Tag Archives: international musician

International Musician, Recent News

Opera Inspired by Little Rock Nine

Sixty years to the day after nine African-American teenagers integrated Little Rock High School protected by the 101st Airborne Division, the eight surviving former students, President Bill Clinton, and other dignitaries gathered at Central High School. After a day of commemorations and sharing memories, an announcement was made that the story of the Little Rock Nine is being turned into an opera by composer Tania León, a member of Local 802 (New York City), and librettist Thulani Davis.

León told The New York Times that hearing their stories was invaluable. “It’s important to see them,” she says. “To hear their syntax, to feel their personalities.” Born and raised in Cuba, since coming to New York City in 1967, León has become an important figure in American music.

International Musician, Recent News

Grand Ole Opry Musicians Covered Under New AFM Contract

Musicians performing at the Grand Ole Opry voted to approve a new four-year contract that includes progressive wage increases in each of its years. Musicians also won higher health and welfare payments and increased pension contributions. Aside from the house band, the new contract also covers the eight or more guest musicians who perform at each of the Opry shows. Hundreds of freelance musicians will benefit as well.

“The ‘show that made country music famous’ started as a humble radio broadcast almost a century ago, but is now viewed and listened to by millions on traditional radio, satellite radio, and the web,” says AFM President Ray Hair. “That’s why musicians fought for and won new satellite radio payments and a percent of the Opry’s receipts for streamed content.”

International Musician, Orchestra News

Las Vegas Philharmonic Responds to Tragedy

A mid-October concert at the Las Vegas Philharmonic, initially scheduled around an Oktoberfest theme, was altered in the wake of the October 1 mass shooting tragedy in the city. The new program was conceived as a way to bring the community together and share a message of hope.

The Bruckner symphony originally planned was replaced with Beethoven’s Symphony No. 5 and Barber’s famous, elegiac “Adagio for Strings” was added to the program. First responders from the city’s police, fire, and emergency services were invited free of charge; 600 free tickets were distributed.

The program served as a healing moment for the philharmonic’s musicians as well, many of whom know people personally affected. The musicians are members of Local 369 (Las Vegas, NV).

International Musician, Orchestra News

Buffalo Phil Plans Tour Abroad

In March 2018, Buffalo Philharmonic Orchestra (BPO) will embark on its first overseas tour since 1988, traveling to Poland for four concerts and several master classes by BPO brass and percussion ensembles. The centerpiece of the tour will be a performance at the Ludwig van Beethoven Easter Festival in Warsaw.

BPO Music Director JoAnn Falletta will be the first woman to conduct at that festival. She has programmed works by American composers and by Krzystof Penderecki, in celebration of his 85th birthday.

“The opportunity to tour Poland at the invitation of the Beethoven Easter Festival will be a transformative artistic benchmark in the history of our Buffalo Philharmonic,” says Falletta, a member of Local 125 (Norfolk, VA). “We are very proud to be able to represent Buffalo and Western New York at the festival.”

BPO has announced that attendance increased by 11.5% in the 2016-2017 season, with more than 212,000 adults and children experiencing its concerts. With a budget of $11.6 million,  the orchestra gives 129 performances during its 38-week season. BPO musicians are members of Local 92 (Buffalo, NY).

International Musician, Orchestra News

Kansas City Completes Endowment Campaign

This fall, the Kansas City Symphony completed its Masterpiece Endowment Campaign, having raised $55 million. The symphony raised $52 million in the quiet phase over four-and-a-half years and $3 million in the final six-month public phase. Gifts ranged from $10 to $10 million. The campaign effort was funded entirely from the organization’s annual operating budget. When the campaign pledges are fulfilled, the endowment will reach $100 million and provide a stable base of funding. The symphony plans to draw 4% annually to support operating expenses and there is no plan to slow fundraising. The symphony currently has an annual budget of $17 million.

“The musicians of the Kansas City Symphony are proud to belong to an organization that follows a vision of institutional growth and artistic achievement,” says Musicians’ Committee Chair Richard Ryan of Local 34-627 (Kansas City, MO). “The completion of our endowment campaign is a prime example of our symphony board, administration, and community working together to ensure that Kansas City has a world-class symphony orchestra now and in the future.”

The symphony has seen record attendance and revenue in recent seasons. Kansas City Symphony musicians, members of Local 34-627, are performing under a four-year CBA that runs through June 2021.

International Musician, Orchestra News

DC Opera Musicians Ratify Contract

Musicians of the Washington National Opera (WNO) and Kennedy Center Opera House orchestras, members of Local 161-710 (Washington, DC), have ratified one-year contracts with the two organizations. The agreements will run through August 31, 2018. Initially working toward longer-term contracts, it became clear that one-year agreements would yield more progressive outcomes.

WNO initially proposed a three-year agreement with a 10% reduction in work and no wage increases, while the Kennedy Center initially offered a three-year agreement with a work reduction of one week (14%) in the second and third years. Musicians’ salaries under the combined contracts will be just above $70,000 for the 2017-2018 season—a small increase. The orchestras’ librarians are now covered as bargaining unit members under the two CBAs. The Kennedy Center Opera House season is seven weeks long, while the WNO contract totals 342 hours, within a 21-week period.

“We hope that the additional year will give the opera some breathing room, so that the opera season cuts we conceded in previous agreements will turn out to be only temporary,” says Orchestra Committee Chair Peter de Boor of Local 161-710.

International Musician, Robert Baird, Traveling Musician

A Guide to Easy Border Crossing

Touring requires preparation and organization. One element of touring that demands much of both is border crossing. Crossing a border to work in a foreign country can be nerve-wracking and difficult, if you are not prepared. With thorough preparation you can ensure easy border crossings while on tour.

The first consideration should be work permits. Every foreign artist who performs in the US is required to have a temporary work visa. I highly recommend the P-2 Visa, which can be processed through the Canadian Federation of Musicians (http://www.cfmusicians.org/services/work-
permits). When making your initial entry into the US, you will need to carry the USCIS approval notice (or a copy). If band members are entering the country separately, everyone should have their own copy.

Make sure that all of your travel documents are in order. All passports must be valid at least six months beyond the last performance date. If you do not hold a Canadian or US passport, you will also be required to obtain an Electronic Travel Authorization (eTA) (www.cic.gc.ca/english/visit/eta.asp), to fly into Canada. Other countries require all foreign passports to be valid for a certain number of months from the date of entry or planned exit. Look into the requirements for each country you intend to visit.

If crossing by land, you may need to show vehicle ownership; if travelling by air, you will need to show a return ticket. You may be asked to show proof of accommodation and/or proof that you can support yourself while in a foreign country. If you are a parent travelling with a child, you will need written travel permission from any other guardian or parent.

Also, before traveling, look into any possible issues of criminality. Any prior conviction, however minor, can cause problems at the border and should be dealt with well in advance with either a waiver of ineligibility or a criminal rehabilitation application.

You must also plan for transporting equipment and merchandise. Understand the border restrictions in relation to prohibited goods or substances. If you are travelling with instruments and other gear, consider applying for an ATA Carnet, a document that can minimize hassles and fees at the border (www.chamber.ca/carnet). In the absence of an ATA Carnet, have a complete inventory with you. Whenever possible, include descriptions, serial numbers, purchase dates, and values. Having your gear organized in numbered cases will make it much easier when border officials need to check the gear.

Be aware of restrictions on crossing a border with instruments containing endangered species. There’s no point in risking confiscation of your gear. Check out the Musical Instrument Passport program (www.fws.gov/international/permits/by-activity/musical-instruments.html).

If you are flying, make sure you know the airline’s rules and regulations for transporting instruments. Invest in high-quality cases to protect them from damage.

If you are carrying merchandise, be sure to declare it and make sure it is properly labelled or properly stickered (for promotional copies). Have the invoice of manufacture with you. Keep in mind the option of sending merchandise via courier or mail, or having it manufactured in the country to which you are touring. For large quantities of merchandise, use a customs broker.

Finally, consider your strategy for interacting with border crossing officials. Appearances are important. You need to look and sound like you are a law-abiding citizen, respectful of authority, who poses absolutely no risk. Turn off the radio or iPad, remove ear buds and sunglasses. If crossing by land, your vehicle should reflect this as well—neat and clean. Rehearse straightforward answers to typical questions you might be asked by officials. Coach everyone in your group to be honest and forthright, and to answer questions succinctly without volunteering additional information. 

With sufficient knowledge and preparation, border crossing can be simple.

Robert Baird is President of Baird Artists Management Consulting and an expert in international touring. Involved in the performing arts for more than 50 years, he was president of NAPAMA, and Treasurer of FEO. He is currently president of OAPN and APAP Showcase Coordinator. Contact him at robert@bairdartists.com.

Touring Show Update
International Musician, Traveling Musician

2017 Touring Show Update

Touring Show Update

During a performance of Elvis Live in Concert, AFM Touring/Theatre/Booking Division Director George Fiddler (left) had the opportunity to meet with Greg Luscombe who assembled the symphony orchestra used in the show.

The traveling show season has begun and most of the new productions have premiered or are about to start their season. I visited Les Misérables in Hartford last month as it began a new tour. There are numerous seasoned road musicians in the orchestra, as well as musicians new to touring. This show has an orchestration for 15 touring musicians, nearly all of them on orchestral instruments. The conductor, Brian Eads of Local 257 (Nashville, TN), has done an amazing job of having everyone play at the highest ensemble level possible. The production quality was first-rate.The show’s stellar cast was accompanied flawlessly by the orchestra, creating a magical performance. The fortunate audiences have certainly received a production worthy of the Broadway experience.

This season there are many shows that have sizable touring complements, as well as large local musician employment. The new Disney blockbuster for the road this year is Aladdin, which has an orchestration of 16, with a minimum local hiring of eight musicians in every city it visits. The King and I continues this season with 13 local musicians hired in all cities.

Another new production with a large musician complement is Love Never Dies, the sequel to Phantom of the Opera. This show travels 15 musicians, with local hiring in select venues.

There are a variety of unusual productions that are not traditional in orchestration or content that will be travelling under our agreements.

As the new director of the AFM Touring/Theatre/Booking Division, I look forward to overseeing a large and varied season of traveling musicals that is sure to provide a genuine Broadway experience to audiences across the US and Canada.

Elvis Live in Concert
International Musician, Traveling Musician

Elvis Live In Concert Celebrates the Career of Elvis with a Live Symphony Orchestra

August 16 was the 40th anniversary of the death of Elvis Presley. To commemorate this event, Graceland/Elvis Presley Enterprises sponsored Elvis Live in Concert, a tour of Elvis performing with a live 46-member studio orchestra. The show stripped the background music from videos and films in which Elvis appeared and replaced it with live orchestrations. Requiring precision timing, the music was synchronized to recorded videos of Elvis performances projected on a large screen above the orchestra. The effect was striking and awe-inspiring. It felt like Elvis was actually performing live onstage.

British conductor and arranger Robin Smith debuted Elvis Live in Concert in the United Kingdom in the fall 2016 and it toured throughout Europe and Australia. The show proved so successful that Graceland/Elvis Presley Enterprises wanted to duplicate the event here in the US. The plan was to tour throughout August in large arena-style venues, honoring Elvis’s memory with concerts featuring a live orchestra. Many audience members had never seen the real Elvis in concert. The tour came “home” to Memphis, Tennessee, August 16 for a special show honoring Elvis’s passing.

Graceland turned to Memphis Symphony Orchestra musician Greg Luscombe of Locals 71 (Memphis, TN) and 10-208 (Chicago, IL) to assemble the highly skilled professional musicians required to make the music come to life. Most of the musicians were members of the Memphis Symphony, but some were selected because of expertise in performing Elvis’s music.

“It was especially amazing working with some of the most talented musicians from Memphis,” says Andre Acevedo of Locals 777 (Biloxi, MS) and 301 (Pekin, IL), who played sax for the show. “The rhythm section and the drums were particularly impressive. Because the music came from live Elvis performances, the drum set had to follow along with click that didn’t have a consistent tempo. James Sexton did it well and made the music feel smooth and groove. Jim Spake [of Local 71] on the solo tenor saxophone, played the opening ‘If I Can Dream’ with such a classic tenor saxophone sound. It was perfect for this genre, which makes sense as he is something of a Memphis legend. Finally, I loved the string section as a whole. The string arrangements were gorgeous and helped glorify Elvis’s voice.” 

Elvis Live in Concert

Commemorating the 40th Anniversary of the death of Elvis Presley, Graceland/Elvis Presley Enterprises sponsored Elvis Live in Concert, a tour of Elvis performing with a live 46-member studio orchestra.

The results were remarkable. The musicians didn’t just precisely perform the written scores, they were genuinely passionate about their performances. The enthusiasm of the musicians was clearly transmitted to the loyal Elvis fans attending the joyful events.

“The show was beautiful and the audience reaction was something I will always remember,” says Acevedo. “The audience reacted as if Elvis was really there! I watched couples cry and dance together, and I watched older women scream like they were 16 years old again. Each show ended with thunderous applause, showing so much appreciation for Elvis and our ensemble backing him up.”

The AFM Touring/Theatre/Booking Division (TTBD) assisted Luscombe in achieving a union agreement that offered the musicians competitive wages and benefits, plus carefully planned travel conditions. The tour moved from Connecticut to Florida, stopping at more than a dozen venues along the way. “As contractor, my first job was to establish appropriate pay, per diem, travel, and accommodations that fit the budget of Graceland/Elvis Presley Enterprises, while doing the right thing for the musicians,” says Luscombe. “I found it extremely helpful that all of the basic items you need in a touring contract are well established by the AFM TTBD, based on years of experience and negotiations. The fact that the AFM agreement was good for the musicians as well as for Graceland (c/o Elvis Presley Enterprises) contributed to the overall good morale among the musicians and everyone that was involved with the tour.”  

Negotiating for a short-running tour isn’t always easy. Aside from proper compensation for the musicians involved, the contract must also take into account their travel concerns. The sizes and economics of the large venues where the show played meant the musicians were provided wage scales commensurate with top dollar pop acts.

Elvis Live in Concert

The Elvis Live In Concert show orchestra featured many musicians from Local 71 (Memphis, TN).

“Of course, the long bus rides and other inconveniences of touring are not always fun, but when musicians feel they have a fair deal, plus good accommodations and meals waiting for them, it can translate into highly energized performances,” adds Luscombe. “It was obvious that the audience sensed the good vibe from the musicians throughout the tour.” 

“Because the tour was on a union contract, we could count on the production adhering to a set daily schedule. That meant a lot to us since we were working on such a tightly booked tour. Receiving a reasonable salary with payments for pension, doubling, and overtime made all the difference. In a ‘right to work’ state environment it can be tough to negotiate these issues on a contract,” says woodwind player Gary Topper of Local 71 (Memphis,TN).

The overwhelming success of this tour reaffirmed the concept that working closely with an employer to realize a fair agreement for both parties leads to highly professional results that both the employer and musicians can be proud of.

Elvis Live in Concert

The sizes and economics of the large venues where Elvis Live In Concert played meant the AFM musicians were provided wage scales commensurate with top dollar pop acts.

“All in all, this tour was so much fun and I had a wonderful time playing beautiful music,” says Acevedo. “I am very glad that Greg Luscombe worked things out to make it an AFM tour. I would hope the demand for this show continues as I would really love to do it all again!”

Musicians Return
International Musician, Traveling Musician

Musicians Return to the Bandstand, The Circus Is Back in Town

On October 27, the Big Apple Circus made its return to Lincoln Center, just in time to celebrate its 40th anniversary. Created by former European street performers Paul Binder and Michael Christensen, Big Apple Circus debuted in New York City’s Battery Park in 1977, relocating to Lincoln Center in 1981. Over the years, it became a New York City holiday season staple. However, unable to recover from the 2008 recession, the nonprofit, one-ring circus filed for bankruptcy in 2016.

Last February, Big Top Works purchased Big Apple Circus and set to work restoring the beloved show and returning its performers to work.

Local 802 (New York City) Business Representative Marisa Friedman is in charge of the AFM contract covering the Big Apple Circus musicians. “Our main concern was that the circus would continue to use live music and that the musicians who worked for the old circus would continue to work for this new one,” she says. “Negotiations went very well. It was clear that the circus valued live music and wanted to make a fair deal with Local 802.” In the end, the union negotiated an improved three-year agreement for the musicians.

According to Big Apple Circus Conductor Rob Slowik of Local 802 (New York City), the show’s band has eight permanent musicians. “Everybody who is on the new primary hiring list has played with the circus before, but a few of the former musicians moved out of state and are doing gigs in other parts of the country,” he says.

Musicians Return

The Big Apple Circus band (L to R) back row: Wages Argott, Jacob Levitin, Jeff Barone, Brian Killeen, Patrick Firth, and Michael Bellusci; middle row Neil Johnson and Jim Lutz; in front, Conductor Rob Slowik.

“We essentially just made modifications to the old agreement. We expanded the scope of the recognition agreement to cover more work, added health and safety protections, and also included payment for promotional use of recorded material,” explains Friedman. “The musicians will receive increases in wages and health benefits—something they have not had in several years due to the circus’s financial problems.”

Among new band members is Local 802 and 256-733 (Birmingham, AL) member Wages Argott, a trumpet player who was the bandleader for the Ringling Blue show that closed earlier this year. Slowik brought him on as associate conductor. “It’s nice that I have a sub who has already conducted thousands of circuses,” says Slowik, also a trumpet player. A couple other former Ringling musicians are on the sub list for this year.

“Each year brings a new Big Apple Circus show, with a new cast and new music, but the same band,” explains Slowik. “We change the instrumentation depending on the show theme, but we always use our hiring list. Once a musician plays with us and is on the contract, they have the right to first refusal, if we use their instrument again.”

Musicians Return

The musicians of the Big Apple Circus band have returned to their bandstand with an improved three-year AFM contract negotiated by Local 802 (New York City).

The circus’s 2017 theme focuses on its 40th anniversary. “The set looks like the skyline of New York City and the music draws from all the different contemporary musical styles represented here—pop, rock, jazz, Latin, classical,” says Slowik. “It’s not music you would normally associate with a circus.”

Among performers headlining the new show are world record holder Nik Wallenda and the Fabulous Wallendas, trapeze artist Ammed Tuniziani of the Flying Tunizianis, as well as Grandma the Clown, who has returned from retirement.

When it comes to music selection for the various acts, Slowik says that the producer makes the final decision, but there is input from the director, as well as the performing act. “We try to honor the act’s needs in terms of tempo and timing, and we like to use music that is going to inspire,” he says. “While there is often some initial resistance to new music from acts who may have used the same music for 10 or 15 years, at the end of the season, they frequently want to buy the music and take it with them.”

Use of a click track helps the band keep to a steady tempo for performances, and Slowik keeps a constant eye on the show for split second adjustments. “We have a lot of vamps built into the music but often we’ll have to create new vamps on the fly,” he says. “Something can go wrong at any point, whether it’s somebody missing a trick, wanting to repeat a trick, or something that goes wrong with the rigging or a prop.”

“I try to get the dogs to count the downbeat of the bar but they don’t listen, and neither do the horses,” laughs Slowik. “One of the nice things about having a band with a lot of circus experience is that they can almost read my mind.”

Musicians new to the circus, even veteran Broadway players, require some training. “They have to come watch the show. I give them a video of me conducting and a pdf of the book. One of the things I tell them is: ‘This vamp is four bars, but the cue could come anywhere, including in the middle of the bar.’ On Broadway, if you have a two-bar or four-bar vamp, it is almost always at the end of four bars. It can take people a while to get used to that. You really have to be aware because the cue could come out of nowhere.”

On occasion, Slowik says he has even become a part of the act. He recalls a skit he did with Grandma the Clown where he was hoisted 30-feet up in the air to play his trumpet. “It was a lot of fun!” he says, adding that he looks forward to something like that happening in the future.

The new Big Apple Circus show premiered October 27 and runs through January 7. After that, it will begin an East Coast tour with stops between Atlanta and Boston. When on tour, the Big Apple Circus travels with about 50% of its core band, hiring local AFM musicians in whatever city it visits.