @WeAreTheMU. encounter problems with your employer, S&G can provide There are also the various additional, non-music services employment law advice and even represent you in your offered to members by our lawyers, including a free legal tribunal claims, generally funded by the Union. advice helpline (0800 587 1275), low-cost wills, fixed rate conveyancing, holiday injury advice, criminal law advice, defamation advice… the list goes on – and all of it included in the price of your subscription.
For more on the legal benefits offered by the MU, go to the Legal Advice section of the MU website at theMU.org
The Musician • Spring 2014 member benefits
MU Sections 2014 To join, contact the Have you registered relevant MU Official. Live Performance Section Dave Webster National Organiser – Live Performance for your MU benefits? 60 – 62 Clapham Road London SW9 0JJ While membership of the MU offers a wide range of free services, T 020 7840 5512 F 020 7582 9805 there are a number of benefits that you need to register or apply for. E [email protected]
Music Writers’ Section Ben Jones MU website Motoring service National Organiser – To fully access our website — The MU Family Motoring and Accident Recording & Broadcasting theMU.org — you will need to register on your Aftercare Services provides 24/7 cover. 60- 62 Clapham Road first visit using your membership number. — Register now via telephone or the web. London SW9 0JJ w mu.freerecoveryplus.co.uk T 020 7840 5557 F 020 7793 9185 E [email protected] Instrument and equipment insurance Contract advice — Orchestra Section For £2,000 worth of free musical instrument before you sign Bill Kerr and equipment cover, register for the scheme Receive professional advice on the terms National Organiser – by calling Hencilla Canworth on and implications of any complex agreements Orchestras 020 8686 5050. via our Contract Advisory Service. Contact your 61 Bloom Street Manchester M1 3LY Regional Office to find out more. 51 T 0161 233 4002 F 0161 236 0159 Partnership advice E [email protected] If all the members of your group are Recording Are you due a royalty already MU members, or decide to join, & Broadcasting Section we can offer free partnership advice and an Ben Jones payment from us for the use agreement. Contact your Regional Office National Organiser – of any of your recordings in television for more information. Recording & Broadcasting programmes, films or adverts? Are 60 – 62 Clapham Road you the next of kin of a musician who London SW9 0JJ Medical assistance T 020 7840 5557 used to receive royalties from us? The British Association for F 020 7793 9185 E [email protected] The Musicians’ Union pays we do know the names of the Performing Arts Medicine royalties to a growing number musicians but we have been delivers specialist health support to Teachers’ Section of musicians for the secondary unable to trace them or their musicians. Visit bapam.org.uk Diane Widdison exploitation of their recordings. next of kin. National Organiser – In most cases we know which Education & Training musicians performed on the If you can assist the Musicians’ Musician’s Hearing 60 – 62 Clapham Road recording and already have Union with line-up information Services (MHS) London SW9 0JJ their contact and payment or contact details, visit MHS offer a top range of T 020 7840 5558 details, so the royalty income musiciansunion.org.uk/ hearing related services for MU F 020 7582 9805 can be distributed straight advice-downloads/royalties members. For an appointment, E [email protected] away. However, there is a Here, you will be able to find call MHS on 020 7486 1053. Theatre Section certain amount of income more information on the types w musicianshearingservices.co.uk Dave Webster we have collected that we of royalty income we collect, National Organiser – cannot distribute as we have as well as lists of musicians Live Performance not been able to identify who and recording line-ups we are Full details of all the 60 – 62 Clapham Road performed on the recording; or currently trying to trace. benefits of membership London SW9 0JJ T 020 7840 5512 musiciansunion.org.uk/ can be found in your MU F 020 7582 9805 advice-downloads/royalties Members’ Handbook. E [email protected]
The Musician • Spring 2014