Allegro

#1 NYC LABOR MAGAZINE IN OUR CLASS

associated
musicians
of greater
New York
November 2019 l Volume 119, No. 10 www.Local802afm.org

When musicians come together in solidarity, we are

#802STRONG
CHALLENGE AND LOCAL 802 KIDS GET TO KNOW
OPPORTUNITY FOR STAND UP FOR THE LOCAL 802’S
CLASSICAL MUSICIANS PLANET DEVELOPMENTAL
(page 8) (page 24) CONTRACTS
(page 17)
n YOUR UNION STAFF

JAZZ
LOCAL 802
OFFICERS Union reps and Organizers All shows:
Free & open to the public
Adam Krauthamer, President Theresa Couture (Theatre) 5-7 PM
Donations accepted
Karen Fisher, Financial Vice President Local 802 Clubroom
Marisa Friedman (Electronic media rep & to the ERF at the door via
322 West 48th Street
Andy Schwartz, Recording Vice President New York, NY 10036
cash, check, or credit card
MPTF administrator)

at local 802
Executive Board Shane Gasteyer (Organizing)
Janet Axelrod, Lynne Cohen,
Monica Davis, Pete Donovan,
Lily Paulina (Organizing) Fall 2019 Line-Up
Bob Pawlo (Electronic media)
Elise Frawley, Kyle Hoyt, Morris Wed, September 25

patrick callow
Todd Weeks (Jazz)

photo credit:
Kainuma, Caryl Paisner, Bobby Shankin Bernard Purdie and Friends
plus, a raffle for a new set of Pearl Drums!
Trial Board Local 802 MUSICIANS HEALTH Fund All shows:
Free & open to the public
5-7 PM
Cenovia Cummins, Sylvia D’Avanzo, Administrator Thu, October 10
Donations accepted
Local 802 Clubroom
Javier Gándara, Bill Hayes, Gloria McCormick to the
George Brandon’s Blue ERFSextet
Unity at the door via
322 West 48th Street
Joanna Maurer, Mary Ann McSweeney, cash, check, or credit card
New York, NY 10036
Warren Odze, Louise Owen, Dan Peck Allegro and 802 notes Tue, October 29
Delegates to AFM Convention Mikael Elsila (Editor, Advertising
Manager and Graphic Designer)
Fall 2019 Line-Up
Jay Leonhart and Friends
Adam Krauthamer, Pete Donovan,
Javier Gándara, Bill Hayes, Dean LeBlanc, Wed, September 25
Thu, November 7
HEADQUARTERS: 322 West 48th Street,

patrick callow
photo credit:
photo credit:
Bernard Purdie and Friends

james rich
Caryl Paisner
New York, NY 10036 Akua Dixon & Quartette Indigo
plus, a raffle for a new set of Pearl Drums!
Delegates to New york city Phone: (212) 245-4802
Central Labor Council Tue, November 19 Thu, October 10

Allison Mackey
Web site: www.Local802afm.org

Drawing by
Adam Krauthamer, Bill Hayes, Russ Anixter’s Hippie George
Big Band
Brandon’s Blue Unity Sextet
Caryl Paisner OFFICE HOURS: Daily 9:30 a.m. to
5:30 p.m., except Saturdays, Sundays, Tue, October 29 Tue, December 10
Delegates to New York State AFL-CIO

photo credit:
steve singer
Adam Krauthamer, Lynne Cohen and holidays Jay Leonhart and Friends
The Roger Rhodes Jazz Ensemble
Delegate to United Hebrew Trades DUES WINDOW closes at 3 p.m.
CHECKS WINDOW closes at 4:30 p.m. Thu, November
About the Musicians' Emergency Relief7Fund
Bobby Shankin
photo credit:

The Local 802 Musicians’ Emergency Relief Fund (ERF) is a not-for-profit 501(c)(3), with the mission to provide
james rich

(5:30 p.m. on Wednesdays) Akua Dixon & Quartette Indigo

our 8,000+ professional musician members with reliable assistance in times of trouble and dire need due to
catastrophic illness, family and relationship crises, loss of work, and/or demonstrable financial hardship.
Supervising Officers   Contact: Bettina Covo, 212-245-4802 or bcovo@local802afm.org; local802erf.org
Adam Krauthamer: Radio City, ALLEGRO (ISSN 0002-5704) is published Tue, November 19

Allison Mackey
Drawing by
Lincoln Center Orchestras, Theatres, FORRuss
MORE ON JAZZ
monthly (except for a combined July/ Anixter’s HippieIN
BigTHE AFTERNOON, SEE PAGE 20
Band
Organizing
August issue) at an annual subscription
Karen Fisher: Single Engagement
Concerts, Symphony, Opera, Ballet, rate of $30 for non-members in the U.S. Tue, December 10
photo credit:
steve singer

Music Performance Trust Fund

Andy Schwartz: Electronic Media,
Single Engagement Club Dates, Hotels,
and $35 out of country, by Local 802,
Associated Musicians of Greater New York, JAM SESSIONs at THE UNION The Roger Rhodes Jazz Ensemble

About the Musicians' Emergency Relief Fund

322 West 48th Street, New York, NY 10036. The Local 802 Musicians’ Emergency Relief Fund (ERF) is a not-for-profit 501(c)(3), with the mission to provide
Nightclubs, Jazz, Latin, Music Education,
Periodicals postage paid at New York, NY You’re invited to a bi-weekly jazz jam session at Local 802 from
our 8,000+ professional musician members with reliable assistance in times of trouble and dire need due to
catastrophic illness, family and relationship crises, loss of work, and/or demonstrable financial hardship.
Musicians’ Emergency Relief Fund 6:30 p.m. to 9 p.m. Upcoming dates include Nov. 4 and Nov. 18.
  Contact: Bettina Covo, 212-245-4802 or bcovo@local802afm.org; local802erf.org
and additional offices (USPS #013-880).
MANAGING DIRECTOR AND POSTMASTER: Send address changes to For more info, see www.jazzfoundation.org/monday-night-jam
SENIOR ADVISER ALLEGRO, Local 802, 322 West 48th Street, or contact Joe Petrucelli at the Jazz Foundation of America at
Jon Kantor (212) 245-3999, ext. 10, or Joe@JazzFoundation.org. PLUS: This
New York, NY 10036.
CHIEF OF STAFF month, we are also pleased to host a Jazz Mentors Student Jam
Joy Winkler Allegro is printed at Bayard Printing Group, on Thursday, Nov. 14 at 5 p.m. For more information, contact Todd
which is a union shop. Weeks at Tweeks@Local802afm.org or (212) 245-4802, ext. 185, or
communications and
markETING associate To reach Local 802: (212) 245-4802 see www.Local802afm.org/jazz-mentors (see more on pages 18-19).
Maria DiPasquale To reach Allegro: (646) 765-9663 or
DIRECTOR OF FIELD SERVICES Allegro@Local802afm.org or
Leo Gertner Allegro, Local 802, 322 West 48th Street, ORIENTATION FOR NEW MEMBERS
MUSIC PREP ADMINISTRATOR New York, NY 10036 The next orientation sessions for new members of Local 802 are Thursday, Nov. 14
David Will at 5 p.m. and Wednesday, Dec. 11 at 11 a.m. in the Executive Board Room on the fifth
floor of Local 802 at 322 West 48th Street. For more information, contact Shane
Personnel Administrator Gasteyer at (212) 245-4802, ext. 143 or Sgasteyer@Local802afm.org.
Lisa Mejia

2 Allegro | November 2019

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n NEWS & VIEWS

Organizing together, we are

#802STRONG
president’s
report
ADAM KRAUTHAMER

Akrauthamer@Local802afm.org
(212) 245-4802, ext. 100

O
ur true power as a union
comes from the collective
engagement of all our
members – whether you
play in a TV band or a Broadway
show, perform in a major orchestra at
Lincoln Center, or work as a freelancer
playing a different gig every day. When
musicians from such diverse sectors of
our industry are all engaged and ready
to stand together in collective action,
we build the power and leverage we
need as a union to start to address the
many issues musicians face in 2019.
This power can be used to improve our
negotiating position, organize new work
under union contracts, execute a union
community organizing strategy around Musicians are standing up and demanding to be paid fairly for their work in streaming.
a deeply-felt issue, or simply help make
clear to the public just how vital union of musicians that represent different and on social media, adding to the to support the Chicago Symphony
musicians are to the arts and culture genres, different workplace realities, and Broadway dialogue stories and content musicians who had been locked out and
here in New York and around the world. the many different experiences of being about the musicians who work in the over 150 union members showed up. 802
As a community of union musicians, a professional musician. pits. Towards the end of negotiations, musicians gave speeches, we heard from
we are starting to see what we can achieve Amid the contract negotiations on we gave out #802strong T-shirts to any politicians, there was a performance
when we try to address the issues we Broadway, 802 musicians launched the Broadway musician who wanted to wear by over thirty 802 musicians and, all
face through collective engagement and Musicians of Broadway website which them during a performance produced throughout, union members made sure
collective action rather than individually draws attention to the exceptional by the Broadway League for the public their collective voices were heard.
and in isolation. Once in office, our musicians working in Broadway pits. called Stars in the Alley. That small Over the summer, the courageous
administration launched an initiative Building on that action, musicians in choice to show union solidarity is a real musicians of the DCINY orchestra took
called #802strong. We are committed to almost every show on Broadway took example of collective engagement and the first steps to unionize their work
overcoming barriers that divide us and photos with the #802strong hashtag, action. through collective action, starting with
to standing together as a unified union which were posted on the new website In the spring, Local 802 held a rally an overwhelmingly successful election

4 Allegro | November 2019

 n NEWS & VIEWS

at the NLRB, where the “yes” votes

were 114 versus only 13 “no” votes.
The orchestra chose to unionize and
have Local 802 represent them in their
upcoming fight to negotiate a first
contract with DCINY management.
The DCINY organizing campaign has
been supported by the collective action
of many 802 members across New York.
Collective support has come from the
New York Philharmonic and Musicians
of Broadway, as well as the Patriot Brass
Ensemble and members of the New
York City Ballet. We hope that as DCINY
musicians work to secure a fair contract
that more orchestras and musicians will

photo: david finlayson photography

show their support by taking solidarity
photos (see an example, below right)
and supporting in other ways as the
orchestra requests.
Another example of collective
action happened when the Baltimore
Symphony musicians were locked
out. The New York Philharmonic took
action to support the BSO by wearing
BSO T-shirts and taking a great group
solidarity photo, published to social
media with supportive statements. (See THIS IS WHAT SOLIDARITY LOOKS LIKE! Above, musicians of the New York Philharmonic wore T-shirts in solidarity with locked-out
photo at top right.) musicians of the Baltimore Symphony Orchestra (see update on page 8). Below, colleagues from all over NYC supported the successful
Currently, 802 musicians, led by Elise organizing campaign of the musicians of Distinguished Concerts International New York.
Frawley, Joanna Mauer and Ray Mason
– as well as members of the bargaining
unit Contract Action Team – have been
working on taking collective action to
secure a fair film and television contract
that includes streaming residuals. They
put together a killer band and have
organized rallies here in New York
while collaborating with musicians
across the country to take action. The
simple truth is that actors, writers and
continued on page 6

photo: www.facebook.com/DCINYOrchestra

Adam Krauthamer with Jerry Nadler

November 2019 | Allegro 5

n NEWS & VIEWS
Organizing together, we are
FROM page 5
#802STRONG
president’s report
directors all earn streaming residuals,
but not musicians. This is a real threat
to our financial futures.
Collective action is the only way we
will have enough power to demand the
respect and equality that other artists
have. As Joanna Mauer, an associate
violinist with the Metropolitan Opera
who has recorded on numerous film
scores, television scores and pop albums
summarized it at a recent rally, “Despite
the immense success of streaming
platforms, production companies like
Disney, Warner Media, NBC/Universal,
and CBS/Viacom are paying musicians
a fraction of what we get on traditional
platforms such as in theatres and on
network television. We are doing the
exact same work but getting paid 75
percent less.”
As television shows and movies move
to streaming platforms like Netflix, Hulu
and Disney+, the studios are refusing to
provide musicians fair compensation.
Very profitable companies like Disney,
which earned an estimated $59.43
billion last year, are demanding that
musicians take huge cuts. Without
streaming residuals, a musician will
take a 75 percent pay cut when a Disney
film is released on Disney Plus versus in
theatres or on network television.
Here in New York, Local 802
musicians rallied outside NBC Universal
headquarters at Rockefeller Center,
where Congressman Jerry Nadler made
clear to the public his support for our
collective action. “I am proud to stand
with the thousands of AFM music
professionals who rightly deserve a
fair living wage,” Nadler said. “AFM
members are creative professionals
who deserve fair compensation and
revenue-sharing for their work both on
streaming films and television shows.
6 Allegro | November 2019
Without music, there really is no TV.”
This collective action is taking place
both here in New York and in Los
Angeles, with fellow musicians from
Local 47 helping to draw attention to the
fact that we simply cannot economically
survive as union musicians over the
next decade without residuals on
streaming. This campaign is called
#BandTogether and I appreciate the
support the AFM organizers have given
our 802 musicians throughout.
Engagement from 802 members is
growing every month, gradually building
the power we have as a union together.
We must keep working together and
continue to address the complicated
landscape of the music business as a
union through collective engagement
and collective action. In 2019, the reality
is that income inequality is at historic
highs, orchestras are increasingly locked
out by management, and musicians
are not properly valued publicly for
the important contributions we make
to our communities both artistically
and economically. As a union we
must address these complicated issues
with one unified collective voice,
exercising the full power of our union
to demonstrate that 802 musicians are
the social and economic bedrock of the
arts here in New York.
AFM-EPF
This summer, musicians with
contributions in the AFM-EPF received
notice that the pension fund has
reached critical and declining status
and that the trustees are petitioning the
federal government to make cuts in the
amount of benefit payouts. While there
is uncertainty in what the cuts will
look like and there is some question
about whether cuts are necessary, this
is a critical time for 802 members to be
engaged and informed in the process. In
September, we invited Professor Norman
Stein from Drexel University to speak
with 802 members about the history of
multi-employer pension funds, different
legislation in Washington D.C. and the
MPRA cut process. In October, the
retiree representative of the AFM-EPF,
Brad Eggen, gave a presentation to 802
members at SEIU.
As the retiree representative, Mr.
Eggen is given access to funding from
the pension fund to hire an attorney
and actuary to make sure there is an
independent check and balance on the
trustees as they file an application to cut
benefits with Treasury. Mr. Eggen was
appointed directly by the trustees and,
in their notable absence, is touring the
country giving a presentation explaining
the role of the retiree representative and
an outline of the MPRA cut process.
While there is educational value in
explaining the process and role, the
retiree representative is supposed to be
advocating on behalf of retirees whose
pensions are at risk of being cut, and his
presentation does not take the place of
needed transparency from the trustees
themselves as we all face looming cuts.
At its best, the role of the retiree
representative should be impartial.
To date, Mr. Eggen, who is the
longtime president of AFM Local 30-
73 (Minneapolis-St. Paul), has: given a
lengthy nominating speech praising Ray
Hair (current AFM-EPF trustee co-chair)
at the AFM convention this past June;
hired a former AFM-EPF actuary as his
independent actuary; hosted meetings
for AFM retirees but refused to do so
at their locals; and has yet to present
any substantive information publicly
related to his findings on whether the
cuts the trustees are pursuing should
be carried out. It is concerning to see
that our retirees’ advocate has failed
to demonstrate impartiality from AFM
politics, and I hope that he and the
trustees will work more closely with
the locals to increase transparency and
better serve our members.
We continue to extend our invitation
to the trustees to meet directly with our
members at Local 802. Here are a few
questions I have for Mr. Eggen and the
trustees:
l What steps are you taking to
examine whether the trustees exhausted
all options before filing for cuts through
a MPRA application?
l Have you examined whether the
AFM-EPF has had sufficient employer
contributions over the last decade? If
so, what are the results?
l Have you examined if the trustees
could raise employer contributions in
the future? If so, what are the results?
l Have you examined the
investment performance of the AFM-
EPF over the last decade? If so, what are
the results?
l Have you examined AFM-EPF
board governance of the fund over the
last decade? If so, what are the results?
l Have you examined the complaint
in the class action lawsuit filed against
the AFM-EPF trustees – which goes to
trial in April? If so, what are the results?
INTRODUCING LEO GERTNER
Local 802 is excited to announce
that Leo Gertner has joined the
Leo Gertner

union as director of field services. Leo
has a background in labor law and
comes to Local 802 from the National
Employment Law Project in Washington,
D.C., where he was a staff attorney
and a member of UAW Local 2320. He
worked on promoting policies to combat
workplace injustice and expand worker
protections, with a focus on state and
local minimum wage laws. Previously,
he worked as an attorney at SEIU, where
he provided legal and research support
to a campaign to unionize low-wage
airport workers. Before law school, he
was a grievance representative at SEIU
32BJ District 615, where he represented
janitors and security officers throughout
New England. Leo is also an avid
writer and has been published in the
Washington Post, Yale Law Journal
Forum, and In These Times.
As director of field services, Leo looks
forward to working with the local’s
business reps and leadership to enforce
the union’s agreements and improve
member outreach and education, so
musicians have the tools they need
to build power and solidarity in their
workplaces.
Introducing the Local 802
Resource Center
The Resource Center is a curated list
of entrepreneurial and social service
Alert musicians call Local 802 – and over $13K ends up in
their pockets, thanks to the Electronic Media Department
W
hen trumpeter Martin
Berinbaum and his
wife were on vacation
together, watching the
2016 movie “Manchester by the
Sea,” one piece of the soundtrack
immediately caught their attention.
During the funeral scene for the main
character’s brother, Handel’s Messiah
plays in the background – and
Berinbaum recognized it as the exact
version from a session he himself
had played on three decades ago.
They stuck around for the credits and
confirmed that the music had indeed
been taken from a 1982 recording by
the ensemble Musica Sacra, recorded
resources. By providing links and
information on the Local 802 website,
the center offers easy access to a wide
variety of organizations which offer free
resources to entrepreneurs and small
business startups. These resources
include free classes, workshops,
seminars, business mentoring, legal
advice, grants and grantwriting support,
web design tools, online tutorials, and
access to business resource centers
across the five boroughs of NYC.
Some of the organizations included
in the list are: New York Small Business
Development Center (NYSBDC); The
Business Outreach Center Network
(BOC); SCORE (Service Corps of
Retired Executives); US Small Business
Administration (SBA); National
Association of Women Business Owners
(NAWBO); New York Foundation for the
Arts (NYFA); Volunteer Lawyers for the
Arts (VLA) and many more.
The center also provides access to
information on AFM products, 802
policies and links to free social services.
Links and information are provided
for the convenience of 802 members.
All organizations must be contacted
directly to enroll in classes, workshops,
counseling and other support services,
or for further information. Local 802
cannot register members for specific
programs and is not responsible
on the RCA Red Seal label. Berinbaum
called the contractor from over 30
years ago, Local 802 member Barbara
Wilson.
Wilson remembered the job, and
she immediately called the union to
see if there were any payments due to
musicians.
Local 802 Electronic Media rep
Bob Pawlo researched the situation
and discovered that money couldn’t
be collected without the original
report forms for the session. After a
lot of digging, Wilson found copies of
the forms in a box in her home that
hadn’t been opened in decades. With
this evidence in hand, Pawlo made a
for schedule changes or course
cancellations. Please consult each
organization directly for specific and
up-to-date information.
The 802 Resource Center is a
tremendous tool for members, providing
easy access to programs that are freely
available for all musicians who live or
work in New York.
(If you would like to include a
listing on the resource center page,
please send an e-mail to Jferrara@
Local802afm.org. Listings will be
reviewed by the Executive Board prior to
posting to confirm adherence to posted
“contribution policies.”)
NEW AGREEMENTS
Local 802 recently negotiated and
ratified agreements for Inside Broadway,
Manhattan Theatre Club and Transport
Group Theatre Company. As always, our
priority is increasing wages and benefits
and maintaining job security.
LOCAL 802’S INFLUENCE GROWS
My fellow officers and I recently met
with the New York State AFL-CIO to
discuss how we are connected to the
larger labor movement in New York
and beyond. We also discussed different
policy issues at the city and state
level that are negatively affecting 802
members and ways the AFL-CIO could
call to Peter Marroquin of the AFM
Electronic Media Services Division, the
specialist for new use payments. After
18 months of back and forth, Pawlo
was recently able to recover a total
of over $13,000 for the 45 musicians
plus over $1,400 in pension.
“This is a story with a great lesson
and a happy ending,” said Local
802 Recording Vice President Andy
Schwartz. “When musicians are alert
and make a call to the union, we can
come through and get you paid what
you deserve.”
Musicians were covered under an
AFM contract for the original session,
which includes a provision for “new
n NEWS & VIEWS
help in the fight. Last month, I met
with Anne del Castillo from the Mayor’s
Office of Media and Entertainment to
discuss the importance of creating more
union recording work here in New York
City. I will also be meeting soon with
New York State Commissioner of Labor
Roberta Reardon to discuss the same
issue. It is important for our union to
continue to build our power through
our relationships with politicians,
activists and other unions. When we
need to call on the very important
network representing labor both here in
New York and across the country, those
relationships will be there.
On a related note, I was humbled and
honored to be included in this year’s
“Labor Power 100” by City & State
New York, which said that “the heart of
New York’s economy and politics lies in
labor, the city’s workers and unions.” In
addition, I was honored to be included
in Variety Magazine’s 2019 “Broadway
Impact List,” which honors 50 creatives,
producers and executives, exclusive of
actors, who made a mark during the
2018-19 season. These honors have little
to do with me personally; they are really
a recognition of the members of Local
802 and our administration’s mission
of democracy, transparency and putting
our members first.
use” if the music is used in another
format, as in this case when it was
used in the film soundtrack.
Local 802 recommends that
whenever you’re called for a recording
session of any kind, you report it
confidentially to the union to make
sure you’re being paid what you
deserve. Call 24 hours a day to the
Electronic Media department at (212)
245-4802, ext. 191 (Bob Pawlo), 130
(Marisa Friedman) or ext. 110 (Andy
Schwartz).
“The more information you can
give us, the better chance we have to
ensure that proper wages and benefits
are paid,” said Pawlo.
November 2019 | Allegro 7
n NEWS & VIEWS

CHALLENGE AND OPPORTUNITY

FOR CLASSICAL MUSICIANS
karen
fisher
Karen Fisher is the financial vice president
of Local 802 and the supervisor of the
union’s concert department
Kfisher@Local802afm.org
(212) 245-4802, ext. 105
chestras. One of the delegates made a
sobering and hard hitting point: sooner
or later every orchestra will have its turn
on the picket line. (See chart below.)
Kevin Case, ICSOM’s legal counsel,
gave an interesting presentation ana-
lyzing management vs. labor’s strategies
during recent labor disputes and their
relative effectiveness. Critical analysis of
our past triumphs and mistakes is ab-
solutely crucial to future success. These
discussions are essential to the “best
practices” that our administration is
developing at Local 802.
premiered last season which illustrated
the horror of the 1911 Triangle Shirt-
waist Factory fire. There were discus-
sions of new developments in hearing
protection, presentations by AFM-EPF
Retiree Representative Brad Eggen and
the AFM Symphonic Services Division,
and a robust discussion about diversity
and inclusion in the industry.
Player conferences such as ICSOM
present a valuable opportunity for mu-
sicians to exchange strategies and ideas.
What can we do to cultivate a better
understanding of our orchestra board
been signed. Engaging in these con-
versations now may make us just a bit
stronger and wiser next time.
MPTF/PUBLIC SERVICE SCALES
The Local 802 Executive Board re-
cently approved new rates for public
service engagements in 2020. We are of-
ten asked how the rates are established
and why they are not published on our
website. First, a very quick primer on the
Music Performance Trust Fund, which
appears on the Local 802 website:
“The MPTF is financed by money

T
he annual meeting of the In-
ternational Conference of Sym-
phony and Opera Musicians (IC-
SOM) was held this past August
in Park City, Utah. Orchestra delegates
from all over the country met to dis-
cuss, argue and commiserate over the
state of our symphony orchestras. While
the tone was generally upbeat and one
of solidarity among the representative
players, the conference was overshad-
owed by the lockout of the Baltimore
Symphony Orchestra musicians, which
was in its 10th week at the time. The
lockout extended another six weeks af-
ter that; happily, the musicians are now
back to work. The one-year agreement
includes a 2.4 percent wage increase
over the 38-week season plus two weeks
in the summer and the formation of a
committee that will include musician
participation in the planning of the fu-
ture of the orchestra. We congratulate
our colleagues in Baltimore for standing
strong as they open their season and go
back to the business of making world
class music.
The Baltimore lockout was only the
most recent aggression on our sympho-
ny orchestras perpetrated by their own
management. Earlier this year, Local
802 rallied in support of the musicians
of the Chicago Symphony Orchestra,
who were on the picket lines for nearly
seven weeks. 2010 and the Detroit Sym-
phony lockout signalled the beginning
of a decade of labor discord in U.S. or-
Although labor strife was on every- and finances? How do we improve the that the Fund receives from the record-
one’s mind, there were also many posi- culture within our organizations? How ing industry, which contributes a small
tive takeaways. Delegates presented can committees better engage their col- percentage of the sales of a record after
“Orchestra Projects of Note,” which leagues in the work they are doing? How 38,000 units are sold. These moneys
highlighted special initiatives that musi- do we, as a union, guide our committees are used to compensate the musicians
cians are taking into their communities. wisely and help them maintain solidar- at rates determined by local Trust Fund
Leelanee Sterrett, the Local 802 delegate ity, manage expectations, and deal with committees.
from the NY Philharmonic, reported on a wide variety of interests and agendas “The MPTF is independent of the
Julia Wolf’s “Fire in my Mouth,” a pow- within our orchestras? These questions union and is administered by a Trustee
erful multimedia piece the orchestra don’t go away once the contract has who is named by the U.S. Secretary of
A summary of recent orchestra strikes
l 2010: Detroit Symphony Orchestra went on strike, which lasted six months and ended in a 25 percent pay cut for new musicians.
l Sept. 2012: Atlanta Symphony Orchestra was locked out. Musicians lost members, and eventually conceded to pay cuts and a
shortened season.
l Sept. 2012: Indianapolis Symphony Orchestra was locked out for a month, ending in pay cuts.
l Sept. 2012: Chicago Symphony Orchestra went on strike for wages and healthcare, ending up with a slight raise and higher health
insurance costs.
l Oct. 2012: Minneapolis Symphony Orchestra was locked out in a wage dispute for more than 15 months. It won’t be until 2020
that their wages are back at 2012 levels.
l 2013: San Francisco Symphony musicians went on strike, securing a 4.5 percent pay raise, but paying more for healthcare.
l 2014: Atlanta Symphony Orchestra was again locked out. Musicians ended up getting a small wage increase, higher healthcare
costs, and more player vacancies.
l Sept. 2016: Fort Worth Symphony Orchestra went on strike, ending after three months. They kept pay at current levels in the first
year, with slight raises in following years, along with fewer vacation days.
l Oct. 2016: Philadelphia Orchestra went on strike for two days. Musicians got small pay raises each year of the new contract and
would add a few positions. Would also have to play more performances.
l Oct. 2016: Pittsburgh Symphony Orchestra went on strike, ending with large concessions. 7 percent pay cut in first years, slight
increases in following years. Lost defined-benefit pension plans.
l 2018: Lyric Opera of Chicago musicians went on strike, accepted fewer paid weeks per year, fewer members, and got a 5.6 percent
salary increase.
l 2019: Chicago Symphony Orchestra went on strike to keep their defined-benefit pension plan and demand higher pay.
Source: www.reverb.com/news/when-orchestras-strike-the-recent-history-of-orchestral-labor-strife

8 Allegro | November 2019


photo: walter karling
ABOVE: Local 802 musicians rallied in support of Chicago musicians earlier this year
BELOW: Musicians of the Baltimore Symphony on the picket line
Labor. The Trust Fund sponsors per-
formances that are open to the public
without charge. All kinds of ensembles
are sponsored by the MPTF, including
symphonic bands and orchestras, cham-
ber music, dance bands, jazz and rock
combos and soloists. Performances take
place in parks, concert halls, schools,
hospitals, senior centers and other loca-
tions. The summer is the busiest season
for MPTF jobs, but there is activity all
year long.”
In 2003, the MPTF began to drastically
cut each local’s allocation of funds due
to steep declines in revenue coming into
the fund from recording work. In order
to be able to permit the same work to
continue, the local established the Pub-
lic Service Scale. This allowed musicians
to continue the same type of work as
long as the engagement continued to
fall within the parameters of the MPTF.
Currently, MPTF funds 30 percent of the
n NEWS & VIEWS
COLUMBIA UNIVERSITY MEDICAL CENTER
NEW YORK STATE PSYCHIATRIC INSTITUTE
SEEKING HELP FOR TINNITUS?
RESEARCH STUDY OF KETAMINE AS A
POTENTIAL TREATMENT
A 4-WEEK STUDY FOR INDIVIDUALS
SUFFERING FROM TINNITUS
INCLUDES:
¥ 2 MRI SCANS
¥ IV ADMINISTRATION OF
KETAMINE
total cost of an engagement but permits ¥ 3 AUDIOLOGICAL
only one concert and one rehearsal. Ad-
ditional rehearsals are not subsidized by
MPTF, so the employer must apply to
APPOINTMENTS
the Local 802 Executive Board for per-
mission to use the same rate. (MPTF and
Public Service rates pay the same). The
¥ COMPENSATION FOR TIME AND
rates are not broadcast publicly because
employers must request use of the rates
TRAVEL PROVIDED
through the Executive Board. The use
of the rates is not automatically grant-
IF YOU WANT TO LEARN MORE ABOUT
ed. Since some employers are already
budgeting for next year, we made those
decisions early. The new rates are avail-
able through Marisa Friedman (212-245-
4802, ext. 130). THIS STUDY OR JUST HAVE QUESTIONS
PLEASE CALL US.
As per a new directive of the AFM
Pension Fund, all applicants to MPTF
grant funding are required to sign an
(646) 774-7654
MPTF specific Public Service agreement
in addition to the regular paperwork. We
will be sending employers information
about the change in the near future.
November 2019 | Allegro 9
n NEWS & VIEWS
LOCAL 802 ARTIST RIGHTS CAUCUS
FIGHTING COPYRIGHT
INFRINGEMENT IN THE DIGITAL AGE
By Ben Bierman
ben@benbierman.com
C
opyright infringement is
nothing new. Illegal newspa-
per-style songsheets challenged
the music publishing business
in the late 1920s, and it took years of
legal challenges to insure that licenses
were obtained for legitimate song mag-
azines. Illegal fake books, which most
of us have and use (I bought one of my
first in the shadows of the Local 802
hiring hall in Roseland Ballroom), also
were produced without licenses, and
this has changed to a large degree as
well. Bootleg 78s were made, much like
more contemporary album or concert
bootlegging. Cassette dubbing, CD rip-
ping and burning, and now digital files
are all part of the history of infringe-
ment, and most of us have partaken
in many of these areas as a matter of
course. But today, in the digital music
economy in particular, the concept of
copyright is undergoing an even more
intense challenge. This is at least par-
tially because of loopholes in two ma-
jor legislative acts that were enacted in
the U.S. and the E.U.
In the U.S., Section 512 of the 1998
Digital Millennium Copyright Act cre-
ated a loophole for user-generated
content sites such as YouTube with a
“safe harbor” provision. The ins-and-
outs are complicated, but it states that
“A service provider shall not be liable
for monetary relief for infringement of
copyright…,” meaning the site is not re-
sponsible for what people upload, even
if it is infringing on someone’s copy-
right. The 2000 Directive on Economic
Commerce did the same thing in the
E.U. with its “mere conduit exemption.”
On March 26, 2019 things changed
dramatically for the international
artists’ rights movement with the
passing of what was originally referred
to as Article 13 and is now Article 17
10 Allegro | November 2019
example, it’s said that 400 hours of
content are uploaded every minute to
WHAT YOU CAN DO YouTube, and in the range of 48 per-
cent of all music is now heard there,
making it the largest streaming service
1. Join the Local 802 Artist Rights Caucus by sending an in the world. It dominates the world’s
e-mail to artistrightscaucus@gmail.com. Meetings are music listening. The user information
posted at www.Local802afm.org/local-802-events. they glean from the viewing of legal
and illegal content is then monetized
2. Sign our Call for Economic Justice in the Digital by targeting users with advertisements,
Domain: https://arc802.wordpress.com/2018/10/04/ contributing to Google’s annual income
afmsighon of $90 billion. Many musicians choose
to use YouTube to create entire careers
3. Let your elected union officials know that you support and upload their own content and
action to reform the unfair “safe harbor” provision of monetize their work through that plat-
Section 512 of the Digital Millennium Copyright Act. form, sometimes extremely success-
fully. Good for them – that’s of course
There is power in our union, and we need it to protect our a personal choice and it’s their intellec-
rights and livelihoods in the digital domain. tual property. Much of the content on
the platform, however, is illegally up-
loaded and is infringing on someone’s
copyright. Along with this, no matter
of the E.U.’s Directive in the Single including advertising targeting all users what you have heard, while it is easy
Digital Market. The article limits across the web. At the same time, we to upload to YouTube, it is extremely
the “mere conduit exemption,” and as creators get no remuneration for difficult to have your illegally uploaded
each country was given two years our work. Even more importantly, work taken down. If you do manage to
to implement rules to comply. The this is significantly devaluing our have it taken down, there is nothing at
lobbying for relief from the Directive creations: they’re being given away for this point that prevents someone from
will of course continue by Google, free. Musicians and record companies immediately uploading it again. This
YouTube, and other user-generated – whether major, independent, or self- is referred to as a whack-a-mole situa-
content sites, but the E.U. is leading released – cannot compete with free. tion, since you are constantly battling
the way regarding copyright issues. Dr. Stan J. Leibowitz, who serves as another version being uploaded.
We’re hoping this will help us with our the Ashbel Smith professor of econom- A study was presented to the U.S.
struggle in the U.S. as we seek to end ics and director of the Center for the Copyright Office during their Section
the safe harbor protections as well. Analysis of Property Rights and In- 512 Request for Comment period. It
These safe harbor loopholes were put novation at the University of Texas at found 68 percent of indie labels were
in place some time ago, in a very different Dallas, discusses this in his 2018 study, aware of a whack-a-mole situation in-
technological era, to provide relief in “Economic Analysis of Safe Harbor volving their music, 87 percent of indie
extreme cases. Google and YouTube, Provisions.” In it he examines how safe labels were aware of infringement of
however, have taken advantage of them harbors, and piracy in general, adverse- their music on YouTube within a three-
to allow copyright infringement on an ly affect licensing pricing for those that month period, 65 percent have stopped
unprecedented and massive scale. We do not rely upon safe harbors, such as searching for pirated works for lack of
see all the time online that this illegal Spotify and Apple Music. He also docu- resources, and 30 percent have just
content includes unlicensed uploading ments the “cascading harm” done to stopped checking for piracy because of
of recordings, at times even complete copyright holders through the safe har- past unsuccessful efforts.
albums. Google, for one example, bor provisions. Even major labels have found they
heavily monetizes this illegal content Because of these safe harbor loop- cannot keep up with illegally up-
on YouTube through various means, holes online piracy is rampant. For loaded songs. They reduced funding
 n NEWS & VIEWS

PHOTO OP: IN THE STUDIO

for searching for online infringement
some time ago. So imagine the effort
it takes for independent artists who
are probably spending all of their time
trying to figure out how to scratch out
a living. Musicians need to be paid for
their work in order to make a living,
and infringing on copyright on this
massive scale is changing the music
business to a degree we haven’t seen
before. We haven’t seen the likes of
Google, YouTube, Amazon and Face-
book before.
At this point it is general knowledge
that the power of these companies can-
not be overestimated, and anti-trust
investigations have been launched
to address this. The E.U. fined Google
4.34 billion euros ($5.1 billion) for anti-
trust issues surrounding their Android
system in July 2018, and Facebook was
fined $5 billion – the largest fine in the
history of the U.S. Federal Trade Com-
mission – for privacy issues in July
2019. Also in July 2019 the U.S. Depart-
ment of Justice opened an anti-trust
review into “market-leading online
platforms,” implying Google, Amazon,
and Facebook.
The Artist Rights Alliance, a non-
profit organization for artists’ rights,
posted an open letter to the Federal
Trade Commission and members of
the House Judiciary Committee and
subcommittees regarding the threats
posed to creators by these huge inter-
national companies. In it they detail,
company by company (Google, Face- “Alan Pakula: Going For Truth” is a new film with a score that was record-
book, Twitter, and Amazon), how their ed under a union contract at the John Kilgore Sound Studio on 9th Ave.
dominance is hurting musicians’ abil- Above (left to right): Ming Yeh, Jorge Avila, Robin Zeh, Martha Mooke (con-
ity to make a living from their music. In tractor), Earl Rose (composer and conductor), Liuh-Wen Ting, Marco Panascia,
the introduction to the blog post they Daniel Miller and Cenovia Cummins. Below right: Charles Pillow, Earl Rose and
state: “The ARA letter highlights ways R.J. Kelley. Below left: a view from the soundbooth with engineer John Kilgore.
in which the platforms’ data collection Photos by Marta Guitart
practices, market domination, safe har-
bor protections, and numerous other
abuses damage the creative ecosystem
and make it harder for artists to make
a living, connect with their fans, and
have control over their own work.”
These are some of the issues that
the artists’ rights movement, includ-
ing the Artist Rights Caucus of Local
802 (ARC) is trying to address. ARC
also continues to try and keep you
informed on these issues and we wel-
come and encourage the involvement
of all 802 members.

Trumpeter Ben Bierman has been a

member of Local 802 since 1980.

November 2019 | Allegro 11

 n NEWS & VIEWS
MEMBER SPOTLIGHTS
Welcome to new members of the
NEW YORK PHILHARMONIC
photo: chris lee
photo: chris lee
ALISON FIERST
ALISON FIERST
Alison Fierst joined the New York
Philharmonic as associate principal
flute in September, having previously
held the position of second flute in the
Rochester Philharmonic Orchestra.
Fierst has been a fellowship recipient
at the Aspen Music Festival and School,
where she performed with the Aspen
Festival Orchestra and studied with
Nadine Asin, Mark Sparks and Demarre
McGill. An active soloist, her honors
include second place in the 2017
National Flute Association Young Artist
Competition and first place in the 2017
Flute Society of Greater Philadelphia
Young Artist Competition. She also won
first place in the Pittsburgh Chapter of
the National Society of Arts and Letters
(NSAL) Woodwind Competition and
second place in the 2018 NSAL National
Woodwind Competition.
A native of Point Pleasant, New Jersey,
12 Allegro | November 2019
photo: Seongwoon Choi
DASOL JEONG
Fierst began her flute studies with Inna
Leoni. She completed her bachelor’s in
flute performance at Carnegie Mellon
University and began earning her
master’s in orchestral performance at
Manhattan School of Music. Her teachers
include Alberto Almarza, former New
York Philharmonic Principal Flute
Jeanne Baxtresser, and Philharmonic
Principal Flute Robert Langevin.
DASOL JEONG
Violinist Dasol Jeong joined the New
York Philharmonic in January while
pursuing her master of music degree
in orchestral performance from the
Manhattan School of Music. She began
taking violin lessons at the age of four
and made her debut with the Kunsan
Symphony Orchestra at the age of nine,
playing Bruch’s Violin Concerto No. 1.
Her awards include first prize at
the Oleh Krysa International Violin
photo: kevin roberts
KYUNG JI MIN RYAN ROBERTS
Competition and third prize at the
Mykola Lysenko International Music
Competition and Canadian Music
Competition. She performed a solo
recital for CBC Radio 2’s In Concert
program, and was selected as one of
CBC Music’s “30 Hot Canadian Classical
Musicians Under 30” in 2015. She is also
the recipient of an award from the Sylva
Gelber Music Foundation by the Canada
Council for the Arts.
Her principal teachers include former
New York Philharmonic Concertmaster
Glenn Dicterow and Associate Principal
(Second Violin Group) Lisa Kim, as well
as Ida Kavafian, Pinchas Zukerman,
Patinka Kopec, Oleh Krysa and Leo
Wigdorchik.
Jeong holds a professional studies
certificate from the Pinchas Zukerman
Performance Program at the Manhattan
School of Music, a master of music in
violin performance from Juilliard;, and
photo: chris lee
ANDI ZHANG
a bachelor of music degree from the
Eastman School of Music.
Kyung Ji Min
Violinist Kyung Ji Min was a semi-
finalist in the Singapore International
Violin Competition and won fourth
prize in the Long Thibaud International
Competition. She performed in recital
at Salle Gaveau, appeared as soloist
with the Orchestre National des Pays
de la Loire at Théâtre des Champs
Elysées, and was invited to perform at
the official residence of the president of
South Korea. She studied at the Curtis
Institute of Music and at Juilliard.
Ryan Roberts
Ryan Roberts joined the New York
Philharmonic as English horn/oboe
in September. He has performed
with many of the country’s leading
orchestras, including the Chicago
 n NEWS & VIEWS

Symphony Orchestra, Philadelphia Andi Zhang

Orchestra, San Francisco Symphony,
Metropolitan Opera Orchestra, and
the Fort Worth Symphony Orchestra.
As an oboist, Ryan Roberts won first
prize at the International Double Reed
Society 2018 Norma Hooks Young Artist
Competition and the National Society
of Arts and Letters 2018 Woodwind
Competition. Before joining the
Philharmonic, he spent one season as a
member of the New World Symphony
under the direction of Michael Tilson
Thomas. Roberts recently premiered
Michael Torke’s “South” concerto for
oboe and chamber orchestra with the
Albany Symphony and recorded the
work for release on Albany Records. An
avid chamber musician, he performs at
the Marlboro Music Festival during the
summer under artistic directors Mitsuko
Uchida and Jonathan Biss and has
collaborated in recitals with the Pacifica
Quartet and pianist Emanuel Ax.
As a Kovner Fellow graduate of
Juilliard, Roberts studied with Elaine
Douvas and appeared frequently
as principal oboe of the Juilliard
Orchestra, where he was recognized by
the New York Times for his exquisite
performance as the English horn soloist
Violinist Andi Zhang joined the New
York Philharmonic in January while
studying at the Manhattan School of Mu-
sic with Pinchas Zukerman and Patinka
Kopec. She has appeared as soloist with
the Beijing, Qingdao, Harbin, and Hong
Kong symphony orchestras, Xiamen Phil-
harmonic Orchestra, and Munich Radio
Orchestra. She has performed in recital
in the U.S., Canada, Germany, and Aus-
tria, recorded for film and television, CDs,
and the China Central Television program
“Music Tells You,” and led master classes.
Zhang’s honors and awards include
both first prize and the award for out-
standing performance of a new Chi-
nese piece at the 2016 Alice & Eleonore
Schoenfeld International String Compe-
tition, second place in the 2010 Stradi-
varius International Violin Competition;
first place in the 2009 National Chinese
Violin Competition (the youngest prize
winner that year) and third place in the
youth group of the 2006 Wenhua Na-
tional Violin Competition. In addition,
she was among the young artists selected
to receive support from the Ministry of Katarzyna Bryla-Weiss joins
Orchestra of St. Luke’s
Culture of the People’s Republic of China.
Born in Dandong, China, Zhang began
violin at the age of four. She studied with

in Sibelius’s “The Swan of Tuonela,” led
by Esa-Pekka Salonen, in 2017. Roberts
has been a member of the New York
String Orchestra Seminar and spent
three summers as the oboe fellow at the
Aspen Music Festival. In 2016 he was
featured as a recital soloist aboard the
Crystal Symphony cruise line, where
he toured Portugal, Spain, France and
England.
Roberts has also studied piano since
age five and made his concerto debut at
age 11. He continues to perform regularly
as a collaborative pianist.
Lin Yaoji. In 2005 she was admitted to
the middle school of the China Central
Conservatory of Music and, that same
year, performed as soloist to critical
acclaim with the Beijing Symphony
Orchestra alongside the young violinist
Liu Siqing. She pursued her bachelor’s
degree from the China Central
Conservatory of Music and earned her
master of music degree from Juilliard,
where she studied with Joel Smirnoff.
She has played in master classes for
Shlomo Mintz, Midori, Zakhar Bron, and
Leonidas Kavakos.
K
atarzyna Bryla-Weiss, a vio-
list and a member of Local 802
since 2014, was born into a fam-
ily of musicians and has gone
on to earn more than two dozen prizes
and awards in the United States, France
and her native Poland. Katarzyna regu-
larly performs with orchestras, chamber
groups, and as a soloist in an internation-
al career that has taken her across four
continents. She recently became a mem-
ber of St. Luke’s Chamber Ensemble, the
artistic core of Orchestra of St. Luke’s.
Katarzyna is currently a member of
the Orchestra of St. Luke’s, New York
Music Festival in Grand Canary Island
Spain and many others.
Her teachers include Christian Tet-
zlaff, David Cerutti, Herbert Greenberg,
Hongang Li, Jadwiga Kaliszewska, and
her father Bartosz Bryla.
Katarzyna recorded a viola/guitar CD
with classical guitarist and composer
Marek Pasieczny and is working on a
recording of all Bach’s gamba sonatas
with her mother, harpsichordist Maria
Banaszkiewicz-Bryla. She is also hoping
to release a solo album next year.
She can be heard on YouTube per-

IS THERE MONEY
forming Mark O’Connor’s “Appalachia
City Ballet Orchestra and New York Pops
Waltz for Viola Solo” and Max Reger’s
Orchestra, and regularly appears with
New York City Opera. She was a soloist “Suite No. 1 for Viola Solo.”
Christian Tetzlaff personally invited

WAITING FOR YOU?

with the Baltimore Chamber Orchestra
in their tour of China in 2010, and was
soloist for the noted Maazel/Vilar Con-
ducting Competition in Cracow in 2001.
Katarzyna has performed in numer-
Local 802 has links to funds that are searching for ous renowned music festivals, including
“lost” musicians who have money waiting for them. Classical Tahoe, Napa Valley Music Fes-
Start at www.Local802afm.org/unclaimed-checks. Be tival, Central Vermont Music Festival,
sure to explore all of the links on the page: there are Music@Menlo, Cactus Pear Music Fes-
tival, Bach Dancing and Dynamite, Sin-
multiple funds to search. gapore Sun Music Festival, Las Palmas
her in 2009 to take part in the mas-
ter classes of the prestigious Kronberg
Academy in Germany.
In 2016, she made the cover of Revia
magazine. New York Classical Review
singled out her contribution to a per-
formance in a 2019 review.
Katarzyna lives in Brooklyn with her
husband, flutist David Weiss, who is also
a member of Local 802.

November 2019 | Allegro 13

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14 Allegro | November 2019

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November 2019 | Allegro 15

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16 Allegro | November 2019


VIEWS FROM THE BOARD
PROTECT YOUR WORK
Working on new musical theatre? Leverage
your value as a musician and union member to
get the benefits and guarantees you deserve!
I
’ve worked on Broadway for nearly
25 years. During that time, I’ve been
involved in dozens of developmental
labs and workshops for production
companies hoping to transfer their
shows to Broadway. This work comes
in various forms, and there are usually
two possible outcomes: 1) You’re
paid well, with benefits, and have the
guarantee of a chair should the show
move to Broadway, or 2) you’re paid
poorly, receive no benefits, and have
no guarantees at all when it’s over.
What you may not know is that Local
802 has three different “developmental
contracts” that you can use. They are for
the most part uncomplicated; the rates
are fair, and most importantly, they can
help in securing your position on a show
that you help develop.
Any worthwhile production company
can easily work within these contracts. If
they claim that they can’t, you’d best not
waste your time with them.
THE CONTRACTS
Call Local 802 for the full details.
(Theatre Rep Theresa Couture at 212-
245-4802, ext. 115 can answer all of
your questions.) Briefly, here are some
highlights:
Reading Agreement. This contract
covers what is widely known as the 29-
hour reading. The rehearsal wage covers
up to six days, no more than 29 hours
total, and scheduled over two weeks.
Protections are built in for overtime,
and you also earn health and pension
PETE
DONOVAN
Pete Donovan is a bassist and a member of
the Local 802 Executive Board.
Pdonovan@Local802afm.org
contributions. Overscale percentages are
built in for music directors, associates,
in-house contractors, doubles, and many
other benefits you would expect from a
union contract. The contract allows up
to four invited presentations with a pay-
ment structure in place if they begin or
go past 6 p.m.
Lab Agreement. This contract
offers everything above with slightly
higher wages and designed for a larger
time commitment. You are paid for
a six-day/40-hour week. In addition
to all applicable rehearsal wages,
performances/presentations are paid for
individually. This contract also contains
overtime pay, overscale percentages and
pay for doubling.
Workshop Agreement. This contract
contains everything in the contracts
above, with higher wages for a six-
day/40-hour week. Performances/pre-
sentations of three hours or less are also
paid individually.
A special note on recording: All three
agreements include right of first refusal
for any cast recordings. All recordings
(or capture on electronic media) are
paid at the appropriate AFM scales.
The Most Important Part:
Identity of Product
All three of these contracts have the
“identity of product” clause. Put simply,
if the show moves to another venue –
including Broadway – you move with it.
You are forfeiting a very powerful ben-
efit if you choose to do developmental
work on a show for a one-time payment
with no contract. As an important part
of the development process, you deserve
this benefit and here’s why.
Anyone who has done this type of
work knows that there are usually no
fleshed-out charts, and orchestrations
are rarely completed. At best, you have
a piano/vocal score and are asked to
create your parts on the spot. That is
simply the nature of how these readings
go. However, in making that accommo-
dation, you are creating parts that usu-
ally become part of the show. In my own
experience, I have been recorded with-
out my knowledge, and the parts I had
written were transcribed note for note
and put into the final score. Beyond just
creating parts, there is also a new process
of score development emerging: with
more pop artists coming to Broadway,
some artists are insisting to have the
band in development from the begin-
ning. Please understand that if you are
n NEWS & VIEWS
helping to orchestrate a show, this work
may be considered music preparation
and you may deserve additional protec-
tion. Call Recording Vice President Andy
Schwartz at (212) 245-4802, ext. 110 for
more info. When the lines are blurred in
these cases, it makes even more sense
to protect yourself for the contributions
you make and have the production, at
the very least, guarantee your place with
the show should it move to Broadway.
Getting it Under Contract
Call the union immediately when you
are hired for this kind of work. The more
lead time the Theater Department has to
work with the producers, the better. The
union will work on your behalf to get
your work under contract. If you’ve been
offered a job like this, it means that your
value has been established and you can
leverage that. This is an important thing
to remember: the musicians are the le-
verage. If you and your bandmates stand
firm on getting the work under contract,
that unity is incredibly powerful. Com-
bined with Local 802’s help, you can po-
tentially turn a one-time cash gig with
no benefits into a chair on a Broadway
show. You shouldn’t have to worry about
“making waves” by asking for what you
deserve: a living wage, good benefits and
a promise to be with the show in the fu-
ture. These are a fair exchange for your
valuable contributions in making the
show come to life. As a working musi-
cian and a member of Local 802, you
deserve all of those things.
November 2019 | Allegro 17
n NEWS & VIEWS
JAZZ IS A PRIORITY
Local 802’s Jazz Committee is re-booted and ready to roll
JAZZ OUTREACH AT LOCAL 802, THEN AND NOW: At left, trombonist Benny Powell addressing a meeting of musicians in New York City in the 1980s. Powell was active in the union’s
jazz campaign until his death in 2010 at the age of 80. At right, Local 802’s latest jazz outreach program, the Jazz Mentors Student Jam.
By David Stern
J
azz outreach is on the rise at
Local 802. Beginning in the early
1980s, the union started working
with jazz musicians in earnest to
organize and improve their careers. For a
notable period of that time, these initia-
tives were led by revered jazz performers
Bob Cranshaw and Jimmy Owens. Over
the years, activists and participants have
included Hank Jones, Dr. Billy Taylor,
Bertha Hope, Ron Carter, Rufus Reid, Joe
Lovano, Marc Ribot, Bernard Purdie, Kei-
sha St. Joan and many more. Among the
Jazz Committee’s most notable achieve-
ments were securing a union contract
with the New School in 1997 and achiev-
ing agreements with a variety of notable
bandleaders (including Regina Carter,
Jimmy Owens, Gene Perla, Michael Le-
onhart and Roxy Coss) and big bands
such as the Vanguard Jazz Orchestra and
Lincoln Center Jazz Orchestra.
Given that the nature of a jazz career
is often on the outer edges of the free-
18 Allegro | November 2019
lance world, the union has also had its
share of setbacks over the decades in
its efforts to oversee this portion of the
music industry. In March 2007, under
then-governor George Pataki, members
of Local 802’s Jazz Advisory Committee
sought and secured tax abatements for
venue owners in New York City under
the banner of the union’s Justice for Jazz
Artists campaign. (These abatements
mirrored Broadway’s Turkus Award of
the 1960s.) The intention was to have
the admission tax dollars redirected to
the AFM Pension Fund for all musical
performers at each venue, regardless of
a musician’s union affiliation. Although
the legislation passed in Albany, the
law did not carry out successfully: ven-
ues received a tax break, yet were not
compelled to assume the role of an em-
ployer, therefore they neglected to pass
their tax savings on to the performers in
the form of pension contributions. Be-
tween 2009 and 2015, the union staged
multiple marches and demonstrations
to captivate the attention of the venue
owners as well as the general public.
Unfortunately, the results fell short, as
the venues were not legally obligated to
recognize the union.
During the summer of 2017, Local
802’s Recording Vice President Andy
Schwartz debuted the most recent in-
carnation of the Jazz Committee. Facili-
tated by Jazz Business Rep Todd Weeks,
this committee creates outlets to en-
sure fair working conditions in all pos-
sible performing, recording and teach-
ing situations related to jazz. Current
committee members include Alvester
Garnett (chair), Henry Conerway III,
Kevin Blancq, Rachel Z Hakim, Ridhima
Hegde, Chris Cherney, Hilliard Greene,
Lewis Porter, Will Holshouser and To-
mas Gargano.
The September meeting of this
committee began with an update about
the Jazz Mentors Student Jam series.
Hosted by acclaimed drummer Henry
Conerway III, this program is a musical
performance and mentoring session
designed to connect younger musicians
with premier jazz artists to learn the
basics of jazz improvisation, musical
collaboration, effective technique, scat
singing, ensemble playing, bandstand
etiquette and many other skills essential
to a career as a jazz performer – all in
an effort to build community. The next
session will be on Thursday, Nov. 14
from 5 p.m. to 7 p.m. in the Club Room.
Funding has been received by the Music
Performance Trust Fund and the program
is set to continue monthly through
January. More info can be found at www.
Local802afm.org/jazz-mentors.
Musicians who are interested in join-
ing the Jazz Committee or who have
any questions about jazz at Local 802
can contact Todd Weeks at Tweeks@
Local802afm.org. The next committee
meeting is Tuesday, Nov. 19 at 3:30 p.m.
at Local 802.
Jazz guitarist, composer, arranger,
educator and author David Stern joined
Local 802 last year and is an active
member of the Jazz Committee.
 n NEWS & VIEWS

how do we introduce young

musicians to the union?
GET THEM
JAMMING!
More and more young musicians are learning about
Local 802 through the Jazz Mentors Student Jam series,
supported in part by the Music Performance Trust Fund.

Each Student Jam is hosted by our fantastic house band,

led by Local 802 member Henry Conerway III. We open
the union’s doors to any young jazz student who wants to
learn, play and have fun!

Local 802 is committed to the next generation of jazz

musicians. Join us!

www.Local802afm.org/jazz-mentors
The Jazz Mentors Student Jam series
continued last month with performances by
students who came from as far away from
Asbury Park and Secaucus. The rhythm
section included bandleader and drummer
Henry Conerway III, bassist Hilliard Greene
and pianist Miki Yamanaka. As always,
the quality of student musicianship was
high, and the educational environment
was warm, nurturing and informative. The
next Jazz Mentors Student Jam session is
slated for Nov. 14 from 5 to 7 p.m. Details
will be posted at www.Local802afm.org/
jazz-mentors.
– Todd Bryant Weeks

November 2019 | Allegro 19

n NEWS & VIEWS

GIVING BACK
It’s time to help fellow musicians in need. Here’s how…
By bettina covo Darlene Love performed
Bcovo@local802afm.org in 2011 at Local 802’s
90th anniversary,

G
iving back to the community which also served as a
is a great feeling, especially major fundraiser for the
when you’re helping musi- Emergency Relief Fund.
cians in need. The Local 802 The 48th Street Big Band,
led by Roger Rhodes

both photos: walter karling

Musicians’ Emergency Relief Fund was
created in 1967 with the mission to pro-
vide our members and their families
with reliable assistance in times of trou-
ble due to loss of work, financial hard-
ship, catastrophic illness, substance
abuse issues, family and relationship
crises and more.
Through the ERF, countless musi-
cians have been helped by licensed so-
cial workers who provide confidential
social services and monetary grants to
qualifying members and their families.
If you need services, we’re here to
help. But we’re also asking for your help
at this time. There are several ways to
help:
l Contributions are accepted at any
time at www.Local802erf.org/donate.
l Whenever you renew your Local
802 membership dues, there is an
opportunity to donate to the ERF. Even
$5 helps.
Ray Chew, Bernard Purdie, Rosanne
Cash and Paul Shaffer, along with Elmar
Oliviera, Steve Earle, Darlene Love, and
many other performers in a star-studded
show that not only raised critical funds
but also highlighted the vital services
that ERF affords our members.
In recent years, the ERF has added yet
another fundraising vehicle: the concert
series Jazz in the Afternoon (see page 2
for the current schedule). These perfor-
mances bring together New York’s finest
professional musicians who donate their
time and talent for this important cause.
The first of this series was presented by
the 48th Street Big Band led by Roger
Rhodes and the late Glen Daum on Dec.
8, 2015. Rhodes explained the simple
premise of the event: “I wanted the band
to have the opportunity to perform in an
informal setting that was more than just
an open rehearsal. And the ERF needed
new sources of fundraising. It was an
ideal match.” Using the band’s person-
(and the late Glen Daum)
played the very first
Jazz in the Afternoon
benefit at Local 802. This
year will mark our 47th
concert. (See page 2 for
schedule.)
al contact lists, a prestigious group of
friends and colleagues were invited. The
enthusiastic attendees gave generously
at the door, enjoyed a wonderful concert
performed by seasoned 802 musicians
and had the opportunity to socialize af-
terwards with some food and beverages.
The event was a huge success – and Jazz
in the Afternoon was born.
Rhodes has continued to perform at
Jazz in the Afternoon shows. He recent-
ly reminded us that 2019 is the band’s

‘How the ERF helped me’

l Two donation drives occur
annually – one in the summer and one
during the winter holidays.
l A special notice goes out on Giving
Tuesday, which this year is Dec. 3.
There have also been major ERF
fundraising concerts. The first one,
in 1967, featured Ella Fitzgerald and
Louis Armstrong! Then, eight years
ago, Local 802 celebrated its 90th
anniversary with a gala fundraiser for
the ERF. Recording Vice President Andy
Schwartz produced the event, which
took place in the Roseland Ballroom.
Pete Seeger was honored and was
joined by ERF advisory board members
Prior to being elected as 802’s recording vice president, Andy Schwartz served as fundraising coordinator for the
ERF (from 2011 to 2015). That job, for him, was a labor of love. Schwartz remembers his own experience with the
ERF. “Our community of artists always lives precariously,” he said. “Some 20 years ago I found myself in a work lull
that stretched on for too long while my obligations of raising a family in the suburbs rolled on. It began to look grim.
A colleague suggested 802’s Musicians’ Assistance Program, which is sponsored by the ERF, and I took a chance
that I could get help there. The result was lifechanging. Financial assistance was arranged and I got breathing room
to plan for the future. Long story short, the great counseling I received led me to go back to school for a graduate
degree, resulting in a career in the record industry, while my work as a musician started picking up again. Now, all
these years later, I still believe in the immense value of the ERF and hope our members will see it as an invaluable
benefit of 802 membership. If you need help, the ERF is here!” (Apply or donate at www.Local802erf.org.)

20 Allegro | November 2019

 n NEWS & VIEWS
PHOTO: BERT SARACO

Above, some of the performers who have played Jazz in the Afternoon over the past 4 years at Local 802. The series has raised over $22,000 for musicians.

fourth year playing benefits for the ERF.
“We work hard to get a good audience
there each and every time – and the
results speak for themselves,” he said.
“We’ve raised much-needed funds and
shared great music with our audience.
It feels good all around.”
What began as a simple way to receive
donations while enjoying some of the
best music in NYC has blossomed into
a full-fledged concert series with almost
50 shows to its credit. The series has
raised in total over $22,000. Bandlead-
ers have included Memo Acevedo, Roger
Blanc, Kevin Blancq, George Brandon,
David Chamberlain, Lou Caputo, Domi-
nic Derasse, Wally Dunbar, Jay Leonhart,
Steve Karmen, Russ Kassoff, Ross Krat-
ter, Sherrie Maricle, Ed Palermo, Frank
Perowsky, Roger Rhodes, Greg Ruvolo,
Bill Warfield and Ron Wasserman. Akua
Nixon and Russ Anixter will be peform-
ing later this month (see page 2). Huge
thanks go out to all of them as well as
the many musicians who make up the
individual bands, too numerous to name
by person. The ERF is beyond grateful!
So please consider giving back to the
community that has nurtured and sup-
ported you in your career. We invite you
to donate online, add a little to your
membership dues, participate in one of
the ERF fundraising drives or come to a
Jazz in the Afternoon show. Every dollar
counts. You will feel all the better for it.
For more information, please visit
www.Local802erf.org.
Bettina Covo is the ERF fundraising
coordinator. See the current Jazz in the
Afernoon schedule on page 2. To donate
to the ERF – or apply for ERF funding –
see www.Local802erf.org.

Win a Pearl drum set autographed by Bernard Purdie

W
hat ’ s better than
winning a Pearl drum set?
How about if the set is
autographed by world-
renowned drummer Bernard Purdie!
It all began on Sept. 26, when Purdie
played a Jazz in the Afternoon benefit
show at Local 802. (Besides being a
drummer, Purdie is also a producer
and musical director and a member of
the ERF advisory board.) Guests were
treated to a tour de force show of soul,
funk, jazz and blues. But there was even
more to come…
Purdie began the show by introducing
Mike Juliano of Mike’s Music (https://
mikesdrumsandmusic.wordpress.
com), who announced his donation of a
new set of Pearl drums, including cymbals
and all the hardware, plus carrying cases.
The set will be raffled off as a benefit for
the ERF. Purdie performed on the drums
that afternoon and will autograph them
as well. That means the lucky winner
will own a set of drums played and
autographed by Bernard Purdie – a very
special prize indeed!
The drawing will be held on
Wednesday, Dec. 11. Tickets are available
at any Jazz in the Afternoon show (see
page 2 for schedule) or from Bettina
Covo at (212) 245-4802, ext. 152.
Purdie shared his personal ERF
experience with the audience. “I had
to use the fund many, many years ago,”
he said. “I didn’t even know the ERF
existed at the time, but it was there
for me when I needed it. And now, it’s
giveback time. It’s not just about putting
a few dollars in; it’s giving back to make
sure that, when the time comes, others
have a place to go for help. So please
give generously.”
When a giant in the industry is so
forthcoming about his own experience
of needing help, it illustrates to everyone
that adversity can happen to any of us,
at any time. And we need to make sure
that the ERF is always here to provide
assistance and support!
– Bettina Covo

November 2019 | Allegro 21

n advertising

22 Allegro | November 2019

 n NEWS & VIEWS

CONGRATS TO OUR MEMBERS

Grace Kelly awarded $20K for winning John Lennon songwriting contest

G
race Kelly was awarded
$20,000 for winning the John
Lennon Songwriting Contest
“Song of the Year” for her
original song “Feels Like Home.”
“I am deeply grateful and honored
to be presented this award,” said Kelly.
“This award has made me even more
committed to my songwriting and mis-
sion of building deep beautiful connec-
tion to all other beings through song-
writing and performance!”
Kelly added, “I listened to and played
a lot of Beatles music growing up. If I
were to go back in time and tell 10-year-
old Grace about future me winning this
award, she simply wouldn’t have be-
lieved me! Dreams really do come true!”
Kelly is no stranger to the spotlight.
Since performing at Barack Obama’s in-
auguration, Kelly has played over 900
shows as a bandleader in 35 countries
around the world.
Kelly joined Local 802 in 2016 and has
already been featured twice as a panelist
in the Jazz Mentors programs.
“I originally joined Local 802 after I
was asked to join Jon Batiste and Stay
Human, the house band at ‘The Late
Show’ with Stephen Colbert,” Kelly told
Allegro in 2016. “It’s been an incredibly
fun gig and so wonderful to learn all the
benefits of being part of Local 802 and
how the union looks out for us musi-
cians. As a musician who is very busy
touring in addition to doing TV work,
I’m comforted to know there is a system
in place to check all the details.”
Kelly was presented with the award as
part of the 6th annual Come Together
NYC Tour in partnership with the May-
or’s Office, City Council and Depart-
ment of Cultural Affairs.
To hear the song, visit https://jlsc. Grace Kelly with Prince Royce (right) and Brian Rothschild, the co-founder and executive
com/winners/2018a/winners.php director of the John Lennon Songwriting Contest

Alex Lacamoire wins his first Emmy Award for work on “Fosse/Verdon”

O
n the first night of the 2019
Creative Arts Emmy Awards
ceremonies, music director
Alex Lacamoire took home
his first Emmy win in the Outstanding
Music Direction category for his work
on FX’s mini-series “Fosse/Verdon.” As
he took the stage to accept his award,
Lacamoire noted that it was “an honor
to pay homage to these legendary
entertainers and to Broadway musicals,’’
referring to Bob Fosse and Gwen Verdon,
the Broadway legends whose lives the
mini-series was based on.
“It always felt like a project that
merited this kind of love and attention,”
added Lacamoire. “I so deeply love
storytelling with music and this was
a great opportunity to do that. Thank
you so much for this recognition, I
am floored.” Lacamoire also thanked
his team, the cast and crew of Fosse/
Verdon, and his wife and family for the
support. Lacamoire is best known for his
work on Broadway’s critically acclaimed
shows “Hamilton,” “Dear Evan Hansen”
and “In The Heights.” His newly earned
Emmy award will be an addition to his
long list of awards, which includes three
Tonys, four Grammys, and the Kennedy
Center Honors.
Lacamoire currently serves as the
executive music producer for Warner
Brothers’ upcoming film “In The
Heights” and as the music supervisor
and orchestrator on Ross Golan’s new
musical “The Wrong Man.” He recently
received an honorary doctorate of
Music from his alma mater, Berklee
College of Music.
Lacamoire has been a member of
Local 802 since 1998.

November 2019 | Allegro 23

n LOcal 802 kids FIGHT FOR JUSTICE

Théo Eicher, son of Local 802 members Kari Docter and Bruno Eicher,
took part in the Climate Strike. He told Allegro, “It was inspiring
to be with all of those students who are concerned about the
environment. I felt like maybe we could actually have a say in what
happens to the Earth.”

Local 802 kids stand up for planet Earth at the

#CLIMATESTRIKE
Young people are showing us the way. On Friday, Sept. 27, millions of kids around the world took to the streets and struck for climate action. According to globalclimatestrike.net,
it was the biggest climate mobilization in history. From Jakarta to New York, Karachi to Amman, Berlin to Kampala, Istanbul to Québec, Guadalajara to Asunción, in big cities and
small villages, millions of people joined hands and raised their voices in defense of the climate. The Global Climate Strike shows that we have the people power we need to create a
just world and end the era of fossil fuels. We can be proud of the Local 802 kids who took part in this action.

24 Allegro | November 2019

 n LOcal 802 kids FIGHT FOR JUSTICE

“The climate march was important enough to

miss school because climate change could cause
us to miss our entire lives. One day of missing
school doesn’t make up for the missed time in
our future. Climate change is such a huge thing
that affects all of us, and I don’t see why it had
to be just a student march. Although we’re the
ones climate change is going to affect the most,
we don’t get to vote. It would really make sense
if the adults stood by their children and fought as
hard as we’re fighting. I’ve been to marches before
(March For Our Lives, Women’s March, Pride
Parade) and I don’t especially like loud noises or
crowds. But I went to this one because not going
felt like doing nothing.”
— Molly Cate Brown
daughter of Local 802 members
Georgia Stitt and Jason Robert Brown

“Generation Z and future generations have no

future if climate change continues. There is no
backup plan for when Earth is no longer good
for human life. Again and again, people at the
strike talked about urgency. In her speech at
the end of the day, Greta Thunberg said, ‘People
tell us to study to become climate scientists and
politicians. But by then it will be too late. The
time to act is now.’ There will only be action
against climate change when enough people
feel that it is urgent. Standing in solidarity with
the thousands of other people at the strike, and
millions around the world, made us feel hopeful
that action is possible.”
— Leah Dufallo
daughter of Local 802 members
Amy Kauffman and Cornelius Dufallo

November 2019 | Allegro 25

n NEWS & VIEWS
OBAMACARE IS STILL HERE
…and it’s open enrollment time! But what does this
mean for musicians– and how can you sign up?
By renata mariNaRo
rmarinaro@actorsfund.org
D
o you need health insurance, but
don’t have enough union health
contributions to get on one of
Local 802’s health plans? If so,
we’d like to remind you that the Affordable
Care Act (Obamacare) is still active and
can be a great way to get insurance. But
you have to act now.
Despite attempts to weaken the
individual insurance market, most
things in New York and New Jersey have
remained the same. Open enrollment still
begins Nov. 1. Premium assistance is still
in effect, just as it has been in years past
– and rate increases have been modest for
most plans. And the Essential Plan is still
going strong! However, a few key things
have changed – and now is a good time to
review your insurance coverage.
OPEN ENROLLMENT
Pay attention to the open enrollment
period in your state! Open enrollment
begins Nov. 1 across the country and has
been shortened to end on Dec. 15 in most
states. However, if you live in New York,
the deadline is Jan. 31, 2020; if you live
in New Jersey or Connecticut, it’s Dec. 15,
2019. During open enrollment, everyone
who is not enrolled in an employer-
based plan (or union-based plan) should
review their coverage options. It is the
only time during the year when you can
enroll in coverage or switch plans (a few
exceptions apply).
Check to make sure your health
insurance carrier will still be offering plans
in 2020. Plans can also make changes to
their provider networks, co-pays, co-
insurance and drug coverage every year.
So check to make sure that any providers
(including hospitals) that you use are still
in your network, and that the drugs you
need are still covered under what’s called
a “formulary.” If you receive a letter from
26 Allegro | November 2019
your health insurance plan, open it and
read it! And don’t be afraid to shop around.
At renewal time, you should be armed with
alternatives in case you need to switch to
a different health insurance. (Are you
already feeling overwhelmed at all of this?
Don’t panic! See the HELP NAVIGATING
INSURANCE section below.)
INCOME CHANGES
The health insurance plans offered
through the ACA (also called Marketplace
or Exchange plans) are designed to allow
your premiums to fluctuate with your
income. If you think your income will go
up or down significantly in 2019, and you
have coverage through the Marketplace/
Exchange, it’s a good idea to re-estimate
your income to see if you are either paying
too much, or possibly not enough for your
insurance coverage. You may be eligible for
lower-cost coverage.
FREE AND LOWER-COST COVERAGE
Many people still mistakenly think
they are not eligible for free coverage. In
New York, New Jersey and Connecticut,
if your income is below $16,754 (as
a single person), you are eligible for
free, comprehensive insurance through
Medicaid. If your income is above the
Medicaid limit but below $24,120 (again
as a single person), you are eligible for the
Essential Plan (New York only), which
offers comprehensive coverage with no
deductibles for $20/month. If you don’t
qualify for those programs, you may still
be eligible to receive premium assistance
to help lower the cost of your insurance
if your income is below $48,240 (as a
single person).
UNION COVERAGE AND THE COBRA SUBSIDY
If you’re currently covered under one of
Local 802’s health plans, congratulations!
You don’t have to worry about buying
another plan. Should you lose your
coverage, you will be eligible for a 60-day
“Special Enrollment Period” outside of
open enrollment, which starts the day after
your last day of coverage. If you’re eligible
for COBRA, you should compare the cost
of COBRA coverage with the cost of a
Marketplace plan. Don’t forget, you may be
eligible for a subsidy to pay for 50 percent
of your COBRA premiums if you’re covered
through an entertainment union and are a
New York resident. For more information,
see www.dfs.ny.gov/consumers/health_
insurance/faqs_cobra_entertainment
PENALTIES
The federal penalty for not having
insurance was discontinued in 2019.
However, some states have instituted
their own penalty. If you live in New
York, you will not be penalized for being
uninsured, but if you live in New Jersey,
Washington D.C,. Massachusetts, or
California, you will. If you are considering
remaining uninsured or dropping your
coverage, think twice. A simple preventive
screening, such as a colonoscopy, can cost
anywhere from $2,300 to $5,000. Room
and board in a hospital (excluding all
procedures, diagnostic tests, and doctors’
charges) can cost anywhere from $2,000
to $5,000 per day.
JUNK INSURANCE
Although New York and New Jersey do
not allow the sale of short-term insurance
plans, other states do. You may receive
marketing materials about insurance
plans that sound too good to be true. They
usually are! Short-term insurance plans
do not have to play by the rules set up by
the Affordable Care Act. They can exclude
coverage of pre-existing conditions,
exclude certain types of benefits such as
drug and mental health coverage, and cap
how much they spend on certain services
(such as inpatient hospital stays). If you
are tempted to buy one of these plans,
contact the Artists Health Insurance
Resource Center first (see below).
HELP NAVIGATING INSURANCE
The Actors Fund’s Artists Health
Insurance Resource Center has trained
“Navigators” who can help you review
your options and enroll in coverage. To
schedule a free appointment, call (917)
281-5975. In addition, from now through
Dec. 17, they will offer free workshops on
understanding your insurance options.
Workshops take place at 729 Seventh
Avenue, between 48th and 49th Streets,
on the 10th floor, on Tuesdays (from 5:30-
7 p.m.) and Thursdays (from 12:30 p.m. to
1:45 p.m.). There’s no need to register, but
space is limited, so it’s best to arrive early.
OTHER HEALTHCARE OPTIONS
Local 802 members who have questions
about getting on one of the union’s health
plans can start at www.Local802afm.org/
health-benefits.
For members looking for doctors who
understand the needs of musicians, the
Friedman Health Center for the Performing
Arts, a program of the Actors Fund and
Mount Sinai, has been designed with
industry insurance needs in mind. The
Friedman offers personalized primary care
and specialty services, including physical
therapy, dermatology, and podiatry, with
extended hours that are sensitive to
industry work schedules. It accepts all
entertainment union insurance plans,
commercial insurance, several New York
Marketplace plans, workers’ comp and
Medicare. Entertainment professionals –
including musicians – who are uninsured
or underinsured may be eligible for a
reduced rate. For more information, call
(212) 489-1939 or make an appointment
at www.actorsfund.org/services-and-
programs/friedman-health-center-
performing-arts.
Renata Marinaro is the national director
of health services for the Actors Fund. E-mail
her at Rmarinaro@ActorsFund.org.
 n health insurance update

EVERY MUSICIAN INSURED!

Finding Affordable Coverage in the
Changing Insurance Landscape
This free workshop will provide you with WHEN:
clear guidance on what all your options are, Thursday,
explain some recent changes, and answer November 14, 2019
your burning questions! Open to anyone in 3:30-5pm
visual and performing arts and
entertainment.
WHERE:
Questions answered include: The Actors Fund
 What are my options in 2020? 729 7th Ave, 10th Floor
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November 2019 | Allegro 27

n advertising

28 Allegro | November 2019


legal
corner
harvey mars,
esq.
Harvey Mars is counsel to Local
802. Legal questions from members
are welcome. E-mail them to
HsmLaborLaw@HarveyMarsAttorney.
com. Harvey Mars’s previous articles
in this series are archived at www.
HarveyMarsAttorney.com. (Click on
“Publications & Articles” from the top
menu.) Nothing here or in previous
articles should be construed as formal
legal advice given in the context of an
attorney-client relationship.
t
he Trump administration has
done as much as it can to curtail
workers’ rights. We can see the
evidence of this through many
recent labor board and federal court rul-
ings. However, the good news is that sev-
eral states and cities have sought to stem
this reactionary tide by expanding labor
rights on the local level. They have done
this in significant ways.
New York and California have led
the way. In New York City, progressive
legislation has been enacted to ensure
that independent contractors and
individuals who work “gig to gig” –
like musicians – are protected from
employment discrimination and are
accorded adequate means of legal redress
from contractors or employers who fail
to pay. And California has codified a
recent state court decision that sets forth
the parameters by which workers must
be considered employees.
Since both of these are relatively recent
laws that impact professional musicians,
union members should be aware of their
terms and scope.
New York City’s “Freelance Isn’t Free
Act” created a legal mechanism that
freelance workers can utilize to obtain
payment of outstanding fees. This law
is the first of its kind in this country.
It mandates that payment for services
rendered by an independent contractor
valued more than $800 must be made
within 30 days of performance (unless
otherwise provided in a binding contract
between the parties). If payment is not
Two new state laws claim
they are trying to protect the
RIGHTS OF
FREELANCERS
Musicians need to know what these laws do
made within that time frame, the Depart-
ment of Consumer Affairs has charged
the Office of Labor Policy and Standards
with the task of assisting workers in ob-
taining payment. To do this, the OLPS is
available to provide mediation services
and prepare civil suits to help workers
collect overdue fees. If a collection suit
is required, the employer will be required
to pay double the amount of fees owed,
plus damages, costs and counsel fees. Re-
taliation is statutorily prohibited.
It has been estimated that since the law
was created, New York City has recovered
$254,866 in payments owed to freelance
workers, with the average amount
collected being $2,039 per complaint.
Furthermore, roughly 70 percent of
workers filing complaints worked within
the arts and entertainment industry.
Any musician who occasionally works
freelance should become familiar with
this law. See www1.nyc.gov/site/dca/
workers/workersrights/freelancer-
workers.page
Similarly, the New York City Human
Rights Law is being expanded to protect
freelancers and independent contractors
from employment discrimination
(including sexual harassment) based
upon protected categories such as age,
race, national origin, and more. This law,
which will become effective before the
end of the year, will permit independent
contractors to file complaints with the
New York City Commission on Human
Rights. This law only applies to employers
who employ four or more workers, but
the exemption would not apply if the
employer employed four or more people
anytime within 12 months before the
discriminatory practice took place. This
law will work well in tandem with the
new Local 802 Anti-Discrimination
bylaw, which is being voted on as Allegro
goes to press.
California has created AB 5, a law that
codifies a judicial decision (Dynamex
Operations West, Inc. v. Superior Court of
Los Angeles, 4 Ca. 5th903 (2018)), which
redefined employer-employee relations
in that state. The law creates a presump-
tion that a worker who performs services
for hire is an employee for purposes of
claims for wages and benefits. The law
exempts “fine artists” but it appears that
this term does not include professional
musicians or other performing artists. It
also exempts employees who are covered
by collective bargaining agreements, but
by definition under the National Labor
Relations Act, workers covered by collec-
tive bargaining agreements are already
considered employees.
n NEWS & VIEWS
While this new law is laudable
because it now requires employers to
recognize several categories of workers
as employees, such as cab drivers,
dog walkers and some sex workers, it
potentially creates a host of problems
for freelance independent workers
by foisting upon them employment
relationships that could hamper the
traditional processes by which they work
and create. Marc Ribot, a prominent
member of the Local 802 Indie
Musicians Caucus, told me that “AB 5 is
very complex, and I’m still forming my
position. But the consensus of pro-artist
groups I’ve consulted is that there should
be a ‘carve-out’ to protect genuinely
collaborative processes. The legislation
will barely affect the core constituencies
of the AFM, which are already working as
W-2 employees. But its effects on indie
musicians may be highly disruptive.”
Both states’ progressive statutes
demonstrate different focuses. While New
York seeks to provide greater protection
to individual workers regardless of their
employment status, California seeks to
protect workers by requiring them to be
treated as employees. There are pros and
cons to both approaches. Time will tell
how these play out for musicians. We’ll
keep you posted.
November 2019 | Allegro 29
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n NEWS & VIEWS
BUILDING CONNECTIONS
Musicians network through the Actors Fund and discover inspiration
By Patch Schwadron
pschwadron@actorsfund.org
F
or some musicians – especially
introverts – it can be frustrat-
ing to realize that finding new
gigs can depend on socializing,
schmoozing and networking. Luckily,
there is help! The Actors Fund (which,
despite its name, is for all artists) has
programs in place for musicians to meet
new faces, share their knowledge, and
brainstorm strategies for building op-
portunities. I am the career counselor
supervisor there, and I can tell you
that the absolute best part of my job is
meeting performers and hearing their
unique stories of how they forage and
manage a creative path through life.
A consistent underlying theme
emerges about opportunities that
develop through collaboration and
relationships with other artists. It was
great fun to talk recently with guitarist
John Campo and jazz pianist Lewis
Porter, who met at an Actors Fund
networking event last year. The two
have forged a warm friendship and
professional relationship leading to a
demo CD of John’s songs, which John is
promoting for gigs at venues up along
the Hudson River – and in Italy, too!
John has been in the music industry
for over 50 years, working in all styles.
He studied at the New School with Ron
Parker and in Jazzmobile with Billy
Taylor and has been a composer and
recording artist for Kapp Records as
both a backup musician and as a leader.
John attributes his love of music to his
parents. From his mother’s love of big
bands, he discovered that he had a nat-
ural ear for orchestration, even before
he learned to read music in later years
at the Guitar Center. His dad played the
mandolin and guided him to play the
guitar. Father and son played weddings,
VFW gigs and church gigs together. In
the 1970s and 80s, John played at and
helped run the club Seventh Avenue
32 Allegro | November 2019
Local 802 members John Campo (left) and Lewis Porter began a musical collaboration as
a result of networking through the Actors Fund.
South, which was managed by Michael
and Randy Brecker. (John also helped
build the club with his own hands.) He
also helped manage Studio Rivbea for
Sam Rivers, with whom he recorded in
1977. As the years went on, John contin-
ued to teach and play while also lever-
aging his incredibly diverse skill set. He
worked as a union carpenter (he worked
on the Jazz at Lincoln Center complex),
writer of mystery novels (they’re real
page turners, according to Lew!) and
professional cyclist (he won a New York
state biking championship). His interest
in cycling began in his youth, also in-
spired by his dad. He has coached com-
petitive cyclists and ran the Velodrome
in Queens during the Bloomberg years.
He also advocated for connecting inner
city youth and under-served young peo-
ple around the world to cycling and is
pleased that he continues to hear from
the cycling community – including,
not long ago, from a cycling contact in
Rwanda. John asserts that competitive
sports taught him how to deal with los-
ing, a necessary strength for musicians.
Retired from his carpentry and cy-
cling careers five years ago, John is en-
joying the freedom to focus on his mu-
sic. He reports that he has written 50
to 60 original tunes and 500 “radical”
arrangements since the early 70s, from
which he and Lew selected songs for
their joint venture. As a lifelong union
member, John has been a regular par-
ticipant in networking with the Actors
Fund, where he shares stories and en-
courages younger musicians.
John told me, “Through network-
ing with the Actors Fund, I personally
have taken responsibility for my place
in this profession. I’ve relived the ques-
tion about my future in a new light and
adjusted its authenticity. A balance can
be struck; mistakes need not lead to
failure. Helping others makes us better
people and professionals.”
L
ew Porter knew from age 10 that
he wanted to live his life as a jazz
pianist. His educational journey
led him toward a master’s program in
psychology, thinking he would work
as a therapist to support his jazz habit.
Then, while teaching music at Tufts
University, he was taken under the
wing of composer T.J. Anderson, chair
of the music department and “the
person who tricked me into a PhD in
musicology.” What followed has been a
rewarding career.
Lew is widely recognized as a jazz
educator, researcher and author of ar-
ticles, textbooks and biographies, most
notably of a celebrated volume on John
Coltrane. A longtime music professor at
Rutgers University in Newark, he has
also taught at the New School, Manhat-
tan School of Music, NYU and Brandeis.
Lew currently writes an occasional blog
for WBGO, where he discusses Art Ta-
tum, Coltrane and others.
Throughout his academic career, Lew
 n NEWS & VIEWS

has continued performing, composing
and recording. He earned a Grammy
nomination and has collaborated or re-
corded with Dave Liebman, Marc Ribot,
Gary Bartz and many others. His 2018
album “Beauty And Mystery” features
John Patitucci, Terri Lyne Carrington
and Tia Fuller, and his latest and 29th
album is “Solo Piano” on the new label
Next To Silence.
Lew told me “I loved teaching, but not
as much as I loved playing.” He decided
a few years ago to shift his focus away
from jazz research and writing – which
he reports he does “the hard, slow way”
with lots of primary source interviews
and research – to practicing and playing
full out. While Lew knows “a lot of cats”
from his career so far, he has been feel-
ing some frustration at getting attention
from club owners as a player rather than
as a writer/academic. He networked
with the Actors Fund out of curiosity
and states that, in addition to meeting
John – resulting in a new project – he
realized that even though he employs a
publicist, he needs to cultivate his own
relationships directly with fellow musi-
cians, industry and media contacts, with
intention! In fact, he reports promising
feedback from recent outreach he has
initiated around his latest album.
While talking with John and Lew in
the small hallway between the Club
Room and Room B at Local 802, the two
regularly turned to each other as they
picked up on the music coming from the
practice rooms, commenting on the ar-
rangements or connections they shared
about the tunes. Our conversation was
also punctuated by the comings and go-
ings of the various practicing musicians
who recognized and greeted Lew and
John as comrades.
As embodied in John and Lew’s sto-
ries and warm relationship, networking
with the Actors Fund offers a generous
community conversation, an informal
collaboration to support the creativ-
ity and resiliency of working musicians
throughout their careers.
The Actors Fund is currently
planning its musician networking
activities in 2020. Send an e-mail to
Patch Schwardron at Pschwadron@
actorsfund.org for more info.
Patch Schwadron is the career counselor
supervisor at the Actors Fund.

Looking for counseling? Help with substance abuse?

Someone to talk to about finances, affordable housing
or health insurance? We’ve got you covered!
The Actors Fund provides all kinds of free social services to professional entertainers, including members
of Local 802. Members of Local 802 can call on the Actors Fund for almost any kind of free help you
can imagine. Start at (212) 221-7300, ext. 119 or IntakeNY@ActorsFund.org or ActorsFund.org.

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November 2019 | Allegro 33
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34 Allegro | November 2019

 n NEWS & VIEWS

How can bodywork help me?

Improve endurance and stop masking performance pain!
NEWS FROM THE
ACTORS FUND
tamar shapiro, LCSW
The Actors Fund is your one-stop shop
for almost any kind of service you can
imagine. We offer counseling – both
one-on-one and in groups – as well as
information on all kinds of social services,
including health insurance, housing,
substance abuse counseling, financial
counseling, food stamps and more. The
Actors Fund is open to musicians, actors
and all entertainment professionals. All
services are free to Local 802 members.
Contact us at (212) 221-7300, ext. 119
or IntakeNY@ActorsFund.org or see
ActorsFund.org
Karin Fantus, a certified
instructor of Pilates and
the M.E.L.T. Method, who
generously volunteers her
time. “A little Friday after-
noon oasis” is how one
member described these
classes. We are about to
start our spring cycle and
welcome new members.
To help you better under-
stand the benefits of this
class, we offer excerpts
below from an interview
with Karin. (This inter-
view was originally con-
ducted by social worker
Siena Shundi in 2015 and
has been updated with
new information.)
ACTORS FUND: How is body work
helpful for musicians?
KARIN FANTUS: Professional musi-
cians who have been in the business
Karin Fantus will be teaching a free
series of bodywork and Pilates classes.
ACTORS FUND: What are the main
issues that you have found musicians
need to work on?
KARIN FANTUS: The main issues for
musicians are chronic soft tissue prob-
out. We re-learn how to use core
muscles to take the load off of
overstressed muscles and joints.
We’re basically learning how to
tune our bodies to move with
maximum efficiency. Like any
other instrument, once the body
is in tune, it plays much better.
When we learn how to “play”
the body better, our movements
start to flow, and chronic pain
and stiffness can disappear. Pro-
fessional musicians get it better
than anyone. Musicians want to
continue their profession. Even
the strong and fit ones want
more. We show them how to re-
lease stress and regain flexibility.
Karin’s Applied Body Logic
(as she calls her approach), has
helped Local 802 member Jim
Lutz, a trombonist, to counteract the
negative effects of bad chairs, old habits
and gravity. In addition, he has become
more aware of his posture in daily life.

A
career as a musician comes
with many rewards, but one of
the physical challenges is the
stress placed on the body by
repetitive movement and having to hold
your body and instrument in particular
ways for long periods of time. Surveys of
symphony members, for example, found
for a long time start to notice the toll
that playing music takes on their bod-
ies. They realize that over time their
bodies aren’t quite what they used to
be, but change comes on so gradually.
Sometimes it takes someone else point-
ing it out to you. Musicians need to
think about how their bodies will sus-
tain them for the rest of their careers. In
lems and repetitive stress. Just about
all musical instruments require left and
right sides to move differently – look at
a violinist sometime! When our bodies
get out of balance, some parts get over-
worked, which creates pain, stiffness
and even injury. In our class, we focus on
re-establishing balance from the inside
Local 802 member and bassist Gary
Morgan, another class member, says that
“the exercises performed in Pilates offer
the possibility of resetting the body to
‘ground zero’ and preventing unhealthy
alignment habits.”
For information on the classes, see
yellow box below.

Free CORE STRENGTH 101 AND

between 64 percent and 76 percent suf-
fer from complaints of the arms, neck, or
shoulders. Repetitive motions, awkward
positions and excessive force can all lead
to pain and injury, which can hinder per-
formance and impact your quality of life.
To help address these health issues, Lo-
cal 802’s Musicians’ Assistance Program
offers two free exercise class series: Core
Strength 101 (to learn how to use core
strength in everything you do) and Body
Mechanics (to use that core strength to
re-center your body and minimize work-
related aches and pains). Now entering
their fourth year, these classes – built
on principles of Pilates and other pop-
ular exercise methods – are taught by
this class, we go beneath the surface and
give musicians tools that can help them
keep their bodies strong for playing mu-
sic. In the classes I teach at Local 802,
I share techniques that musicians can
BODY MECHANICS CLASSES!
do on their own. I teach a foundation. Do you want to improve your endurance, stop masking performance pain, give your
Even as people get older physically, they body a tune-up, and learn strategies for lifelong health? Join bodywork instructor
can get younger functionally. I teach the Karin Fantus for a series of free classes! You must be a Local 802 member, and pre-
core-strengthening techniques of Pilates registration is required. Classes fill up early.
along with relaxation techniques of the
M.E.L.T. Method, to help musicians The classes meet on eight Fridays, from Jan. 10, 2020 to Feb. 28, 2020:
undo all the tricks and workarounds • CORE STRENGTH 101 (Level 1) class meets from 2:30 p.m. to 3:30 p.m.
and compensating that they do to avoid • BODY MECHANICS (Level 2) class meets from 3:30 p.m. to 4:30 p.m. (You must have
pain when they play. We get them back taken a class with Karin previously in order to register for the Body Mechanics class.)
to how their bodies are designed to
work. I call this process Applied Body To register, contact Tamar Shapiro at tshapiro@actorsfund.org
Logic.

November 2019 | Allegro 35

n NEWS & VIEWS
MARY ANNE ALLENDER
Mary Anne Allender
M B
ary Anne Allender, 88, a pia-
nist and opera singer, died on
Sept. 6. She had been a member
of Local 802 since 1975. Ms. Allender was
an accomplished soprano who was best
known for singing with the famous NYC
opera company led by Alfredo Salmaggi.
Before her musical career, Ms. Allender
studied at the Rochester Business Insti-
tute and the John Robert Powers Mod-
eling Agency, which gave her training
for her first jobs at Saks 5th Avenue and
Twentieth Century Fox. She soon was
teaching ballroom dancing and studying
opera with Mr. Salmaggi, who was al-
ready well known as an impressario who
produced sold-out opera productions at
prices that regular New Yorkers could
afford. After the death of her husband
Robert in 1989, Ms. Allender began work-
ing for the Women’s International Zion-
ist Organization. In her retirement, she
enjoyed traveling to Europe and South
America as well as attending operas, bal-
lets and symphony performances. Ms. Al-
lender is survived by her brother George,
daughter Susan, son Robert, grandson
Rob and his wife Kristin, granddaughter
Felicia, two great-grandchildren, and her
cherished childhood best friend Shirley
Denning. More tributes to Ms. Allen-
der can be found by searching at www.
sticklesolteszfuneralhome.com.
36 Allegro | November 2019
REQUIEM
BARBARA BILACH
Barbara Bilach
arbara Bilach, 65, a pianist and
a member of Local 802 since 1995,
died on Aug. 5. In a statement, the
American Ballet Theatre said that it
“mourns the passing of its dear friend
and colleague Barbara Bilach. Barbara
served as ABT’s highly-esteemed com-
pany pianist for the past 22 years. Prior
to joining ABT in 1997, she served as
company pianist for Cleveland Ballet
(under artistic director Dennis Nahat)
and Dance Theatre of Harlem. Her play-
ing was joyful, virtuosic and personal.
Her performance repertoire with ABT
included Allegro Brillante, Baker’s Doz-
en, Ballet Imperial, Drink To Me Only
With Thine Eyes, Jane Eyre, Kaleido-
scope, Piano Concerto No. 1, Remanso,
Seven Sonatas and Symphonic Varia-
tions. Barbara was an extraordinary
talent whose light and life touched a
generation of dancers at ABT. She was a
beloved member of the ABT family and
will be dearly missed.” Ms. Bilach is su-
rived by her sister Michelle.
Judy Haring
J
udy Haring, 99, a member of Local
802 for over 25 years, died on Sept.
21. The daughter of an opera singer,
Ms. Haring sang in clubs as a singer and
a pianist at the beginning of her career.
JUDY HARING
She married Bob Haring Jr., a musician
and arranger, whose father (Bob Haring
Sr.) was a leading recording artist, broad-
caster and arranger in the 1920s through
the 1940s. Ms. Haring performed for
many years live on radio and television
and was known equally for the quality
of her voice and her arrangements. She
will be remembered for her contribution
to the music industry as the co-owner
and manager of Associated Music Copy
Service, which she formed with her
husband and a number of copyist col-
leagues in the 1950s. They provided
copying, printing and archiving services
to composers, arrangers, musicians and
producers around the world, including
Harry Belafonte, Philip Glass, Stephen
Sondheim, Hershey Kay, Leonard Ber-
nstein, David Merrick, the Modern Jazz
Quartet and the Gershwin Foundation.
They produced their own music manu-
script paper (Aztec) and also ran a mu-
sic copying course, which produced a
new generation of copyists. Ms. Haring
was a valuable mentor to many compos-
ers, both young and old. She retired at
80 and spent the last years of her life at
the Lillian Booth Actors Home in Engle-
wood, New Jersey. Ms. Haring is survived
by her children Eileen, Peter and Gene,
and grandchildren Samantha, Amanda,
Merideth, Thomas, Kristen and Jennifer.
BOB KAYE
BOb KAye
B
ob Kaye, 74, a pianist, conductor,
composer, arranger, and an 802
member since 1963, died on Sept.
23, after a brief battle with leukemia. A
1967 graduate of the Manhattan School
of Music, Mr. Kaye had a professional
career that spanned nearly 60 years,
starting as a Catskills bandleader at age
16. After playing at nearly every hotel
there, he went on to a notable tenure
as pianist and arranger for the Buddy
Rich band, starting in 1978. He became
one of the busiest working jazz pianists
in New York and enjoyed collaborations
with Chris Connor, Anita O’Day, Lainie
Kazan and Julius LaRosa. The count-
less musicians he performed with over
the years also include Stan Getz, Dizzy
Gillespie, Art Blakey, Hank Mobley, Mel
Torme, Lionel Hampton, Woody Shaw,
We also remember . . .
Hubert E. Arnold, piano
David A. Denkers, harmonica
Gregory Kogan, piano
Will Kring, conductor
Harold Mabern, piano*
Victor S. Vogel, piano
Larry Willis, keyboards
*see tribute on page 38

Clark Terry, Milt Hinton, Frank Wess,
Jymie Merritt, Phil Woods and Louis
Bellson. As a conductor and pianist, he
backed up Liza Minelli, Rosemary Cloo-
ney, Cab Calloway, Claire Barry, Helen
Schneider and the Count Basie band.
Mr. Kaye is survived by his wife Millie,
son Eric (who is also a member of Local
802), daughter Laurie Holden, stepson
David Schubert and grandchildren Allie,
Luke, Emmy and Jack. For more on Mr.
Kaye’s life, see www.bobkaye.com.
Richard Wyands
R
ichard Wyands, 91, a pianist and
a member of Local 802 since 1958,
died on Sept. 25. By a young age,
Mr. Wyands had already shown signs
of being a prodigy. He played gigs in
the San Francisco area before earning a
music degree from San Francisco State
College in 1950. He became the house
pianist at the Black Hawk jazz club,
where he met Errroll Garner, Red Norvo,
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Wyands soon won a name for himself
when he became Ella Fitzgerald’s music
director for a three-month tour in 1956.
He next worked with Carmen McRae
before coming to NYC in 1958 and start-
ing his seven-decade career here, which
included collaborations with Charles
Mingus, Roy Haynes, Kenny Burrell,
1 GREENWOOD AVENUE SUITE 210
MONTCLAIR, NJ 07042
WWW.SOUNDONSOUNDSTUDIOS.COM
Etta Jones, Peter Washington, Kenny
Washington, Peter Bernstein, Jimmy
Cobb, Gigi Gryce, Gene Ammons, Rah-
saan Roland Kirk, Jerome Richardson,
Eddie “Lockjaw” Davis, Oliver Nel-
son, Budd Johnson, Zoot Sims, Benny
Carter, Teddy Edwards, Frank Foster,
Freddie Hubbard, Willis Jackson, Lisle
Atkinson, Leroy Williams, John Web-
ber, David Lee, Houston Person, George
Kelly, Illinois Jacquet, James Spaulding,
Buddy Tate, Al Grey, Cal Tjader, War-
ren Vaché, Richard Williams, Lem Win-
chester, Bobby Knapp and Gene Perla.
For an excellent interview with Mr. Wy-
ands that includes more details of his
musical life, see https://tedpanken.
wordpress.com/tag/richard-wyands.
Mr. Wyands is survived by his wife Le-
nora; son Gayle Wiggins; son Michael
Wyands (and wife Charlane); son Regi-
nald Wyands (and wife Letitia); grand-
children N’kosi and Omari Wyands;
grandchildren Xavier and Nerissa Wig-
gins; grandchildren DeAndre, Xavier
n NEWS & VIEWS
and Nathan Bradley; stepsister Alta
Torrence; sisters-in-law Dorothy Banks
and Luella Williams; and cousin Lois
Lima. Obituary information from www.
jazzjournal.co.uk, www.wgbo.org, www.
jazztimes.com and Wikipedia.
Obituaries in Allegro
To submit an obituary to Allegro,
e-mail Allegro editor Mikael Elsila at
Allegro@Local802afm.org or call
(646) 765-9663.
To report the death of a member, please
call Avelon Ramnath at (212) 245-4802.
Be sure to ask about any possible refund
of Local 802 membership dues or about
the union’s death benefit (there are cer-
tain eligibility requirements). Survivors
of deceased members should also con-
tact the AFM Pension Fund at (800) 833-
8065 (press 2) or www.afm-epf.org
FOR RATES & SCHEDULING:
212-944-5770 
INFO@SOUNDONSOUNDSTUDIOS.COM
November 2019 | Allegro 37
n NEWS & VIEWS
REMEMBERING HAROLD MABERN
H
arold Mabern, 83, the jazz
pianist, died on Sept. 17 af-
ter being a member of Local
802 since 1960. A product of
the fertile Memphis music scene of
the 1950s, Mr. Mabern enjoyed a ca-
reer lasting more than six decades. He
was renowned as a master of jazz and
blues styles and worked with Miles
Davis, Lee Morgan, Wes Montgomery,
George Coleman, Freddie Hubbard,
Stanley Turrentine and Hank Mobley,
and – in his later years – with a new
generation, including Eric Alexander,
Peter Bernstein and Christian McBride.
Mr. Mabern came of age soaking up
the music of Memphis masters, in par-
ticular the great Phineas Newborn Jr.
He attended the city’s Manassas High
School, whose music program also
boasts such illustrious alumni as Frank
Strozier, Charles Lloyd, Booker Little,
Hank Crawford, Isaac Hayes, and tenor
titan George Coleman. Mr. Mabern and
Coleman would enjoy a lifetime friend-
ship and collaboration, stretching from
the pianist’s 1968 debut “A Few Miles
From Memphis” to his final session,
the saxophonist’s forthcoming release
“The Quartet.” Mr. Mabern moved to
Chicago in 1954, where he made his
name accompanying the city’s hard-
blowing tenormen, including Johnny
Griffin, Gene Ammons and Clifford Jor-
dan. While there he and fellow Mem-
phian Frank Strozier joined drummer
Walter Perkins’ MJT+3 quintet; in 1959
the group relocated en masse to New
York. There Mr. Mabern’s career took
off, landing him in leading groups like
Lionel Hampton’s Big Band, Art Farmer
and Benny Golson’s Jazztet, and a run at
the San Francisco club the Black Hawk
with Miles Davis in 1963 (reuniting him
with Coleman). The pianist signed to
Prestige in 1968, launching his own
recording career as a leader, which
would continue to run in parallel with
his prolific sideman work. He also was
a member of two multiple-piano en-
sembles: the six-keys Piano Choir and
the Contemporary Piano Ensemble. Mr.
Mabern released more than 20 albums
as a leader or co-leader and performed
on nearly 100 releases as a sideman.
In 1981, Mr. Mabern began teaching
38 Allegro | November 2019
at New Jersey’s William Paterson Uni-
versity, a position that would last for
36 years. Students of the late venerable
educator include Joe Farnsworth, Bill
Stewart, Roxy Coss, Freddie Hendrix,
Tyshawn Sorey, Mark Guiliana and Eric
Alexander. Mr. Mabern is survived by
his children Michael and Roxanne and
granddaughter Maya. Edited from an
obituary provided by DL Media.
‘Harold will be
missed deeply in our
community, and by me’
By roxy coss
I
t’s Autumn in New York, the most
beautiful season here in the Big
Apple. But also one of the most re-
flective seasons for me this year. We
have suffered so many losses in the jazz
community recently. For me personally,
I am especially mourning the loss of
the great Harold Mabern, world-class
pianist and mentor to many of today’s
top jazz musicians.
I first met Harold at the Stanford Jazz
Workshop back in 2002. Harold intro-
duced me to William Paterson Univer-
sity (my alma mater), and he also ended
up being my first combo coach during
my first year, when I started studying
there in 2004. I had the honor and
pleasure of studying and performing
with him ever since that first meeting
at age 16.
Harold’s presence was always felt
reverberating throughout any school
or club he was at. “Mabes” was one of
the most positive, encouraging, and
energetic human beings I have ever
met. I never heard him speak poorly
of anyone. Yet you knew exactly who
he believed in, respected and enjoyed,
because he was always an outspoken
advocate – usually for his current and
former students (including myself)
and the William Paterson program and
community in general. He was always
overflowing with his joy for and knowl-
edge of the music, and mostly just cared
about sharing that knowledge and joy
with anyone who wanted to listen.
Harold always supported me. I would
hear from random acquaintances that
he was talking about me on stage at
various concerts. Sometimes he would
just show up to my shows and sit in
the front row, responding vocally to my
playing and compositions. I saw him a
few days before he passed away, and he
was his same old, energetic, encourag-
ing self. He said, “I always knew you
were one to watch! Didn’t I tell you?
Roxy Coss, she’s going places!”
He also never stopped educating me.
He was still telling me about different
musicians to check out, and was always
interested in what the young musicians
were doing. I gave him my new album
to listen to, and he was still making his
weekly pilgrimage from Brooklyn to NJ
to teach at Willy P until his last day.
Harold will be missed deeply in our
community, and by me. I hope to carry
on his memory by trying to be more
positive, more in the moment, and al-
ways striving to get better, share my
knowledge and experiences with the
next generation, and let everyone know
about the great Mabes and his amazing
music and spirit.
This essay first appeared at RoxyCoss.com.
‘We love and miss you
madly, Mabes. Rest in
power, professor’
By Freddie Hendrix
P
rofessor Harold Mabern was
one of the greatest teachers you
could ever want. He lived his
life by these creeds:
l Always be a student of the music.
l The bandstand is a sacred place
for all musicians.
l If you are good to the shed, the
shed will be good to you.
(“The shed” that he refers to is the
“woodshed,” a nickname for any prac-
tice room. In a larger sense, it is the
realm of creativity and intense study
where you formulate your ideas before
presenting them to the public for con-
sumption.)
As a first-year student at William Pa-
terson, I was placed into Professor Ma-
bern’s small group ensemble, which
was composed of juniors and seniors.

I was intimidated; everyone was better
than me! But Professor Mabern helped
me to overcome all of my fears. He
would teach everyone equally.
One of his most important methods
was teaching us tunes by ear. By learn-
ing music this way, it stays with you
forever. There are songs that Professor
Mabern taught me back in the 1990s
that I still remember to this day.
He would also make us play pieces all
kinds of ways. If there was a song that
was normally played at a fast tempo,
he would make us play it as a ballad
or bossa nova. If it was a pop song, we
might swing it. For instance, the up-
tempo standard “Cherokee” is well
known to jazz musicians. It’s a real
workout. Professor Mabern had us play it
as a ballad – and modulate to a new key
every time we got to the bridge, through
all 12 keys. Can you imagine that?
When I couldn’t do something (which
was most of the time), he was there giv-
ing me encouragement. He used to say
to us, “What type of musician are you
going to be? Some musicians are what
I like to call brag-a-docious, with too
much confidence. And other musicians
don’t say anything and let the music
speak for itself.”
Professor Mabern never ever bragged
about himself or his accomplishments.
He was a firm believer that music was
bigger than everyone. He knew that
there’s always a piece of music that
can beat you up, something that totally
challenges you. This fact alone should
keep all musicians humble.
If Professor Mabern bragged about
anything, it was either about his suc-
cessful students – or his colleagues, who
he so admired and adored. I was hum-
bled that he spoke about me and proud
that he spoke about my fellow students
Roxy Coss, Eric Alexander, Joe Farn-
sworth, Chris Pattishall and several oth-
ers. Of his colleagues, he always spoke
highly of Ahmad Jamal, Herbie Han-
cock, Wayne Shorter, George Coleman,
Wynton Kelly, Red Garland, Bill Char-
lap, Mike LeDonne, Rufus Reid, Clif-
ford Brown, Donald Byrd, Lee Morgan,
Freddie Hubbard, Booker Little, Woody
Shaw, Frank Strozier, Phineas Newborn,
Mulgrew Miller, James Williams, Bill
Mobley, Max Roach, Philly Joe Jones,
Arthur Taylor, Art Blakey, Billy Higgins,
Jimmy Cobb, Paul Chambers, and the
Jones Brothers (Hank, Thad and Elvin).
And definitely Charlie Parker, John Col-
Harold Mabern with Freddie Hendrix
trane, and McCoy Tyner!
Professor Mabern always knew that I
idolized Lee Morgan and Freddie Hub-
bard. There was a time when I was tran-
scribing a Freddie Hubbard solo from
the track “Manha de Carnival” (better
known to American audiences as “Black
Orpheus”) from Hubbard’s 1963 album
“The Body and the Soul.” When Profes-
sor Mabern heard me practicing this
solo from down the hall, he knocked
on the door and entered my practice
room to tell me that I sounded pretty
good and that he was familiar with that
solo because he had transcribed some
of it too. He said that it was one of the
most melodically constructed solos
ever. That day somehow bonded us for
life. He would often quote that solo to
me when we played together. That al-
ways stayed with me, because I never
heard Professor Mabern play back any-
one’s solo other than that one and also
Miles Davis’ solo on “So What” when we
recorded it together on the album “To
Love and Be Loved.”
Speaking of that album, I was ex-
tremely honored and pleased to appear
on it. It was Professor Mabern’s second-
to-last recording as a leader. When we
did the album, it had been some years
since I had been in school with Profes-
sor Mabern under his tutelage, but he
still had the same standards and ex-
pectations. I arrived at the studio ready
to record just one song, which was Lee
Morgan’s “The Gigolo.” We ran over the
melody and then Mabes said to roll the
tape. Seconds before we start, Eric Alex-
ander said to me “Fred, dig down deep
and play your best stuff. You know how
we do things here.” I didn’t get all of
what he really meant, because after the
first take, I said, “O.K., I’m ready to do
one more take.” And Eric said, “That was
it, Fred. Mabes only does one take per
song. I’m sorry but that’s how it goes.”
I had forgotten that in college, Profes-
sor Mabern would every so often do an
exercise with us, where he would have
us play a solo. Afterwards, he would say,
“If this had been a real recording, that
is how you would have sounded.” He
was telling us to always play our best,
n NEWS & VIEWS
that sometimes we only get one take. It
was his way of giving us a reality check
to keep us grounded and to remain a
humble servant of the music. No prais-
es. He would always keep us striving to
be better than we were.
I was only supposed to play on one
track for the recording. The producer
Paul Stache enjoyed it so much he came
up to me and said, “Do you know McCoy
Tyner’s ‘Inner Glimpse’?” I said, “Yes, I
think I can get through it.” Then after we
finished that, Paul came up to me again
and said, “That was cookin’! Mabes is
going to record ‘So What.’ You might
as well play on that one too!” So I went
from one song on the album to three!
My main point is this. If ever you
played gigs or jam sessions with Profes-
sor Mabern, you knew to expect high
standards, but you wouldn’t always
necessarily know what song was going
to be called. If you knew the song, great.
But if you didn’t, you had to figure it
out right on the spot. It was all or noth-
ing once you stepped on the stage. Sink
or swim. And if you folded on the tune
during the gig, you were expected to go
home and study it. The next time, he
would call the same tune on you to see
if you did your homework. That was
his aim. To keep you on your toes. To
keep you hungry for the music. To take
seriously everything we played on the
stage – but also to have fun and remain
humble in the process.
How ironic is it that my only record-
ing with Professor Mabern is entitled
“To Love And Be Loved.” Harold Mab-
ern did just that. He loved his wife. He
loved his children. He loved his stu-
dents. He loved his peers. He loved the
music. He always upheld the highest
integrity as a human being, father, hus-
band, college professor, bandleader, and
student of the music. This is the kind of
person he was: he went out of his way
to buy my firstborn child Naima one of
her first baby outfits from Macy’s. And
every now and then, would dig in his
pocket to hand me $5 and say, “Stick
this in Naima’s piggy bank.”
Harold Mabern was one of the great-
est people who ever walked the planet.
We love and miss you madly, Mabes.
You are gone but not forgotten. You will
live on through all of us. We are forever
eternally grateful for your many bless-
ings and contributions. We salute you.
Rest in power, professor.
November 2019 | Allegro 39
n meet our members
why we joined the union
To join Local 802, call (212) 245-4802 or visit www.Local802afm.org
MICHAEL GIDDENS
I joined Local 802 primarily for the net-
working opportunities and to share the
joy and magic of music with everyone.
I have been playing both acoustic and
electric guitar for over 35 years and I am
available for studio session work as well.
I was first influenced by the Beatles (big
surprise!), and then heavier rock. I sub-
sequently became interested in country,
blues, Latin and jazz, which all enriched
my lifelong musical journey and broad-
ened my musical scope. It is a true hon-
or to be a member of Local 802 as I am
in the company of creativity!
Michael A. Giddens
michael@giddensenterprises.com
I joined Local 802 to meet new musi-
cians, collaborate on a variety of proj-
ects, and to be an official member of
NYC’s community of professional musi-
cians. My goal in NYC is to play, record
and tour as much music as possible and
give back to our musical community in
the form of teaching. I’m a drummer,
guitarist, singer-songwriter, composer,
and author of two instructional books
for drum set. One of my favorite gigs in
NYC was playing at the Cornelia Street
Cafe, which sadly closed its doors last
year. I started playing drums at age 4. I
studied with Keith Copeland at Rutgers
in the 1990s and then enjoyed a 20-year
40 Allegro | November 2019
PAUL SHAW
career touring with small groups and
big bands in the Air Force. I also taught
drum line and jazz band at the Air Force
Academy just before retiring. During my
career, I had the privilege of playing or
recording with Amy Grant, Vince Gill,
Wynona Judd, Blues Traveler and Ce-
line Dion. I recently earned a master’s in
jazz studies at NYU and I’m working on
my third instructional book for drums.
Music connects people in wholly unique
and meaningful ways. It is thrilling to
play for people. When you can see au-
dience members dialed in and eager to
see and hear what happens next, it’s a
great feeling. When audience feedback
is positive, I feel like I did my job well. In
addition to my freelance work, I do re-
search as a doctoral candidate at Union
Institute and University. My wife and I
recently completed a chapter on music
of the Gullah Geechee for a 2020 text-
book. My next album is a collection of
original compositions; it features Alex
Sipiagin, Brad Shepik, Gary Versace
and Drew Gress, and will be released in
March on Summit Records.
Paul Shaw
paulshaw3@yahoo.com
I rejoined Local 802 after I started
teaching voice in the jazz department at
the New School, which is covered by a
Local 802 contract. My full bio is at www.
machantaylor.com, but I can tell you that
music has been my life’s work and joy. One
of my favorite recent gigs was singing with
Gov’t Mule in Asheville, North Carolina
at the great venue called The Meadow
at Highland Brewing. Besides the New
School, I also teach voice at the Clive Davis
Institute of Recorded Music at NYU Tisch
as well as at the Collective School of Music,
and through my private studio.
Machan Taylor
machvox925@gmail.com
I joined Local 802 to explore benefits like
visas, travel and liability insurance, and
a pension plan, and also to connect with
professional musicians on a national basis.
My musical goals are to continue touring,
record a music video, and finally start key-
board lessons. One of my favorite gigs so far
this year was Mamapalooza, a Summer on
the Hudson event at the Hudson Pier. The
beautiful atmosphere and enthusiastic au-
dience made this concert memorable. I’m
an Air Force veteran and winner of the 2019
Arts Fund and 2018 Artist for Community
awards. I trained at NYC’s famed Music &
Art High School and earned a B.A. in social
science and an MSW degree with a focus
in nonprofit management. Music is impor-
tant to me because it allows me to soothe
and empower audiences. Reared in church
MACHAN TAYLOR
choirs with a sprinkle of classical and jazz
training, I’ve rocked NYC stages for issues
like sickle cell disease, adult literacy, gun
violence, and hurricane relief. Distinctive,
well-timed riffs take audiences on a spiritu-
al journey. One concert-goer said my voice
“keeps the lights on in a dark room.” I’m
the founder and lead singer for Morrisania
Band Project (MBP), an award-winning
musical collective. In 2018, we presented
the “Unity Park Concert Series,” a five-
concert series in a Bronx city park. Cur-
rently, we’re touring “Natural Woman,” a
tribute to the iconic Aretha Franklin, made
possible through support from the Bronx
Council on the Arts and NYC Department
of Cultural Affairs. I’m a singer/songwriter
born and raised in NYC. Once a teen mom
and high school dropout, I stopped per-
forming for 20 years, believing that singing
professionally was a pipe dream. I returned
to music in 2012 and don’t plan on stop-
ping until I’m at least 110!
Elissa Carmona
elissacarmona@gmail.com
I joined Local 802 after being hired as the
guitar/mandolin chair for “Fiddler on the
Roof in Yiddish.” New York is such a rich
place to be! I want to continue playing with
and learning from as many people as I can.
Other goals as a musician are to continue
playing gigs that help develop my voice as
 n meet our members

why we joined the union

To join Local 802, call (212) 245-4802 or visit www.Local802afm.org

ELISSA CARMONA OREN NEIMAN DMITRY ISHENKO

a guitar player and a composer. I have writ-
ten some for theatre and would like to con-
tinue doing that. I would also like to con-
tinue to perform more of my original music
with some of the ensembles mentioned be-
low for whom I compose, as well as playing
original creative music with new people!
I loved when we recorded the cast album
for “Fiddler.” It was done at the Manhattan
Center and it was a really exciting experi-
ence recording in such a large space with
a large ensemble and cast. The energy in
the room made for a special and memo-
rable time. I was born in Israel, and started
playing music there through being inter-
ested in rock music as a kid. This quickly
developed to a focus on jazz and playing
in various local jazz ensembles through-
out high school and during my mandatory
army service. In 2001 I moved to New York
initially to study jazz at SUNY Purchase,
where John Abercrombie was my guitar
teacher. I have lived in the NY area since
then, playing and composing for various
ensembles in the jazz/Israeli/Jewish cre-
ative music world, as well as doing other
work as a side musician. Music is impor-
tant to me as a tool for communicating and
exchanging cultural information both with
other musicians and with audiences. It is
also an intuitive communicating tool that
can make connections without the baggage
that sometimes comes with language. And
most importantly, nothing brings me more
joy than playing with other people! In ad-
dition to playing in the “Fiddler” orchestra,
I am involved in a lot of projects: a high-en-
ergy guitar duo called Isra-Alien that plays
original music inspired by the roots of Is-
raeli music; a quartet called Sha’ar whose
recent project was writing and performing
new arrangements of the work of Yedidia
Admon (a great but lesser-known early Is-
raeli composer); I composed the score for
“Suddenly a Knock at the Door,” a play by
Robin Goldfin based on eight short stories
by Etgar Keret; I accompany a couple of
great singers in the Yiddish music world;
and I also teach guitar privately.
Oren Neiman
oreneiman@yahoo.com
I joined Local 802 after I was hired to play
in the orchestra for “Fiddler on the Roof
in Yiddish.” I was impressed by how much
work Local 802 did for us, and I had a
great experience with theatre rep Marlena
Fitzpatrick. Upon joining the union, I felt
instantly connected to a much larger world
of New York musicians than I have before,
which will hopefully lead me to many
more playing opportunities and collabora-
tions. My musical goal, ever since I moved
to New York City 12 years ago, has always
been to work with some of the best musi-
cians in the world, including many of my
personal heroes, which has been happen-
ing over the years and has proven to be in-
credibly inspiring. One of my favorite NYC
gigs took place a year ago when I got a call
to sub for the incredible Esperanza Spald-
ing at the Jazz Standard for two nights as
part of the Kenny Werner Quartet, which
also included saxophonist Dave Liebman
and drummer Terri Lynn Carrington. Talk
about finding yourself surrounded by your
musical heroes! I have been a professional
musician for the past 22 years. I gradu-
ated from Berklee and later from the New
England Conservatory as a jazz bass ma-
jor. Although I consider myself primarily
a jazz musician, I’m always interested in
playing in as many styles and situations
as possible, which has proved itself to be a
very rewarding experience and has taken
me around the world many times. I have
performed in many top venues around the
country (including Lincoln Center, Carn-
egie Hall, Kennedy Center and the Blue
Note), played in many major jazz festivals
(NYC Carefusion Jazz Festival, Blue Note
Jazz Festival, Toronto Jazz Festival, among
others), recorded on over 60 albums for
labels such as Warner Brothers, Sunnyside
Records and Matador Records, and per-
formed and recorded with a diverse array
of artists, including saxophonists Steve
Lacy, John Tchicai, Dave Liebman, Myron
Walden, trumpet players Roy Campbell,
Jr., Nate Wooley, Ralph Alessi, Duane Eu-
banks, pianists Kenny Werner, Sam Yahel,
guitarists Garrison Fewell, Randy Johnston,
Gilad Hekselman, drummers Eric Harland,
Terri Lynn Carrington, Kenny Wollesen,
Ches Smith, Jeff Williams, and many oth-
ers. I have recorded and toured extensively
with Paul Banks (the lead vocalist of the
band Interpol) for his first solo record. I
have also done a good amount of theatre
work, both in the U.S. and abroad, for
companies such as the National Theatre
of Bretagne, France, CDN Orleans, France,
and Folksbiene National Yiddish Theatre
in NYC. Music has been an important and
inseparable part of my life since I was a
small child: I always knew I had to be a
musician. Over the years I realized that
music is an incredible force that brings so
much positivity and purity to an otherwise
flawed world. When not busy with playing
“Fiddler on the Roof in Yiddish,” I do a
good deal of freelance bass work around
New York, playing with a variety of jazz
and rock artists. I regularly perform with
saxophonist Daniel Blake’s trio, The Dig-
ging, which also includes drummer Jeff
Williams. I also perform with jazz vocalist
Marianne Solivan and pianist Michael Gal-
lant, as well as the rock groups Woodhead
and Echo Moth.
Dmitry Ishenko
dmitryishenko@yahoo.com

November 2019 | Allegro 41

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Dermatology | Gastroenterology | Endocrinology | Gynecology | Imaging
Men’s Health | Musculoskeletal and Sports Medicine | Neurology | Obstetrics
Ophthalmology | Orthopedics | Otolaryngology | Pain Medicine | Physical Medicine
Plastic Surgery | Pulmonary Medicine | Radiology | Rheumatology
Speech Pathology | Spine Center | Urology | Women’s Health

646-962-ARTS (2787) | www.med.cornell.edu/centerperformingartist

November 2019 | Allegro 43
n meet our members
New and readmitted members
To join Local 802, visit www.Local802afm.org/join-today
ALTO SAX
Tsur, Dean, (857) 265-5563, 62 West
48th Street, Apt. #5-R, New York, NY
10036
BARITONE SAX
Parrott, Lisa, (718) 288-2652, 35 Mc-
Donald Avenue, Apt 4C, Brooklyn, NY
11218
BASS
Gold, Malcolm, (917) 553-9546, 18 E.
Clinton Avenue, Irvington, NY 10533
Johnson, Vashon, (917) 596-2195,
15441 Center Ave, Unit 2353, Harvey, IL
60426
BASS GUITAR
Rich, Kenneth, (646) 498-4780, 455
Grand St., Apt 1, Brooklyn, NY 11211
COPYIST
Metzger, Mark, (925) 381-7183, 602 W.
184th Street, Basement, New York, NY
10033
DRUM PROGRAMMING
Ortiz, Jose, (347) 310-0583, 2078 Bath-
gate Avenue #3, Bronx, NY 10457
DRUMS
Allen, Sarah, (773) 497-2588, 3728 N
Sacramente Avenue, Chicago, IL 60618
Conn, Elena, (203) 219-5350, 24 Hard-
scrabble Rd., Greenwich, CT 06831
Keiper, Tim, (917) 566-8178, 87 Hicks
Street, Apt #5-A, Brooklyn, NY 11201
Meade, David B, (917) 334-3343, 206
West 148th Street, Apt 4-Q, New York,
NY 10039
ELECTRIC BASS
Lloyd, Tiffany, (301) 741-9414, 1827
Frederick Douglass Place, Washington,
DC 20020
ELECTRIC GUITAR
McCoppin, Tristan, (917) 224-7709,
541 18th Street, Apt#1-R, Brooklyn, NY
11215
44 Allegro | November 2019
FLUTE
Fierst, Alison, (732) 575-0984, 600
West 58th St, Apt 5G, New York, NY
10019
GUITAR
Dorio, Michael James, (631) 804-9217,
42 White Street, N Babylon, NY 11703
Nolan, Alex, (914) 475-2831, 36 Otsego
St, Apt. 1, Yonkers, NY 10704
Rodriguez, Tomas, (917) 545-4505, 310
Beverley Road, Apt 6-N, Brooklyn, NY
11218
Stoler, Adam Craig, (917) 584-2091,
3983 50th Street, Apt #1, Woodside, NY
11377
Tsinadze, Ilusha, (973) 960-3982, 414
Albemarle Road, Apt. 3C, Brooklyn, NY
11218
Walsh, Stephen J, Na Hutich 8 Prague 6
106 00 Czech Republic
KEYBOARDS
Harriott, Deah Love, (646) 541-6926,
618 West 142nd Street, Apt# 4-G, New
York, NY 10031
OBOE
Skinner, John, (919) 618-3309, 51
Garden Street, Apt 310, Hoboken, NJ
07030
PERCUSSION
Cosgrove, Rob, (518) 928-9231, 11
Bruce Place, East Setauket, NY 11733
Feng, Jianpeng, (218) 355-0056, 87
Ridgewood Drive, Middlebury, CT 06762
Refosco, Mauro, (917) 689-9360, 408
Harman St, 2, Brooklyn, NY 11237
PIANO
Brick, Makeena, (920) 794-4267, 846
Prospect Place, #5, Brooklyn, NY 11216
Cheong, Hui Ting, (617) 953-3432,
16613 Jewel Avenue, Fresh Meadows,
NY 11365
Davidian, Joe, (802) 922-5255, 1224
Dean St., Apt. 1, Brooklyn, NY 11216
Fitzsousa, Brian, (860) 817-0383, 400
East 21st Street, Apt #6C, Brooklyn, NY
11226
Goldstein, Sammy, (212) 247-1708,
400 West 43rd Street, Apt16-P, New
York, NY 10036
Greywoode, Jacinth, (334) 462-0956,
315 Lincoln Place, Apt #4-P, Brooklyn,
NY 11238
Hazeltine, David, (917) 885-1428, 47-
44 Vernon Blvd., Apt #1-R, Long Island
City, NY 11101
Leigh-Nilsen, Peter, (917) 364-1950,
35-33 29th Street, Apt. C2, Astoria, NY
11106
McClain-Freeney, Dionne, (347) 623-
4117, 154 Garfield Place, Apt 1L, Brook-
lyn, NY 11215
Melear, Eric, (281) 513-3657, Po Box
231496, New York, NY 10023
Rosenblum, Benjamin, (646) 675-1825,
80 La Salle Street, Apt.#10-A, New
York, NY 10027
TROMBONE
Brautigam, James, (516) 522-1286,
639 Concord Avenue, Williston Park,
NY 11596
JOIN LOCAL
802 FOR NO
INITIATION FEE!
Between now and Dec. 31, new members of
Local 802 can join and pay no initiation fee.
See www.Local802afm.org/join-today
TRUMPET
Arndt, David, (973) 464-7065, 9 Ox-
ford Road, North Caldwell, NJ 07006
Garcia Jr.,Roger, (210) 420-9508, 537
158th St. Apt#53, New York, NY 10032
Rogers, Les, (347) 990-0112, 81 Colum-
bia Street, Apt 8-F, New York, NY 10002
VIOLA
McCarthy, Dan, (734) 417-9745, 415 Adel-
phi Street, Apt #1, Brooklyn, NY 11238
VIOLIN
Zyzak, Stephanie, (513) 462-5549, 6251
Kaiser Dr, Lawrenceburg, IN 47025
Thomas, Katie, (646) 530-4402, 1925
Adam Clayton Powell Jr Blvd, 8L, New
York, NY 10026
VOCALIST
Cobeo, Reinaldo, (212) 662-9675, 74 West
103rd Street, Apt 5-A, New York, NY 10025
Kuumba, Tendayi, (404) 518-2309, 1943
Broadway, Brooklyn, NY 11207
Tamayo, Joy, (443) 643-5179, 225 Bay
32nd St., 2 Fl, Brooklyn, NY 11214
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n NEWS & VIEWS
Executive
board minutes
M
Tuesday, September 10, 2019
eeting called to order
at 11:20 am by President
K ra u t h a m e r. P re s e n t :
Financial Vice President
Fisher, Recording Vice President
Schwartz, Executive Board members
Axelrod, Cohen, Donovan, Frawley,
Hoyt, Kainuma, Shankin.
Minutes of September 3, 2019
reviewed.
It was moved and seconded to
approve the minutes of September 3,
2019 as corrected.
Discussion held.
Motion carried unanimously.
President Krauthamer reported
on matters pertaining to realtor
commissions for the lease of space on
the 6th floor and presented an invoice
in the amount of $8,053.58 from Brian
Weld of Cushman & Wakefield.
It was moved and seconded to approve
for payment the invoice from Cushman
& Wakefield as submitted.
Discussion held.
Motion carried unanimously.
Krauthamer reported on expenses
pertaining to repairs and modifications
of the building elevator so as to remain
in compliance with city regulations.
It was moved and seconded to
approve $1,100 for repair of the elevator
emergency telephone by Unitec Elevator
Company.
Discussion held.
Motion carried unanimously.
It was moved and seconded to approve
$3,756.19 to correct elevator deficiencies
per testing by Unitec Elevator Company.
Discussion held.
Motion carried unanimously.
Krauthamer presented three requests
from members for leaves of absence
from Broadway shows.
It was moved and seconded to
approve the leaves of absence as
submitted pending review by the
Theater Department.
Discussion held.
Motion carried unanimously.
Financial Vice President Fisher
reported that a request from Bronx Arts
Ensemble (BAE) to utilize public service
scales for a concert on August 22, 2019
46 Allegro | November 2019
at Pelham Bay Park was rejected by the
BAE Orchestra Committee.
Discussion held.
Recording Vice President Schwartz
reported that an agreement in principle
had been reached with Inside Broadway
for a successor collective bargaining
agreement.
Discussion held.
Schwartz reported on the status of a
producer’s request to utilize recordings
in rehearsals of the upcoming Broadway
production of West Side Story.
Discussion held.
Board recessed at 12:08.
Board reconvened at 12:17.
Managing Director Kantor present.
Krauthamer reported on the status of
plans for the 401(k) per the collective
bargaining agreement between Local
802 and The Broadway League and
Disney Theatrical Productions.
Discussion held.
Krauthamer reported on the Labor
Day Parade and Staff Appreciation Day
activities.
Discussion held.
Krauthamer reported on personnel
matters.
Discussion held.
Krauthamer reported on his meeting
with musicians of DCINY orchestra.
Discussion held.
Krauthamer reported that he had
been named among the Labor Power100
by City & State magazine.
Discussion held.
Krauthamer reported on the relocation
of staff in the union hall.
Discussion held.
Krauthamer reported on a staff
disciplinary matter.
Discussion held.
Krauthamer presented memorandums
of agreement between Local 802 and
Manhattan Theatre Club pertaining to
The Samuel J. Friedman Theatre and
Stages I and II for the term of 2019-2024.
Discussion held.
Krauthamer reported on a proposed
collective bargaining agreement with
Transport Group Theatre Company.
Discussion held.
Recording Department Business
Representative Pawlo present.
Pawlo presented a letter of agreement
between Local 802 and AFM and The
Public Theater to permit the recording
of incidental music to be utilized for the
production of Soft Power.
Pawlo excused.
It was moved and seconded to approve
the letter of agreement with The Public
Theater as presented.
Discussion held.
Motion carried unanimously.
Executive Board members Axelrod
and Donovan excused at 1:36.
Krauthamer presented a draft of a side
letter pertaining to the voluntary buyout
provisions of the successor collective
bargaining agreement between Local
802 and The Broadway League and
Disney Theatrical Productions.
Discussion held.
Discussion held.
Executive Board member Frawley
discussed matters pertaining to the
filing of Local 802 and AFM agreements
and work dues obligations of members.
Discussion held.
Meeting adjourned at 2:44 pm.
Tuesday September 17, 2019
Meeting called to order at 11:13 am by
President Krauthamer. Present: Financial
Vice President Fisher, Recording Vice
President Schwartz, Executive Board
members Axelrod, Donovan, Frawley,
Hoyt, Kainuma, Paisner, Shankin.
Minutes of September 10, 2019
reviewed.
Executive Board member Cohen
present at 11:16.
It was moved and seconded to approve
the minutes of September 10, 2019 as
corrected.
Discussion held.
Motion carried unanimously.
President Krauthamer presented
requests from five members for leaves
of absence from Broadway shows.
It was moved and seconded to approve
the leaves of absence as submitted.
Discussion held.
Motion carried unanimously.
Financial Vice President Fisher
excused at 11:25.
Krauthamer reviewed the minutes of
the CAC meeting of August 22, 2019.
Discussion held.
Fisher present at 11:43.
Recording Vice President Schwartz
presented an email he received from the
producer of the Broadway production
of West Side Story in response to the
local’s questions pertaining to a request
to utilize recordings during rehearsals.
It was moved and seconded to deny
the request to utilize recordings during
rehearsals of West Side Story.
Discussion held.
Motion carried unanimously.
Fisher reported on the status of
negotiations between Local 802 and
Stamford Symphony for a successor
collective bargaining agreement.
Discussion held.
Krauthamer requested that the board
confirm the results of an email poll
approving the terms of a memorandum
of agreement (MOA) between Local 802
and Manhattan Theater Club (MTC)
pertaining to a successor collective
bargaining agreement.
It was moved and seconded to confirm
the results of the email poll in which the
Executive Board unanimously approved
the MOA with MTC.
Discussion held.
Motion carried unanimously.
Krauthamer presented a
memorandum of agreement between
Local 802 and Transport Group
pertaining to a successor collective
bargaining agreement.
It was moved and seconded to
approve the MOA with Transport Group
as presented.
Discussion held.
Motion carried unanimously.
Board recessed at 12:40.
Board reconvened at 12:59.
Krauthamer reported that he had
received special situations requests from
Broadway producers pertaining to the
musicals Jagged Little Pill and Tina: The
Tina Turner Musical.
Discussion held.
Krauthamer reported that the position
of Director of Field Services at Local 802
would be filled by Leo Gertner with a
start date of October 7, 2019.
Discussion held.
Meeting adjourned at 1:58 pm.
Tuesday, September 24, 2019
Meeting called to order at 11:16 am
by President Krauthamer. Present:
Recording Vice President Schwartz,
Executive Board members Axelrod,
Cohen, Davis, Frawley, Hoyt, Kainuma,
Paisner, Shankin.
Minutes of September 17, 2019
reviewed.
It was moved and seconded to approve
the minutes of September 17, 2019 as
corrected.
Discussion held.
Motion carried unanimously.
President Krauthamer presented
requests from four members for leaves
of absence from Broadway shows.

It was moved and seconded to approve
the leaves of absence as submitted.
Discussion held.
Motion carried unanimously.
President Krauthamer reported on
matters pertaining to the CAC minutes
of August 22, 2019.
Discussion held.
It was moved and seconded to concur
with the minutes of the CAC meeting
of August 22, 2019 with the following
exceptions: That per Local 802 Financial
Policy guidelines any overages of the
per diem rate for which payment
is sought are to be referred to the
Financial Subcommittee for review and
determination; and with regard to the
matter of lost wages that, in accordance
with the Local 802 Bylaws, Article III
Section 7 (c), the Executive Board will
request a meeting with CAC to review
a claim for payment of such wages in
accord with established in past practice.
Discussion held.
Motion carried unanimously.
Board recessed at 12:30.
Board reconvened at 12:48.
Recording Department Senior
Business Representative Friedman
present.
Friedman presented increases to the
promulgated Public Service Agreement
Scales for the term of January1 through
December 31, 2020.
Friedman presented an agreement
for the use of incidental music between
Local 802 and AFM and Field of Snow
LLC c/o RCI Theatricals pertaining to its
production of The Sound Inside.
Friedman excused.
It was moved and seconded to approve
the agreement with Field of Snow LLC
c/o RCI Theatricals as presented.
Discussion held.
Motion carried unanimously.
It was moved and seconded to approve
the scale increases for the promulgated
Public Service Agreement Scales.
Discussion held.
Motion carried unanimously.
Executive Board member Hoyt
reported on matters pertaining to long
term strategic planning.
Discussion held.
Controller Emelianova present.
Emelianova presented the Local 802
Actual vs. Budget Report for the period
of January through July 2019.
Hoyt excused at 1:32.
Executive Board member Shankin
excused at 1:50.
Discussion held.
Emelianova excused.
Recording Vice President Schwartz
reported on his attendance at A Benefit
Gala for The Louis Armstrong Center for
Music and Medicine on September 23,
2019.
Discussion held.
Schwartz reported on an additional
payment requested by Major Little for
services at the NYC Labor Day Parade
(LDP).
It was moved and seconded to approve
a one-time additional salary amount of
$125 for Major Little for his services at
the LDP.
Discussion held.
Motion carried unanimously.
Schwartz reported on matters
pertaining to an Actors Fund of America
benefit show at John Jay College Lynch
Theater and presented details on
language for a side letter covering the
event.
Discussion held.
Schwartz reported that Jazz in the
Afternoon will present Bernard Purdie
and Friends on September 25, 2019 to
benefit the Emergency Relief Fund.
Discussion held.
Krauthamer reported that he had
met this morning with AFM pertaining
to upcoming Basic TV Film and Basic
Theatrical Motion Picture negotiations.
Discussion held.
Krauthamer reported on preparations
for bargaining between Local 802 and
DCINY.
Discussion held.
Krauthamer reported on the status of
negotiations for a successor collective
bargaining agreement between Local
802 and Not for Profit Theaters.
Discussion held.
Krauthamer reported that ratifications
for new collective bargaining agreements
between Local 802 and Manhattan
Theater Club and between Local 802
and Transport Group will commence.
Discussion held.
Krauthamer reported on the status
of special situations requests from
Broadway producers pertaining to the
musicals Jagged Little Pill and Tina: The
Tina Turner Musical.
Executive Board member Axelrod
excused at 2:47.
Discussion held.
Meeting adjourned at 2:59 pm.
Tuesday, October 1, 2019
Meeting called to order at 11:08 am
by President Krauthamer. Present:
Financial Vice President Fisher,
Recording Vice President Schwartz,
Executive Board members Axelrod,
Cohen, Davis, Frawley, Paisner, Shankin.
Minutes of September 24, 2019
reviewed.
It was moved and seconded to approve
the minutes of September 24, 2019 as
corrected.
Discussion held.
Motion carried unanimously.
Coordinating Advisory Committee
members Blanc, Burridge and Lorentsen
present.
Discussion held on matters pertaining
to reimbursement of lost wages for
union-related activities.
Blanc, Burridge and Lorentsen
excused.
President Krauthamer reported on
the establishment of a negotiating
committee for the orchestra of DCINY
and the status of upcoming negotiations
for a first collective bargaining
agreement.
Discussion held.
Krauthamer reported that he had met
with representatives of The Broadway
League regarding a special situations
request from the producers of Tina: The
Tina Turner Musical.
Discussion held.
Krauthamer reported that he would
meet with the orchestra committee of
New York City Ballet.
Discussion held.
Krauthamer discussed issues
pertaining to complimentary theater
tickets offered to officers of Local 802.
Discussion held.
Krauthamer reported that he had
received a first quote for the painting of
floors 2, 4 and 5 in the union hall.
Discussion held.
Board recessed at 12:16.
Board reconvened at 12:25
Financial Vice President Fisher
reported that a tentative agreement had
been reached between Local 802 and
New York Gilbert and Sullivan Players
for a successor collective bargaining
agreement.
Discussion held.
Fisher reported on her attendance at
the gala event for Stamford Symphony
on September 28, 2019 and on the status
of negotiations between Local 802 and
that orchestra for a successor collective
bargaining agreement.
Discussion held.
n NEWS & VIEWS
Recording Vice President Schwartz
reported on matters pertaining to a
request from the producers of West
Side Story to utilize recordings during
rehearsals.
Discussion held.
Schwartz reported on various
improvements made to operations in
the Local 802 Recording Department.
Discussion held.
Schwartz reported that a meeting
of theater and music preparation staff
would be held to discuss tracking the
production schedules of Broadway and
off-Broadway shows.
Discussion held.
Executive Board member Frawley
reported on rallies scheduled on October
7, 16, and 17, 2019 in support of AFM
contract negotiations regarding New
Media terms and conditions in successor
electronic media agreements.
Discussion held.
Frawley reported on matters pertaining
to single engagements.
Discussion held.
Executive Board member Axelrod
reported on the need for a budget to
decorate the club room.
Discussion held.
Executive Board member Kainuma
present at 1:19.
Axelrod reported on matters
pertaining to putting new work under
agreement.
Executive Board member Cohen
excused at 1:24.
Discussion held.
Krauthamer presented requests from
two members for leaves of absence from
Broadway shows.
It was moved and seconded to approve
the leaves of absence as submitted.
Discussion held.
Motion carried unanimously.
Meeting adjourned at 1:27 pm.
Tuesday, October 8, 2019
Meeting called to order at 11:20 am
by President Krauthamer. Present:
Financial Vice President Fisher,
Recording Vice President Schwartz,
Executive Board members Axelrod,
Davis, Donovan, Paisner, Shankin.
Minutes of October 1, 2019 reviewed.
It was moved and seconded to
approve the minutes of October 1, 2019
as corrected.
Discussion held.
Motion carried unanimously.
continued on page 49
November 2019 | Allegro 47
n NEWS & VIEWS

Are you an adrenaline junkie?

It just might help you as a musician!
energy surging. I began to appreciate
WINNING ON the adrenaline rush more than ever.
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A
is much at stake, when it is serious
re you an adrenaline junkie? competition amongst rivals with no
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charged and powerful performance. To long before you ever begin.

photo: Tomás Del Coro / wikimedia

carry that off takes a lot of energy. That
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I was about ten years old when my
dad took me to Coney Island. It was a
magical place. I could not get enough
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Many years later, my college diving
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suddenly felt like I was on the Cyclone
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I was experiencing, hoping that he
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I actually started to enjoy the feeling
You can try to push the adrenaline
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blockers or alcohol. Maybe in the past
you’ve found that it does not always
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I’d get every time I prepared to launch happening again?
myself into space. You can begin by correctly
My first jump in Army parachute interpreting the physical symptoms
training three years later was really scary. that accompany your adrenaline surge.
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viral and received over 25 million views across Facebook and YouTube. For more information, visit winningonstage.com, winninginsports.com and
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48 Allegro | November 2019

 n NEWS & VIEWS

dive off a ten-meter platform, we will
all feel the symptoms of the fight vs.
flight response, like a racing heart,
shaky hands, dry mouth, or butterflies
in our stomachs.
At this crux point, you have the
choice to interpret symptoms in one of
two ways. You can see them as clear
signs of impending doom. Or, you
can consciously acknowledge those
symptoms as indicators that your
body is gearing up for higher levels
of functioning. It is supposed to feel
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high energy. It is like going on a roller
coaster ride: You can brace and hold
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No one wants to watch a top
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or an opera singer playing it safe.
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“Thank you, next.” In spite of all of
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discover the real problem is how you
channel your energy.
The first step in learning to use
adrenaline is playing around with
the extra energy in relatively safe
conditions; do not begin on the ten-
meter platform. If you are new to
experimenting with adrenaline, start
Executive
board minutes
FROM page 47
Krauthamer presented requests from
two members for leaves of absence from
Broadway shows.
It was moved and seconded to approve
the leaves of absence as submitted.
Discussion held.
Motion carried unanimously.
President Krauthamer presented
a letter to Actors Fund of America
containing terms for the employment
of musicians at a benefit performance
of Mr. Magoo’s Christmas at John Jay
College Lynch Theater.
It was moved and seconded to
approve the terms of employment for
Mr. Magoo’s Christmas as presented.
Discussion held.
Motion carried unanimously.
Chief of Staff Winkler and Members
Resource Center Coordinator Ferrara
present.
Ferrara reported on the online beta
testing of Members Resource Center
and presented a user experience
questionnaire.
Discussion held.
Winkler and Ferrara excused.
Krauthamer reported on a rally at
Rockefeller Center on October 7, 2019
in support of AFM negotiations focusing
on New Media provisions in the Live TV/
Video collective bargaining agreement.
Discussion held.
Krauthamer reported that he will
attend AFM negotiations in Los Angeles
for a successor TV/Film collective
bargaining agreement.
Discussion held.
Krauthamer reported that he will
meet with the orchestra committee of
New York City Ballet.
Discussion held.
Krauthamer reported that ratification
voting was underway for successor
collective bargaining agreements with
Manhattan Theater Club and Transport
Group.
Discussion held.
Krauthamer reported on the agenda
for the October 23, 2019 membership
meeting.
Discussion held.
Krauthamer reported on a meeting
with the negotiating committee of the
DCINY Orchestra.
Discussion held.
Krauthamer reported that he will
meet today with the Local 802 Next
Generation committee.
Discussion held.
Meeting recessed at 12:22.
Meeting reconvened at 12:32.
Financial Vice President Fisher
reported that she had approved the use
of public service scales for two rehearsals
of Senior Musicians Association on
October 21, 2019 in preparation for a
concert at Carnegie Hall.
Discussion held.
Fisher presented a memorandum of
agreement (MOA) between Local 802
and New York Gilbert and Sullivan
Players (NYGASP) for a successor
collective bargaining agreement.
It was moved and seconded to approve
the MOA with NYGASP as presented.
Discussion held.
Motion carried unanimously.
Executive Board member Axelrod
reported on plans for photography to be
exhibited in the club room.
Discussion held.
Recording Department Senior
Business Representative Friedman
present.
Friedman presented an agreement to
utilize incidental music for the Public
Theater production of Coriolanus.
Friedman excused.
It was moved and seconded to approve
the agreement for incidental music for
Coriolanus.
Discussion held.
Motion carried unanimously.
Meeting adjourned at 1:01 pm.

Are you a bandleader

out on your “low board” or basic
level. Then work your way up over
time to bigger and bigger challenges.
Eventually, if you continue, you will get

who hates paperwork?

the hang of it.
You can practice getting your energy
up during a practice session by running
a few flights of stairs, doing jumping
jacks, or drinking some extra caffeine.

Let us do it for you!

Choose a high-energy, low-difficulty
start of a concerto, aria or excerpt.
Then, turn on a recording device and
really go for it. Try to embrace and
ride the wave of extra energy during Let’s say you get called to play a restaurant gig, but you’ve never filed a contract with the union before. We’ll walk
the first part of the piece, until you you through the contract and show you how to fill it out. And here’s the best part: when it comes time to pay
feel your energy start to drop off. your musicians, you simply write one check. Then we handle everything else: mailing the checks to the musicians,
Then, stop and turn the recorder off. withholding taxes, mailing payments to the state and the feds, taking care of unemployment and workers’ comp
Do not listen to the recording until payments and paying union benefits and work dues. If one of your musicians later applies for unemployment, we
you’ve done this exercise at least seven handle that. If a musician has to file a workers’ comp claim for the gig, we take care of it. We can handle any kind of
times over several days. Then listen or gig: weddings, club dates, classical performances, theatre, recording…anything at all. Call us for your next gig and
watch, and notice the positive effects leave the paperwork to us. Contact Ronnie Gent at (212) 245-4802, ext. 175 or Legit@local802afm.org.
of channeling the extra energy into
your performance.
The more you are able to accept,
embrace, use, and enjoy the extra
Legit 802, Inc. Your payroll service.
adrenaline, the better you will perform.

November 2019 | Allegro 49

n NEWS & VIEWS

50 Allegro | November 2019

 n MEMBERSHIP BENEFITS

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November 2019 | Allegro 51

n advertising

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52 Allegro | November 2019

 n breaktime

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1 Big earth space 1 On the road
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For answers,see www.Local802afm.org/Allegro
ANSWER: Bass line to “Come Together” by the Beatles

Housing is a critical concern for many in the performing arts and

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November 2019 | Allegro 53
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54 Allegro | November 2019

 n LIVES & Stories

The Band Room

S
teve Herberman gave me this flat?!” I thought Red was going to fall off lll
story from guitarist Mundell the bandstand, he was laughing so hard.”
Lowe about playing with Charlie Bill Steve Wallace told me about Trump

Parker: “Bird called me in 1950 to
do this concert with him up in Harlem,”
remembered Mundell. “We played ‘Just
Friends,’ and he played the first and sec-
ond chorus. Then he motioned for me
to play. I knew the tune, so I jumped
in. I played a chorus, and he motioned
to me to continue. Five choruses later
he resumed playing. Later, I asked him,
‘Why did you have me solo so much?”’
He smiled at me, showing his gold tooth,
and said, ‘I just wanted to know how
deep the water was, baby!’”
Steve also told me about a gig his
friend bassist Larry Kinling had in Bal-
timore with a part-time drummer and
bandleader whose day gig was being a
judge at the city courthouse. The judge’s
sense of time wasn’t up to par, and half-
way through the first tune, Albert Dai-
ley, the pianist on the gig, leaned over to
Larry and said, “Someone ought to give
the judge time!”
lll
John Altman told a story online that
he got from the late Benny Carter. Ben
Webster was playing at a club with a
group led by Stuff Smith. One day Web-
ster came to Carter and said, “You have
to help me. You’re the only person who
can. Last night I got drunk at the gig
and I knocked someone out. The man-
crow
Bcrow@Local802afm.org
www.BillCrowBass.com
agement fired me. I need this gig back.
Please talk to the manager and tell him
I’m sorry. He respects you, Benny.”
Carter did as he was asked, and told
the club manager about Ben’s remorse.
The manager said, “Benny, I appreciate
everything you’ve told me, but we still
have a major problem.” “What’s that?”
“The person he knocked out cold was
Stuff Smith!”
lll
Herb Gardner sent me this one: “Back
in the 1960s, I played for a week with
Henry Red Allen’s group, featuring the
great blues singer, Jimmy Rushing, at
Lennie’s on the Turnpike up in Massa-
chusetts. After playing a couple of open-
ing tunes, Red said, “Jimmy, why don’t
you sing something? What do you want
to do?” Jimmy scowled and hemmed
and hawed for several minutes, but
finally his face lit up with a big smile!
“How about…” he said, “…a blues in B
lll
Chris Boardman posted this one on
Facebook: “When I was about 19 or 20,
Bill Hughes started copying my arrange-
ments. He was Bill Byers’ copyist, so it
seemed like a logical move. I got really
busy and Bill Hughes was copying my
stuff all the time. Bill had stamps print-
ed for all of his regular clients: Byers,
Ralph Burns, etc. Bill had been copying
my charts for several years and he would
always set up a stamp manually every
time he would copy one of my charts.
Stamps were cheap then, so I finally
asked him: ‘Why don’t you have a stamp
with my name on it?’ He said, ‘I wanted
to see if you would stick around.’
lll
Also on Facebook, from Clay Moore: “I
was at a seminar, and one of the guitar
players was talking about going to see Joe
Diorio play in Chicago. One night he was
talking to Joe between sets, and said he was
heading home. A few minutes later he was
back. He told Joe he had locked his keys in
his car and needed to call a locksmith. Joe
said, ‘Don’t do that,’ and took a coat hanger
out to the car and opened it for him. The
guy said, ‘Joe, I didn’t know you had so
many talents.’ Joe replied, ‘When you’re a
jazz musician, you have to have a sideline.’
Davidson, a trumpet playing jazz band
leader who worked in Toronto. A hard
drinking extrovert, he was known for
his sharp wit. Once, on a New Year’s Eve
gig late in his career, he noticed how old
everybody in the band was and said,
“Guys, next year gray suits and black
hair, okay?”
In the late 1940s, his band was doing
a tour of one-nighters across Ontario.
Trump and his brother Teddy were
rooming together. The days were long
and boring, so after nursing their hang-
overs, they took in a lot of afternoon
movies. One day they decided to see
“Lost Weekend,” without knowing what
it was about. On the way they picked up
a fifth of Scotch and cracked it as soon
as the theatre darkened. By the time the
newsreel and cartoons were over they
were halfway through it, and by the
time the really dark alcoholic delirium
tremens scenes began in the movie,
they had finished the bottle and were
smashed.
When the movie ended, they were
pretty shaken up. They stumbled out
into the bright afternoon and Trump sat
down on the curb in front of the theatre
with his head in his hands. Teddy said,
“What’s the matter, Trump, you okay?”
Trump looked up all bleary-eyed and
muttered, “That’s it – no more movies!”

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November 2019 | Allegro 55

 Allegro
Published by AFM Local 802,
Associated Musicians of Greater New York,
322 West 48th Street, New York, NY 10036

#802STRONG! Musicians are standing up and demanding that they are

paid fairly for their work in streaming. See president’s report (page 4)

FEBRUARY 2020
Membership Meeting
WEDNESDAY, FEB. 26 l 5 P.M.
FE 202
B. 0
26

The meeting will take place here at Local 802

(322 West 48th Street, between Eighth and Ninth Ave.)
Admission to meeting by paid-up membership card only

Free flu shots for musicians

The Friedman Health Center is offering free flu shots to musicians and other members of the entertainment industry. Members
with or without insurance can stop by for a free flu shot on Tuesday, Nov. 19 from 10 a.m. to 1 p.m. or Thursday, Dec. 5 from
10 a.m. to 12 noon. Please bring your union card. The Friedman Health Center is located at 729 Seventh Avenue, on the 12th
floor. For more information, contact Janet Pearl at Jpearl@ActorsFund.org.