Tag Archives: AFM

A Brief Introduction to EMSD

September 9, 2016 IM

by Patrick Varriale, Director AFM Electronic Media Services Division and Assistant to the President

It is with great pride that I present to you this year’s International Musician focus issue dedicated to musicians that perform or plan to perform services in the world of electronic media (nonsymphonic) and the division of the AFM that serves and protects the interests of those musicians—the Electronic Media Services Division (EMSD). Our cover story features Brent Mason, a session guitarist, whose résumé spans more than 35 years, and has been a union member in good standing for all of those years.

On this site you will find articles from EMSD staff that we hope all readers will find of interest. We’ve covered the gamut, from the importance of seeing to it that your recorded product is properly covered to the emerging world of new media. In addition, there is an article from Recording Musicians Association (RMA) President Marc Sazer you should read. I am grateful to him for his contribution to this issue.

We also have an up-to-date list of the dedicated staff ready to assist you in their particular fields of expertise. I am very proud of the folks that work tirelessly in this division—they make my life so much easier. Thanks to their efforts, we have been able to expand our services even more to address the myriad of tasks and projects that we encounter on a day-to-day basis.

This issue also includes a reprint of “Frequently Asked Questions and Answers about Electronic Media” authored by EMSD Alumnus Michael Manley (now the director of the AFM Touring/Theatre/Booking Division), a revised version of “Top 10 Reasons to Record AFM”.

So, please take some time to sit back, relax, and read these articles, as well as the material we have provided. Let us know if you have any questions or comments.

My Overview of the AFM Convention

In June, I participated in the 100th Convention of the AFM. With only two exceptions, I have had the honor of attending all conventions as part of the setup team that oversees the inner workings of this momentous event.

However, this year’s convention was different for me on two fronts. It was my first as co-coordinator with Assistant to the President Ken Shirk. Ken did a masterful job and I was happy to work with him in leading our talented and hardworking “crew” through the months in advance detailed preparation process and the volume of “on the ground” moving parts at the actual event. The fact that it took place at a new venue, with a new hotel staff to work with, made it all the more challenging and the success of it all the more rewarding.

It was also my first convention in the capacity of EMSD director. It was quite daunting, to say the least, to see to it that the heavy volume of activity in the EMSD New York, West Coast, and Canadian offices continued to run like a well-oiled machine, while at the same time taking on the many responsibilities as co-coordinator of this landmark convention.

Among EMSD’s “eleventh hour” projects I simultaneously attended to were: speaking with and preparing agreements for producers and attorneys to cover employment for our musicians; advising local officers and members; meeting project deadlines; providing time sensitive information to our counsel; and conducting research for the next round of recording agreement negotiations.

I owe my ability to juggle a wide variety of projects and multitasking to many years of experience working with former EMSD Director and mentor Dick Gabriel. There was no one better than Dick at evaluating multiple tasks and devoting the time necessary to see to it that all aspects of a given project were given the attention required. Not all of them came to fruition, but many of them did.

I have been with the AFM for 42 years, and the enthusiasm I feel from helping make our convention run smoothly and the satisfaction I experience from representing the interests of recording musicians never get old. And to accomplish them on these levels I can’t help but find it truly amazing.

Officer Columns, President's Message

100th Convention Epilogue: The Quest for Fairness for Subs and Extras

September 1, 2016 Ray Hair

A resolution that provoked considerable debate during the recently concluded 100th AFM Convention was Resolution 20—“Extras and Subs in Orchestras”—a measure which sought to address the disparity in wages and working conditions that exists in many orchestral collective bargaining agreements for substitute and extra musicians, as compared to those of their seasonally-contracted colleagues.

Continue reading →

Member Profiles

Violinist Leah Zeger Masters Unconventional Repertoire

September 1, 2016 IM

Violinist Leah Zeger of Local 47 (Los Angeles, CA) was 15 years old when she was sidelined by injury, essentially losing the use of her arm. It was a crucial time, preparing for conservatory auditions. Doctors were mystified as to the root of her pain, but Zeger’s mother didn’t give up and took her all over the world to find an answer. When she was finally diagnosed with thoracic outlet syndrome (TOS), they discovered she had a congenital abnormality that was causing nerve compression in her upper limbs.

Zeger opted out of the risky surgery recommended for acute cases, but it would take another four years for her to fully recover. Her parents, Ruth and David Zeger, both orchestra musicians and members of Local 65-699 (Houston, TX), had nurtured her career. Her mother, especially, was disheartened. But it was during this hiatus—a break from the rigor of practicing classical music several hours a day—that she discovered other musical forms and recaptured teenage years usually lost to serious musicians. Zeger says, “She had given this identity to me, and I lost it. But I was having a great time living life. I was impressionable. I was able to explore music outside the classical world. Jazz friends were teaching me stuff. I was listening to rock music.”

At 19, when Zeger was a sophomore in college, she again picked up the violin and her mother worked with her to prepare for an audition with Austin Symphony Orchestra. She secured a seat in the first violin section, beating out Juilliard grads. She credits her mother’s expert teaching, saying, “She’s fantastic. She motivated me.”

During her time at a performing arts high school, Zeger studied with mezzo soprano Katherine Ciesinski and she continued studies in opera performance and violin at the University of Texas at Austin. After graduating, Zeger went on to become associate concertmaster of the San Bernardino Symphony and first violinist in Redlands Symphony.

Outside her classical pursuits, though, Zeger’s musical tastes are more akin to a rock star than a classically trained musician. Jazz and blues factor into her performances, but hip-hop and rock are staples on her playlist, which includes Nine Inch Nails. What’s more, the 33-year-old has a passion for the music of guitarist Django Reinhardt to which she was first introduced as a young girl. She’s a featured soloist with the gypsy jazz band New Hot Club of America.

Her extreme versatility means Zeger is in high demand. She’s played alongside Willie Nelson of Local 433 (Austin, TX), Charlie Daniels of Local 257 (Nashville, TN), and Eddie Vedder of Local 76-493 (Seattle, WA). As a member of the Hollywood Bowl Orchestra, she played with Steely Dan—for Zeger, a dream come true.

Zeger is a musical chameleon. In a video she produced and directed she gives a thoroughly artistic performance of the “The Man I Love,” alternating from ingénue to cabaret singer. In another, a leather-clad Zeger dazzles on an electric violin. Bands take advantage of her violin virtuosity and her ability to simultaneously sing in long legato tones. Zeger downplays her talent. “It’s easy for me because I’ve always loved harmony singing. I had an ear for harmony already,” she says. “If you do anything slow you can do it fast or up to speed.”

In between symphony projects; jazz festivals, including Montreal, Buenos Aires, SXSW, and the Olympia in Paris; touring Europe; and working on recordings, Zeger is also a sought after film and TV session player who has worked with Annie Lennox, Stevie Wonder of Local 5 (Detroit, MI), and ELO’s Jeff Lynne of Local 47.

Zeger’s debut album, Leah and the Moonlighters (2010), is a collection of original works. In 2013, on Pour Moi, she gives spirited renderings of jazz selections, including compositions by Django Reinhardt. She lends her haunting vocals to jazz standards, and classical and folk melodies. More obscure arrangements are further recreated with Zeger’s characteristic panache. Her third album, a combination of jazz/rock fusion, with string arranger Stevie Black, is expected to come out next year.

With such an eclectic and multi-faceted résumé, it’s hard to know exactly what her dream job might look like. But with Zeger’s artistry and flair for performance, and given her knack for mastering all things music—at the moment, she’s learning the bass guitar—Broadway is not unachievable. For now, she says, “I’d love to be a headliner at jazz festivals.”

Executive Board Members, Officer Columns

AFM Representatives Participate in 21st Congress of FIM

August 10, 2016 IM

by Bruce Fife, AFM International Vice President

The International Federation of Musicians (FIM) held its 21st Congress in Reykjavik, Iceland, June 7-9. Attending and representing the AFM were Vice President from Canada Alan Willaert, International Executive Board member Tino Gagliardi, and International Vice President Bruce Fife.

FIM brings together musician unions from all corners of the globe. Nearly 100 representatives came to this congress, to share, discuss,

FIM General Secretary Benoît Machuel, AFM Vice President from Canada Alan Willaert, AFM Executive Board Member and Local 802 (New York City) President Tino Gagliardi; FIM President John Smith; AFM International Vice President and Local 99 (Portland, OR) President Bruce Fife.

debate, and act on myriad issues that affect musicians worldwide. Of particular interest to the AFM was achieving a more representative voice within the leadership of FIM in order to assure the issues that are important to our membership have the strongest possible response and input from the international community. To that end, AFM President Ray Hair was elected to the Presidium, the highest executive body of FIM, and AFM Canada also gained a seat on the FIM Executive Committee.

The Congress debated and passed a slate of timely resolutions initiated by the specific unions:

An exhortation to governments with whom FIM has representations to fulfill and enforce legislation protecting musicians (Uruguayan Association of Musicians)
Equality for women and men in the music sector (FIM African Committee)
Recognition of musicians as employees/protected workers, so that they have the same labor rights as other workers (French Musicians Union)
Work to create fair and transparent distribution of income by collective
management organizations (British Musicians’ Union)
Intensify the “Fair Internet for Performers” campaign to develop additional income for performers from streaming platforms (British Musicians’ Union)
Work to introduce the “Agent of Change Principle” to our respective governments with the goal of protecting our vital inner-city, grass-roots live music venues (British Musicians’ Union)
Work to protect the music education systems of Latin America (Musicians’ Union of Rio de Janeiro)
Work to establish a procedure and database for identifying international airlines with good records for instrument carry-on (German Orchestra Union)
Create a program for the collection and shipment of musical instruments to Africa (FIM African Committee)

(L to R): Swedish Musicians Union President Jan Granvik, British Musicians Union Assistant Secretary Horace Trubridge, and AFM International Vice President Bruce Fife.

As you can see, the topics are ones we can relate to, or ones we have faced in one form or another, and have either resolved or continue to work on. For example, the AFM has successfully dealt with the issue of traveling with instruments in the US, but once you leave our shores, all bets are off. Also, while I believe that the defunding of our public school music programs may have bottomed out and we’re starting to move in the right direction, much of the rest of the world seems to be where we were 15 years ago, with a downward trend destroying their school music programs because of austerity measures.

There were also numerous panel presentations, one of which I participated on. A robust discussion of online music and related royalty streams with representatives from England, Sweden, Switzerland, France, Hungary, and of course, the US, focused specifically on how we get streaming money into the hands of our musicians. In many ways, the AFM is a step ahead on this issue, based on our involvement with SoundExchange and our AFM and SAG-AFTRA Fund, which were of great interest to FIM representatives.

For me, the Congress highlighted how small our world has become, how the values and hopes of musicians operating in a globalized music industry are interconnected, and most importantly, how we can benefit from hearing each others’ stories and strategizing together about our common concerns. Given our newly elected leadership in the body of FIM, the AFM will not only continue, but also increase its involvement on the world stage.

Officer Columns, President's Message

100th Convention: A Union that Is Stronger Together

August 3, 2016 Ray Hair

120 years after our founding Convention in October 1896 in Indianapolis, Indiana, the Federation convened its 100th Convention—a milestone for any union—June 20 in Las Vegas. With more than a century of advocacy and 100 conventions to its credit, the Federation’s enormous accomplishments for professional musicians, economically and politically, were celebrated not just by elected officials and delegates, but by our sister unions, dignitaries and guests. Continue reading →

Member Profiles

The Ring of Success: A Career in Jingles Keeps Annagrey in Business

August 1, 2016 IM

Annagrey of Local 72-147
(Dallas-Ft Worth, TX)

Singing jingles—the ubiquitous refrain on the radio that usually gets stuck in your head—is serious business. Local 72-147 (Dallas-Ft. Worth, TX) member Annagrey Wiechman, who now goes by the mononym Annagrey, landed her first jingle for Lays Potato Chips at just 14 years old. At 18, she was singing at a wedding when she was discovered by producer Otis Conners.

Now 45, Annagrey has done radio identification and advertising packages for home builders, cheese, dog and cat food, doctors, and a lot of car commercials. There are no sure-fire formulas for success in the industry, but her distinctive voice has secured gig after gig. Nearly 30 years after her first commercial, she’s surprised by her own success.

Right around the time the Broadway musical Annie came out, with Andrea McArdle of Local 802 (New York City), Annagrey decided she wanted to become a singer. She was in seventh grade when the young star inspired her. Annagrey eventually attended the Booker T. Washington High School for the Performing and Visual Arts.

In the jingle world, art and advertising coexist to meet a particular need. In this case, Annagrey’s career singing jingles allows her to compose her own songs and do solo work. “One feeds the other. After a long session of singing call letters, that’s usually when I like to write my own music. It’s therapy, detox from jingles,” she continues. “You spend four hours using your voice—and emoting. It’s all about the sound and the emotion, but you’re not saying words that are emotional.”

Jingling requires talent and tremendous vocal agility. Being able to calibrate one’s voice, knowing which words to emphasize, not only takes practice but plenty of experience. Within the commercial, the cadence, the perceived emotion must all be readily accessible. In other words, it takes acting ability.

In the ’50s, ’60s, and ’70s the jingles sound was more of an ensemble sound, a chorus—think “Buy the World a Coke”—which eventually morphed into a solo sound, with unique voices instantly recognizable. Annagrey says, “I feel like I’ve become one of those voices, and I’m proud of it. To do live work is fun, and jingles has been a great living. I honestly love to sing jingles.”

Annagrey was doing jingles at Rosewood Studios when producers for LeAnn Rimes heard her singing and they asked her to do backup. Since then, she’s also done backup singing for pop artist and Local 257 (Nashville, TN) member Meghan Trainor. She was on The Oprah Winfrey Show as part of the Pop Star Challenge, competing on three episodes, and finishing as a finalist.

A regular lounge singer, who also plays with bands and artists around the region, Annagrey says, “I love the fact that I can take an old, old song and almost remake it. It’s like singing a brand new song. It’s been cool to experiment with songs that I’ve been singing since I was seven years old. It feels fresh because there’s a different style. I can add a little bit of jazz or blues, even classical music.”

Annagrey’s influences are as diverse as her vocal range: Billy Holiday, Nina Simone, Stevie Wonder of Local 5 (Detroit, MI), Robert Plant, Celine Dion, Carly Simon, and Joni Mitchell of Local 47 (Los Angeles, CA). Vocally, she evokes Etta James and Norah Jones. With three CDs to her credit, she has covered and written songs that showcase an array of styles, from country to funk.

“As long as it’s from the heart,” Annagrey says, “Sometimes it’s jazzy, sometimes it’s bluesy, or straight out rock ‘n’ roll!”

Executive Board Members, Officer Columns

When We Fight, We Win!

August 1, 2016 IM

by John Acosta, AFM IEB Member and President of Local 47 (Los Angeles, CA)

It is with great humility and a renewed sense of purpose that I begin this message to you as a newly elected member of the AFM International Executive Board. I would be remiss if I did not take this opportunity to thank all of the delegates who supported my candidacy. I pledge to work on behalf of all locals, whether large or small, and all constituencies, be they symphonic or recording, freelance, or somewhere in between.

In thinking about what would be the proper message for my first IM communication to you, I asked myself, what are some of the biggest challenges facing our union today? The answer may vary from local to local, but the three issues that I believe are consistent across our Federation are: loss of membership, diminished and reduced employment opportunities, and apathy. The phenomenon we see throughout the Federation as our older musicians pass on, is not recruiting new members at the same pace as we lose our seniors. I see this trend at Local 47, even with ongoing programs to attract new members and efforts to bring new work under contract.

I am convinced that success in growing our union lies in organizing. We will only grow through internal and external organizing—building upon the ranks of existing members and organizing potential members. What does this mean? For me, it means working with our committees and rank-and-file leaders to strengthen bargaining units in order to fight the growth of nonunion work, whether in the recording realm, classical chamber music, or jazz gigs. Each negotiation is an opportunity to organize by bringing together the union and committees and working to identify the concerns of our members and formulate the best possible responses.

We see attacks in every sector of our industry. In regional orchestras, we see management chipping away at our employment by reducing orchestra size, displacing union members with students, or proposing major rollbacks at the bargaining table. It is essential to build a committed membership in order to fight the growth of nonunion work and fight back attempts to erode our agreements, local
and national.

Across our entire employment spectrum, musicians face wage and benefit theft through misclassification. Whether it’s being classified as an independent contractor—which denies our members their rights to unemployment compensation, social security benefits, and workers compensation—or being paid “off contract” for a recording that ends up being played far and wide, depriving musicians of new use payments and health and pension contributions, strong rank-and-file leadership is essential.

With strong committees and focused leadership, we will speak musician to musician about the type of legacy we wish to build today in order for AFM members, present and future, to earn a fair salary, feed their families, and put away a decent retirement. If we come together for this common purpose and fight for what we believe, we will win!

Officer Columns, Vice President from Canada

Devastating Decision by German Courts

July 13, 2016 Alan Willaert

A 19-year-long copyright suit filed by the German e-music pioneer band Kraftwerk for infringement against Sabrina Setlur, has been decided, and the result is not good news for the community of creators. Kraftwerk’s Ralf Huetter had previously obtained a court order to suppress Setlur’s 1997 song “Nur mir,” insisting that it contained a drum sequence looped from Kraftwerk’s 1977 “Metall auf Metall.”

The court found that sampling was a basis for, and helped create hip-hop music, and that if the sample’s effect on the rights holder is negligible, then artistic freedom should override the interest of the copyright owner. The German constitutional court further acknowledged sampling to be a “style-defining element” of hip-hop, and therefore overturned the previous court verdict that was in Kraftwerk’s favour.

It went on to note that imposing royalties on composers could be crippling, if copyright owners were allowed to demand any amount, or simply reject the usage request. The court held that composers should be allowed to create without any financial risks or restrictions to the creative process. Therefore, sampling would be permitted, if it is part of a new composition that does not stand in direct competition to the sampled work, and does not damage the copyright owner financially.

The ruling, which sets a dangerous precedent for copyright owners worldwide, is interesting as it bastardized the 1967 Berne Convention three-step test, which states that a signatory country may allow an exception to the rules against reproduction only 1) in certain special cases, provided that 2) such reproduction does not conflict with a normal exploitation of the work, and 3) does not unreasonably prejudice the legitimate interests of the author. Certainly, one cannot argue that widespread sampling of music constitutes a “special case.” I, for one, disagree with the German court’s decision.

The Berne three-step test is widely referenced in other international agreements, such as the Agreement on Trade-Related Aspects of Intellectual Property Rights (TRIPS), the World Intellectual Property Organization (WIPO) Copyright Treaty (WCT) Article 10, the WIPO Performances and Phonograms Treaty (WPPT), the EU Computer Programs Directive (Article 6(3)), the EU Database Directive (Article 6(3)), and the EU Copyright Directive (Article 5(5)). The test is applied to provide for exceptions to audiovisual recordings as well as literary works.

Update on the CBC Negotiations

During the last round of negotiations, the CFM bargaining team and the Canadian Broadcasting Corporation (CBC) negotiators, agreed to suspend bargaining and enter into a six-month extension of the current agreement. It was felt that more research was required to determine the direction, and forecasted amount of production planned by the CBC for the future, in order to properly structure language and fees.

In addition, the CFM felt that the extension would allow for some of the liberal government’s promised infusion of
$850 million to filter into the system, which would dramatically change the landscape in terms of the CBC’s vision of being a “content provider,” and allow for better adherence to the national broadcaster’s mandate. There will be more news on this at a later date.

Orchestra News, Organizing, Recent News

AFM 100th Convention Highlights

July 12, 2016 IM

During June, the historic AFM 100th Convention took place at the Westgate Hotel in Las Vegas, Nevada. From pre-convention regional meetings to the swearing in of officers on the final day, the proceedings ran smoothly and were a true demonstration of solidarity.

Among the many guest speakers this year were: SAG-AFTRA National Executive Director and Chief Negotiator David White; AFM & SAG-AFTRA Fund Executive Director Dennis Dreith; Actors’ Equity Association President Kate Shindle; Music Performance Trust Fund (MPTF) Trustee Dan Beck; General Secretary International Federation of Musicians (FIM) Benoit Machuel; and Executive Director Film Musicians Secondary Market Fund Administrator Kim Roberts Hedgpeth.

The various conference and association representatives—Theater Musicians Association (TMA) President Tom Mendel, Organization of Canadian Symphony Musicians (OCSM) President Robert Fraser, Regional Orchestra Players Association (ROPA) President Carla Lehmeier-Tatum, Recording Musicians Association (RMA) President Marc Sazer, and International Conference of Symphony and Opera Musicians (ICSOM) Chair Bruce Ridge—addressed the delegates.

Among the topics discussed by delegates were recommendations and resolutions for proposed changes to AFM Bylaws to help the AFM better serve the needs of modern musicians. A total of 13 specially focused committees of delegates and AFM staff met to discuss and debate focused topics, concerns, and resolutions relating to law, finance, credentials, measures and benefits, organization and legislation, International Musician, public relations, TEMPO, small locals, election, good & welfare, diversity, and organizing.

Other convention highlights included reports from AFM staff. Director of Organizing & Education/Assistant to the President Paul Frank detailed recent and current organizing campaigns in Seattle, Fort Worth, and Washington, DC. A beautiful memorial service, held on the second day, honored AFM members and staff who have passed away since the last AFM Convention in 2013.

For the most part, “team unity,” led by AFM President Ray Hair remained intact after elections. However, Vince Trombetta stepped down as an International Executive Board member and John Acosta was added. Also, AFM Secretary-Treasurer Sam Folio will be replaced by current AFM Symphonic Services Division Director Jay Blumenthal.

As of August 1, the AFM International Executive Board will consist of President Ray Hair, Vice President Bruce Fife, Vice President from Canada Alan Willaert, and Secretary-Treasurer Blumenthal, plus board members Acosta (Local 47 president), Dave Pomeroy (Local 257 President), Tina Morrison (Local 105 vice president), Tino Gagliardi (Local 802 President), and Joe Parente (Local 77 President).

Look for detailed Convention coverage in the August International Musician.

On the Cover

Weston Sprott Lays His Cards on the Table

July 6, 2016 IM

When the curtain closes for intermission at the Metropolitan Opera, the musicians step out of the pit, put down their instruments, and take a few moments to relax—and maybe even make a little extra cash. Weston Sprott, acting principal trombone for the Metropolitan Opera Orchestra describes a perfect night at work: “A Strauss or Puccini opera with a great conductor and cast, and a run of good cards at the poker table during intermission.”

But win or lose, Sprott feels lucky when he returns to the pit, working with the world’s greatest musicians, singers, and conductors. “My favorite thing about playing with the Met is listening to my colleagues in the pit and on the stage. Participating in music making at this level is incredibly rewarding,” says Sprott. “Every night provides an education in beauty of tone and phrasing.”

Up the Ante

“My first thought was, ‘Wow, this just happened,’” Sprott remembers, referring to the day in 2005 when he learned he had won the second trombone position at the Metropolitan Opera Orchestra. At 22 years old, it was undoubtedly a turning point. “More than excitement, I felt an overwhelming sense of relief, as though the pressure to find success in such a competitive world had been released.”

Sprott is a firm advocate for more orchestras to adopt the Met’s example of a fully blind audition process. “I have been a participant and observer of countless discussions about the need for orchestras to diversify their rosters and better reflect their communities,” he says. “In my experience, I have been the winner of numerous auditions where a screen was present from start to finish, but I have never won a professional audition where the screen came down.” Unfortunately, his experience is not unique.

“If you’re serious about diversifying your ensemble, the first of many steps is to raise the screen and let your ears (not your eyes) guide your artistic convictions,” Sprott advises. “Diversity will follow.”

His next thought on the day he won the Met position was of his parents, teachers, and mentors—all of whom invested countless hours in his personal and musical development. “I was thankful there would be something to show for their sacrifice,” he says.

Sprott spent two years studying at Indiana University before transferring to The Curtis Institute of Music, where he developed an especially close relationship with Nitzan Haroz of Local 77 (Philadelphia, PA), principal trombone of The Philadelphia Orchestra. A huge part of his education happened outside of school at Philadelphia Orchestra concerts; he was the orchestra’s biggest fan, religiously attending every week. “Curtis provided an atmosphere that was both demanding and supportive, leading me to believe, although much was required, I was capable,” he recalls.

His instinct was correct and was quickly validated with a whirlwind of successes after graduation. “We work in an industry where the victors get the spoils,” says Sprott. “Winning the Metropolitan Opera Orchestra position opened the doors to my aspirations as a teacher, soloist, and chamber musician.”

All In

Sprott has taken full advantage of the opportunities he has been presented with—almost to a fault. “I’m convinced that I suffer from an overdeveloped work ethic,” he says. “It’s a characteristic that is simultaneously an asset and a weakness.”

In addition to the demanding schedule at the Met—on average performing four-hour shows seven days a week—Sprott has held positions with the Zurich Opera and Philharmonia, Pennsylvania Ballet Orchestra, and Delaware Symphony Orchestra; performs in The Philadelphia Orchestra with his musical idols from his Curtis days; plays chamber music at venues like the 92nd Street Y; has been a soloist on four continents, making his Carnegie Hall solo debut in 2007; has recorded a solo album; and is on faculty at Mannes College (The New School for Music), Bard College, Rutgers University, and Juilliard Pre-College. He even helped design the “New Yorker” Weston Sprott Model trombone for the Antoine Courtois Instrument Company.

Sprott’s intense dedication started early. “When I started playing as a child, I immediately fell in love with the concept of sound creation,” he says. “My parents never had to encourage me to practice. In fact, they sometimes had to encourage me to come home from the band hall, or to put the instrument away and do something else.”

His friends shared his passion—Tim Higgins of Local 6 (San Francisco, CA), for example, who is now principal trombone of the San Francisco Symphony, was a high school classmate. The pair was in constant competition, battling for bragging rights and pushing each other to be better.

“We were the perfect depiction of iron sharpening iron: Who could play louder, faster, higher, softer?” Sprott remembers. “We went to symphony concerts on weekends and listened to Joseph Alessi’s recordings on the way to Sonic after marching band practice. Some people see spending the entire day with your instrument as discipline. We saw it as enthusiasm.”

These days, Sprott still wants to do it all—“play all the music, teach all the students, go to all the festivals”—but he’s striving to find a balance between work and rest. “Once or twice a year, my body sends me a firm reminder that I’m still only one person and there is only so much time in the day,” he says.

Even so, Sprott makes time to serve on the orchestra committee for the Met Opera Orchestra, a task that reinforces the value of AFM membership. “Beyond benefits related to collective bargaining and contract enforcement, AFM membership connects musicians of all levels and genres across the continent,” he explains. “Membership is a reminder that the work we do has value and we are not alone in our artistic pursuits.”

Pay It Forward

Knowing that his work has value is of the utmost importance to Sprott, who, above all, loves helping people. (“I think many of my friends would say that I’m someone they seek out for advice. In private, they might say that advice is sometimes unsolicited,” he admits.) Teaching, he finds, is the perfect outlet to positively influence the lives of others. Plus, he sees it as a way to “pay it forward” after being the beneficiary of great teachers throughout his training.

Some of his most rewarding teaching experiences are at the Stellenbosch International Chamber Music Festival in South Africa, which hosts talented young musicians—many of whom don’t have access to regular high-level training or don’t own their
instruments. Sprott continues his relationships with these musicians long after the festival has ended, teaching via Skype or even sponsoring them to visit New York City and get a glimpse into the lives of full-time professional musicians.

Beyond bringing a wealth of knowledge to impart on the students each summer—this year will be his sixth—Sprott also brings donated instruments with him. “Here’s my shameless plug: If you have a decent instrument that you never use and that would be better off in the hands of an enthusiastic young musician, please contact me!” he implores.

Sprott puts a great deal of thought and energy into helping his students, and he advises them that it is paramount for any aspiring musician to have incredible enthusiasm for the craft. “Enthusiasm fuels work ethic,” he says. “John Wooden once said that work without joy
is drudgery.”

He also encourages students to be multi-dimensional. “In addition to being a great player, work to be a great writer, speaker, teacher, historian, or recording engineer,” he suggests. “Even for those who are fortunate enough to make a living from playing alone, great satisfaction can come from having multiple outlets of expression.”

Outside of performing and teaching, Sprott reads nonfiction (he leans toward books on self-improvement, interracial relations, and interpersonal skills). He is an avid sports fan (rooting for the Philadelphia Eagles and the Indiana University Hoosiers), with a passion for travel (the vacations he and his wife take every year are preceded by a lengthy discussion about whether or not he is allowed to take his trombone along!). He’s also perfected his response to the comment that he looks like President Obama. “I’m a big fan of Obama … so, when I’m told I resemble him, I chuckle and take it as a compliment,” he says.

And, of course, there’s poker—lots of poker. “We play at every break of every [Met] performance and rehearsal,” Sprott says. “It’s tons of fun and a nice income supplement, often times courtesy of select colleagues who, for this article, will remain unnamed.”

Sprott is lucky at the poker table and is certainly having a great run in his career. “In my experience, there is no shortage of worthwhile opportunities available to those who work hard, treat people with dignity, and keep their focus on generosity of spirit and being good to others,” he says, noting that he is content to let his next steps unfold organically. “What I know for sure is whatever comes next will be done with these values in mind.”

We can bet on it.