n YOUR UNION STAFF

LOCAL 802 OFFICERS ORGANIZER IN THE Adam Krauthamer, President Lily Paulina Karen Fisher, Financial Vice President AFTERNOON Andy Schwartz, Recording Vice President FIELD REPRESENTATIVES Theresa Couture JAZZ Executive Board Marisa Friedman Janet Axelrod, Lynne Cohen, Tuesday, Feb. 27 @ Local 802 www.Local802afm.org Shane Gasteyer Monica Davis, Pete Donovan, Elise Frawley, Kyle Hoyt, Morris Bob Pawlo Kainuma, Caryl Paisner, Bobby Shankin Todd Weeks LOU CAPUTO & Trial Board Local 802 MUSICIANS HEALTH Fund THE NOT SO BIG BAND Cenovia Cummins, Sylvia D’Avanzo, Administrator Come relax between gigs and enjoy live music at Local 802! The 12-piece Javier Gándara, Bill Hayes, Gloria McCormick “Not So Big Band” is the brainchild of talented multi-instrumentalist Joanna Maurer, Mary Ann McSweeney, Warren Odze, Louise Owen, Dan Peck Allegro Lou Caputo. This working band, which has been together for over 15 Mikael Elsila (Editor, Advertising years, combines the spontaneity of free-blown small-group jazz with Delegates to AFM Convention Manager and Graphic Designer) the power and gravity of a big band. Their varied musical library covers Adam Krauthamer, Pete Donovan, a wide range of styles that still falls into the category of modern jazz. Javier Gándara, Bill Hayes, Dean LeBlanc, HEADQUARTERS: 322 West 48th Street, Join us on Tuesday, Feb. 27 at 5 p.m. at Local 802. Your donations will Caryl Paisner New York, NY 10036 support the Local 802 Musicians’ Emergency Relief Fund, which helps Delegates to New york city Phone: (212) 245-4802 musicians in need. For more information, contact Bettina Covo at (212) Central Labor Council Web site: www.Local802afm.org 245-4802, ext. 152 or [email protected]. Adam Krauthamer, Bill Hayes, OFFICE HOURS: Daily 9:30 a.m. to Caryl Paisner 5:30 p.m., except Saturdays, Sundays, Delegates to New York State AFL-CIO and holidays Adam Krauthamer, Lynne Cohen DUES WINDOW closes at 3 p.m. Delegate to United Hebrew Trades CHECKS WINDOW closes at 4:30 p.m. Bobby Shankin (5:30 p.m. on Wednesdays) Supervising Officers ALLEGRO (ISSN 0002-5704) is published Adam Krauthamer: Radio City, monthly (except for a combined July/ Lincoln Center Orchestras, Theatres, August issue) at an annual subscription Organizing rate of $30 for non-members in the U.S. Karen Fisher: Single Engagement and $35 out of country, by Local 802, Concerts, Symphony, Opera, Ballet, Associated Musicians of Greater New York, Music Performance Trust Fund 322 West 48th Street, New York, NY 10036. Andy Schwartz: Electronic Media, Single Engagement Club Dates, Hotels, Periodicals postage paid at New York, NY Nightclubs, Jazz, Latin, Music Education, and additional offices (USPS #013-880). Musicians’ Emergency Relief Fund POSTMASTER: Send address changes to ALLEGRO, Local 802, 322 West 48th Street, MANAGING DIRECTOR AND SENIOR ADVISER New York, NY 10036. Jon Kantor Allegro is printed at Bayard Printing Group, communications and which is a union shop. markETING associate To reach Local 802: (212) 245-4802 Maria DiPasquale To reach Allegro: (646) 765-9663 or DIRECTOR OF FIELD SERVICES [email protected] or Leo Gertner Allegro, Local 802, 322 West 48th Street, MUSIC PREP ADMINISTRATOR New York, NY 10036 David Will Personnel Administrator Lisa Mejia

2 Allegro | February 2020 n advertising

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February 2020 | Allegro 3 n NEWS & VIEWS HOW WE’RE DEALING WITH THE PENSION CRISIS

to engage in dialogue directly with the will stay engaged in Washington to get actuarial professionals would bring to trustees. the help we need. But until there is a the Board. We believe the AFM-EPF is president’s Second, to ensure an accountable bipartisan proposal in the Senate, the in need of a Board of Trustees that is report process for 802 members, we will be path forward in Washington remains more accountable, more dynamic, more carefully monitoring the cut process, problematic. solution-oriented, and more responsive ADAM KRAUTHAMER including the sufficiency of the Sixth, while Local 802 attempted to than the one we have now. application itself. Further examination effect a change in trustees, pushing for Finally, as a community of union of industry dynamics and demographics much-needed Board reform with the musicians we must come together in of the AFM-EPF is needed. We plan to goal of appointing more proficient and hopes of addressing what will be hard examine every aspect of the application better-equipped pension trustees with times for many friends, colleagues, and [email protected] to the Treasury and will report back to Resolution 9 (Proposed Resolution fellow musicians. Local 802 will be (212) 245-4802, ext. 100 you with our own analysis. #1 within the 802 Executive Board putting together a committee with a Third, as many of you know, Local Minutes) at the AFM convention, mission to draw public attention to the 802 members Andy Snitzer and Paul we were unsuccessful. But we will pension crisis in order to help support In this month’s president’s report, Livant filed a class action lawsuit continue to do everything in our power fellow musicians affected by cuts and I want to reprint a letter that was against the AFM-EPF trustees, charging to continue these efforts on behalf give musicians a public voice. The initial recently e-mailed to all members them with breaches of fiduciary duty. of Local 802 members. The task of goal of the committee will be simple: from the Local 802 Executive Board. Read the full court transcripts to date overseeing actuaries and investment to start organizing public concerts on the 802 website at www.bitly. managers in a multi-billion-dollar fund which will help draw public attention n December 30, 2019, the com/802-pension-statement. The trial is extraordinarily complex. The training to our cause and raise money to help AFM-EPF Trustees formally for the class action lawsuit against the and education that our trustees go musicians who are in need as a result of applied to the U.S. Treasury AFM-EPF trustees is set to take place through may be helpful but cannot the pension cuts. If you are interested Oto reduce pension benefits. A this spring in federal court. Local 802 provide the kind of sophisticated and in participating, please visit www.bitly. copy of the application will be available will be monitoring and reporting on critical expertise which financial and com/802-pension-committee. on the Treasury’s website within 30 any developments in the trial in order days at www.treasury.gov/mpra. Today, to keep members informed. 802 members who are AFM-EPF plan Fourth, in June 2019, Local 802 HOW TO CONTACT THE PENSION FUND participants received a notice that announced the establishment of a included a personalized statement with new 401(k) plan, co-sponsored by ll For questions specifically about the proposed pension benefit reductions, each participant’s current monthly the Broadway League, which will be call the pension fund’s Benefit Services Center at (800) 725-4478; specially- benefit and estimated reduced benefit, employee contributory only. The new trained representatives are available Monday to Friday from 8 a.m. to 8 p.m. if applicable. If the cut application 401(k) gives musicians a powerful way ll For general questions for the pension fund (new or pending pension is approved by the U.S. Treasury to shore up their retirement security. applications, address changes, direct deposit changes, etc.), call (212) 284-1311 Department, benefit reductions would Eligible musicians can contribute or (212) 284-1200, option 2. go into effect around January 2021. up to an annual total of $19,000, or ll You can also submit questions online through the Contact Us button The leadership of Local 802 $25,000 at age 50 or older, to their at www.AFM-EPF.org. recognizes that many of our members 401(k), lowering their taxable income will be severely impacted by the and allowing their investment to grow impending cuts. To best represent our tax-free. The new 401(k) also brings ALSO: TELL THE U.S. TREASURY DEPARTMENT members during the upcoming year we our union in line with many other WHAT YOU THINK ABOUT THE PENSION FUND’S are implementing the following: entertainment unions who already offer PROPOSED PLAN TO REDUCE BENEFITS First, we will continue to demand the option. We expect the new 401(k) to that the trustees personally appear at be up and running in mid-2020. You are encouraged to contact the U.S. Treasury Department to give your Local to explain what is going on, Fifth, Local 802 will monitor your comments about the pension fund’s proposed plan to reduce and to answer all your questions. The and report on legislative activity in benefits. Please note that all comments are posted publicly, but you are Trustees should appear in person and Washington. The Butch Lewis Act allowed to post anonymously. The comment period is open through not by webinar. With cuts to our hard- has unfortunately collapsed for now. March 2. To begin, type this exact URL directly into your browser: earned benefits now becoming a reality, Two bills have been introduced in the www.regulations.gov/docket?D=TREAS-DO-2020-0005 AFM members deserve an opportunity House to bring it back to life. Local 802

4 Allegro | February 2020 n NEWS & VIEWS Wynton Marsalis wins Ken Burns American Heritage Prize

ocal 802 member Wynton Marsa- lis has been named the recipient of the 2020 Ken Burns American LHeritage Prize. The award will be presented on May 6 at the American Museum of Natural History. The eve- ning’s festivities will include remarks by Ken Burns, Wynton Marsalis, Rosanne Cash and other dignitaries. Named in honor of America’s most revered visual historian and filmmaker, the Ken Burns American Heritage Prize

recognizes individuals whose achieve- EMLA ISLE K photo: ments have advanced our collective un- Sunny Jain kicks out the groove at this year’s Winter Jazzfest derstanding of America’s heritage and the indomitable American spirit of our people. Nominees for the annual prize consist of visionary artists, authors, Winter Jazzfest features educators, filmmakers, historians, and scientists. The candidates are chosen by a national jury of distinguished leaders top talent under a who represent communities across the country and share a common apprecia- tion of America’s heritage. Local 802 contract American Prairie Reserve, which cre- ated the prize, is a modern-day em- t bodiment of America’s optimistic and boundless approach to accomplishing the unprecedented – in this case, by creating the largest nature reserve in the continental United States, located via wyntonmarsalis.org mcbride clay photo: on the Great Plains of northeastern by joining Art Blakey’s band. Aside from Montana. overseeing Jazz at Lincoln Center, Mar- Burns said that awarding this prize salis continues to perform, compose, acknowledges the historic role that the and participate in educational work- Great Plains played in helping to shape shops. Marsalis created the companion America’s character. “It’s that same soundtrack recording to Ken Burns’s character, courage, and fortitude that documentary “Unforgivable Blackness: Wynton’s tremendous work elucidates,” The Rise and Fall of Jack Johnson” and Ron Carter Val Jeanty, Kris Davis and he said. appeared in Burns’s documentaries on Terri Lyne Carrington Burns added, “This indomitable jazz and country music. In addition to American spirit is alive and well today, his musical talent, Marsalis has written in Wynton and in the men and women six books. in many arenas whose work reminds us “I am deeply appreciative to receive that our lives serve a greater purpose.” this prize from an institution I respect, Wynton Marsalis is the managing bearing the name of a genius I admire and artistic director of Jazz at Lincoln and on behalf of a music that defines us Center, which he helped found. Marsa- at our best,” said Marsalis. lis grew up in a musical household in A longer version of this press release New Orleans, studied classical trumpet along with links appears at www. at Juilliard, and pursued his love of jazz wyntonmarsalis.org/news John Dieterich and Mary Halvorson The Cookers

February 2020 | Allegro 5 n advertising

6 Allegro | February 2020 n NEWS & VIEWS photo: matt dine matt photo: THE UNION ADVANTAGE: Musicians of the American Symphony Orchestra (above) enjoy the wages and benefits of a Local 802 union contract. Dozens of other ensembles in New York City have signed onto Local 802’s classical contract, which protects musicians and guarantees them union benefits. DECONSTRUCTING CLASSICAL SCALE

under that contract (Appendix A), been few changes to the language. Since plies to musicians when they are the or the Ballet/Opera Single Engage- most musicians work under a variety of sole player in the section, e.g., harp, ment contract (Appendix B). To help different contracts, it is important to keyboard, and tuba. The concertmaster all members become familiar with the note that the provisions vary slightly receives an additional 100 percent over karen terms under which they work as well as from one field to another, and from one scale. If an engagement does not call to aid potential new bargaining units CBA to another. Each contract, however, for a traditional concertmaster, another fisher contemplating what working under a covers the following items: musician must be designated as the collective bargaining agreement means, Wages: This is the minimum amount leader and receive the premium. a periodic refresher is in order. that every musician will be paid for per- Doubling: A premium of 20 percent Karen Fisher is the financial vice president The terms of Appendix A and B are formances and rehearsals. As the other is paid for the first double and 10 per- of Local 802 and the supervisor of the nearly identical except where noted. premiums are based on a percentage of cent for each additional double. There union’s concert department Wages for concerts historically have wages, this is normally the most con- are some exclusions, such as A, Bb, and [email protected] been based on negotiations with the tentious piece in negotiations. Concert C clarinets and trumpets, and separate (212) 245-4802, ext. 105 New York Pops. Those terms were pro- wages are based on a 2.5 hour perfor- categories of percussion. If you have mulgated last year and have been estab- mance; ballet/opera scale is based on a questions about whether a specific in- our years ago, Allegro pub- lished through Sept. 11, 2023. Wages for 3 hour performance. strument should receive the doubling lished an explainer of the Single Appendix B are based on the American Premium pay/principal pay: A pre- premium, it’s always best to check with Engagement Classical Concert Ballet Theatre negotiations. That con- mium of 20 percent over gross scale the concert department. Fcontract. Since then, Local 802 tract expires on April 30 of this year and wages for performances and rehears- Soundchecks: For a service to be has added just over 2,000 new mem- is in the process of being negotiated. als is required for principal players and considered a soundcheck, it must occur bers, many of whom may be working Other than the actual rates, there have section leaders. This premium also ap- continued on page 9

February 2020 | Allegro 7 n advertising

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Please send your one-page resume to: [email protected] • ASSISTANT PRINCIPAL Please include Section Cello in the email subject line. Visit our website: www.nyphil.org/auditions

2nd VIOLIN The New York Philharmonic Audition Committee reserves the right to dismiss immediately any candidate not meeting the highest Audition to be held in June 2020 professional standards at these auditions.

Resume deadline is March 15, 2020 The New York Philharmonic is an equal opportunity employer, and is proud to be a partner orchestra of the National Alliance for Audition Support (NAAS). Winning candidates to begin at earliest availability The only pro brass ONLY HIGHLY QUALIFIED APPLICANTS shop in New York is in Please send one-page resume as a PDF file to: New Jersey New & Used Brass Instruments [email protected] Hundreds of New, Used, Vintage & Antiques [email protected] Accessories Cases, Gig Bags, Mutes, Metronomes, Tuners [email protected] Recordings Brass Bands, Soloists, Ensembles & More or mail to: Sheet Music – Full line of Salvation Army Music for Brass Bands, Small Ensembles & More Rachel E. Hocking, Orchestra Office Full range of repairs Metropolitan Opera House Professional Brass Repairs, Done on Location Mouthpiece Alterations 30 Lincoln Center Plaza We now offer Complete Alterations, Done on Site New York, New York 10023 Dillon Music Inc 324 Fulton St, Woodbridge, New Jersey, NJ 07095 An Equal Opportunity Employer l Phone 732-634-3399 l Fax 732-634-4932 www.DillonMusic.com

8 Allegro | February 2020 n NEWS & VIEWS DECONSTRUCTING CLASSICAL SCALE FROM page 7 Health benefits: Health benefits, like between 30 minutes and 1.5 hours pension, are also paid by the employer before the performance and may be but the contribution is a set amount and scheduled only in the event that no equal for all musicians, irrespective of previous rehearsal for that performance other premiums. It is important to note has taken place at the site. Soundchecks that most concert contracts, including are not abbreviated rehearsals and last ABT and the Mostly Mozart Festival Or- for one hour including a 10-minute chestra, offer a health benefits shortfall break. Soundchecks pay 1.5 times the fund. If you are a rostered member of any hourly rehearsal rate. Local 802 orchestra who participates in Chamber music: Concerts requiring this benefit, funds are available to bring 14 or fewer musicians are considered you up to Plan A or Plan B if your aggre- chamber music and require a 12 percent gate employer contributions fall short premium for all players in addition to of the required amount of contributions principal pay and doubling. (currently $500 per six months for Plan In the ballet/opera contract, the pre- B and $2,000 per six months for Plan mium varies depending on the seating A). You may not use the shortfall fund to capacity of the performance venue. move from Plan A to Plan A+, however. Religious service: The rates for Check your contract to find out if your religious services apply to music played orchestra offers this benefit. as part of a religious service (rather Cartage: For a full list of instruments than a concert in a church). There are that receive cartage, please refer to the specific guidelines for these depending contract. For timpani, harp, and other on the number of services per day and bulky instruments, the actual cost of the time frame in which they occur. cartage is paid upon submitting receipts Major holidays require an additional to the employer. payment of 50 percent above religious Mileage: Mileage must be paid for service scales. Principal pay and Nassau and Suffolk Counties and be- chamber music overscale do not apply yond Local 802’s jurisdiction even if to a religious service. transportation is provided. Pension: Pension is calculated as a Recording: No recording of any percentage of gross scale wages, which kind is allowed without prior written include performances, overtime, re- agreement. There are too many details hearsals, mileage, doubling, and all pre- related to recording and our national photo: walter k arlittng walter photo: miums. It is not deducted from wages contracts to cover in this space, however Musicians who perform with the American Ballet Theatre are protected under a but paid in addition to your wages by I cannot stress enough how important Local 802 union contract. Pictured above: ABT musicians rehearsing in 2016. the employer. It is extremely important it is that you educate yourself and to keep track of all your engagements know what you are getting into when cians must be paid for a minimum of paid as an independent contractor, and to check your annual statement you agree to do a recording. You easily 2.5 hours of rehearsal and for an entire which is against the law in New York from the pension fund to make sure could be cheating yourself out of concert even if some or all the group is state (for musicians). Allegro has you receive the correct credit. Only em- thousands of dollars down the road if needed for a shorter time. Rehearsals published many articles on the right of ployment covered by a union contract is you agree to record nonunion. Archival must end by 7 p.m. A rehearsal may be musicians to be treated as employees; eligible for pension benefits. and grant recordings are a different called for up to 4 hours before overtime we have a special page set up at www. Due to the critical and declining matter. They do not require extra is required, however all rehearsal times bitly.com/independent-contractor- status of the pension fund, the AFM- payment; however, it is required that must be called no later than 24 hours articles. If you’re paid as an independent EPF has now instituted two mandatory the employer sign an agreement with before the rehearsal with a definite start contractor, it could come back to haunt rehabilitation plans. The plan added the union and the orchestra must vote and end time. No musician is required you at tax time. Learn about your rights! .09 percent to the base rate in 2010. to allow the recording to go forward. to remain beyond the last rehearsal call. Whether you are new to 802 agreements The second rehab plan announced If you see microphones being set up Work dues: For all work other than or just haven’t reviewed them for a while, in June 2018 added 10 percent. This in a rehearsal or performance and you recording, 3.5 percent of your gross scale I hope this will inspire you to read your second amount is “unallocated,” which have not received prior notification wages are withheld by your employer contracts and contact your orchestra means the increase goes directly to that a recording is taking place, inform and submitted to Local 802. (Work committee or the Local 802 concert the fund rather than to an individual your contractor and call the Local 802 dues for recording work vary depending department when further elaboration is musician’s account. electronic media department. on the contract). This should be the needed. You can access our classical scales The current single engagement pen- Service conditions: This clause ad- only deduction from your check other at www.Local802afm.org/contracts. sion contribution is 17.99 percent. Bal- dresses length of performances and than statutory taxes. If no taxes were Better yet, stop in and pick up a copy. We let/opera is now 19.18 percent rehearsals as well as breaks. Musi- deducted from your check, you were are always happy to see you.

February 2020 | Allegro 9 n advertising

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10 Allegro | February 2020 n NEWS & VIEWS Broadway audiences becoming more diverse

he Broadway League recently released its 22nd annual demographics report, which Tprovides a comprehensive analysis of the theatregoers who attended Broadway shows in New York City last season. It also compares current Broadway theatregoing habits in New York City to previous seasons and aids in predicting trends for the future. In the 2018-2019 season, attendance reached an all-time record high of 14.8 million. Among these, 2.8 million inter- national visitors attended a Broadway show. This represents the highest number of attendances by tourists from outside the U.S. in history. Along with the over- all growth in attendance, the number of admissions in the demographic category called “non-Caucasian theatregoers” reached a record high of 3.8 million. Ad- ditionally, Broadway welcomed 3.4 mil- lion admissions by those under age 25, ed States (but outside New York City and accounted for 28% of all tickets (4.15 mil- ll The vast majority of current the- the third season in a row that attendance its suburbs) and 19% from other countries. lion admissions). atregoers had some connection to the- from younger audiences topped 3 million. ll This represents the highest number ll Playgoers tended to be more fre- atregoing as a child. The analysis is based on extensive survey of attendances by international visitors in quent theatregoers than musical attend- This demographic report is published data gleaned from audience questionnaires history – 2.8 million. ees. The typical straight-play attendee saw annually by the Broadway League. distributed throughout the 2018-2019 ll Sixty-eight percent of the audiences seven shows in the past year; the musical From June 2018 through May 2019, Broadway season in New York City were female. attendee, four. the League’s research department highlighting both audience demographics ll The average age of the Broadway ll Respondents reported having paid administered surveys at 49 different and their ticket purchasing habits. Each theatregoer was 42.3 years old. This aver- an average of $145.60 per ticket. productions at 98 individual performance l year brings fluctuations to the makeup of age has hovered between 40 and 45 years l Fifty-nine percent of respondents times. Shows were selected on a quarterly audiences due to a variety of reasons such old for the past two decades. said they purchased their tickets online. basis to represent what Broadway was as content, weather, the economy, and ll Along with the overall growth in ll The average reported date of ticket offering that season (i.e., a proportionate changing competition for leisure activities. attendances, the number of admissions purchase for a Broadway show was 47 number of musicals versus straight Therefore, this longitudinal analysis by non-Caucasian theatregoers reached a days before the performance, four days plays; revivals versus original works; demonstrates wider trends and changes of record high of 3.8 million. earlier than the previous season. and new productions versus long- the audience over multiple seasons. ll Of theatregoers age 25 or older, ll Google was the most common ini- 81% had completed college and 41% had tial source theatregoers named when running shows). Questionnaires were THE NUMBERS TELL THE STORY earned a graduate degree. they were asked where they looked for distributed at multiple performances ll In the 2018-2019 season, Broadway ll The average annual household in- information about Broadway shows. per show to account for variances in the shows welcomed 14.8 million admissions, come of the Broadway theatregoer was Ticketmaster and Broadway.com followed weekday, weekend, evening, and matinee an all-time high. $261,000. Google. audiences. Completed questionnaires ll Approximately 35% of those atten- ll The average number of attendances ll Twenty-two percent said that they were tabulated and weighted based upon dances were by people from the New York by the Broadway theatregoer was 4.4 in relied primarily on word-of-mouth from the actual paid attendance for each show. City metropolitan area. the past year. The group of devoted fans people they knew. In total, 17,400 questionnaires were ll Sixty-five percent of admissions who attended 15 or more performances ll Most theatregoers attended in pairs distributed and 8,972 were returned, were made by tourists: 46% from the Unit- comprised only 5% of the audience, but or small groups of family or friends. representing a 52 percent rate of return.

February 2020 | Allegro 11 n advertising

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12 Allegro | February 2020 n NEWS & VIEWS NOTES FROM THE FIELD A BANNER YEAR FOR UNION REVIVAL

By Leo Gertner [email protected]

nions are built on the principle of solidarity – an injury to one is an injury to all. UIt means that we stand up for each other when injustices are being done against us, our colleagues, or sometimes in our own name. By those measures, 2019 was a banner year for unions and labor solidarity. It’s too soon to say that the labor movement is once again thriving as in 1954 (when 35 percent of the American workforce was in unions), but it’s very much alive and kicking. Joe DeManuelle-Hall and Dan DiMaggio from Labor Notes wrote up an excellent year in review. Let’s review some of their highlights from 2019:

Teachers continue to organize 2019 continued the trend from the year before of mass teacher mobiliza- tions against austerity and cuts that weakened public education. Among wilson pumpernic k el photo: others, Los Angeles, Denver, Oakland, TEACHERS UNITED! All across the country, teachers have been mobilizing for better conditions for their students and fairer compensation West Virginia and Chicago teachers for themselves. Above, teachers in Los Angeles walk the picket line in 2019. struck, winning important gains. Teach- ers fought not only for themselves, but down healthcare costs. In manufactur- headquarters, who walked off over the over changes to their pension system, for strong, quality public education for ing, 49,000 General Motors employees company’s sale of beds to ICE. In Cali- while Finnish postal workers engaged all students. In Chicago, for example, went on strike for six weeks, reaching fornia, rideshare drivers and other app in protests that led to the prime min- teachers negotiated a librarian and a settlement that hastened lower-tier workers led the passage of AB5, a bill ister’s resignation and the selection of nurse in every school. In Little Rock, workers’ advancement and other im- that entitles app workers to the protec- the youngest-ever prime minister in the teachers held a one-day strike to pro- portant improvements. tions of employee status, as opposed to country’s history, who is also a strong test the re-segregation of their schools, independent contractors. progressive. the site of the 1957 fight for integration Tech sector fights back Solidarity is what animates participa- of Central High School. Several of these While the tech sector is largely non- International bright spots tion in the labor movement, creates uni- unions also elected progressive reform union, workers there have made head- Across the globe, unions also played ty, and gives us the strength to muscle slates focused on organizing. lines with savvy organizing and high- important roles in important move- through the frequently arduous fight profile actions. One thousand Amazon ments and victories. In Chile, spurred by for better standards. I have only been at Massive strikes in the private sector workers walked out in Seattle to protest increases to public transport prices, over Local 802 for a few months now but I Hundreds of thousands of workers the company’s lackluster response to a million people joined protests over the have witnessed some of the wonderful walked the picket lines in 2019, on pace addressing climate change. Some of the country’s vast gap between the rich and camaraderie that musicians have on the to match the increased union activity Amazon workers had also shown sup- the poor – the top one percent in Chile job. Our mission as a union (including levels from 2018. Over 30,000 Stop & port to warehouse workers in Minneso- control over a quarter of the country’s our members, elected officers, staff, and Shop workers in New England went on ta who walked out during July’s “Prime wealth. Joined by dockworkers, min- those musicians who we aspire to bring strike for 11 days, defeating proposals Day.” Tech workers also fought back ers, government workers and others, in) is to elevate that camaraderie into that would’ve harmed their health in- against the detention camps on the bor- the protestors won a new referendum solidarity, both for other musicians and surance and pensions. In the Southeast, der by protesting their employers’ con- on the constitution. In Puerto Rico, for fellow workers struggling to live with AT&T workers held the biggest strike in tracts with Immigration and Customs unions helped overthrow the governor dignity in New York. In 2020, I believe a decade in the region, winning wage Enforcement, including workers at on- in the largest strike the island ever saw. we can take that solidarity to a whole and 401(k) increases, while holding line furniture retailer Wayfair’s Boston French workers are also still striking new level.

February 2020 | Allegro 13 n NEWS & VIEWS

guest Setting the stage for the next decade commentary ROBERTA REARDON

Roberta Reardon is the commissioner of the New York State Department of Labor The importance

s we begin 2020, it is an excit- ing time for musicians in New York state. With a new decade Ain front of you, you have the opportunity to set the stage for the next of a united union ten years. And you get the honor of be- ing at the forefront of positive change for your industry. By ROBERTA REARDON The last decade presented many changes for your industry. It’s a chal- For example, earlier this year, the New We are fortunate to have a governor premier regional venues for musical lenging time to be a working profession- York State Department of Labor recov- who values and respects the richness and theatrical production. This provides al in the business. Technology contin- ered more than $460,000 in wages for music, film and entertainment bring to more opportunity for our musicians! ues to change the face of this industry unpaid concert workers. The settlement our communities and our lives. Gover- Earlier this year, the governor an- so rapidly. Therefore, more than ever, came in the wake of a Department of nor Andrew Cuomo is extremely sup- nounced the Empire State Entertain- it is so important for each of you to be Labor investigation which revealed that portive of the work that you all do. ment Diversity Job Training Develop- part of a proactive and engaging union. 654 SoFar Sounds “ambassadors” were Under his leadership, New York has ment Fund, the first fund of its kind in Your union has the resources, clout and never compensated for work performed become a top destination for film and the nation. Productions participating in people power to protect your interests at SoFar events between 2016 and 2019. television, culture and the arts. the New York State Film Production and as working musicians. It is the lifeline SoFar Sounds, a for-profit business, New York’s $420 million film incen- Post-Production Tax Credit Programs to sustaining music and the arts in our produced small concerts in cities around tive program is one of the best in the will see a small reduction in their tax communities. the world with the assistance of uncom- nation. The New York State Governor’s credits that will be diverted into a fund When I was an actor, I was active in pensated “ambassadors” to operate and Office of Motion Picture & Television for job training and workforce develop- my union because it afforded me ben- manage individual events. When the Development offers film, television and ment across the entertainment indus- efits and protections that I would not Department of Labor opened its inves- commercial production and post-pro- try. The fund will initially provide $1.05 have enjoyed otherwise. It not only gave tigation, SoFar cooperated fully and im- duction tax credits for qualified expen- million per year and will ensure that the me access to a fair wage and benefits, mediately changed its business model. ditures in New York State. jobs related to the growth of New York’s it opened doors that I would not have SoFar now staffs all its events with paid Simply put, this means more econom- entertainment industry are filled by had the opportunity to walk through, if employees. The company also agreed to ic growth for New York state. These pro- New Yorkers who represent the diverse it weren’t for the backing of my union. It immediately compensate ambassadors grams bring more people to New York nature of our state. helped me to thrive as an actor. who provided any unpaid work. Positive to see you – our working musicians – on While the governor’s initiatives and As the former president of AFTRA things can happen when we all work to- Broadway, at the opera or in the great tax incentives play a critical role in and the founding co-president of SAG- gether to do the right thing. concert halls of New York. It’s a win-win keeping the music industry robust, your AFTRA, I offer another perspective. I recognize the importance of musi- for our economy and our cultural arts role as a working artist and professional I had the honor of representing more cians and the arts community and I will communities across the state. in the business is even more crucial. As than 165,000 members. And I can tell continue to support the industry and Since 2011, 2,274 applications have an engaged member, standing together you, a union is only as strong as its fight for protections and incentives to been accepted to the New York State with your union, you have the ability members. You are the power within help it grow. Film Tax Credit Program, creating to make your industry stronger than your union. You are the voice of your You also have a leader who has passion 1,628,40 new hires by the film and tele- ever. Your union is your best friend, union. Only you can effect change with- and vision. Adam Krauthamer is proac- vision industry in New York State and and you need to do your part to sustain in your union and beyond. tive and forward thinking. Your union generating $28.2 billion in new spend- that partnership. Whether it’s attending If it weren’t for my experiences as a stands in solidarity with others, and ing for New York State. a committee meeting, taking part in a member of a union and as a union lead- 2020 will be a pivotal year for all of you. The governor’s support of music and roundtable discussion or volunteering er, my path would be very different to- You have the opportunity to be a the arts expands beyond New York City. at a union event, you are your union’s day. I love my job as the commissioner part of something exciting and magical. He has championed the Empire State best advocate. I leave you with these of the New York State Department of Stevie Wonder said it well: “Music is a Musical and Theatrical Production Tax profound words from Mahatma Ghandi: Labor, and now I get to help make a dif- world within itself, with a language we Credit Program. The program is de- “Be the change you want to see in the ference for all New Yorkers by working all understand.” As an artist, you have signed to encourage musical and theat- world!” Make 2020 a year of positive to ensure equal pay, provide safe and an obligation to protect that world and rical production companies to conduct change for Local 802! healthy workspaces, offer job training that language which reaches so many. pre-tour activities, technical rehearsals and employment assistance, protect You can only do that by actively partici- and to perform shows at locations in Roberta Reardon is the commissioner of against wage theft, and more. pating in your union. upstate New York, home to some of the the New York State Department of Labor.

14 Allegro | February 2020 By ROBERTA REARDON n NEWS & VIEWS Trump’s labor board wages a LEGAL WAR ON WORKERS he start of a new year brings with it the promise of new pos- sibilities and beginnings. Unfor- legal Ttunately, this is not the case with labor relations in the United States. The corner Trump NLRB’s assault on workers’ le- harvey mars, gal ability to organize and collectively esq. bargain continues unabated. In De- cember, the NLRB profoundly eroded Harvey Mars is counsel to Local established procedures for conducting union elections and overruled a prior 802. Legal questions from members statement, the submission of post-hear- time. That decision, Purple Communi- decision that had allowed workers to are welcome. E-mail them to ing briefs and the impounding of ballots cations, held that the NLRB recognized use their employer’s e-mail system for HsmLaborLaw@HarveyMarsAttorney. in the event of an election challenge. that changes in technology altered mod- organizational activity. Combined with com. Harvey Mars’s previous articles The prior rules permitted the NLRB to ern workers’ work environments. E-mail the NLRB’s other retrograde rulings over in this series are archived at www. consider election challenges after the was analogized to being the functional the last two years, the aggregate results HarveyMarsAttorney.com. (Click on election was conducted. The new rules equivalent of a “workplace water-cool- of these decisions will severely stymie “Publications & Articles” from the top eliminate that option. The overall ef- er” around which employees congre- organized labor’s ability to grow union menu.) Nothing here or in previous fect of these rules is that a considerable gate. In an effort to modernize applica- density. In the upcoming year, one can articles should be construed as formal amount of time can elapse between the tion of NLRA Section 7, the NLRB found assume that without a change of either legal advice given in the context of an filing of the election petition and the that concerted activity could legitimate- our government’s administration or pol- attorney-client relationship. conduct of the election and issuance of ly occur in the context of e-mail. (See icy, the crippling assault will continue. a bargaining order. It is common knowl- my Allegro article from February 2015, In 2014, after an extensive commen- edge that delays can hamper successful available at www.bitly.com/mars-febru- tary and review process, the NLRB can now expect that the delays and li- election results and permit respondent ary-2015.) In reversing this decision, the overhauled its regulations guiding the gation that were endemic to the prior employers to commit unfair labor prac- current NLRB stated that an employer’s administrative process for the conduct regulations will return, thus hampering tices and intimidate employees into vot- property right to control its e-mail of union representational elections. unions’ ability to organize. These new ing against unionization. The NLRB has server outweighed employees’ right to This was a painstaking process that (or should I say old) rules will take ef- restored a regulatory scheme that plays organize and that employees had other examined inherent procedural flaws in fect April 14, 2020. right into this strategy. avenues through which to exercise their the election process that often resulted Among the changes being effectuated The following day, the NLRB issued its Section 7 rights, even though they were in unfair elections and skewed results. are a lengthening of the time between decision in Caesars Entertainment, 368 not as efficient and effective as e-mail. Regulations were streamlined so that it the filing of the representational peti- NLRB No. 143 (2019), which reversed This twin assault on organized la- was less likely that they could be ma- tion and the pre-trial hearing during a progressive decision rendered by the bor shows us what we’re up against. nipulated to affect election results. On which legal issues involving the pro- Obama NLRB in 2014 that held that The current NLRB has made no effort Dec. 15, 2019, the NLRB, without sub- posed unit are discussed, a new re- workers could utilize their employer’s e- to hide a horribly obvious undeniable stantial commentary, issued a final rule quirement that the petitioner submit mail system for organizing purposes so truth: it is the enemy of any employee that eviscerated these prior reforms. We a response to the respondent’s position long as this was done on non-working seeking to engage in concerted activity.

16 Allegro | February 2020

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Music from the heart MET Orchestra musicians and other Local 802 members recently performed for Spanish-speaking refugee children from Mexico and Central America at the Andrew Freedman Home in the South Bronx. Connecting with communities throughout the greater New York area through music has continued to be a commitment and priority for both the MET Orchestra musicians and Local 802. Pedro Diaz narrated and was joined by Yevgeny Faniuk (flute), Anton Rist (clarinet), Mark Romatz (bassoon), Hugo Valverde (horn) and Toyin Spellman-Diaz (oboe), who told Allegro, “It was truly a gift to give the children an hour of joy. They grinned from ear to ear throughout the entire performance and responded to our questions with sweet thoughtfulness.” Separately, Pedro Diaz told us, “I am thankful to the composers who rushed to the help of this project: Carlos Ponzio, Arturo Pantaleon and Juan Carlos Villaseñor. We hope to repeat this many times in the future.” Photos by Richard Kaplan. February 2020 | Allegro 19 n advertising

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Musicians in the North/South Consonance Ensemble recently performed their annual holiday concert at Christ and St. Stephen’s Church on West 69th Street. Funding for the concert came in part from the Music Performance Trust Fund, and musicians enjoyed the wages and benefits of a Local 802 contract. For more info, see www.northsouthmusic.org.

For information on applying to the Music Performance Trust fund for your own concerts or projects, contact Marisa Friedman at [email protected] or (212) 245-4802, ext. 130.

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“I’m grateful to be employed under a Local 802 contract for several reasons. First, I’m impressed by the knowledge, expertise and diligence of the team at 802 who negotiated a fair and thorough contract for our musicians. Their continued support and attention allows our musicians and myself to keep our focus on making music and maintaining our high performance standard. I’d also like to recognize the Big Apple Circus organization for its commitment to employing musicians under a union contract. This ensures both the highest level of professionalism and musicianship for its brand as well as the safety and security of a fair, competitive wage and benefits package for the members of the orchestra.”

– Local 802 member Wages Argott, music director, conductor and trumpeter for the Big Apple Circus band.

February 2020 | Allegro 21 It’s music to your ears

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k photo.com via istoc “thepalmer” by photo Dr. Ellen Finkelstein, Au.D. [email protected] Doctor of Audiology www.EastSideHearing.com n FEATURE INTERVIEW

By PETER ZIMMERMAN [email protected]

ack in 1989, Buster Williams formed the first incarnation of his Something More quartet. BLast year, he released the group’s ninth recording, called “Audacity.” It was a decade in the making and the bassist’s 16th overall as the leader, over a career spanning some six decades. The current group features saxman Steve Wilson, pianist George Colligan and drummer Lenny White. “You’ve got to have audacity to do what we do, to even want to do what we do, to even imagine that it’s all going to work,” Buster explains. “At this moment in time, audacity is the description of my life.” On a personal note, a mutual friend who plays the mbira tells me that Buster has always been very encouraging about her musical efforts, telling her to “be audacious – have audacity!” Williams, a member of Local 802 for over 30 years, also performs with the Masters Quartet, which consists of Dave Liebman, Steve Kuhn and Billy Hart. In 2015, he recorded a tribute to McCoy Tyner (“Heads of State”) in a band composed of Gary Bartz, Larry Willis and Al Foster. Over the past decade, he has also found time to play on sessions led by the drummer Willie Jones III (“My Point Is…”), saxophonist/clarinetist Jeff Lederer (“Sunwatcher”) and guitarist Jaiman Crunk (“Encounters”), and worked with well-known jazz vets David “Fathead” Newman, Roger Kellaway and Wallace Roney, as well as lesser-known artists such as Meeco, Mary Stallings, Clifford Lamb and Thought Gang. He has even jammed with the London Symphony Orchestra. During this

photo: gus P hilippas photo: continued on page 25 ‘The heart never believeS in limitations’ 162 East 78th Street, New York, NY 10075 (212) 327-1155 [email protected] www.EastSideHearing.com The many lives of Buster Williams February 2020 | Allegro 23 n advertising

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24 Allegro | February 2020 n FEATURE INTERVIEW } Music is not what comes from your head; it’s what comes from your heart. What comes from your head doesn’t necessarily move people, but what comes from your heart definitely does. ~ – Buster Williams

FROM page 23 Miss Nancy” Wilson, yielding four al- like a veritable Who’s Who of Jazz. A Buster Williams: I believe that there’s period, some of his earlier work – with bums. Over the ensuing years, he has documentary of his career by filmmaker absolutely nothing in one’s daily life Herbie Hancock, Grant Green, Stan Getz backed at least 17 other vocalists, such Adam Kahan, entitled “Bass to Infinity,” that isn’t part and parcel of the mu- and Woody Shaw – has been reissued. as Carmen McRae, Bobby McFerrin, Etta has just been released; the next screen- sic that he or she plays. Your basic life Buster’s bass can be heard on four Jones, Sarah Vaughan and Shirley Horn; ing is on Feb. 16 at the Mid-Atlantic Jazz condition, the emotions that you expe- film scores, including Simone Signoret’s check out his beautiful work on the lat- Festival in Rockville, Maryland. rience throughout the day, your anger “Les Choix des Armes,” others by David ter’s “You Won’t Forget Me,” from 1991. Buster made his debut as a leader in and joy, your hopes, your sufferings and Lynch and Spike Lee, and “McKenna’s In 1967, Buster spent five weeks with 1975 with “Pinnacle,” on which four of struggles – all of it becomes part of what Gold,” starring Gregory Peck. He has ap- the Miles Davis Quintet, subbing for Ron the five songs are Williams originals. In comes out, when you put your instru- peared with Branford Marsalis on “The Carter, but he quit because the pay was 1976, along with Hank Jones and Tony ment in your hands. You’re not a dif- Tonight Show” (the band covered five of too low, a decision he later regretted. Williams, he earned a Grammy nomina- ferent person when you’re playing that his compositions) and did a cameo with The band also included his future band- tion for the Great Jazz Trio’s “Love for instrument. And you’re not two people, Joe Williams on “Sesame Street.” He has mates Herbie Hancock, Wayne Shorter Sale,” and his “Crystal Reflections” was one who plays the instrument and one even graced a few jingles for Prudential, and the drummer Tony Williams. One awarded five stars in Downbeat. who lives the vicissitudes of life. It’s all Budweiser, Old Spice and Alpo Dog Food. cut survives from Buster’s time with While any aspiring bassist could play connected with the music, and the music Born in 1942 in Camden, New Jersey, Miles, an alternate take of “Limbo,” Buster’s gorgeous, turn-of-the-19th-cen- is connected with your life experiences. Charles Anthony Williams, Jr. started which wasn’t released until 30 years lat- tury Hawkes Panormo upright – he also Let’s say you’ve got five different out on piano and drums before learning er, on a six-CD box set of the trumpeters’ plays electric – no one can pluck and trumpet players. Even though they’re how to play bass from his father. Columbia recordings from 1965 to 1968. bow it like him. all playing the same instrument, you’re Buster’s father was a tough taskmaster (Ron Carter plays on the version that “Buster’s sound is immediately iden- going to hear a different tone quality. and Buster recalls many nights going appears on “Sorcerer.”) tifiable, rich and warm with impeccable Some of it has to do with technique. to bed in excruciating pain, his fingers In 1969, after spending a few years timing and melodicism,” says the trom- Some of it has to do with one’s ability, as bleeding from so much practice. He was with the Jazz Crusaders, he joined Han- bonist Steve Turre, who has worked with far as where a musician is at that point first inspired to take up the instrument cock’s pioneering fusion Mwandishi him on many projects. “He is a master not in his effort. But the other is the sound at age 13, after hearing Oscar Pettiford’s Sextet. Herbie took the name Mwandi- only technically but creatively, too, always that he hears in his head. The sound rendition of “Stardust.” He especially shi, which means “author” in Swahili, stretching the envelope, and his deep that you produce on your instrument is liked Pettiford’s physical approach, the while Buster was called Mchezaji, mean- spirit always brings out the best in us.” ultimately the sound that you hear, not way his fingers struck the strings. “The ing “player.” This was the beginning of “His sense of time is extraordinary,” a sound that you’re necessarily trying to notes were unbelievable,” Buster says, a lifelong collaboration and friendship according to one of his many band- emulate or copy. “but that squeak – it was just so personal. with Herbie and Wayne, both of whom mates, the pianist Steve Kuhn. “Buster is Because music is not what comes from It was like a psychic event for me.” he introduced to Nichiren Buddhism, very special, very talented. Playing with your head; it’s what comes from your Buster scored his first paying gig in the practice created by a Japanese priest him is like being on a cushion.” heart. What comes from your head doesn’t junior high playing in a band led by a named Nichiren who lived during the In the words of a friend of mine who necessarily move people, but what comes saxophonist named Louis Judge; it paid 13th century. once studied with him, he has “the from your heart definitely does. It took a “a nickel a night” (which was $5). At the While continuing to tour with greatest sound in all of jazz.” Indeed, to certain virtuosity for Jimmy Blanton to same time, he studied composition and Mwandishi, Williams also became a borrow from the old Mack Gordon song, play what he heard, but he had to hear it theory at Philadelphia’s Combs College founding member of Sphere (the The- there will never be another Buster. first. It took not only a creative mind but of Music, as did, briefly, a young John lonious Monk tribute band) and of the On a cold, blustery winter day, I a daring one to say, “I’m going to break Coltrane. (Sixty years later, Williams is Timeless All-Stars, fronted by Harold caught up with Buster over a plate of out of these limitations,” and then this now a professor at both the New School Land and Bobby Hutcherson. He con- eggs at Jimbo’s Hamburger Palace, lo- created whole new possibilities. and the Manhattan School of Music.) tributed his talents to four or more al- cated at the foot of Sugar Hill in Harlem. This music has been created by these In 1959, he got his first “real” job with bums each with Kenny Barron, Larry Co- (I took the “A” train to get there!) He creative minds. Sometimes you’re not Jimmy Heath, a native of Philly, which ryell and Benny Golson, and has worked had just returned from a tour of Eastern necessarily the innovator, but because is just across the Delaware River from with innumerable other artists, from the Europe and was sporting a snazzy new of your creative mind and an openness Camden. The following year, Buster pianists Count Basie, Chick Corea, Erroll black beret. to what is presented, you latch onto it toured the country as a member of the Garner, Hilton Ruiz and Mary Lou Wil- and then start to develop it in your own Sonny Stitt/Gene “Jug” Ammons quin- liams, to horn players Lee Morgan, Ken- Peter Zimmerman: You’ve been a way. That’s what gives us these unlim- tet, with whom Buster made his first two ny Dorham, Eddie Henderson, Rahsaan practicing Buddhist for almost five de- ited possibilities. Because of these great LPs. He spent most of the 1960s backing Roland Kirk, and on and on – the full cades now. How have your spiritual be- people who came before us, the only singers, including five years with “Fancy list at www.busterwilliams.com reads liefs affected your music? continued on page 27

February 2020 | Allegro 25 n advertising

26 Allegro | February 2020 n FEATURE INTERVIEW } You have to develop your strength, your technique and your confidence, and you have to release yourself of inhibitions. ~ – Buster Williams

FROM page 25 played with Dexter, or Freddie Hubbard, terations of these 12 notes, but these 12 Peter Zimmerman: This reminds me limitations are the ones that are in our I learned something every time. notes. And when you’re playing, you’re of the song that you recorded with Betty own minds. The heart never believes in When I first met Dexter, to me he not reinventing the wheel, necessarily. Carter called “Sounds (Movin’ On).” limitations. looked like a giant descended from So, when you play a sequence of notes, Buster Williams: Betty wrote some Peter Zimmerman: I love that album Heaven. And he was so gracious. It was you’ve heard these notes somewhere really nice songs and that one was very you made with Dexter Gordon called at the Jazzhus Montmartre in Copenha- before. For example, “Autumn in New personal to her, from her own experi- “Generation” with Cedar Walton, Billy gen. I was in Europe for the first time York” and “Moonlight in Vermont.” ence and her own heart. She sang the Higgins and Freddie Hubbard. Can you in my life, in 1963, with Sarah Vaughan. When you listen to those two songs, you way she felt, and wrote according to the tell me about your longtime association We were playing at the Tivoli Gardens. can superimpose one over the other. way that she wanted the world to be. with Cedar? And Dexter was at Montmartre, playing They’re sort of the same song. Betty could sing both extremely fast and Buster Williams: I don’t remember every night. And I went every night! The While you’re playing, it’s easy for extremely slow – she had the full gamut. the first time I played with Cedar, but he first time I met Dexter, Niels-Henning something that you’ve heard to pop But these songs were written from her was a big influence on me, because Cedar Ørsted Pedersen was the bassist, and into your mind, and it comes out in own experience, and her own heartache was sort of a no-nonsense kind of guy, I’m meeting everybody for the first your horn, or through your fingers. or her own joy. straight to the point. He knew what he time, and Dexter just embraced me, you Many times the audience thinks, “Oh, Peter Zimmerman: Your bandmate liked and what he didn’t like: you never know. And he was changing the reed on that’s the song that he’s playing.” They Steve Kuhn told me that your biggest had to second-guess Cedar. There was a his saxophone. And he looked at me, say “I heard you playing ‘Moonlight strength is walking a bass line, but can’t real joy in playing Cedar’s compositions, and held up one of the reeds, and gave in Vermont,’” but you were playing a lot of bassists walk? because of their individuality. Every time it to me. To this day, I have that reed. a totally different song. But you only Buster Williams: I hope it’s my I heard a Cedar composition, I knew it Peter Zimmerman: Was it one he played a phrase from “Moonlight in strength! I mean, ultimately, that’s the was his, but not because they sounded didn’t want? Vermont”! [laughs] bottom line. So when you say that all alike. In fact, they were all totally unique Buster Williams: Well, of course! He You don’t necessarily want to get into bass players walk, it’s the way you walk and different! And the hookup of Cedar wouldn’t give me a good reed! That’s a such a habit of quoting that your solo that determines a lot – I daresay your and Billy Higgins was just amazing. The rarity – a good reed! So he let me sit in becomes just a collection of quotes. But own success. marriage was Cedar and Billy. They were with him that night, and then I came sometimes it can’t be helped. Peter Zimmerman: Bob Cranshaw made for each other. So for me to be put back every night and he had me play Peter Zimmerman: How did you get once told me that his job as a bassist was in the middle of that was such a great with him. I was just so honored, man. your sound? to “lock it down.” honor. Because not only was Cedar a But that’s the way these guys were. Their Buster Williams: It really comes from Buster Williams: The bass player has master, but Billy Higgins was a master, music was their humanity, and their my father’s instruction. He taught me a function, and they can do what no one too. In my career, that’s been my greatest music was their humbleness. They were that the most important thing is, first else in the band can do. If the drummer fortune, that I’ve been able to play with servants to the music, and from them, of all, the sound that you get. I mean, and the bass player don’t do certain these brilliant people, who made me I learned the real positioning of things what is it that we strive for when we things, they won’t get it done. The piano challenge myself and taught me so much. and the attitude that’s best, to be able to first pick up an instrument? To get player also has a different function, and Peter Zimmerman: Did you know constantly advance with this music. The some kind of sound. And that sound is if they don’t do what they’re supposed that when that album was recorded in music is the master, and we serve the very primitive, raw and unsophisticated. to do, then that job doesn’t get done. 1972, Dexter was 50 years old and you music. And that’s what I learned from But there’s such a great joy when you The strength of a player is how far can were only 30? them. I never got the feeling from any finally get a sound. So you’re going to you go without sacrificing your func- Buster Williams: Well, I tell you, as of these great people who I played with, work hard, over a period of time, to get tion? I tell my students, “If you don’t I’ve gotten older, I’ve thought more that they were above the music. a sound. Then, when you get that sound, want to play the root and the fifth, or about how old these people were who I Peter Zimmerman: Speaking of Dex- now that’s a great revelation, a great the third – if you don’t want that to be was playing with and realized that they ter, he was famous for quoting other accomplishment. your function, then don’t be the bass were young, too. When I played with songs. In your version of “Sophisticated So now you’ve got something to work player!” But don’t think that just be- Miles Davis, I must have been 25 or 26, Lady,” you quote “Mona Lisa.” What in with. How can I perfect this sound – cause you’ve got to play the root or the and Miles was in his early forties. But your opinion is the purpose of quoting? imbue the sound with sophistication? fifth or the third, that your creativity is I never thought of it in chronological Buster Williams: Quoting is not nec- The bass is very physical. The first stifled. I could say, “I could do so much terms. They were my heroes. So I was essarily something that you plan to do. sound that you get is just an indication more if I were six feet tall, and my arm able to walk with my heroes, and talk Maybe you do it and you like it, so you of the possibilities. So then you have to span was at least 15 feet,” you know? with my heroes. I was able to dwell on do it again. But the music that we play develop your strength, your technique That’s not gonna happen. But what you the same level with them. I mean, there comes from 12 basic notes. And I don’t and your confidence, and you have to can do with what you have is unlimited. wasn’t a time that I played with Cedar care whether it’s jazz or music from the develop your daringness and release What you do have can either be seen as that I didn’t learn something. When I Himalayas – it’s all these 12 notes. Al- yourself of inhibitions. continued on page 29

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28 Allegro | February 2020 n FEATURE INTERVIEW } The fact that we’ve had a black president doesn’t change race relations or the way that bigoted people think. ~ – Buster Williams

FROM page 27 on a segregation concept, a segregation your asset, or not. And then, what you’re premise. It’s written into the laws, the going to produce in life is determined by way that Wall Street conducts itself, and how you see yourself. the way that education is presented. Great things have been done by small Look at what’s happening with health people. It’s not about the size of your care. It’s amazing! We have a large group brain, it’s about how you use it. When of people in this country who don’t we talk about having a big heart, the believe in health care for everyone, only truth is that nobody wants a big heart, for certain people. everybody wants a normal-sized heart. Racism extends not only to black But the vastness of that heart differs people, but to all minorities. I can feel it from one to another, depending on a differently than you, because you don’t person’s perception of things and view look like me. It’s got nothing to do with of his own humanity. whether you’re white and I’m black, be- Peter Zimmerman: Can you tell me cause I can be just as much of a racist more about your experience with Nichi- as you. It’s a natural thing, that dogs ren Buddhism? don’t like cats and cats don’t like dogs, Buster Williams: My sister Toni in- so when we see dogs and cats getting troduced my wife Ronnie to it, and we along, we’re all so amazed – isn’t that began chanting nam-myoho-renge-kyo, wonderful! Is that so much different which [in Japanese] means total devotion than the human species? Not at all. of mind and body. By chanting this mys- Because when you really analyze why tic law, we open up the Buddha nature it is that we have a problem with one inside of us and align or fuse ourselves another, it’s like peeling away an onion with the great Buddha nature of the uni- skin: you never get to the core. In other verse. This allows you to really change words, there’s no reason for it, especially your whole perspective and perception in this day and age, other than that it’s and to open up that pie in your life, to ac- been ingrained in you to hate me, and in complish what you want to accomplish. me to hate you. As I said before, there’s no experience in This would be a long conversation and your life that doesn’t affect your music. we don’t have time to do it today. But you The truth is, this vast universe is a mac- cannot understand a person’s experi- rocosm – in other words, it’s unlimited ence – I don’t care what color he is – you – and human life is the microcosm of can’t understand a person’s experience this macrocosm. The potential in an in- through encapsulation, you know, in one dividual human being is no less than the paragraph. Our experiences are so rich. potential in the universe itself. Let’s say I take my Mercedes to a mechanic from you’ve got a sweet potato pie. When you the Czech Republic, and sometimes we take a slice, this is your slice, Peter, and sit and talk about his experiences, how this is my slice. Your life is not a slice of he escaped when he was 17 years old this pie. Your life is this pie. and what he had to go through. And I’m Peter Zimmerman: You came up in awe. He talks about things that I can’t during the Civil Rights movement. Do even relate to. So I don’t discount any- you think we’ve made any progress in body’s experience. terms of race relations since then? Buster Williams: A lot is better, but Peter Zimmerman has previously then a lot is not so good. It’s interesting contributed to Allegro with tributes and that each era presents its own problems. profiles of Clark Terry, Yusef Lateef, Hugh The fact that we’ve had a black president Masekela, Cedar Walton and Bobby doesn’t change race relations or the Porcelli. His interview with Buster Williams way that bigoted people think. A was excerpted from his forthcoming book racist is a racist, and a racist society “The Jazz Masters: Setting the Record is a racist society, not only because of Straight” (University Press of Mississippi, the people who exist in it, but also the spring 2021). Peter Zimmerman can be laws that exist. This country was built reached at [email protected].

February 2020 | Allegro 29 n NEWS & VIEWS

30 Allegro | February 2020 n BLACK HISTORY MONTH Black History Month How black musicians helped reform Local 802 During the Great Depression, many members of Local 802 – perhaps the majority – became disillusioned and disgruntled. They played jobs below union scale, making secret deals with employers and undercutting their colleagues. This practice, called “chiseling,” could get employers picketed and musicians kicked out of the union. A black musician who had been in the union for nine years said in 1935, “The morale of the members has been so broken down by chiseling in and underbidding union wages by both Negro and white members that to be a union man means about nothing to me now.” Disgruntled with the inactivity, corruption and sheer uselessness of their union, many members, black and white, fought back through chiseling and made reform a necessity. A smaller, but significant number took direct political action…

continued on page 33

By jacob goldberg

February 2020 | Allegro 31 n advertising

32 Allegro | February 2020 n BLACK HISTORY MONTH

the afternoon, you’d go to the Rhythm day’s executive board.) The first time he forum in which black musicians could Local 802 Club,” recalled the guitarist Lawrence lost outright; the second time, though organize their complaints. As the Lucie. “It was the greatest musicians’ he won enough votes, members of the first black business agent to the local, club in Harlem. All the musicians used board refused to serve with him out of he combated racial prejudice in its musicians to go there every day and exchange racial prejudice. administration and provided a model ideas and talk and get gigs. That was But Local 802 needed support from for black representation in the union. found that where you’d get your club dates.” black musicians and needed someone Following Hall, a few committed black Before long, the club’s owner Bert Hall willing or able to control the Harlem musicians played a more central role in had become a leading activist among business or, at least, bringing the prac- the union. They allied themselves with activism black musicians and a vocal presence at tice of “chiseling” (playing below union an incoming administration and repre- Local 802. scale) under control. In 1931, Local 802 sented Harlem musicians. They would using racial Hall had arrived in New York from Chairman Edward Canavan employed alert the governing board to problems Chicago in 1928. Born in Maryland in Hall as business agent for the local, and in Harlem, make suggestions for how 1893, he learned the trombone and Hall became the first African American to improve jobs, and guide black musi- solidarity began a peripatetic career in the busi- ever to hold such a position. By October, cians’ through the unions’ complicated loopholes. These men supported strug- was strategic gling black musicians and sustained the careers of those who flourished. But Hall } While Local 802 provided the model and the precedent. and effective. After him, black musicians could not musicians had an simply be ignored. FROM page 31 Reform movements gathered speed In January 1928, black musicians within the local, crossed ethnic and ra- sent a petition to the union’s governing integrated membership, cial boundaries, and began to force the board. Its content remains unknown, union to become a more democratic but the board perused it, acknowledged organization. It may be hard to believe the political activities of its “colored AFM unions outside New now, but at the time, members of Local members” and, then, from all 802 weren’t allowed to elect their own indications, never responded. No doubt representatives: the AFM appointed its black musicians voiced some of the York uniformly opposed governing board. As musicians became same complaints that white musicians more disgruntled with their organiza- or, for that matter, all workers did: they interracial cooperation tion, they attacked this provision and too wanted jobs, shorter hours, and sought control over their local. Given better pay. But black musicians probably the crisis of the profession and the radi- also demanded specific redresses. They and often in overtly calized environment around the local, it probably protested the failure of the was almost inevitable that some reform union to employ more than one black movement would develop. delegate, the corruption of its officials, racist ways ~ Local autonomy emerged as the re- and the union’s apathy when club formers’ central cause as a rift grew be- owners refused to hire black musicians. ness. In Philadelphia, he led a group he had proved his worth. Hall submitted tween the New York local and the rest of They probably protested the refusal of called Bert Hall and His Jungle Band. In reports on dancing schools in Harlem, the country. While Local 802 musicians certain bands to hire black musicians Chicago, he played freelance jobs. But made suggestions on how to improve had an integrated membership, AFM and the decreased job opportunities when he got to New York, at the out- working conditions, and brought delin- unions outside New York uniformly op- they found for recording sessions. set of the Great Depression, he found quent employers to the attention of the posed interracial cooperation and often And when the union proved intransi- work less reliable as a player than as a local. “Bert,” said the guitarist Danny acted in overtly racist ways. In 1932, gent to their demands, black musicians hustler. He worked as a gambler and as Barker, “introduced many reforms in the national body of the AFM stipu- formed new organizations and estab- a booking agent until somehow gather- Local 802 that were for the protection lated that black locals could only exist lished a base for continued agitation ing the funds to purchase a club under- of its Negro members who, lots of times as “subsidiary” locals. The Federation against the union administration. The neath the Lafayette Theatre then called after working in clubs owned by racke- ruled that black and white musicians Colored Artists Bureau, established in the Hoofers Club after the dancers who teers, were doubtful of getting paid until could only “mingle for professional 1934, made contacts, generated jobs, spent their after hours on its premises. the money was in their hands.” purposes with consent of both locals” and strove to keep black artists work- He renamed it the Rhythm Club, and it But just as Hall began to bring reform, and that the white locals could bring ing. More importantly, the Rhythm Club quickly emerged as the first and most he died a sudden and untimely death. black musicians up on trial. The Federa- of 168 West 132nd Street, established respected stop for many black musicians Sick for only one day, Hall, barely 40 tion’s provision drew the attention and around 1930, emerged as the meeting newly arrived in the city. As he assumed years old, succumbed to a heart attack attacks of the NAACP, which called on place and safety net for newly arrived more power among black musicians, and left his work incomplete. every self-respecting musician to fight and established black musicians. It be- Hall began to take an active role in Lo- In his short time in the New York music the AFM’s provision. came, for all intents and purposes, the cal 802. scene, Hall initiated several important The NAACP had good reason. Most center of the black music community. Around 1930, Hall had run unsuccess- changes. With the Rhythm Club, he AFM locals drew a strict color line. “As soon as you’d get up in the morn- fully for the Local 802 governing board established a central, cohesive African Only one other AFM local besides Lo- ing, and you want to go for socializing in twice. (This was the predecessor to to- American musicians’ organization – a continued on page 35

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34 Allegro | February 2020 n BLACK HISTORY MONTH } Black musicians had their first serious chance to reform the union from within

FROM page 33 and for representation as delegates to a plan to increase employment. Black litical groups in New York. The dissent- cal 802, Detroit’s Local 5, had an inte- the AFM and the Central Trades and house bands from Washington D.C., he ers, wrote trumpeter Murray Rothstein, grated membership, and white locals Labor Council. Though the Federation found, would play at the Harlem Opera himself an activist years later, “had help outside of New York often forced black still appointed Local 802 chairman and House and leave the Howard Theatre, from other trade unions, labor lawyers, musicians off the job. In the summer many on the board, a number of reform- in Washington, either unoccupied or the American Civil Liberties Union, and of 1933, for instance, when the black ist political parties sprang up within the with Washington musicians. Jordan ar- even the Socialist Party.” Local 802 trombonist Clyde Bernhardt union, and, importantly, campaigned ranged for the Howard to employ New The Committee of Fifteen represented tried to play a job with a black band across ethnic lines. York musicians when the Howard mu- a broad spectrum of musicians, includ- in Atlantic City, white union delegates At first, the most aggressive and suc- sicians came to New York. And then he ing Bill Conway, an African American. forced him out. “On the first day, the cessful of these parties was the Original considered pushing it further, employ- Conway had forged a career as part of union delegate came in and gave Tebbet Ticket or the Original Yellow Ticket. ing New York musicians in Philadelphia the now mostly forgotten “Conway [the bandleader] a bad time,” remem- Their leader was a longtime Jewish when Philadelphia musicians came to Brothers Radio Team,” but he had risen bered Bernhardt. “Didn’t want no black member named Louis Weissman, and New York. The plan, however effective in black musical circles at the Rhythm band in Convention Hall, he said. The their platform focused on the contin- or not, demonstrated the importance of Club, where he served as its main book- union was all-white, the management ued push for local autonomy. Weiss- black musicians’ networks outside the ing agent. He was, so far as Local 802 was white, the production was white, man’s group ran against two other par- city to its black musician leaders inside was concerned, Bert Hall’s chosen re- and the walkers [patrons] didn’t take ties: a conservative party whose name of it. Jordan could never have arrived at placement and in allying himself with to blacks walking alongside of them, ei- remains unknown and a more radical such an idea or made such a compro- the Committee of Fifteen would emerge ther. So, I was not surprised.” For black group called the Blue Ticket. But Weiss- mise without communication and sup- as the first black executive board mem- musicians to gain some authority in man was the first to actively seek out port from black AFM locals in Washing- ber in the local’s history. He joined with New York, then, they would need more black members’ support. On a Monday ton and elsewhere. musicians of wide experiences. The separation from the Federation. night at 2:30 a.m. in December of 1932, But whatever Jordan’s efforts, the Yel- oldest was the violinist Henri Conrad, Facing the deepening crisis of the Weissman convened a campaign rally low Ticket administration had little suc- born in 1870, who had served as presi- Great Depression, all members – white at a Harlem venue, Carey’s Democratic cess in gaining autonomy. In June 1933, dent of the MMPU, the predecessor to and black – demanded some change. Club, enlisted the support of the black several delegates from Weissman’s ad- Local 802. The most vocal was William Calls for autonomy and, with it, over- press, and put the ragtime composer ministration petitioned the Federation Feinberg, who would later serve as sec- arching reform of the union spread Joe Jordan on his ticket. In the winter for self-governance of the local. The Fed- retary for many years. Some may have throughout the membership. In April election, Jordan became the first black eration roundly dismissed their appeal, had ties to the Communist Party. They 1932, over 2,000 members signed a member ever elected to a union leader- claiming that the local had functioned hired Joseph Brodsky, a Communist petition to discuss local autonomy at ship position. From his election onward, well enough without self-government, lawyer, who would serve on the team an open meeting. In May, 100 musi- white musicians seeking to change the and that it would descend into “destruc- that defended the Scottsboro Boys cians staged a musical protest to give administration made alliances with tive factionalism” and “violations of the several years later, and they may have Local 802’s delegates to the annual black musicians and included them as laws of the Federation.” And Weisman printed some of their leaflets on Com- AFM convention a surely politicized representatives. returned to New York to face an increas- munist stationery. But whatever their and probably intimidating send-off. In As a result, black musicians had their ingly political membership. true political beliefs – and probably October, 274 musicians sent a petition first serious chance to reform the union After the 1932 election, agitation for they ranged from the moderately leftist requesting a reduction in price scales. from within. As a trial board member, autonomy and reform grew. The men to the radical – the Committee of Fif- In December, members organized the Jordan was expected to judge disputes who had run on the Blue Ticket be- teen worked for autonomy and reform “musicians’ welfare league,” probably between sidemen and leaders. He went gan an aggressive campaign to politi- almost tirelessly. an organization aiming to provide more far beyond his duty. For the year 1933, cize the membership and make more They built support through most of unemployment relief. Joe Jordan became Local 802 in Har- militant calls for autonomy. A group of the membership. In April 1933, a mem- Through these efforts, shortly after lem. He contacted employers and set these musicians called “the Commit- bership meeting passed a resolution Bert Hall’s death in 1932, musicians up meetings with Local 802 officers. tee of Fifteen” took over the insurrec- calling for self-government. The mem- opened several positions on the local’s He asked about conditions, learned tion and radicalized its demands. They bers argued on grounds of power, of governing board and trial board to a about agreements and helped indi- called for unemployment insurance precedent and internal grievance. They democratic process. Candidates now vidual members, like the singer Ade- from the union as well as autonomy noted that Local 802 made up 15 per- competed for six governing board posi- laide Hall, receive permission from the and an end to corruption. Overwhelm- cent of the AFM. Every other local had tions, for the nine trial board positions, union to work. By July, he had devised ingly, they drew support from leftist po- continued on page 37

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36 Allegro | February 2020 n BLACK HISTORY MONTH

FROM page 35 lutely no political organization or any- the right to self-government through body is going to inject politics into this election of officers. Since New York mu- } For African organization, either Democrats or Re- sicians lacked such a right, the union publicans bringing in an outside group.” had ceased to function effectively. Thus, But the group of 15 seemed to take “we, the members of Local 802,” they clear political sides. They supported said, “protest against the present form American Franklin Roosevelt, drew members’ at- of government of this Local and demand tention to broader political issues, and the absolute right of Local Autonomy supported and even ran candidates for now enjoyed by every other Local of the musicians, the civic office. A.F. of M.” In response, the Federation But perhaps more importantly, the made a small concessions. It allowed the new leadership imbued the local with local to hold monthly rather than quar- an energy and effectiveness it had not terly membership meetings, a change fight for autonomy seen since before the 1920s. The lead- that only fueled the insurrection. ers pledged to stop kickbacks. They At the monthly meeting in February campaigned against chiseling. They 1934, the Committee of Fifteen man- converted Allegro from a dry, slim fact aged to push through a resolution cemented their sheet, into an effective voice. They edi- calling for a secret vote to determine torialized and advertised, gave accounts whether members favored autonomy of their actions, and made connections or opposed it. On March 12, the admin- place in Local with other activists throughout the city. istration tallied the vote and found the And, for the first time in over a decade, response near unanimous. Of 3,855 who Local 802 became truly accountable to voted, 3,728 voted for autonomy and its membership and committed to the only 127 against it. The Committee of 802 and its musicians’ cause. Fifteen pushed forward. On March 19, For African American musicians, the the membership passed another resolu- fight for autonomy cemented their tion to elect a Committee of Eleven to ~ place in the local and its administra- draft revised bylaws for the local that administration tion. When the local had undergone would ensure self-governance and elect political changes before – when it had another committee, also of eleven, to joined the Federation in 1902, when it make plans for free elections to the gov- wrote in his decision, for “workingmen administration of the Federation. Mem- became Local 802 in 1921 – black musi- erning board positions (then appointed and labor unions to hold close their bers had forged a coalition across ethnic cians had been at its periphery. When by the AFM) and for the secretary, trea- ranks in these trying days of depression and racial lines to take control over their the local gained autonomy on Dec. 20, surer and president of the local. The and labor difficulty…the knowledge of union. They took their first efforts to ad- 1934, they joined in the movement at its Committee of Fifteen almost all won the present lack of employment and the dress the crisis engulfing their industry, center. Members elected Bill Conaway as election to these committees. Conrad low state of the funds of workers should and they brought their first democrati- the first black executive board member. and Feinberg won seats on the bylaws be to union tribunals a guiding influ- cally elected administration into office. The new, interracial administration ap- committee. Conaway was elected to the ence to leniency rather than severity in pointed two black business agents: a election committee. A special member- decision and sentence.” mmediately, the character of Local saxophonist named Ralph Redmond, ship meeting was scheduled for April 2 Beaten in the vote of the membership 802 changed in two ways. First, the lo- and a former bandleader named Jimmy for members to ratify the new bylaws. and in the courts, the Federation had lit- Ical became more politicized. It called “Peekaboo” Davis. And within the year, The election was planned for April 13. tle option but to accede to demands for for members to be more involved and the administration began lending sup- The AFM administration resisted. autonomy. At the annual convention in more committed. port to Harlem community organiza- On March 28, the Federation refused June 1934, the Federation at last granted In January 1935, Allegro exhorted: tions. In August 1935, the Harlem Labor to allow the meeting to take place and self government to Local 802. It was not “Brother Members: You now have the Committee asked the local to donate threatened the local with expulsion. If carte blanche. The Federation reserved opportunity to create and regulate the money and members to its relief fund. the April 2 meeting went ahead, the the right to appoint its chairman for policies of your Local. This right was The local bought five tickets for a relief Federation threatened to revoke the another two years. The first election for achieved after a long and bitter struggle. raffle and gave them to several black local’s charter, much as it had done in union president would come only in Newly won rights bring new responsibil- members. It was a small act at the time 1921. When the Committee of Fifteen 1936. In a stab at the Committee of Fif- ities….Your greatest safeguard and your but a harbinger of things to come. tried to organize the meetings without teen, the Federation protested the “un- greatest strength is your voice and your the consent of the AFM administration, American communistic propaganda vote at monthly membership meet- This article was condensed and edited the AFM decided to expel the 15 musi- among its members” and put in a pro- ings…Attend the MONTHLY MEETINGS from a thesis written by Jacob Goldberg cians from the local. The 15 brought a vision that the local would need to vote of your local.” for Amherst College in 2008, entitled lawsuit to the Bronx Supreme Court and as to whether it approved of “commu- Local 802 members also became “Swingin’ the Color Line: African- before Justice Ernest Hammer. Hammer nistic agitation within the union or that involved with politics outside of the American Musicians and the Formation proved a liberal ally. In his decision, he communists be members of the union.” limited concerns of its own. The older of Local 802.” The thesis is available as a defended the activities of the 15, rein- But, in most ways, the membership and leadership had pleaded strict political book for purchase at www.lulu.com. The stated their position in the union, and the Committee of Fifteen had won an neutrality. “As long as we are members author can be reached at jgoldberg08@ called for labor solidarity. It was time, he important political battle against the of 802,” said Louis Weissman, “abso- gmail.com.

February 2020 | Allegro 37 n NEWS & VIEWS LOCAL 802 ARTIST RIGHTS CAUCUS THE CASE ACT CAN HELP MUSICIANS If Congress can pass this bill, we could see a low-cost “small claims court” to fight copyright violators

By Ken Hatfield There is currently a legislative interpreted the term “full costs” as their works registered with the U.S. remedy pending in Congress that used in the Copyright Act to mean not Copyright Office to be eligible to file a or the musicians who needs our support. This bill is called all costs incurred in the litigation. This case. remember what our industry was the CASE Act. (Its name is an acronym means few musicians can afford the The Copyright Claims Board will like before the digital paradigm for Copyright Alternative in Small risk or expense required to pursue a essentially be a small claims court that Fshift, it is abundantly clear that Claims Enforcement.) The CASE Act copyright lawsuit. makes it cost effective for us to defend others are now profiting even more will empower musicians to protect and Laws and rights that one cannot the rights we have under the copyright from our work than we are. This is enforce their rights. Let me explain why afford to enforce are ineffective at best. law. It will require vigilance, because especially true for recorded music. For we need it and how it is designed to Put another way, justice delayed is the burden will still be on musicians those who have only known the music work. justice denied. We need an alternative to seek out copyright infringement world since the digital revolution, let For many photographers, filmmakers, to expensive full-fledged federal and assert their rights. But I suspect me assure you that it doesn’t have to authors, songwriters and other content copyright lawsuits when our rights are the fact that enforcement of our rights be this inequitable! creators, defending our rights is simply infringed. will finally become cost effective While there is no silver bullet that not feasible, because litigation is cost The CASE Act is that alternative. It and feasible under the CASE Act will will fix what ails the music business, prohibitive. Merely sending a copyright will establish a Copyright Claims Board change the environment so we can all there are several legislative remedies infringement letter will typically cost within the United States Copyright Of- have each other’s backs. on the horizon that will be very helpful. you somewhere between $1,500 and fice to adjudicate copyright claims, thus I encourage you to be skeptical of We at the Local 802 Artist Rights $3,000. An essay by University of putting an affordable form of justice claims from big tech astroturf shills Caucus have been engaged in creating Pennsylvania Law School Professor within our reach. This will protect our like the Electronic Frontier Founda- a series of educational articles designed Shyamkrishna Balganesh published rights and help us get paid for our work! tion, Public Knowledge, and the Au- to inform the Local 802 membership in 2013 in the Columbia Law Review However, the law will require the copy- thors Alliance. These and other tech- about issues we face in the digital realm states: “As of 2011, the average cost right violator to opt in to the process. funded groups oppose the CASE Act and about various legislative remedies, of litigating a copyright infringement This could ultimately mean that the and all other legislative remedies de- in the hope of rallying the membership case through trial, for either plaintiff CASE Act may prove to be more effec- signed to protect artists’ rights. They to support the remedies, oppose the or defendant...was estimated to range tive in addressing good faith actors than are busy obfuscating the truth by inequities and engage in concrete from $384,000 to a staggering $2 the bad guys. Nevertheless, it will still proliferating bogus arguments claim- actions demonstrating support for million.” It’s likely to be even more cost be one of several useful paths to justice. ing the CASE Act will allow big record artists’ rights. After all, complaining prohibitive now. The Copyright Claims Board will be companies to “bully” the poor tech about things we are unwilling to put If you win a federal copyright lawsuit, overseen by three Copyright Claims companies into paying sums they forth effort to fix is the definition of in theory your legal fees are awarded Officers appointed by the Librarian of cannot afford via illegitimate copy- futility. By the way, musicians are not at the discretion of the presiding judge. Congress. The CASE Act limits damages right infringement claims. On July alone in this fight: we have solidarity However, in a recent decision (Rimini to $15,000 per work and $30,000 total 30, 2019, Copyright Register Karyn with other content creators. Street v Oracle), the Supreme Court per claim. Copyright owners must have A. Temple responded to such criti-

38 Allegro | February 2020 n NEWS & VIEWS cisms in a statement to the Senate fessional Photographers of America, Judiciary Committee Subcommittee American Society of Media Photogra- on Intellectual Property, saying: “I phers, International Authors Forum, am pleased to note that the legisla- the Authors Guild, the Graphic Artists tion that was recently passed out of Guild, the NAACP, AFL-CIO, the Amer- the full Senate Judiciary Committee ican Conservative Union, the American contains several provisions to help Bar Association, the U.S. Chamber of address these concerns... These pro- Commerce, plus a multitude of inde- visions, combined with the extensive pendent content creators and small notice requirements and due process businesses throughout the United safeguards for respondents, would States. Supporters of the bill concur provide important safeguards against with the Copyright Office’s findings the use of the CCB [Copyright Claims that the Copyright Claims Board will Board] by bad faith claimants.” provide a more financially accessible In an earlier statement to the House option than federal court for those of Representatives Committee on with limited financial resources seek- the Judiciary on June 26, 2019, Ms. ing to defend their copyrights. It will Temple expressed the U.S. Copyright also be capable of assessing whether or Office’s support for a small claims not use of a copyrighted work consti- tribunal system, stating that “...low- tutes fair use, which will protect good dollar but still valuable copyrighted faith users from frivolous litigation, works are frequently infringed with thus addressing the bill’s opponents’ impunity, and individual creators concerns about trolling. and small businesses often lack an Finally, we should all thank Rep. effective remedy... [to address such Hakeem Jeffries (D-NY), because infringements]. For this reason, the the CASE Act is his initiative, and Copyright Office strongly supports a without his efforts it would not exist, small claims tribunal structured along and without our support it may not the lines of the proposal detailed in the become law! So, we urge all musicians Copyright Office’s 2013 report.” This to support the CASE Act. Different from the rest. referenced report entitled Copyright P.S. Please come to the next meeting Small Claims was overseen and of the Local 802 Artist Rights Caucus submitted by one of the artists’ rights on Monday, Feb. 10 at 4:30 p.m. in the movement’s strongest advocates: Executive Board room of Local 802. E-mail former Register of Copyrights Maria us at [email protected]. Pallante. Reading it, I was struck by how much it informed the CASE Act. Guitarist Ken Hatfield is the co-chair of The CASE Act has bipartisan support the Local 802 Artist Rights Caucus. He has from groups as diverse as the AFM and been a member of Local 802 since 1977. Local 802, the Copyright Alliance, Pro- Reach him at www.KenHatfield.com. THE CASE ACT: A TIMELINE

The CASE Act (H.R. 2426) was reintroduced on May 1, 2019, in the U.S. House of Representatives by Hakeem Jeffries (D-NY) and Doug Collins (R-GA), and first introduced in the Senate (S. 1273) by Senators John Kennedy (R-LA), Thom Tillis (R-NC), Dick Durbin (D-IL) and Mazie Hirono (D-HI). Original House co-sponsors include House Committee on the Judiciary Chairman Jerry Nadler (D-NY) and House Committee on the Judiciary Intellectual Property Subcommittee Chairman Hank Johnson (D-GA), as well as Martha Roby (R-AL), Judy Chu (D-CA), Ben Cline (R-VA), Ted Lieu (D-CA), and Brian Fitzpatrick (R-PA). “The month I spent going to Dr. Tatz was, On Oct. 22, 2019, the House passed H.R. 2426 (the CASE Act) by a vote of 410-6, with 15 abstentions. in my opinion, as important to my well-being On Sept. 12, 2019, the Senate Committee on the Judiciary approved the measure and to my artistry as a full year of violin lessons.” without amendment. But as of this writing, Senator Ron Wyden (D-OR) has a hold on the bill, an issue which our recent e-mail blast to Local 802 membership was designed to address. Bryan Lee

February 2020 | Allegro 39 n NEWS & VIEWS HOW BRAINWAVES AFFECT MUSICAL PERFORMANCE

comfortable positions. As they do, they of another two-hour sleep cycle. Ideally pressure. Simply put, beta patterns of WINNING ON transition back through the other stag- you will have four of these sleep cycles rapid left-brain thinking cause problems es towards a state of near wakefulness. on a routine basis, and even five in the for musicians. These are also accompa- STAGE However, instead of waking up, their days before important performances nied by a loss of rationality and the in- DR. DON GREENE, PHD breathing, heart rate, and eye move- and auditions. Recent research at a ability to focus. High beta is the opposite Winningonstage.com ments begin to increase. That’s when sleep clinic examined the mental alert- of a quietly focused alpha mindset. they enter into the dream state of rapid ness and ability to focus in adults who Low frequency beta waves (13 to 20 eye movement (REM) sleep. The initial normally got about eight hours of sleep cycles per second) are indicative of here are five different types of REM period lasts about 10 minutes, and every night. When they increased their mental uneasiness or mild states of brainwave patterns that affect marks the end of an entire sleep cycle, sleep to nine and ten hours a night, anxiety. Mid-frequency beta waves (21 a musician’s level of perfor- which takes about two hours. Then an- they were more focused and mentally to 30 cycles per second) are exhibited in Tmance. They are called delta, other one begins. alert, with faster information process- people when they are experiencing ex- alpha-theta, alpha, beta, and gamma. With each repetition of the cycle, the ing speed and quicker physical reac- treme anxiety. The highest beta waves Each frequency can be measured on an REM increases in depth and duration, tions, with more accurate perceptions (32 to 40 cycles per second) are associ- electroencephalogram (EEG) in cycles with progressively less time spent in the of changing external conditions. ated with panic attacks, anger, and rage. per second (otherwise known as Hertz) other four stages. That’s when the brain Upon waking up, before thinking Concentration cannot occur when the from 1 (delta) up through 100 (gamma). switches into the alpha-theta pattern about your long to-do list, some may left-brain is actively engaged in beta. Understanding the sleep cycles and (4 to 7 cycles per second). The alpha- experience the peaceful state known Beta type of thinking includes analyses, brainwave patterns can positively affect theta state can happen in two ways. The as “reverie.” While comfortably lying judgments, criticisms, blame, worries, the way musicians use their brains. first is while sleeping and may involve there semi-awake with eyes still closed, and continuous doubting, rationalizing, The first stage of sleep is feeling tired lucid dreams, vivid images, convoluted the brain is in the alpha state. Alpha commenting, giving instructions, etc. and wanting to go to sleep. The second reasoning, dramatic storylines, or deep waves (8 to 12 cycles per second) This causes the left-brain to race at even stage begins with lying down, then the emotions. The second way to create the appear smooth and flowing on a graph. higher speeds. The faster it goes, the less muscles begin to relax, while the heart alpha-theta pattern is through visu- This pleasant state of mind does not you can focus on the task at hand. Beta rate, respiration, and brain activity slow alization, mental rehearsal, or guided last very long. The mind soon switches thoughts jump rapidly back and forth, down. Conscious thinking fades away imagery, which engages the brain’s vi- into beta patterns and normal waking between past mistakes or regrets, and and then stops. In the third and fourth sual cortex with chosen pictures or self- consciousness. future worries, with little attention paid stages, people fall into deeper states of directed mental movies. When these Beta brainwaves originate in the left to the present moment. unconsciousness. The fifth stage regis- techniques are done in a very relaxed hemisphere with frequencies that are The smooth, sine-like alpha waves ters the lowest delta wavelengths (1 to physical state, they produce alpha-theta measured at 13 to 40 cycles per second. reflect a relaxed, but highly alert and 3 cycles per second), there is minimal patterns. Studies with athletes and mu- The beta waves look like a series of rap- focused state of mind. Alpha is much brain activity, with little or no body sicians show that when these mental ac- id, jagged spikes. The highly active beta better than beta for concentrating on movements. This can last from 70 to tivities are done repeatedly, they result state of overthinking is the normal state executing complex musical or artis- 90 minutes. in improved physical performance. of waking consciousness in our busy tic movements, especially in front of a After stage five, sleepers begin to get After the dream stage, the mind re- world, but it doesn’t help if you are a per- live audience or audition panel. Alpha restless and start to move to find more turns to stage two and the beginning former trying to focus on music under reflects the right brain state of flow

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

40 Allegro | February 2020 n NEWS & VIEWS

uninterrupted by left-brain thoughts, Gamma waves originate in the thala- waves? First of all, your body and mind level of supreme confidence, oneness, worries, or fears. It is highly conducive mus, located in the midbrain. The high need to be totally relaxed, especially the and immense gratitude. There are also to focusing on the here and now in the frequency waves move very quickly. left side of your brain. It needs to be very audio programs for inducing delta, ever-continuing present moment. First to the amygdala, in the base of the quiet. Focus your mind on only positive alpha and alpha-theta. (Remember, if There are ways to move from left-brain brain, suppressing the fight vs. flight re- emotions, like gratitude, compassion, you see “Hertz,” it’s the same as “cycles beta noise to the right brain and get into sponse, and then to both hemispheres joy, and love, and let go of everything per second.”) alpha. These include listening to relaxing of the cerebral cortex. Then the waves else. Appreciate your talents, love the I encourage you to try different ways music, meditation, mindfulness train- move rapidly back again to the base of ability to do what you do, be totally im- to get out of beta as a daily routine, es- ing, zazen, tapping, biofeedback, yoga, the brain. This all happens at least 30 mersed in the present moment, highly pecially when you’re practicing and per- autogenic training, T’ai Chi, Aikido, Zen times per second. This very fast “full focused in one-pointed concentration. forming. You need to determine which archery, the Silva method, hypnosis, and sweep” action throughout the brain cre- If you’re interested in a more techno- ones may be useful. I find 40 cycles per my own Centering technique, which I ates a state of “neural synchrony,” nec- logical way to get into gamma, you can second to be relaxing, the 60 cycles per wrote about here previously. Just sitting essary for peak functioning. Gamma is try brainwave entrainment. This meth- second to be helpful for focusing, and quietly and focusing your mind intense- the only brainwave that will reliably get od uses aural tones or binaural beats, anything higher than 90 cycles per ly on one thing for any period of time you “in the zone” and keep you there for played through headphones, to induce second to be annoying and distracting. without left-brain interruptions can put any amount of time. higher mental states. By listening to There might be ones that are better suit- you into an alpha state. Gamma patterns regulate emotional the tones or beats played at different ed to just relaxing, while others may set The final measurable human brain- balance and moods. Gamma is associ- frequencies, both on the left and right you up to get in the zone efficiently and wave pattern is known as gamma. Gam- ated with feeling calm, happy, joyful, sides, the entire brain becomes engaged keep you there longer. ma brainwaves are the fastest in the spec- and grateful. This is often accompanied in setting up gamma waves. One of the simplest and best things you trum, measuring 40 to 100 cycles per by experiencing deep compassion, unity You can find brainwave entrainment can do before important performances second. The gamma frequency is found with all things, and universal love. This on YouTube, iTunes Store, Amazon, and auditions is to get more restful sleep. in deep meditation, flow states, peak per- blissful state is well known by Buddhist and through various apps. They have a That means four or five complete sleep formance, and the Zone. Individuals with monks, Zen masters, Trappist friars, range of available frequencies: 40 cycles cycles the last few nights before your big high gamma activity have been shown to cloistered nuns and experienced mu- per second (the gateway to gamma), 50 event. It will help to minimize your beta have strong cognitive acuity, tend to be sicians when they are engaged in the cycles per second (intense focus), 60 thinking beforehand, get you in a good much happier than most people, and highest levels of free and expressive cycles per second (genius brain), and frame of mind, and prepare you to per- demonstrate superior functioning in performance. all the way to pure gamma at 100 cycles form your best in alpha, or even gamma, highly challenging physical tasks. How do you generate more gamma per second, which is supposedly the for the entire event.

February 2020 | Allegro 41 n NEWS & VIEWS REQUIEM

Alan Arnold Robert Dietrich Vic Juris Gershon Kingsley

Alan Arnold master’s degrees at Juilliard. He won chairs Hamilton, Dave Liebman, Richie Cole, a version by Kraftwerk and another by lan H. Arnold, 87, a violist, in the Dallas Symphony Orchestra and the Mel Torme, Eddie Jefferson and Nancy the Muppets. He founded the First Moog composer, arranger and publisher, Buffalo Philharmonic before moving to Wilson, among many others. In the 1980’s, Quartet and was part of the famous Adied on Dec. 14. He had been a NYC at the beginning of the 1960s to begin Mr. Juris teamed up with fellow guitarist electronic music duo Perrey and Kingsley; member of Local 802 for almost 50 years a busy freelance career. New York City Biréli Lagrène for a steady engagement he also wrote rock-inspired compositions and was also a member of ASCAP. Born became his favorite place, and he spent at Fat Tuesday’s; that collaboration led for Jewish religious ceremonies. Mr. in the Bronx in 1932, Mr. Arnold was a the rest of his life there. One of his favorite to an album and a European tour. While Kingsley conducted and arranged many graduate of the High School of Music and hangouts, when he wasn’t working, was in Europe, Mr. Juris met and played Broadway musicals, and composed for Art and later earned degrees from NYU and the Art Students League of New York, with Richie Cole, Michel Legrand and film, TV and commercials. His work Columbia. Mr. Arnold was the creator of where he nurtured his love of drawing John Etheridge. Mr. Juris found a warm garnered recognition with a Tony Award Viola World Publications, which continues and became a prolific artist. Mr. Dietrich is welcome in Europe, but kept up his U.S. nomination for best conductor and musical to supply teaching and performance survived by wife Jamie; son Jay; daughters appearances, including projects with Larry director, two Clio Awards for his work in material to violists all over the world. He Bonnie, Jackie (and her husband Elmer), Coryell and Gary Peacock. He joined the advertising, and a lifetime achievement performed in the Huntington Symphony, Bobbi (and her husband Roberto), Sara David Liebman group in 1991, with whom award from the Bob Moog Foundation. Mr. Glen Falls Symphony, Music Company (and her husband Bob), Michelle (and he recorded and toured extensively. Mr. Kingsley also composed classical chamber Orchestra, and several others. He also her husband Eric), and Maddie (and her Juris also served as musical director of works; his opera “Raoul,” based on the taught for 35 years in the Jericho New York husband Brian); 19 grandchildren; and 12 the Charles Mingus Guitar Quintet. Mr. life of Raoul Wallenberg, was premiered Public Schools. Mr. Arnold was a member great-grandchildren. His friends and family Juris taught at the New School, SUNY in Bremen in 2008. He is survived by of Congregation Beth Emeth in Albany will celebrate his life with a memorial Purchase, Lehigh University and Rutgers his daughters Alisse and Melinda and and Temple Beth El in Huntington, where service on Sunday, Feb. 16 at 2 p.m. at University, published method books and a grandson. Obituary information from he served as the synagogue’s organist for 66 West 94th Street in the community videos, taught privately, and recorded over www.facebook.com/HerrPopcorn and over 30 years. Mr. Arnold will be especially room. In lieu of flowers, the family invites 24 albums, including two albums that will the New York Times, which published an remembered by the hundreds of students donations in Mr. Dietrich’s name to the be released this year. He is survived by his extensive obituary for Mr. Kingsley. he taught. He is survived by his wife Art Students League of New York. A direct wife, Local 802 member Kate Baker, who Gloria, son Paul (and Paul’s wife Beth), link has been set up at www.bitly.com/ taught with Mr. Juris at the New School daughter Pamela (and Pamela’s husband robert-dietrich and performed in a duet with him as his Keith), sister Helene, grandchildren Lila, musical partner. Mr. Juris is also survived We also remember . . . Susannah (and Susannah’s husband by his mother Claire and sister Denise. Benjamin), Sophie and Jeremy, and great- Vic Juris Obituary information from VicJurisJazz. Vladimir Baranov, violin grandchildren Emmy and Cooper. he guitarist Vic Juris, 66, a member com, Wikipedia and www.wbgo.org. George Berardinelli, trumpet of Local 802 since 1998, died on Katsuko Esaki, violin TDec. 31. A native of Jersey City, Mr. Philip Grande, guitar Robert Dietrich Juris was already playing in local rock Gershon Kingsley Jimmy Heath*, saxophone obert “Bob” Lewis Dietrich, 98, a and R&B bands as a teenager, where his ershon Kingsley, 97, a composer Valerie Heywood, viola flutist, piccolo player, pianist and early teachers and mentors included Ed and keyboardist, died on Dec. 10 Albert Mann, saxophone Raccordionist, and a member of Local Berg, Eric Kloss and Pat Martino. He fell in Gafter being a member of Local 802 Zeke Mullins, piano 802 since 1947, died on Jan. 4. Mr. Dietrich love with jazz and caught the attention of since 1955. Mr. Kingsley was a pioneer Claudio Roditi*, trumpet played his first union job at 16 years old top players in NYC. During his career, he of electronic music and one of the first Tony Speranza, trumpet and remained a loyal and active member went on to play with Dizzy Gillespie, Phil composers to perform on the Moog Hanna Tennen, violin throughout his life. During World II he was Woods, Jimmy Smith, Lee Konitz, Peggy synthesizer; he is perhaps most famous for drafted and played in the Air Force band. Stern, John Abercrombie, Russell Malone, his synthpop piece “Popcorn,” which has *A longer tribute for these musicians and After the war, he eanred his bachelor’s and James Moody, Sarah Vaughan, Chico been covered hundreds of times, including others will appear in the next issue

42 Allegro | February 2020 n NEWS & VIEWS REMINISCENCES MEETING YOUR HEROES

By Seth Lewis the world to Cranshaw. “When Tom got [email protected] it all together…I thought, ‘Hell, I can go sell insurance now,” said Cranshaw. “I entorship is a vital tradi- felt total fulfillment as a player.’” tion in music, especially in Barney felt equal pride from their re- jazz. An excellent role model lationship. “The life lessons Bob taught Mwas the late Bob Cranshaw, me have been as important to my career whose life I am researching for my grad- as the musical lessons,” he said. Barney uate thesis. I want to share a little bit still uses Cranshaw’s lessons today. “For about what I’ve learned and how men- me, laying it down is #1 and everything torship played a big part in his life. else comes second.” Those who knew and worked with These examples of mentorship dem- Cranshaw had the utmost respect and onstrate the possibilities that can come admiration for him. Because he was so from investment of time and energy from extraordinary, it is tempting to think of one to another. They also demonstrate him as a singular, monumental figure. that effort is required on both sides; both Though he was one of a kind, he wasn’t mentor and protégé must actively pur- always a giant of music. Cranshaw was Bob Cranshaw (1932-2016) sue and engage in such relationships in once a young musician trying to make it order to perpetuate the cycle. just like everyone else, and mentorship said, “I’m Milt Hinton.” I said, “Oh, shit.” It Cranshaw’s (and Hinton’s) legacy at played an instrumental role in his de- He was an older, dignified gentleman was like meeting God. Here’s my mentor... Local 802 looms large, and the tradition velopment and eventual success. Cran- who was a great bass playe…by the time He took me into Manny’s and he bought of intergenerational learning is still pres- shaw’s mentor was another great bass- me a bass case on the spot…He said as a I got to know him he was running the ent at Local 802 in the continuing Jazz ist, the late Milt Hinton. The tradition of poker and pool concession at the union... professional, I couldn’t be walking around Mentors series, which connects young mentorship can be traced from Hinton to Mr. Wright was kind to me. Maybe it was with a bag like that. musicians with established profession- Cranshaw and to the younger musicians because I sought him out. In those days I als though the union. Cranshaw’s phi- whom Cranshaw mentored in turn. was eager to learn anything I could about This selfless act made an indelible im- losophy can be traced back to lessons he Having a role model and a guide in mu- bass and I always found him helpful. pression; Cranshaw often referred to any learned directly from his mentor, Milt sic is essential and Hinton had important act of generosity toward younger musi- Hinton – and Hinton’s mentor Walter mentors, too. He recounted his mentor What Hinton learned from Wright was cians as “The Hinton Method.” Cran- Wright before him. Through many years relationship in his autobiography. When more than just musical. He learned the shaw modeled himself on Hinton both Hinton first joined the musicians’ union importance of passing on knowledge to musically and professionally. Cranshaw of service at Local 802, Cranshaw con- in Chicago, there were separate unions the next generation. remembers: sidered all of the other musicians family, for blacks (Local 208) and whites (Lo- Back to Bob Cranshaw. Early in Cran- and made serving them his highest pri- cal 10), which are now unified into one shaw’s tenure in New York, he met I would just go to [a recording date] and ority. His generosity, spirit and warmth entity. Hinton wrote: Hinton, who gave generously of both I would sit on the side. I didn’t want to dis- extended to all who knew him. “I’ve resources and time, in order to help turb anybody, but just to watch [Milt Hin- done very well by the union…and so I In those days, the union would let you Cranshaw get established. Cranshaw re- ton]. When The Judge [Hinton] walked want to make sure that others know how make your dues payments in installments. members: into the room, you could feel the energy. to get involved,” Cranshaw said to Local As I remember, it cost $20 to join. They’d Everybody was talking. That was the kind 802 Principal Business Rep Todd Weeks, let you put $5 down and pay the balance I had been in New York maybe a few of guy he was. That was the life. My big- who worked closely with Cranshaw. within a year. Once I filed my application months, and I was on 48th and Broad- gest, my most wonderful influence, was We should all follow Cranshaw’s ex- I’d spend my free time at the local…The way. I was on my way to rehearsal with watching The Judge. ample and pay forward the kindnesses second floor had a pool table and a sepa- somebody and I had a bag on my bass that others have granted us in order to rate room for playing cards…After hang- that was raggedy and about to fall off, but Cranshaw in turn mentored numer- keep the traditions of music and com- ing around a few months I got to know I couldn’t afford anything else. I was walk- ous musicians throughout his life. One munity strong. Walter Wright. ing down to the rehearsal and this gentle- notable example is Tom Barney, a mem- For sources I used in this article, plus man dressed with a tie stopped me on the ber of Local 802 and the bassist for the some more suggested reading, e-mail me Hinton was eager to learn from estab- street. He said, “Hi. What’s your name?” I “Lion King” on Broadway. Cranshaw at [email protected]. My thesis lished musicians and made a point of said, “Bob Cranshaw.” He said, “Are you a made Barney’s success a top priority and will be called “We, Not Me: The Musical building a relationship with Wright. professional bassist?” I said, “Yes, sir.” He seeing him achieve his potential meant Life of Bob Cranshaw.”

February 2020 | Allegro 43 n meet our members why we joined the union To join Local 802, call (212) 245-4802 or visit www.Local802afm.org

ADI MEYERSON JOHN LAKE CHELSEA LANE

I joined Local 802 after I got some I joined Local 802 to further my career I joined Local 802 so that I could pur- even sorrow – that music can evoke in work opportunities through the union, as a pit musician and recording artist. sue more freelance work in NYC as I my senses. I savor music’s ability to and I’m glad to finally be a part of it. My My musical goal in NYC is to play mu- write my dissertation for a DMA degree make me feel new things or to vividly musical goal in NYC is to continue to sic at the highest levels with an excel- at The Graduate Center, CUNY. The op- recall sensations that may otherwise lead my band and play with my heroes lent community of musicians. One of portunity to read for “Das Rheingold” seem distant or forgotten. around the world. One day, I’d love to my favorite recent gigs was premiering a at the Metropolitan Opera last season Chelsea Lane play at the Village Vanguard, Carnegie new work with American Ballet Theatre further expedited this choice. Having [email protected] Hall and Madison Square Garden. One at the David Koch Theatre last summer. moved back to the U.S. after several of my favorite recent gigs was playing I studied jazz and trumpet at the Uni- years spent abroad in Belgium, I felt I joined Local 802 after already es- a jazz festival in Guatemala with my versity of Cincinnati College-Conserva- removed from the scene back home. I tablishing a career as a musician and band. It was amazing to play for that tory of Music, and at the University of am enjoying expanding the number of composer. I was asked to be a sub for many people – but it was even more Colorado. Since moving to New York, people I know in NYC in the hope of “Rocktopia” on Broadway, which was amazing to see so many young people I’ve found my niche as a lead trumpet producing – or being hired for – engag- a fantastic experience, and prompted coming out to hear jazz! I started and jazz player in the thriving big band ing musical projects in the future. Par- me to join the union. Coincidentally, it playing electric bass when I was 14, scene. Jazz music in particular crystal- ticipating in this year’s Radio City Music was around that time that I found the but only got serious about bass (and lizes the way I see the musical world: a Hall Christmas Spectacular as a harp co- perfect violin for me. It was designed by about jazz) when I graduated from vibrant community of thoughtful artists, chair has been one of my fonder musi- Guy Rabut, who named it “The Black high school and switched to upright. striving their utmost to create. Jazz is at cal experiences since moving to the city. Violin” because of its special design (see Three years later, I moved to NYC once collaborative and individualistic, a The strong sense of community in the www.guyrabut.com/special-projects. and have been here ever since. Music platform where you hold your own while orchestra pit – particularly when play- html). After composing and performing is important to me because it’s a way supporting the group. In jazz, we all ing through the holidays – has left me as a music director and solo violinist for to spread love, happiness and hope to move forward together while creating art eager to seek out similar engagements. the Off Broadway shows “The Woods- people you can’t reach in any other that speaks to people in ways that words My mother is a section violinist with man,” “The Pearl Diver” and “Lake of way. It’s my way of communicating cannot. It’s a fulfilling experience to say the Pittsburgh Symphony Orchestra, so Sorrows,” I truly have the theatre bug and being able to say things that words the least. I co-lead the New Alchemy Jazz I grew up surrounded by music and the and plan on writing my own plays and can’t express. Besides my own band, I Orchestra (an 18-piece big band) with concert hall. Like any rebellious child, I continue connecting with professional play in various ensembles around the my musical compatriots Danny Jonoku- initially fought against following in the musicians, playwrights and actors to city. I also teach at Jazz House Kids chi, Steve Kortyka and Michael Sailors. footsteps of my parents, but eventually create emotional and impactful stories. in Montclair, New Jersey, and at the I’m also excited to be releasing my debut came to terms with the fact that art was I love composing music for solo violin Stanford Jazz Workshop in California. jazz quintet record this spring! an inseparable part of my existence. Mu- and chamber music and have such rev- Adi Meyerson John Lake sic has always been in my life. I cherish erence for my colleagues and new musi- [email protected] [email protected] all the nostalgia, fondness, elation – and cal friends who perform my works. One

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

EDWARD W. HARDY LAURA THOMPSON JORDON CUNNINGHAM of my favorite gigs was performing at still having the potential to be an exact spent several years freelancing with the audition pianist and vocal coach. Most Carnegie Hall for over 10,000 enthusi- reflection of reality. The purest way to Milwaukee Ballet Orchestra and as a vi- recently, I had the opportunity to serve astic young future musicians with the communicate the human condition is ola sub with the Milwaukee Symphony. as the music director and conductor for Link Up orchestra. I played my Black through the beauty of music. Music is such a vital form of expression, “The Sound of Music” at the Asolo Rep- Violin to them, and they couldn’t be- Edward W. Hardy and I still find it amazing that the vio- ertory Theatre in Sarasota, Florida, with lieve a violin could look like that. One [email protected] lin can do so many different things. It is direction and choreography by Josh of my other favorite performances was a my creative outlet and I enjoy passing Rhodes. I earned a BFA in piano and part of the opening of the Smithsonian I joined Local 802 because it seemed on the joy of playing to my students. oboe from Texas State University and National Museum of African American a great way to meet fellow musicians I’m freelancing with tons of orchestras spent some time in the city before going History and Culture. I was asked to com- in New York City, and I also believe in in the NYC area, teaching violin and vi- on the road for the 20th anniversary na- pose and perform an original work for the advocacy and organizing work the ola at the United Nations International tional tour of “Smokey Joe’s Café.” After the Congressional Black Caucus at How- union does to ensure that we are paid a School, and playing chamber music and that, I spent two seasons serving as the ard Theatre, so I performed my original fair wage. I hope to have a varied career Irish fiddle around town. I was excited music assistant and associate conductor composition “Evolution: the Evolution in chamber music, new music, record- to travel to India last year to solo with at the Goodspeed Opera House in Con- of Black Music.” The piece is inspired by ings, orchestra and Irish fiddle. I’m a bit the Kolkata Symphony Orchestra and to necticut. I am currently completing my the hymn “Wade in the Water” because of a musical omnivore – I go back and take part in a teaching fellowship with a MFA in music direction at Pennsylvania of the history of secret codes embedded forth between violin and viola, enjoy group called MusicAid. State University. Music is important to in the song that gave guidance to slaves collaborating with composers, relish Laura Thompson me because it expresses what cannot as they embarked on their journey to playing quartets, and love folk fiddling. [email protected] be put into words. Music creates and freedom using the Underground Rail- New York City seems like a good place informs emotion. It is an energetic vi- road. I am a 28-year-old musical story- to do all of these things, and I moved I re-joined Local 802 after I started bration which we can all tune into. It is teller who earned a bachelor of music here to challenge myself! One of my fa- working at the Engeman Theatre on unifying. This is why musical theatre is degree cum laude in viola performance vorite recent gigs was playing Brahms’ Long Island for its production of “Sat- so powerful: it provides an added emo- from SUNY Purchase College and a mas- Symphony No. 1 with Jaime Laredo and urday Night Fever.” I’m also very much tional dimension to the theatrical expe- ter of music degree cum laude in violin the Westchester Philharmonic, and also looking forward to a few projects rience. The collaboration between cre- performance from the Aaron Copland playing a new string quartet with danc- coming up within the next couple of ative team members can make or break School of Music, with additional stud- ers at Juilliard. I like that every gig in months, including new works, readings a production. A successful team can cre- ies at the music advancement program NYC has been completely different so and concerts both on and off Broadway. ate an environment where everyone can at Juilliard and the Manhattan School far. I earned a bachelor’s degree in vio- I am excited to continue my work as a thrive. That’s the kind of show I always of Music pre-college program. Music lin from Northwestern University and music director and pianist in NYC and want to be a part of. is important to me because it’s one of a master’s in violin performance from with various regional theaters through- Jordon Cunningham the greatest escapes from reality while the Royal College of Music in London. I out the country. I also enjoy work as an [email protected]

February 2020 | Allegro 45 n NEWS & VIEWS

Krauthamer reported on his President Krauthamer presented a post-adjournment informational discussion with Local 47 leadership requests from four members for leaves session with Fisher, Schwartz, Frawley, Executive regarding sharing the costs of setting of absence from Broadway shows. Paisner, Shankin. board minutes up the 401(k). It was moved and seconded to Financial Vice President Fisher Discussion held. approve the leaves of absence reported that she had approved a Krauthamer reported on the as submitted pending review request from Orchestra Long Island Tuesday, December 3, 2019 upcoming Local 802 staff and and approval from the Theater to utilize public services scales for a eeting called to order members holiday parties. Department. performance at Wheatley School on at 11:17 am by President Discussion held. Discussion held. February 11, 2020. Krauthamer. Present: Krauthamer reported on the first Motion carried unanimously. Discussion held. MFinancial Vice President negotiation between Local 802 and Krauthamer requested confirmation Fisher reported that she had Fisher, Recording Vice President DCINY for a collective bargaining of the results of an email poll of the approved requests from Bronx Arts Schwartz, Executive Board members agreement. board approving a memorandum of Ensemble to utilize public service Axelrod, Cohen, Frawley, Kainuma, Discussion held. agreement between Local 802 and scales for performances on February Shankin. Krauthamer reported on an Local 47 (Los Angeles) pertaining to 5th at Highbridge Library, February Minutes of November 25, 2019 upcoming senior staff meeting and the 401(k) plan. 6th at PS1, February 18th at Tremont reviewed. discussed a request for a salary It was moved and seconded to Library, March 11th at Edenwald It was moved and seconded to increase for a staff member. confirm the results of the poll. Library, March 28th at Bronx Library approve the minutes of November 25, Discussion held. Discussion held. Center, and March 28th and 29th at 2019 as corrected. Board recessed 12:45. Motion carried unanimously. Fordham University. Discussion held. Board reconvened at 12:57. Krauthamer reviewed the voting Discussion held. Motion carried unanimously. Trial Board member Maurer present procedure for the election of the Fisher reported that negotiations President Krauthamer presented to report on her participation, along orchestra committee of Radio City for a successor collective bargaining the minutes of the Coordinating with Executive Board member Music Hall. agreement between Local 802 and Advisory Committee (CAC) meeting Frawley, at the Motion Picture and TV Discussion held. Mostly Mozart Festival would begin of November 4, 2019. Film negotiations just completed in Krauthamer reported on his on December 13, 2019. It was moved and seconded to Los Angeles. attendance along with Executive Discussion held. concur with the minutes of the CAC Discussion held. Board member Shankin at the Jewish Fisher reported on her meeting with as submitted. Executive Board member Kainuma Labor Committee Annual Human Francesca Campagna, General Director Discussion held. excused at 1:05. Rights Awards Dinner on December of the Center for Contemporary Opera, Motion carried unanimously. Maurer and Frawley excused at 1:45. 9, 2019. to discuss future engagements. Krauthamer presented a request Krauthamer reported on a salary Discussion held. Discussion held. from a member for a leave of absence increase for a staff member. Krauthamer reported on the Local Fisher reported that she met with from a Broadway show. Discussion held. 802 Staff Holiday Party of December the orchestra committee of American It was moved and seconded to Meeting adjourned at 1:57 p.m. 5, 2019. Ballet Theater to discuss proposals approve the leave of absence as Discussion held. for a successor collective bargaining submitted pending approval of the Tuesday, December 10, 2019 Krauthamer reported on the status agreement. Theater Department. Meeting called to order at 11:15 am of the internal reorganization. Discussion held. Discussion held. by President Krauthamer. Present: Discussion held. Fisher reported on matters pertaining Motion carried unanimously. Financial Vice President Fisher, Krauthamer reported on the to Westchester Philharmonic. Krauthamer reported on a request Recording Vice President Schwartz, upcoming holiday party on December Discussion held. for a special situation from the Executive Board members Axelrod, 11, 2019 for the membership and Recording Vice President Schwartz producer of the Broadway production Davis, Paisner, Shankin. guests. reported on his participation in a of Jagged Little Pill. Member Bud Burridge present. Discussion held. meeting with NY City Councilman It was moved and seconded Burridge discussed matters Krauthamer announced his holiday Brad Lander along with representatives to approve the request from the pertaining to the process of electing vacation schedule. of the Musicians and DJs Committee producer of Jagged Little Pill. an orchestra committee for Radio City Discussion held. of NYC Artists Coalition to discuss Discussion held. Music Hall. Krauthamer reported on the Senior issues pertinent to the freelance music Motion carried unanimously. Executive board member Frawley Staff meeting of December 9, 2019. community. Krauthamer reported on the present at 11:26. Discussion held. Discussion held. nominations for election to the Discussion held. Krauthamer reported on the Schwartz reported on the first orchestra committee of Radio City Burridge excused. proposed renewal of the contract for bargaining session with Apollo Music Hall. Board recessed at 12:12. the services of Director of Information Theater for a successor collective Discussion held. Board reconvened at 12:21. Technology Mosher. bargaining agreement between Local Krauthamer reported on the status Minutes of December 3, 2019 Executive Board member Axelrod 802 and the employer covering the of plans for the 401(k). reviewed. excused at 1:09. Amateur Night at the Apollo band. Discussion held. It was moved and seconded to Discussion held. Discussion held. Recording Vice President Schwartz approve the minutes of December 3, Executive Board member Davis Schwarz reported on the status of excused at 12 noon. 2019 as corrected. excused at 1:29. Quorum lost, meeting negotiations between Local 802 and Financial Vice President Fisher Discussion held. adjourned. NY Jazzharmonic for a successor recorded the minutes. Motion carried unanimously. Board members met at 1:41 for collective bargaining agreement.

46 Allegro | February 2020 n NEWS & VIEWS

Discussion held. Spivak Lipton as presented. the orchestra committee of Mostly Discussion held. Fisher reported the recent meeting Discussion held. Mozart festival. Motion carried unanimously. of the NYC Central Labor Council. Motion carried unanimously. Discussion held. Krauthamer reported on his Discussion held. Krauthamer reported on the results Recording Vice President Schwartz negotiations with employers for Meeting adjourned at 2:01 pm. of the orchestra committee elections reported he would meet today a successor collective bargaining at Radio City Music Hall. with Hank Lane Music to continue agreement covering the off-Broadway Tuesday, December 17, 2019 Discussion held. discussions on resolving a grievance. not for profit theaters. Meeting called to order at 11:06 am Krauthamer reported on matters Discussion held. Discussion held. by President Krauthamer. Present: pertaining to compensation for the Meeting adjourned at 1:25 pm. Krauthamer reported on a letter Financial Vice President Fisher, Director of Information Technology. to be sent to Local 802 members Recording Vice President Schwartz, Discussion held. NOTE: The Executive Board did regarding the AFM-EPF. Executive Board members Axelrod, Krauthamer presented a draft of the not meet on Tuesday, Dec. 24, 2019. Discussion held. Cohen, Davis, Frawley, Hoyt, Paisner, president’s year-end review for the Krauthamer presented an update Shankin. Allegro. Monday, January 6, 2020 on premium payments for members President Krauthamer reported on Discussion held. Meeting called to order at 11:16 am of Metropolitan Opera Orchestra. the status of Not-For-Profit Theater Executive Board member Cohen by President Krauthamer. Present: Discussion held. negotiations. presented suggestions for board Recording Vice President Schwartz, Krauthamer reported on plans for Discussion held. meeting procedures. Executive Board members Axelrod, committee training by consultants Minutes of December 10, 2019 Discussion held. Cohen, Davis, Frawley, Shankin. from Labor Notes. reviewed. Krauthamer excused and meeting Minutes of December 17, 2019 Discussion held. It was moved and seconded to recessed at 12:39. reviewed. Krauthamer reported on the status approve the minutes of December 10, Meeting reconvened at 12:58. It was moved and seconded to of 401(k) plan documents. 2019 as corrected. Financial Vice President Fisher approve the minutes of December 17, Discussion held. Discussion held. assumed the chair. 2019 as corrected. Krauthamer reported that Director Motion carried unanimously. Recording Department Business Discussion held. of Information Technology Mosher Krauthamer presented requests Representative Pawlo present. Motion carried unanimously. will become a full-time member of the from two members for leaves of Pawlo presented a request from Sh- President Krauthamer presented an Local 802 staff. absence from Broadway shows. K-Boom Records for a limited pressing invitation to attend the Long Island Discussion held. It was moved and seconded to agreement for the off-Broadway cast Federation of Labor Annual Reception. Krauthamer reported that the local approve the leaves of absence as album recording of Broadway Bounty It was moved and seconded to will commence a full search for a submitted. Hunter. approve the purchase of one ticket to director of organizing. Discussion held. Pawlo presented a request from the Annual Reception at $250. Discussion held. Motion carried unanimously. P.S. Classics for a limited pressing Discussion held. Krauthamer reported on the agenda Krauthamer presented a request agreement for the off-Broadway cast Motion carried unanimously. for the February 26, 2020 membership from Actors Fund of America to renew album recording of Anything Can Krauthamer presented requests meeting. membership in the organization. Happen in the Theater. from five members for leaves of Discussion held. It was moved and seconded to Pawlo excused. absence from Broadway shows. Board recessed at 12:46. renew Local 802 membership at the It was moved and seconded to It was moved and seconded to Board reconvened at 12:58. $1,500 level. approve limited pressing agreements approve the leaves of absence as Krauthamer reported on long Discussion held. for Broadway Bounty Hunter and for submitted. term goals for the local and made Motion carried unanimously. Anything Can Happen in the Theater Discussion held. subcommittee assignments for board Krauthamer presented the actual as presented. Motion carried unanimously. members. costs of the annual members holiday Discussion held. Krauthamer presented the minutes Discussion held. party at $7,492.27 and the staff Motion carried unanimously. from the Coordinating Advisory Financial Vice President Fisher holiday party at $2,888.63. Executive Board member Davis Committee (CAC) meeting of present at 1:29. Discussion held. excused at 1 pm. December 20, 2019. Krauthamer reported on matters Krauthamer presented an invoice Communications Associate CAC minutes tabled. pertaining to Indie Musicians Caucus from Spivak Lipton LLP in the amount DiPasquale present. Controller Emelianova present. (IMC) and its survey of Local 802 of $9,262.50 for legal services during DiPasquale presented information Emelianova presented the Local 802 membership. the month of November. on the memorial plans of Remember financial report of January through Discussion held. Discussion held. the Triangle Fire Coalition and October 2019. Members Marc Ribot and Jean Cook Krauthamer presented the Indie proposed the donation of a Local Discussion held. of Indie Musicians Caucus present. Musicians Caucus survey results for 802 t-shirt for inclusion in a fabric Emelianova excused. Ribot and Cook reported on a the board’s review. memorial. Krauthamer took the CAC minutes proposed article for Allegro. Discussion held. Discussion held. from the table and reviewed with the Discussion held. Krauthamer presented a draft of a DiPasquale excused. Executive Board. Recording Vice President Schwartz letter to the membership pertaining to Executive Board members Hoyt and Board recessed at 11:50. excused at 2:30. Quorum lost. the AFM-EPF. Paisner excused at 1:14. Quorum lost. Board reconvened at 11:54. Meeting adjourned at 2:30. Discussion held. Post adjournment meeting It was moved and seconded to Discussion continued post quorum It was moved and seconded to commenced at 1:15. concur with the CAC minutes of with IMC and remaining board approve for payment the invoice from Fisher reported on her meeting with December 20, 2019 as submitted. members.

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

David Achelis (guitar) Christopher Gross (cello) Michael Lombardi (french horn) Neal Persiani (electric bass) William Beecher (bassoon) Israel Gursky (piano) Lanare Lumberger Pierce (vocalist) Connor T Pietrzak (trumpet) Benita Beneitez (violin) Arno F. Hecht (saxophone) Zelde Malevitz (clarinet) Kristen Lee Rosenfeld (conductor) Bradley Brookshire (harpsichord) Chris Hemingway (alto sax) Jeff Marder (piano) Andrew Rowan (trumpet) Cade Calder (trumpet) Samuel Webster Hoyt (trumpet) Amie Amis Margoles (french horn) Jeremy W Chatzky (bass) Yumi Ito (clarinet) Lynn Masciarelli (violin) Evan Runyon (bass) Kevin Chen (violin) Coleman Itzkoff (cello) Ronald McClure (bass) Cynthia Sayer (banjo) Wilden Dannenberg (french horn) Joe Jennis (trumpet) Ricky McWain (clarinet) John Snow (elec upright bass) Morgan Davison (bassoon) Aaron Johnson (saxophone) Jymie Merritt (bass) Jon Oskar Stenmark (trumpet) Christopher Dingman (vibraphone) Stephanie Jones (whistling) Joshua Modney (violin) Derek Stoltenberg (drums) Vince Ector (drums) Daniel Klintworth (piano) Dennis Nelson (piano) Sarah Stone (baroque cello) Andy Ezrin (piano) Adam Kramer (viola) Jack Noble (bass trombone) Ronald Thornton Jr (trumpet) Edward Fast (drums) Israel Lamm (trumpet) John-Paul Norpoth (bass) Martin Fett (cello) Brandon Lee (trumpet) David Olson (trumpet) Michael Walls (harp) Bobby Green (keyboards) Soo Yeon Lee (bassoon) Michelle Osbourne (elec upright bass) Kenny Wang (viola) Sarah Greene (viola) Hector A LeGuillow (piano) Jonathan Pace (drums) Tim Warfield (tenor saxophone)

l Contact information for the musicians on this Local 802’s Resource page (and for any member of Local 802) can be found in our electronic membership directory. Center contains curated Start at http://info.Local802afm.org and log in, then click on the DIRECTORY button from the top links and information menu. that guide members l All new and readmitted members of Local 802 are eligible to be interviewed in Allegro in to entrepreneurship our “Why We Joined the Union” column (see page 44). If you want to participate, send an opportunities and e-mail to [email protected]. social services. l The next orientation sessions for new members of Local 802 are Friday, Feb. 7 (at 11 a.m.) and Wednesday, March 11 (at 5 p.m.). All START HERE: sessions are in the Executive Board Room on the fifth floor of Local 802 at 322 West 48th Street. www.Local802afm.org/ For more information, contact Shane Gasteyer at (212) 245-4802, ext. 143 or Sgasteyer@ resource-center Local802afm.org. To join Local 802, start at www.Local802afm.org/join-today.

48 Allegro | February 2020 n breaktime

CROSSWORD PUZZLE by BestCrosswords.com edITED BY BILL CROW

ACROSS DOWN 1 Aardvark’s meal 1 Working away 5 ___ walks like an angel walks…”” 2 Flood survivor 8 Mimicked 3 Jazz bassist Frank or 12 One way to be suited tenorman Buddy 13 Asparagus stalk 4 Sound investment? 15 Appraise 5 Monty Python provender 16 Must’ve been something ___ 6 Roll-call response 17 Tenorman Warne or Arno 7 “___ of the Sun” 18 Fairway choice 8 Jackie’s second 19 Heat indicator 9 Specific 22 Blasting material 10 It’s across the 23 Sushi delicacy Thames from Windsor 24 Polynesian carved image 11 Fender ding 26 British epithet 13 Burn with passion 29 Golfer’s position 14 Role for Clark 31 “Somewhere Beyond the ___” 20 Alley cry 32 Bob and _____ 21 100 dinars 34 Lummoxes 25 Door part 36 Fundamentals 26 Jazz genre 38 Thick-skinned charger 27 Wound 40 Color of Sinatra’s eyes 28 Email server 41 Versifiers 29 Actress Berger 43 Shoot-’em-up 30 Practice piece 45 Citrus drink 31 Twit 46 Now, Amigo! 33 By means of 48 Stick to 35 Holy location 50 Capital city of Western Samoa 37 What to do “in the name of love” 51 Comparative suffix 39 Like a certain complex 52 “___ Your Bottom Dollar” 42 Huff 54 Diaphanous 44 Perlman of “Cheers” 61 I cannot tell ___ 47 Fortuneteller’s deck 63 Nebraska city 49 Book boo-boos 64 Land measure 52 Capital of Azerbaijan 65 “Get Smart” baddies 53 Tel Aviv server 66 Destroy a car 55 Famous cookie provider NAME THAT TUNE 67 Windshield option 56 Western pact 68 Forearm bone 57 Jazz singer Marlena Slowly. In honor of Black History Month. 69 Plant 58 Slang expert Partridge 3 70 Serves a hot one 59 Branta sandvicensis j j ˙

60 Draws on skin & c œ œ œ œ œ. œ œ œ œ œ. œ œ œ œ ˙ ˙ œ œ œ ˙ œ œ œ œ Overcome” Shall “We ANSWER: 62 Conductor ___-Pekka Salonen ˙ ˙

For answers,see www.Local802afm.org/Allegro AFFORDABLE HOUSING FOR MUSICIANS? START HERE: actorsfund.org/services-and-programs/housing

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

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

ianist Marty Napoleon was a Gene said, “He and his wife Barbra when he announces it, but that was not good friend, and provided me came up to the band right after midnight the case when he played in Japan. There, with quite a bit of work over the Bill and they both shook our hands. She the audience responded with giggles and Pyears with his trios and quartets. kissed each one of us. Frank was always laughter. After this happened a couple But it was his older brother Andy, a crow totally in the camp of musicians.” of times, Gordon asked his interpreter drummer, who I first met when I arrived about the response. She told him that the in New York in 1950. I had discovered l l l word “benjo” in Japanese means “toilet.” that Charlie’s Tavern, in the Roseland building on Seventh Avenue, was the [email protected] One night in the late 1950s I went l l l musicians’ hangout at that time, and I www.BillCrowBass.com down to Birdland to hear the Count spent a lot of time there, hoping to meet Basie band. They were playing opposite At the Guitar Congress in Baltimore musicians and find work. Andy was a Wild Bill Davis’s organ trio, and that in 2004, Steve Herberman and Jim regular there, and he made me welcome Paramount Theatre. He conducted with night Davis brought in an arrangement Hall were heading for the cafeteria line. and spent some time introducing me to such dignified authority that he got a big he had written for the band on “April in They were followed by eight or nine the guys he thought I should know. laugh from all the musicians that were Paris.” He passed out the parts and sat other guitar players who had attended Andy had a great sense of humor, as standing there. at his organ console and played along as the morning session. When they got to did many of the denizens of Charlie’s the band sight-read the chart. At the end, the cashier, Jim waved toward the other Tavern. He told wonderful stories about l l l he called out, “One more time!” and had guitarists and told her, “I’m paying for all his brothers Marty and Teddy and his the band play the last 16 bars again, as these guys. I’m a rich guitar player.” uncle Phil, also a musician. In an interview for the Jersey Jazz he doubled the parts on the organ. He One Wednesday afternoon, after newsletter, bassist Gene Perla told did this twice more, to great applause l l l visiting the union floor, which was on about a trip he made to Los Angeles one from the audience. When Davis left Sixth Avenue at the time, I went over December. When he got there, he called the bandstand, Basie stepped up to the Sam Burtis sent me this message to Charlie’s to see who was around. It a friend, who said, “What are you doing microphone and said, “Thanks a lot, Bill. on Facebook: “A long time ago I was was a nice day, and a couple of dozen New Year’s Eve?” Gene said, “I just got Now I’ve got to go out and buy a damn subbing on a rehearsal of Louis Bellson’s musicians were standing and chatting here. I’m not doing anything.” The guy organ!” big band. I was a little late and they on the sidewalk in front of the Tavern. asked, “Do you want to play at Sinatra’s Basie never bought the organ, but he had already started so I rushed to put Suddenly a strident bell began to ring, house?” Gene said, “Yeah, of course!” did keep the “One more time” routine, my horn together, sat down, found my and we saw that the metal doors on Gene drove to Palm Springs that night and “April in Paris,” soon recorded, place in the music and started to play. the sidewalk next to the building were with his electric bass and an old upright became one of his biggest hits. I hadn’t looked around much...too busy beginning to open, and the basement he had borrowed from Howard Rumsey. getting ready. After a tune or two I began freight elevator was beginning to rise. When he arrived at Sinatra’s house, the l l l to wonder what kind of amp the bass We all stepped aside as it came up, band was already playing. A figure darted player was using. It sounded so GOOD! and then we saw that Andy Napoleon out of the dark, and he saw that it was Concert violinist Kenneth Gordon tells I finally got a chance to look back at the was standing on it, holding a lead Sinatra, who didn’t say hello, he just said, me he loves to play “Banjo and Fiddle” by rhythm section...and there WAS no amp! pencil like a baton, and conducting us, “Give me the Fender and follow me,” and William Kroll as an encore on his recitals. Just Milt Hinton! I have never forgotten as if he were rising to the stage of the led Gene into the house. The piece is always greeted with applause that moment.”

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February 2020 | Allegro 51 The census can affect Allegro Published by AFM Local 802, Associated Musicians of Greater New York, arts funding – and a 322 West 48th Street, New York, NY 10036 whole lot more!

The 2020 census is fast approaching! For various reasons, in past years a significant number of New Yorkers have not participated in the census. Without a complete count, our city’s fair share of congressional representation is at stake, as are billions of dollars in federal funding for health, education, transportation, infrastructure such as bridges and tunnels, and many other programs that New Yorkers rely on. Specifically for the arts community, the census has the potential to seriously impact the distribution of dollars from the federal cultural agencies. But population-based funding allocations also exist throughout the government, including in the Departments of Education, Housing and Urban Development, Agriculture, and others, all of which also have pockets of funds that in part stream to the arts. Additionally, special government grants are given to areas with large populations of historically marginalized communities. If the census doesn’t get an accurate count of these populations, then arts organizations engaged with those populations could be hindered in the amount of money they can get through government grants. For all these reasons, it’s critical that our members participate in the census, and that we as union members engage with our friends, family, and communities to make sure that every person is counted. Beginning in March, you can respond to the census online, by phone or by mail. It’s up to us to shape the future of our communities! Learn more at 2020CENSUS.GOV. FEBRUARY 2020 Membership Meeting WEDNESDAY, FEB. 26 l 5 P.M. FEB. 26 The meeting will take place here at Local 802 2020 (322 West 48th Street, between Eighth and Ninth Ave.) Admission to meeting by paid-up membership card only