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e
NEWS
LOCAL 180
MUSICIANS’ ASSOCIATION
OF OTTAWA-GATINEAU
INCLUDING SUDBURY AND HUNTSVILLE
LOCAL 180
General
Meeting
Monday
September 14th
7:30 pm
280 Metcalfe St
5th floor
JP Allain
virtuoso jazz pianist
musiciansassociation180.org
SEPTEMBER 2015
VOL. 93
Feature article by T. Bruce Wittet
e
SEPTEMBER 2015
NEWS
in
this
issue…
LOCAL 180
MUSICIANS’ ASSOCIATION
OF OTTAWA-GATINEAU
INCLUDING SUDBURY AND HUNTSVILLE
Senior Editor: Robin Moir
Managing Editor: Glenn Robb
This journal has been optimized for viewing on
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Post, you can still view the colour edition on our
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future, please contact us at the office. It would
save us time & money. Thank you!
13
eNews Harp is the Official Journal of
Editorial Coordinator:
Francine Schutzman
Translation: Denise Carrière
2016 Membership Dues
Art Director: Lucie Lavallée
Production Manager: Dave Poulin
Design: studioNINE
Cover photo: Sandy Ziegler
3-6
7-10
President’s Message
Secretary-Treasurer’s Message
Feature Articles
LOCAL 180
11-12
13
22
OCSM Conference Report
JP Allain
AFM News
18
Local 180 News
General Meeting
Monday, September 14th
7:30 pm
(Doors open at 7 pm)
280 Metcalfe St, 5th floor
2016 MEMBERSHIP DUES for Regular Members
(Including Students)
Dues paid in full before the end of January
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DISCLAIMER
The Musicians’ Association
of Ottawa-Gatineau
Including Huntsville
and Sudbury
Local 180, A. F. of M.
OFFICERS
President: Francine Schutzman
Vice President: Gary Morton
Secretary-Treasurer: Robin Moir
EXECUTIVE BOARD
Dave Renaud, Lawrence Vine,
Mike Mullin, Steve Boudreau
DELEGATES TO AFM CONVENTION
Francine Schutzman
Robin Moir
PRESIDENT EMERITUS
Glenn Robb
Your officers and editorial staff conscientiously screen all advertising submitted to the News Harp. However, we cannot assume
responsibility for product quality or advertising content; nor can your officers be held accountable for misrepresentations
between side persons and leader/contractors.
Local 180 publishes The News Harp 4 times per year. In an Election Year, we also publish an Election Issue for members.
OFFICE STAFF
Office Manager: Susan Avery-Sproule
Office Assistant: Dan Blackwell
MPTF Coordinator: Glenn Robb
page 2 of
eNewsWebsite:
Harp Dave
Sept.Poulin
2015
26
LOCAL
LOCAL180
180
The President’s Message
News
La version française se trouve à la page 5.
Photo: Dave Poulin
2015 Canadian
CONFERENCE
Francine Schutzman
R
obin Moir and I were pleased to represent Local 180 at the annual meeting of the Canadian Conference (the
group within the AFM that encompasses
all of the Canadian Locals) in Windsor,
ON, from August 7th to the 9th. I believe
that the best way to describe it is that we
heard a fair amount of good – or at least,
not too bad – news.
One of the first orders of business was
to hear a report from the Standards
Committee. Since Robin serves on that
committee and heads its sub-committee
on branding, I’ll leave the details of that
report to her.
and
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You probably all know that it is easier
for US musicians to come to Canada to
work for short periods of time than it is
for Canadian musicians to cross the U.S.
border. The wait time for getting a P2 visa
is currently quite long, as the U.S. office
is backlogged. Make sure that you allow
at least 45 days for visa processing. For
those who need it, there is a type of P2
visa that covers a full year if, for example,
you are making a recording in the U.S.
with a number of sessions spread out over
the year. You may not be aware that there
has been an additional burden on orchestras with new members who have work
permits for Canada. Generally, it takes at
least a year and a half for orchestra musicians to be granted tenure in an orchestra.
Nevertheless, orchestras were told that
they had to hold auditions again after a
musician had been in the job for just one
orchestra season, thus forcing people to
re-audition for jobs that they had already
won, putting those very jobs in jeopardy
and technically starting the probationary
period all over again. Thanks to the lobbying efforts of the CFM and Orchestras
Canada, we can expect changes to that
rule, hopefully this fall. There will no
longer be a labour market assessment
required for orchestra players, dancers,
IATSE members, etc.
We realize that there are perennial concerns about our Musicians’ Pension Fund.
We had an excellent, informative presentation by actuary Cameron McNeill, who
told us that the Fund has indeed been
greatly affected by continuing low interest rates, but there are no immediate concerns about the health of the Fund. The
Fund can still be considered good value
compared to RRSPs, in part because of the
expense ratios of RRSPs. They are generally higher than that of the Fund, which
continues to have an expense ratio lower than 1 percent (0.68 in2014). It is impossible to predict what will happen in the
future, especially as our population ages
(and how interesting it was to hear that
Canadians live not only longer than they
used to, but also longer than Americans).
Fund administrator Ellen Versteeg-Lytwyn
urged us to visit the Pension Fund’s website (www.mpfcanada.ca) for current
information.
Bob Burns from HUB insurance, a company which has insured many of our instruments and Local offices for 35 years,
suggested that it’s a good idea to get liability insurance. There were three liability claims last year after a period of eight
years with none at all. Such insurance for
a special event, for example, would cost
$100-150.
VP from Canada Alan Willaert informed the
group that there will be a meeting with representatives of the CBC to try to iron out
some problems with the new agreement.
It is apparent to everyone that the CBC
is no longer interested in picking up concerts as they used to, and it is everyone’s
guess as to whether or not a change in
government and/or funding would change
that situation.
AFM President Ray Hair gave a spirited talk
that included a brief history of the AFM.
He told the delegates that when he took
eNews Harp Sept. 2015
page 3 of 26
LOCAL 180
The President’s Message
office, the total assets of the Union were $11.8 million;
today they are $15.4 million, thanks to cost-cutting measures. The money taken from the relocation fund in order to
make payroll has now all been paid back. That’s the good
news. Now we are faced with challenges on the media front.
Employers want to capture musical content with little or
no upfront payment, have unfettered use of that content,
and give little or no back-end revenue share to musicians.
We need to stand together to work through technological
changes. There may be conflict and disagreement as we
adapt to the new paradigm, especially as established processes quickly become outdated and inefficient. The AFM
is working tirelessly to get worldwide performance rights
paid to Ray stressed that going it alone means failure; we
are stronger together.
AFM Secretary-Treasurer informed us that Ray’s talk would
be available on the AFM website. He also gave us the welcome news that the website will be upgraded. Overall AFM
membership stands at about 78,000 - 79,000 musicians.
We heard from Ray Hair about the AFM’s efforts to obtain performance rights, or neighbouring rights, for North
American musicians for music that is played around the
world. In Canada, we have neighbouring rights paid on
everything, including terrestrial broadcasts and both interactive and non-interactive service providers. Be sure to
register with MROC to make sure that you get your fair
share of those rights. We have registration forms in the
Local office, or you can do it online at musiciansrights.ca.
International VP Sam Folio
Canadian Co
nference Pre
sident Paul
and AFM Pre
LeClair
sident Ray H
air
Regarding the situations with the Locals in Vancouver
and Montreal, the best way to describe it is that there are
ongoing discussions between the Local officers and VPC
Willaert. The Vancouver delegates proposed a media advisory committee to help Alan and the CFM come up with
proposals to deal with new realities in the world of media
while still maintaining fair compensation for musicians.
This is but a snapshot of what transpired at the 2015
Canadian Conference. If you would like copies of any of
the written reports that we received, please contact me
([email protected]).
Francine Schutzman
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eNews Harp Sept. 2015
page 4 of 26
Nouvelles
de laCONFÉRENCE
SECTION LOCALE 180
Photo: Dave Poulin
Message de la présidente
Francine Schutzman
R
The english version is located on the previous page.
canadianne 2015
obin Moir et moi avons été enchantées
de représenter la Section locale 180 à
l’assemblée annuelle de la Conférence
canadienne (le groupe à même la FAM
qui représente toutes les sections locales
canadiennes) à Windsor, en Ontario, du 7 au 9
août. En bref, je dois vous dire que nous avons
entendu un montant appréciable de bonnes –
ou du moins d’assez bonnes -- nouvelles.
Un rapport du Comité des normes était le premier point à l’ordre du jour. Comme Robin fait
partie de ce comité et dirige le sous-comité
sur la stratégie de marque, je lui laisse le plaisir de vous en faire un résumé.
Vous savez probablement tous qu’il est plus
facile pour les musiciens américains de travailler au Canada pendant de courtes périodes qu’il ne l’est pour les musiciens canadiens de traverser la frontière américaine. Le
délai pour obtenir un visa P2 est présentement interminable en raison de l’arriéré de
travail au bureau des États-Unis. Prévoyez
au moins 45 jours pour le traitement d’un
visa. Si vous en avez besoin, un certain type
de visa P2 couvre une année complète; par
exemple, dans le cas où vous enregistrez aux
États-Unis et que les séances sont étalées sur
un an. Vous ne savez peut-être pas que les
orchestres ont un fardeau supplémentaire
en raison des nouveaux membres ayant des
autorisations d’emploi au Canada. En règle
générale, les musiciens doivent attendre deux
ans avant d’obtenir une permanence à même
un orchestre. Néanmoins, les orchestres ont
été avertis de tenir de nouvelles auditions si
le musicien avait occupé le poste pendant une
seule saison d’orchestre, obligeant ainsi les
personnes à auditionner de nouveau pour un
emploi déjà obtenu, mettant ces emplois en
péril et, en principe, recommençant encore
la période probatoire. Grâce aux activités de
couloir de la FCM et d’Orchestres Canada,
nous espérons que ce règlement sera modifié
cet automne. Par conséquent, les membres
d’un orchestre, les danseurs, les membres de
l’Alliance internationale des employés de la
scène et des projectionnistes des États-Unis
et du Canada, etc., ne seront plus tenus d’effectuer une évaluation du marché du travail.
Nous comprenons les préoccupations perpétuelles afférentes à la Caisse de retraite des
musiciens. L’actuaire, Cameron McNeill, a fait
une excellente présentation, très éducative,
dans laquelle il a précisé l’effet néfaste des
faibles taux d’intérêts sur la Caisse, tout en
soulignant que l’état de santé de la Caisse ne
posait aucun problème immédiat. La Caisse
offre toujours une bonne valeur par rapport
aux REER, en partie en raison du pourcentage
des frais généraux des REER. Ce pourcentage
est généralement plus élevé que celui de la
Caisse, qui continue d’afficher un pourcentage des frais généraux inférieur à 1 pour cent
(0,68 en 2014). Il est impossible de prédire
l’avenir, surtout à la lumière du vieillissement
de la population (et quelle joie d’entendre que
les Canadiens vivent non seulement plus longtemps que par le passé, mais aussi plus longtemps que les Américains). L’administratrice
de la Caisse, Ellen Versteeg-Lytwyn, nous a
invités à visiter le site Web de la Caisse (www.
mpfcanada.ca) pour obtenir des renseignements à jour.
Bob Burns, de HUB insurance, une société
qui, depuis 35 ans, assure plusieurs de nos
instruments et bureaux de sections locales,
nous a suggéré qu’il serait bon d’obtenir une
assurance responsabilité. Trois réclamations
de responsabilité ont été présentées l’an passé, à la suite d’une période de huit ans sans
aucune réclamation. Une telle assurance pour
une activité spéciale, par exemple, coûterait
de 100 à 150 $.
Le VP du Canada, Alan Willaert, a avisé le
groupe d’une réunion à venir avec les représentants de la SRC afin d’aplanir certaines des
difficultés à même la nouvelle entente. Nous
savons tous que la SRC n’est plus intéressée
à diffuser autant de concerts que par le passé,
et on se questionne à savoir si un changement ou non de gouvernement et/ou de financement risque de changer la situation.
Le président de la FAM, Ray Hair, a fait une
présentation animée, y compris une brève
eNews Harp Sept. 2015
page 5 of 26
SECTION LOCALE 180
Message de la présidente
historique de la FAM. Il a précisé qu’à son entrée en fonction, l’actif du syndicat était de
11,8 millions de dollars; aujourd’hui
il se chiffre à 15,4 millions de dollars en raison des mesures de
réduction des coûts. L’argent puisé du fonds de déplacements afin
de combler la masse salariale a maintenant été remboursé. Voilà
de bonnes nouvelles. Nous devons maintenant relever le défi des
médias. Les employeurs veulent capter le contenu musical avec
peu, sinon aucun paiement forfaitaire, ils veulent l’utilisation inconditionnelle de ce contenu, et ils veulent remettre très peu,
sinon aucune recette complémentaire aux musiciens. Nous devons
faire équipe pour tirer profit des changements technologiques.
L’adaptation à ce nouveau paradigme risque d’entraîner des conflits
et des mésententes, particulièrement alors que les processus établis deviennent rapidement désuets et inefficaces. La FAM travaille
sans arrêt à obtenir le paiement des droits d’exécution à l’échelle
mondiale. M. Hair a insisté sur le fait que sans collaboration, nous
ne réussirons pas; mais plutôt que l’union fait la force.
Le secrétaire trésorier de la FAM nous a avisés que la présentation
de M. Hair serait offerte sur le site Web de la FAM. Il nous a aussi
confirmé une nouvelle très attendue, notamment la modernisation
du site Web. Dans l’ensemble, la FAM compte de 78 000 à 79 000
musiciens.
M. Hair nous a également parlé des efforts de la FAM visant à obtenir des droits d’exécution ou des droits connexes pour les musiciens
en Amérique du Nord et leur musique diffusée partout au monde.
Au Canada, des droits connexes sont payés sur tout, y compris la
radiodiffusion terrestre et les fournisseurs de services interactifs et
non interactifs à la fois. Veillez à vous inscrire auprès de la MROC
pour vous assurer de recevoir votre juste part de ces droits. Des
formulaires d’inscription sont disponibles au bureau de la Section
locale, ou vous pouvez vous inscrire en ligne à musiciansrights.ca.
En ce qui concerne la situation des sections locales à Vancouver
et à Montréal, je peux vous dire que des échanges continus ont
lieu entre les représentants des sections locales et M. Willaert, VP
du Canada. Les délégués de Vancouver ont proposé de former un
comité consultatif pour aider M. Willaert et la FCM à élaborer des
propositions visant à étudier les nouvelles réalités du monde médiatique tout en maintenant une rémunération équitable pour les
musiciens.
Cela n’est qu’un aperçu du déroulement de l’édition 2015 de la
Conférence canadienne. Si vous désirez des copies de l’un ou
l’autre des rapports que nous avons reçus, veuillez communiquer
avec moi ([email protected]).
Francine Schutzman
International VP Sam Folio
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eNews Harp Sept. 2015
page 6 of 26
LOCAL 180
An outstanding
La version française se trouve à la page 9
Canadian CONFERENCE
in Windsor
B
ecause this year’s Canadian Conference was a
Unity Conference with OCSM (Organization of
Canadian Symphony Musicians), Local 180 sent
three delegates to the conference; President Francine
Schutzman, Secretary Treasurer Robin Moir and our
Local’s OCSM representative, David Goldblatt. You
will find their articles in this issue of the News Harp.
The Conference was held in Windsor, ON, from August
7th to the 9th at the beautiful Waterfront Hotel. It
was a picturesque location on the banks of the Detroit
River and the weather favoured the fortunate, as it
was warm and sunny almost the entire time. Many of
us took the opportunity for a lovely evening stroll in
Riverfront Park, part of a long sculpture garden along
the river. There are paths for both walking and biking
with a spectacular view of the Ambassador Bridge and
the Detroit Skyline.
The entire event, planned by Windsor Local 566, was
outstanding.
In terms of attendance at this year’s Canadian
Conference, there were twenty-three (23) locals
represented by thirty-two (32) delegates. In addition
there were four (4) observers and twenty-two (22)
guests.
One of the first orders of business was to hear a report from the Standards Committee. The Standards
Committee, Chaired by Doug Kuss, Secretary
Treasurer of Local 547, Calgary was formed after the
last AFM Convention, and it is now a standing committee of the Canadian Conference. The Committee
continues to meet by conference call with the Chair
Photo: Dave Poulin
The Secretary-Treasurer’s Message
Robin Moir
who reports regularly to the Canadian Conference
Executive Board.
Subject: CFM Branding Committee
Progress Report
This past year the presentation for Local Officer
Training was revised with input from the Canadian
office and the Canadian International Representative
(CIR) did a test run in L355, Cape Breton.
The members of the CFM Branding Committee exchanged a series of emails in response to the Chair’s
request for committee members to send out the top
10 words to describe the CFM now, including words to
describe how the CFM should be seen by its members
and the public. This was considered to be our Step
One.
Work continued on the revision of the Canadian
Officer’s Manual with the involvement of the Canadian
office and CIR.
The Committee prioritized the recommendations of
the 2014 report and decided that a strategy of collective bargaining under Status of the Artist legislation
was a good starting point because of its importance
and relevance to freelance musicians.
A national branding/promotion initiative was identified as the second priority, and the Committee met
by conference call with Vice-President from Canada
(VPC) Alan Willaert to discuss both of the above options. The VPC agreed with the committee findings,
and a decision and a game plan was set.
In May 2015, the Canadian Conference Executive
appointed me as Chair of the Promotion/Branding
Committee, and I began work assembling the committee from the list and prioritizing the committee’s
mandate.
That first email elicited over 300 suggestions and
ideas. Of course, many, many of them were repeated
by committee members and these particular words
were brought to the top of the list.
The committee moved on to Step Two, which was
to study the subsequent document/chart prepared by
the Chair. The document prioritized all of the recommendations from the survey. These recommendations
represented the importance of the CFM to our members, and potential new members, as well as the public. The committee was requested to make any additions to that document.
For the sake of brevity, I
have only submitted the chart for Step Three, in which
the committee again prioritized and harmonized the
blocks and distilled all of the info submitted to create
a condensed and compelling mission statement, from
which to continue working.
I reported on our committees’ progress to the
Standards Committee Chair and the Canadian
Conference Executive; please see my report below.
eNews Harp Sept. 2015
page 7 of 26
LOCAL 180
The Secretary-Treasurer’s Message
CFM BRANDING PROJECT – Harmonized and Prioritized
Step 3
BLOCK 1 – Contract Protection, Negotiators, Working
for the rights of all members, Legal Advice and
Representation, Work Visas, Representative, Professional
Opportunities and Avenues, Accessible, CBAs
BLOCK 2 – Vibrant and Supportive
BLOCK 3 – Fraternity and brotherhood/sisterhood
BLOCK 4 – Body of Professionals, pursuing excellence
BLOCK 5 – MPFC Pension
BLOCK 6 – Essential
BLOCK 7 – Honest and helpful
BLOCK 8 – Expertise, wealth of experience, respected
and credible
BLOCK 9 – National and International Resource Base
BLOCK 10 – Accessible throughout Canada
Step Four is to meet with the CFM and Vice President
from Canada Alan Willaert to present our findings to date.
Step Five is to produce a 3-5 minute ad for the CFM and
all Locals within the CFM for use on websites and all social media outlets. This media ad will be presented at the
Canadian Conference at the AFM Convention in 2016.
Meanwhile, the Canadian office, with input from the
Standards Committee Chair, started work on a revised
‘user friendly’ live engagement contract for Canada. This
is something that many Locals have asked for in the past.
In January of 2015, the Canadian Locals were contacted to
discover their interest in participating on the Negotiation
and/or Promotion Committees as well as to submit a list of
potential employers. This list was submitted by Chair Doug
Kuss to the Canadian Conference Executive and the VPC
for consideration. Negotiators will most likely be chosen in
the region that negotiations are scheduled and/or by the
type of work being negotiated, as well as their availability.
The Standards Committee then began the collection of
all Canadian Local media agreements for review, to determine what an agreement template might look like. It
was decided between the VPC Alan Willaert and Standards
Committee Chair that the new CBC agreement would contain all of the necessary elements for a possible template.
In May 2015, the VPC with the use of the CBC concept
and new agreement met with Bell Media Inc. to determine
employer reaction to the concept and reported back to the
Committee. Further discussion dates with Bell will be set
over the summer.
The Standards Committee is concerned with trying to standardize the way artists are treated at festivals and awards
shows as well as the contracts Locals use daily. Many officers are frustrated for example with events that move
from Local to Local each year.
So far, each Local looks at the last agreement to see how
things worked, but it would be much easier and more effective with a Standard Template document. Although the
broadcast portions of the East Coast Music Festival are still
covered by AFM contracts, Locals need to recapture the
live work. Many delegates voiced the opinion that as far
as provincial festivals go, government needs to hold those
festivals accountable for how they spend their grant money.
Also under discussion was Music Industry Associations
using tax dollars to fund events. These groups spend a
great deal of time selling musician showcase opportunities
which are either grossly unpaid or not paid at all. In some
cases the artists are required to pay for the opportunity to
play. This is something that the Standards Committee is
looking at very seriously.
All in all the delegates had the opportunity to voice their
opinions and concerns to the Can Con Executive as well
as to discuss among themselves the two Round Table
Discussions:
How do we make the AFM more relevant to freelance
musicians?
What direction are orchestras, independent musicians and
Locals taking in response to the dissolution of CBC remotes
and the changing media landscape?
The results of these discussions will be sent as reports
to the Canadian Conference Secretary-Treasurer and then
sent on the Locals.
If you would like a copy of the report, please let me know
and I will forward one to you.
Robin Moir
NOMINATION MEETING!
Secretary-Treasurer
Local 180
Members, please mark your calendars. There will be
nominations at our General Meeting on September 14,
2015 for those wishing to put their name forward for
the upcoming elections in December.
Please consider serving the membership!
eNews Harp Sept. 2015
page 8 of 26
SECTION LOCALE 180
Message de la secrétaire trésorière
The english version is located on the previous pages.
P
extraordinaire!
uisque la Conférence canadienne de cette année
était une conférence commune avec l’OMOSC
(Organisation des musiciens d’orchestres symphoniques du Canada), la Section locale 180 a envoyé trois délégués à la Conférence, notamment
la présidente, Francine Schutzman, la secrétaire
trésorière, Robin Moir et le représentant de l’OMOSC
pour notre Section locale, David Goldblatt.
Vous
découvrirez leurs articles dans le présent numéro du
News Harp.
et fait maintenant partie des comités permanents de
la Conférence canadienne.
Le Comité continue de
tenir ses réunions par conférence téléphonique avec le
président qui en fait régulièrement rapport au Conseil
d’administration de la Conférence canadienne.
La Conférence a eu lieu à Windsor, en Ontario, du 7 au
9 août, au magnifique Waterfront Hotel. Nous avons
joui d’un décor pittoresque sur les rives de la rivière
Détroit, et nous avons été privilégiés par la météo,
car il a fait beau et chaud tout au long de notre séjour. Plusieurs ont profité de l’occasion pour faire une
promenade dans le Riverfront Park, lequel fait partie
d’un long jardin de sculptures en bordure de la rivière.
Des sentiers se prêtent tant à la marche qu’au vélo et
offrent une magnifique vue du pont Ambassador et du
de la silhouette de Détroit.
La révision du Manuel du représentant canadien se
poursuit avec l’apport du bureau canadien et du RCI.
Toute l’activité, planifiée par la Section locale 566 de
Windsor, s’est avérée extraordinaire.
Pour ce qui est de la participation à la Conférence canadienne cette année, vingt-trois (23) sections locales
étaient présentes, représentées par trente-deux (32)
délégués. À ces derniers, on ajoute quatre (4) observateurs et vingt-deux (22) invités.
La présentation du rapport du Comité des normes était
parmi les premiers points à l’ordre du jour. Le Comité
des normes, présidé par Doug Kuss, secrétaire trésorier de la Section locale 547, de Calgary, a été mis sur
pied à la suite de la dernière Convention de la FAM,
Au cours de la dernière année la présentation à l’intention des agents en formation de la Section locale a été
révisée avec l’aide du bureau canadien, et le représentant canadien international (RCI) a effectué un essai
auprès de la Section locale 355, au Cap Breton.
Le Comité a donné la priorité aux recommandations
du rapport de 2014 et a décidé qu’une stratégie de
négociation collective en vertu de la Loi sur le statut
de l’artiste serait un bon point de départ en raison de
son importance et de sa pertinence par rapport aux
musiciens pigistes.
Une initiative nationale de marquage et de promotion a
été cernée comme deuxième priorité, et le Comité s’est
réuni par conférence téléphonique avec le vice-président du Canada (VP du Canada), Alan Willaert, pour
échanger sur chacune des options ci-dessus. Le VP du
Canada était d’accord avec les conclusions du Comité,
entraînant une prise de décision et l’élaboration d’une
stratégie.
En mai 2015, le Conseil d’administration de la
Conférence canadienne m’a nommée présidente du
Comité de promotion et de marquage. J’ai donc commencé à combler le comité à partir de la liste, et à donner la priorité à l’établissement du mandat du Comité.
Photo: Dave Poulin
À Windsor,
une CONFÉRENCE canadienne
Robin Moir
J’ai fait part du progrès de notre comité au président
du Comité des normes et au Conseil d’administration
de la Conférence canadienne; vous trouverez mon rapport ci-après.
Objet : Rapport d’étape du Comité
de la stratégie de marque de la FCM
Les membres du Comité de la stratégie de marque de
la FCM ont échangé une série de courriels en réponse
à la demande de la présidente de décrire la FCM d’aujourd’hui en 10 mots, y compris des mots pour décrire
comment la FCM devrait être perçue par ses membres
et le public. Cela a été notre Première étape.
Ce premier courriel a donné lieu à plus de 300 suggestions et idées. Évidemment, plusieurs mots ont été
répétés par les membres du Comité et ces répétitions
ont été mises en tête de liste.
Le Comité est passé à la Deuxième étape, laquelle
comprenait une étude du document ou graphique subséquent préparé par la présidente. Le document a établi l’ordre de priorité de toutes les recommandations
découlant du sondage. Ces recommandations représentaient l’importance de la FCM pour nos membres,
pour les nouveaux membres éventuels, et pour le public. On a demandé au Comité de faire des ajouts à ce
document. Par souci de brièveté, je présente uniquement le graphique de la Troisième étape, dans lequel
le Comité a de nouveau établi et harmonisé les blocs,
épurant toute l’information présentée pour créer un
énoncé de mission condensé et convaincant, à partir
duquel il poursuivrait son travail.
eNews Harp Sept. 2015
page 9 of 26
SECTION LOCALE 180
Message de la secrétaire trésorière
PROJET DE STRATÉGIE DE MARQUE DE LA FCM
– harmonisé et en ordre de priorité
Troisième étape
BLOC 1- Protection des contrats, négociateurs, travailler
pour les droits de tous les membres, avis et représentation juridiques, visas de travail, représentant, possibilités et débouchés professionnels, accessible, conventions collectives
BLOC 2 – Vibrant et coopératif
BLOC 3 – Fraternité et confrérie / sororité
BLOC 4 – Corps professionnel, viser l’excellence
BLOC 5 – Caisse de retraite des musiciens du Canada
BLOC 6 - Essentiel
BLOC 7 – Honnête et utile
BLOC 8 – Expertise, richesse d’expérience, respecté
et crédible
BLOC 9 – Ressources fondamentales nationales
et internationales
BLOC 10 – Accessible partout au Canada
L’étape quatre consiste à rencontrer la FCM et le VP du
Canada, Alan Willaert, afin de leur présenter nos recommandations à ce jour.
L’étape cinq consiste à produire une annonce publicitaire
de trois à cinq minutes à l’intention de la FCM et de toutes
les sections locales à l’intérieur de la FCM aux fins d’utilisation sur leurs sites Web et médias sociaux. Cette annonce
médiatique sera présentée à la Conférence canadienne
dans le contexte de la Convention de la FAM en 2016.
Entre-temps, le bureau canadien, avec la collaboration du
président du Comité des normes, procède à la révision
d’un contrat d’embauche en direct « convivial » pour le
Canada. Plusieurs sections locales ont demandé une telle
démarche par le passé.
En janvier 2015, les sections locales canadiennes ont été
contactées pour connaître leur intérêt de participer aux
comités de négociation et/ou de promotion, et on leur a
demandé de fournir une liste d’employeurs éventuels. Le
président, Doug Kuss, a présenté cette liste au Conseil
d’administration de la Conférence canadienne et au VP du
Canada aux fins d’examen. Il est probable que des négociateurs seront choisis, selon leur disponibilité, dans la région où des négociations sont prévues et/ou selon le type
de travail faisant l’objet de la négociation.
Par la suite, le Comité des normes a commencé à recueillir
et à examiner toutes les ententes médiatiques des sections locales canadiennes afin d’élaborer une entente modèle. Ensemble, le VP du Canada, Alan Willaert, et le président du Comité des normes ont conclu que la nouvelle
entente de la SRC comprendrait tous les éléments nécessaires pour servir de modèle.
En mai 2015, le VP du Canada, à l’aide du concept et de
la nouvelle entente de la SRC, a rencontré la société Bell
Media Inc. afin d’évaluer la réaction des employeurs par
rapport au concept, et en faire part au Comité. Des dates
d’échanges plus approfondis avec la société Bell seront
fixées à l’été.
Le Comité des normes se préoccupe de normaliser la façon
dont les artistes sont traités dans le contexte de festivals et
de présentations de prix ainsi que dans les contrats qu’utilisent quotidiennement les sections locales. Plusieurs représentants sont contrariés, par exemple, par les activités
qui vont d’une section locale à une autre à chaque année.
À ce jour, chaque section locale examine la dernière entente pour en évaluer le rendement, mais la tâche serait
beaucoup plus facile et efficace si un document standard
existait. Bien que le volet diffusion du East Coast Music
Festival soit encore visé par des contrats de la FAM, les
sections locales doivent reprendre le travail en direct.
Plusieurs délégués ont exprimé leur opinion afférente
aux festivals provinciaux, disant que le gouvernement
doit tenir ces festivals responsables de la façon dont ils
dépensent les fonds d’aide. Un autre échange a porté sur
le fait que les associations de l’industrie de la musique
utilisent l’argent des contribuables pour financer des activités. Ces groupes passent beaucoup de temps à vendre
des occasions de représentation aux musiciens, lesquels
sont soit manifestement sous rémunérés ou carrément impayés. Dans certains cas, les artistes doivent payer pour
l’occasion de s’exécuter. Voilà une chose que le Comité des
normes examine très attentivement.
Enfin, les délégués ont eu l’occasion d’exprimer leur opinion et leurs préoccupations au Conseil d’administration
de la Conférence canadienne tout en échangeant entre
eux dans le contexte de deux tables rondes :
Comment rendre la FAM plus pertinente pour les musiciens
pigistes?
Quelle orientation prennent les orchestres, les musiciens
indépendants et les sections locales en réponse à la dissolution des émissions en extérieur de la SRC et à la scène
médiatique?
Les résultats de ces échanges seront transmis sous forme
de rapport au secrétaire trésorier de la Conférence canadienne, puis acheminés par la suite aux sections locales.
Si vous désirez une copie du rapport, veuillez m’en aviser
et je vous en ferai parvenir une.
Robin Moir
Secrétaire trésorière
Section locale 180
RÉUNION DES MISES
EN CANDIDATURE!
Membres, à vos calendriers! À l’assemblée générale du
14 septembre 2015, nous prendrons les mises en candidature
des membres intéressés à se présenter aux prochaines élections prévues en décembre.
Veuillez songer à être au service des membres!
eNews Harp Sept. 2015
page 10 of 26
2015 OCSM
Conference report
I
t had been quite a few years since I attended
an OCSM conference. It was nice to see some
familiar faces and also some new ones. The
proliferation of laptops and the internet at the
conference reminded me how long it has been
since I attended. I must say I took advantage of
the “new” technology whenever possible. I found
myself looking up websites I was not familiar with
as soon as they were mentioned in various presentations by conference attendees. The instant
gratification was stimulating. But of course, there
were still a few traditionalists taking notes the old
fashioned way, with pen and paper.
The 2015 OCSM conference coincided with the
2015 Canadian Conference of AFM Locals. Their
meeting took place across the hall in another
conference room. On the second day, we joined
them for a day of AFM officer reports and roundtable discussions. Particular attention was paid
to the void left by the CBC for the broadcasting
of Canadian artists and how that void might be
filled. AFM President Ray Hair gave an inspiring
speech, a version of which can be seen on the
AFM website at http://www.afm.org/member/lounge.
The speech was inspiring and delivered with particular Texas charm.
The conference began, as it usually does, with
the seating of all the delegates and a speech by
the current OCSM president, Bob Fraser. Bob
gave an inspiring speech of inclusiveness and encouragement, including some spoken in French.
I was pleased to hear French spoken at the conference, something I do not remember hearing in
the past. The conference proceeded with individual delegate reports which included highlights of
the previous season, current negotiating status,
artistic highlights, and mention of any issues encountered. I always enjoy this part of the conference as I feel like I am catching up with old
friends. Of particular note was the report by the
delegate from the former Orchestra London of
Canada. Their inspiring struggle was laid out for
us in much detail. Currently, they are going by
the moniker #WePlayOn. Stay tuned; you have
not heard the last from these resilient musicians.
Out of self-interest, I am always curious to hear
the presentation given by the AFM Musicians’
Pension Fund of Canada. In case you don’t know,
they have new self-serve options on their website where you can calculate your own current
pension, keep track of contributions, and calculate what your projected pension might be upon
various ages of retirement. I find this feature
very useful in planning the future. As presented,
the pension is extremely well run by a dedicated group of individuals. Of particular note is our
fund’s very capable and conservative Scottish actuary. Information on the fund can be found at
http://www.mpfcanada.ca/
Photo: Fred Cattroll
ORGANIZATION OF CANADIAN SYMPHONY MUSICIANS
By David Goldblatt
The last full day of the conference was my favorite. Along
with good reports from the Symphonic Services Division
(SSD), we got to meet the dynamic and knowledgeable
Randall Whatley, from the Cypress Media Group. Randy
was intimately familiar with the public relations needs of
symphony orchestras, particularly with regard to labor
relations. He offered lots of tricks and advice about
the effective use of social media in our struggle to get
our information out to the public. Further information
on his activities can be found at http://cypressmedia.net/
public-relations/public-relations-experience.php. The conference ended on a very positive note. Bob Fraser (Victoria
Symphony) was acclaimed as President and Liz Johnston
(Canadian Opera Company) was acclaimed as Second
Vice-President for new 2-year terms. In addition, the
delegates recommended to the Executive of OCSM that
the Niagara Symphony and Tafelmusik be invited to join
OCSM as full member orchestras. With a few exceptions,
the Canadian symphonic scene is a stable, vibrant, and
creative sector, continuing to contribute to Canada’s cultural fabric.
eNews Harp Sept. 2015
page 11 of 26
Rapport sur l’édition 2015
de la Conférence de l’OMOSC
J
e n’avais pas participé à la Conférence de l’OMOSC
depuis bon nombre d’années, et ce fut plaisant
de voir des visages connus et inconnus. La prolifération des ordinateurs portatifs et d’Internet à la
Conférence m’ont rappelé le nombre d’années passées
depuis ma dernière participation. Je dois dire que j’ai
profité de la « nouvelle » technologie autant que possible. Je me suis retrouvé à chercher des sites Web
que je connaissais à peine dès qu’ils étaient mentionnés dans les diverses présentations des participants à
la Conférence. La satisfaction instantanée était énergisante. Par contre, j’avoue qu’il y avait encore quelques
traditionalistes, plume et papier à la main, prenant des
notes à l’ancienne manière.
La Conférence a démarré, comme à l’habitude, alors
que tous les délégués prenaient place et que le président actuel, Bob Fraser, nous a offert une allocution
inspirante d’inclusivité et d’encouragement, y compris
quelques mots en français. J’étais heureux d’entendre
parler français à la Conférence, chose qui ne fait pas
partie de mes souvenirs passés. Puis, des rapports individuels de délégués ont suivi, lesquels comprenaient
les points saillants de la saison précédente, l’état actuel
des négociations, les faits artistiques marquants, et la
mention de tout enjeu survenu. J’apprécie toujours
cette partie de la Conférence qui me donne l’impression de retrouver de bons amis. Le rapport du délégué
de l’ancien Orchestra London of Canada a été particulièrement intéressant. Leur lutte inspirante nous a été
racontée avec beaucoup de précision. Présentement,
ils sont connus sous le nom #WePlayOn. Stay tuned;
nous n’avons pas fini d’entendre parler de ces musiciens aguerris.
L’édition 2015 de la Conférence de l’OMOSC était parallèle à celle de la Conférence canadienne des sections
locales de la FAM. Leur réunion a eu lieu en face, dans
une autre salle de conférence. La deuxième journée,
nous nous sommes joints à eux pour entendre les rapports des représentants de la FAM et les discussions
en table ronde. Une attention particulière visait le vide
créé par la SRC quant à la diffusion des artistes canadiens, et les moyens de combler ce vide. Le président
de la FAM, Ray Hair, a rendu une allocution inspirante,
laquelle est affichée sur le site Web de la FAM à http://
www.afm.org/member/lounge. L’allocution était
géniale et présentée avec un certain charme texan.
Par intérêt personnel, je suis toujours curieux d’entendre la présentation de la Caisse de retraite des musiciens du Canada. Au cas où vous ne le sauriez pas,
de nouvelles options libre-service sont affichées sur
le site Web de la Caisse, vous permettant de calculer
votre propre pension actuelle, d’être au courant des
contributions et de calculer la pension projetée à divers
âges de retraite. À mon avis, cette fonctionnalité est
très utile à la planification de l’avenir. Telle que présentée, la Caisse est fort bien dirigée par un groupe de
personnes spécialisées. L’actuaire écossais accompli et
conservateur de notre caisse est aussi digne de mention. Vous trouverez des renseignements sur la Caisse
en visitant le http://www.mpfcanada.ca/
par David Goldblatt
Photo : Fred Cattroll
ORGANISATION DES MUSICIENS D’ORCHESTRE SYMPHONIQUE DU CANADA
La dernière journée complète de la Conférence s’est
avérée ma préférée. En plus des rapports intéressants
de la Division des services symphoniques (DSS), nous
avons eu l’occasion de rencontrer Randall Whatley, une
personne très dynamique et avertie, du Cypress Media
Group. M. Whatley était largement familier avec les
besoins des orchestres symphoniques en matière de
relations publiques, particulièrement en ce qui touche
les relations professionnelles. Il nous a fourni plusieurs
trucs et conseils sur l’utilisation efficace des médias
sociaux dans notre lutte visant à transmettre les renseignements au public. Vous trouverez d’autres renseignements sur ses activités en visitant le http://
cypressmedia.net/public-relations/public-relations-experience.php.
La Conférence a pris fin sur une note très positive. En
effet, Bob Fraser (Victoria Symphony) a été proclamé
président et Liz Johnston (Canadian Opera Company)
a été proclamée deuxième vice-présidente pour des
nouveaux mandats de deux ans. De plus, les délégués ont recommandé au Conseil d’administration de
l’OMOSC d’inviter les orchestres Niagara Symphony et
Tafelmusik à se joindre à l’OMOSC à titre de membres
de plein droit. À part quelques exceptions, la scène
symphonique canadienne est un secteur créatif stable
et vibrant, contribuant de façon continue au patrimoine
culturel du Canada.
eNews Harp Sept. 2015
page 12 of 26
FEATURE
JP Allain:
Photo: Jen Squires
Virtuoso
jazz pianist
content to
stay here
while others
leave
By T Bruce Wittet
T
here are many among us who have faced with the
dilemma. They've risen to a level of excellence and
have seemingly exhausted local resources to the
point where a question rears: Should they move to New
York? LA? Montreal?
Jazz pianist JP Allain was a candidate for such relocation
but he's never once regretted his decision to stay in the
domain of Ottawa/Gatineau Local 180. His fellow musicians here are richer for his presence. So is his family. He
can accomplish his goal here: get the piano to speak what
his mind imagines.
Maybe he can't walk up to Times Square but from his home
in Gatineau he does what New Yorkers do. Curiously, his
modest home, situated at the base of an atypically sharp
incline, looks as if it walked out of a Claxton jazz photo—
you know, the famous shot of Art Pepper, sax in hand,
walking up the steep incline in Echo Park, LA, sax in hand.
Let's let that image steep until later.
Home is Heart
The larger issue is that by staying here, JP gets to hold his
family together. There's the rub. They are healthier, too,
for his presence—his wife (an accomplished painter), his
eNews Harp Sept. 2015
page 13 of 26
FEATURE
Feature: JP Allain - Continued
Oscar Peterson would sit
behind the Allain family’s
home upright piano and play
not only the piano
but the room.
children, his grandchildren—it gets Biblical. They visit for
a family dinner and gain from his soulful presence, caring
spirit, and wry twinkle-in-his-eye sense of humor.
Photo: T Bruce Wittet
Just so's you're up to speed, if you're new to the Local or
to jazz, JP Allain is a serious force on his instrument. When
you're talking great jazz pianists, irrespective of country
of origin, list him near the top. He has lived through and
negotiated jazz styles ranging from two-step to swing to
post-bop. He goes deep when he explores; there's nothing
cursory about his approach unless, perhaps, we're talking
the standard rock, pop, and ballroom Latin material he'll
perform on casual dates.
Making a living and a life
It's a rough world and there's nobody to make allowances
for how proficient you play vs how you survive each day.
I remember hanging with a member of the Mario Bauza
Orchestra: Bobby Sanabria. He went down the roster. The
singer worked in a bakery. The trumpet player was a courier, the conguero a yellow cab driver, and so on down the
line. The made music according to the highest standards.
JP Allain would like a word here in favor of staying home.
“If you complain about local players, and you find all these
deficiencies,” JP Allain says, “I think you want to encourage good musicians to stay here. If you want to make
a living playing music – like jazz improvising – and you
don't teach or write, you've got to develop other areas.
It doesn't matter where you live. And I realized this early. When I was around 18 or 19, I decided I'd stay with
friends and family.”
Sax player Hugh O’Connor with JP Allain
JP Allain was not choosing mediocrity over greatness.
Rather, he was committing to maintaining a life of rigorous
self-criticism in his daily practicing, and to constant listening to music old and new.
Opportunity Knocks
It knocked on JP Allain's door many times. Even as a fouryear-old, before he'd committed to the piano, the door bell
would chime and JP would look up at a looming black guy
in a black suit, so tall he blocked out the sun. His parents
had told him musicians were coming for dinner but didn't
hint about ethnicity or stature. For a moment, he experienced a touch of anxiety in the face of the unknown.
“I wasn't afraid, really,” JP recalls, “because as a child
you're innocent.” These thoughts were put to rest when
JP's father, himself an avid pianist, who earned his daily
bread off the bandstand, greeted the towering figure and
introduced him.
Oscar Peterson would sit behind the Allain family's home
upright piano and play not only the piano but the room.
“Most of the time,” JP recalls, “you couldn't even see his
left hand: it was a blur.” He was witnessing a movement
that took the left hand away from a timekeeping role and
introduced voicings that complemented a right hand that
was ridiculously fluid and nimble.
eNews Harp Sept. 2015
page 14 of 26
FEATURE
Feature: JP Allain - Continued
Brit pop buried jazz circa 1965. “I taught between 1966
and 1999, when I retired. I was 57.”
JP talked of Catholic colleges. I had attended one and I
spoke of the well of knowledge that I observed in my professors—plus the humility. “That's exactly what it is,” JP
said. “For me it was a lesson”
“Eventually I accepted what we call in Quebec “secondary
5”, which I guess in Ontario you'd call grade 12. Sometimes
I'd do administration, sometimes I'd teach. The last year
I was there I was the principal and was responsible for
curriculum.
“For that period of time, teaching was my vocation. Music
was my avocation. It always was an important part of life
but I couldn't rely on it to put food on the table. For that
I relied on teaching and administration. I kept doing gigs
but, again, as an avocation.”
It got pretty serious, mind you, this avocation. JP was becoming an acclaimed jazz pianist. How was he able to suppress the urge to take it beyond Ottawa/Gatineau?
“I never had this urge,” JP admits. “I never really wanted that. The good musicians I knew here began to leave
and eventually were gone. What's left for the rest of us?
That whole thing about leaving Ottawa was at the back of
my mind from time to time. Especially when Brian Brown,
a pianist I really looked up to, left. After that there was
no one, really. There were other piano players but you
couldn't find that level of playing anywhere. If we all leave,
then what's left?
“I had to decide at one point if I was going to be a full-time
musician. To me, it was more important to marry, to have
a wife, to have a family and raise children as a father... a
present father, not absent. That was important to me —
not be a father, a somebody, who leaves six months out of
the year.
“At one point,” JP said, “I knew it would have to be one or
the other. It was becoming impossible to put in the hours
necessary for the bachelor's degree while also spending
three or four hours a day practicing music. For a while, I
decided, music would have to take a back seat. But even
when I did the academic things, I worked regularly on the
piano. After I retired from teaching in 1999, I was able to
put in the time, buy the books, play the music and focus
on something I'd repressed. And 'here' was perfect. I
have regular gigs. I have no ambition to become 'Mr. Star'.
What ambition I have is to become as good as I can doing
what I'm doing now. Sometimes I play better for unknown
reasons. I'm critical. At my gig this afternoon, I was really
inspired and the second set was great but when it came
to the final set it wasn't as good. But, you know, I guess
we all go through that. All jazz players do, unless you can
produce new ideas, fresh ideas every time.”
I observed that perhaps he was wise doing what he did.
After all, I've been to New York many times and sat in an
empty room. What's the difference?
“Well, that's exactly what I was hinting earlier. These days,
in Toronto or Montreal, where are you going to work? Here
I'm known and whenever I play in a group I try and uplift
the group; it's as simple as that. I'll never be a recording
star, which is a whole different thing; then you have to
leave for the recording centers. But that's not me.”
Photo: T Bruce Wittet
A four-year-old boy remembers. In fact, I witnessed him
doing exercises designed to free...and strengthen...the
left hand to meet new standards of improvisation and harmonic structure.
Mark Ferguson, Hugh O’Connor with JP Allain
We talked about his former dance band and names like
Brian Tansley, Phil Bova, and Bill Rowatt reared up.
“There's nothing like that at the moment. But when one
door closes another opens and I find myself in a lot of
duos or trios. It opens up areas of my playing that I have
to work on.
“I've done other things as well but I'm never away from
standards for that long. I do try other forms, where I play
in odd times; I'm not that good at it. Right now I can play
in 5 fairly well but 7 is not good, and 11 is out of the question! I enjoy taking a standard and completely re-harmonizing it so that it sounds totally different. I can do that as
well.
“If you’re going to be
playing a note, give it its
full value. Otherwise don’t
play it. That’s something I’m
meticulous about.”
JP goes over to his electronic keyboard. “There's a song
called "The Twelfth of Never”. If you play it the way he
sang it, there's no real substance. Or the tune “Eiderdown”
by Steve Swallow is something I play when I want to get
away from 2/4 all the time; and I've written tunes that go
away from that. I don't write them for selling them but for
eNews Harp Sept. 2015
page 15 of 26
FEATURE
Feature: JP Allain - Continued
listening so I can improve upon that. Of course, it depends
on who you're playing with. If they're deep into be-bop
and standard changes they'll be unable to respond.”
JP starts playing for me his arrangement of “The Twelfth
of Never”. To me, it's almost ECM (German/Euro jazz). “I
like the melody” (plays it) and I enjoy finding songs that
were written by those who had no respect for the 32-bar
chorus form you mentioned earlier. Most of the time Billy
Strayhorn wrote material for Ellington that was far from
the 32-bar chorus, such interesting material.”
Technique vs. Tyranny
“I find that that jazz has been way too much tenor-ized.
You can't blame people because it's possibly the closest
instrument to the human voice. Years ago I participated in
a class on saxophone. The guy who ran the class said that
when you buy a saxophone, don't mess with the embouchure it comes with.
“I heard about this old man in New York. He was a 'doctor'
you would go and see when you had problems with your
sound. The great guys would go and see him because they
changed embouchures so many times they couldn't play
anymore!” JP has avoided that, choosing instead to investigate efficient, natural motions to do the job conspicuous
for the absence of radical stances, as per the Keith Jarrett
“claw”.
I asked JP about George Shearing, whom he mentioned a
few days ago to me: someone whose technique was not in
question.
“He was a master re-harmonizer. He had almost perfect
technique. This guy could play both hands in unison so
fluidly and so effortlessly it was amazing. And even as an
accompanist to Mel Torme, he was brilliant”. I brought up
the name of a favorite vibes player Mike Manierri, suggesting his sound was founded on sustain and those “hidden” sweeping harmonics. JP took the point:
“If you're going to be playing a note, give it its full value.
Otherwise don't play it. That's something I'm meticulous
about.”
Oh, you better think twice before you roll the dice
You better think twice before you give your heart away.
Especially these days when you don't have to rip up house
and home to reach people around the world. Just log on to
your browser. n
I noticed that it wasn't a matter of giving full value to 1
but that JP didn't slough off the trailing notes in a given
measure.
“That something I have to really work on. I'd play the
metronome going and play even 8ths. I still play scales,
numbers—it corrects a lot of things you don't realize about
your playing.”
What I've depicted here is what I've seen of JP Allain's
agenda, which goes back years. He's focusing on consistency, articulation of themes, punching deft accents
that don't sound lump or skewed. The man knows deeply
where people tap their feet and how not to disturb nature.
I gained knowledge of tips that I've already applied to my
instrument. I understand him somehow: He's as Freudian
as me in his deep analysis of how to reconcile the rise of
the left hand with the fall of the right; and how to control the thumb and first finger, which, if you've done your
homework, work at odds with the action of the last two
fingers. There's so much I've got to pick up off the cutting-room floor.
In the meantime, you might want to think carefully before
parting the fertile soil of Local 180. If I might venture out
of the medium to Vince Gill:
“I had to decide at one point if I was
going to be a full-time musician.
To me, it was more important to
marry, to have a wife, to have
a family and raise children
as a father... a present father,
not absent."
eNews Harp Sept. 2015
page 16 of 26
LOCAL 180
Musical Afternoon with
Dave Hildinger
On July 12 at 2:00 PM at the Oakpark Retirement
Community residence a musical afternoon was
arranged by friends and family of Dave Hildinger.
It was a wonderful celebration of Dave’s music.
Many of his former students, friends, fellow musicians
and residents were there to take part.
Dave was persuaded to sit down at the grand piano,
where he and a few musicians played for over an
hour. Dave was joined by René Lavoie, Roddy Ellias,
John Geggie and Joe Turner.
The Local sends a huge thank-you to Dave’s family
as well as Colin Mack and Claudia Cashin-Mack and
everyone who organized and took part in the event.
It was a memory that will last a lifetime for me.
Robin
eNews Harp Sept. 2015
page 17 of 26
th annual
5
Local 180 Awards
Banquet
LOCAL 180 NEWS
This year we will be honouring longtime member JP Allain
with the 180 Lifetime Achievement Award.
We will also be presenting 25-year Pins,
Life Member Pins and 50-year Pins
to the following members:
50 Year Pins:
Donald Johnson
Paul Wright
Yvon Farmer
Life Member Pins:
Doug Grose
Elaine Klimasko
James McCreavy
25-Year Pins:
Carolyn Leonardelli
Charlie Sohmer
David Thies-Thompson
Edvard Skerjanc
Leslie Wade
Kelly Nagy
Ken Seeley
Paul Mach
Tom McMahon
Kim Kaskiw
Last year’s event was a tremendous success
and a wonderful opportunity for musicians
to get together to chat and catch up.
Please mark the date in your calendars and plan
to join us for a magnificent buffet dinner.
Music will be provided by
the Mark Ferguson Trio!
You must register with the office as we cannot take payment on the evening of the event.
Payment by cash, cheque, credit or debit cards –
over the phone or in person!
We’re looking forward
to seeing you there!
I N V I TAT I O N
de remise de prix
de la Section locale 180
Monday October 5, 2015
at 6:00 pm
National Defence Headquarters
Warrant Officers’ and Sergeants’ Mess
Cette année, nous honorerons JP Allain, membre de
longue date, en lui remettant le Prix d’excellence de la
Section 180 pour l’ensemble des réalisations. Nous présenterons également des épinglettes soulignant 25 ans
d’adhésion, des épinglettes soulignant des membres à
vie et des épinglettes soulignant 50 ans d’adhésion aux
membres ci-après :
50 ans d’adhésion
4 Queen Elizabeth Driveway
Ottawa, ON K2P 2H9
Donald Johnson
Paul Wright
Yvon Farmer
Tickets: $75.00 per person
Membres à vie
Le lundi 5 octobre 2015
à 18 h
Quartier général
de la Défense nationale
Mess des adjudants et des sergents
4, rue Queen Elizabeth
Ottawa (Ontario) K2P 2H9
Billets : 75 $ par personne
Doug Grose
Elaine Klimasko
James McCreavy
25 ans d’adhésion
Carolyn Leonardelli
Charlie Sohmer
David Thies-Thompson
Edvard Skerjanc
Leslie Wade
Kelly Nagy
Ken Seeley
Paul Mach
Tom McMahon
Le banquet s’est avéré un franc succès l’an passé, et une
merveilleuse occasion pour les musiciens de se rencontrer et d’échanger. Veuillez inscrire la date à votre calendrier et prévoir vous joindre à nous pour un magnifique
souper de style buffet.
La musique sera offerte par le trio de Mark Ferguson!
Vous devez vous inscrire auprès du bureau car nous ne
pouvons accepter le paiement le soir du banquet. Vous
pouvez payer comptant, par chèque, par carte de crédit
ou de débit – par téléphone ou en personne!
Au plaisir de vous y rencontrer!
eNews Harp Sept. 2015
page 18 of 26
LOCAL 180 NEWS
2016 MEMBERSHIP DUES!!!
GENERAL MEETING
DATES FOR 2015
Members,
Please take note of the 2015
General Meeting dates.
Our hope is that knowing
the dates this far in advance,
many more of you can plan on
attending!
GENERAL MEETINGS IN 2015
REGULAR
MEMBERS
$190.00
If paid in full before
$180.00
January 31, 2016
If paid by March 31, 2016
(1st Half)
$95.00
If paid by September 30, 2016
(2nd Half)
Monthly dues (when required)
$95.00
$22.00
Monday - March 9, 2015
Monday - June 15, 2015
Tel: 613-235-3253
Monday – November 30, 2015 (TBC)
If paid in full before
January 31, 2016
If paid by March 31, 2016
(1st Half)
If paid by September 30, 2016
(2nd Half)
Monthly dues (when required)
$95.00
$85.00
$47.50
$47.50
$11.00
General inquiries:
[email protected]
Nominations will take place at the Local General Meeting
on September 14, 2015 for two-year terms on the board
(with the exception of Secretary-Treasurer, which is for
a four-year term). All current board members, with the
exception of Larry Vine, have declared their intention to
stand for re-election.
The offices of President, Vice President and SecretaryTreasurer require previous board membership. Fax: 613-235-3383
Toll Free: 855-235-2353
2015 NOMINATIONS
FOR ELECTION!
All Local 180 members can be nominated for positions
on the board of directors. You must be present at the
General Meeting in order to accept a nomination, unless
you have previously sent a message to the President (
[email protected] ) indicating your willingness to run for office if nominated.
Local 180 Office
280 Metcalfe Street
Suite 301,
Ottawa, Ontario K2P 1R7
Monday – September 14, 2015
LIFE
MEMBERS
Office Staff
Office Manager: Susan Avery-Sproule
Office Assistant: Dan Blackwell
Please join us at the upcoming General Meeting
and support YOUR Association!
Office Hours 2015
You’ve
Got Mail!
Do we have your current email
address?
The Local 180 Office sends out important advisories to members by email and
we want to make sure that you’re not
left in the dark!
Please notify the office of any changes
to your contact information.
Include your phone number, home
address and email address. Call
613-235-3253 to make sure that we
have your correct contact information.
MONDAY TO FRIDAY 10:00 AM TO 4:00 PM.
The office is closed on the following dates:
Family Day – February 16, 2015
Good Friday – April 3, 2015
Easter Monday – April 6, 2015
Victoria Day – May 18, 2015
Canada Day – July 1, 2015
Civic Holiday – Aug. 3, 2015
Labour Day – September 7, 2015
Thanksgiving Day – Oct. 12, 2015
Remembrance Day – Nov. 11, 2015
Close at Noon on Dec. 23, 2015
Christmas Eve – Dec. 24, 2015
Christmas Day – Dec. 25, 2015
Boxing Day – Dec. 26, 2015
Close at Noon on Dec. 30, 2015
New Year’s Eve – Dec. 31, 2015
New Year’s Day – January 1, 2016
LOCAL 180 General Meeting
Monday, September 14th, 7:30 pm
(Doors open at 7 pm)
280 Metcalfe St, 5th floor
MUSICIANS’ PENSION FUND OF CANDA
MPF CANADA
View the recent Webinar and FAQ’s online.
www.mpfcanada.ca
Members!
If you are a member of a group, please
send us a picture, a bio and a contact
number. Any and all genres!!
eNews Harp Sept. 2015
page 19 of 26
LOCAL 180 NEWS
How to Resign
in Good Standing
Dear Members,
For accurate information about anything
regarding Local 180 matters, please call or
email the office.
Here is the accurate information regarding
Resigning in Good Standing.
• You can only resign in good standing if
you are indeed in Good Standing.
• Good Standing means that you have
paid any back dues and/or penalties
before resigning.
• To resign you simply write the Local
(post or email) to inform the office of
your intention to resign.
• To rejoin the Local there is a
$10.00 fee.
Thanks to the many of you who have
informed us that there has been confusion
regarding Resigning in Good Standing.
FYI
Members,
please know that your Membership Dues
reminder comes to you in the email that
accompanies all News Harps. In addition,
the reminder is also found in the body of
the News Harp.
Members opted to receive notices
regarding Membership Dues via email
and the electronic News Harp.
If you have paid your membership dues
by credit card in the past, be aware that
we DO NOT KEEP YOUR CREDIT CARD
INFORMATION on file in the office.
You must call us each time your
Membership Dues are due!
Robin
Membership Matters
New Members
JUNE:
Corey Bergeron
Emily Bitze
Patrick Cauthers
Michael Conto
Joey Demers
Darlene Deschamps
Holden Egan
Ian Hobson
William Lepine
Nick Miller
Tyler Nickel
Vadim Serebryany
Stephanie Vezina
Reinstated
Guitar
Guitar, Bass, Vocals
French Horn
Guitar, Bass, Vocals
Drums
Vocals
Guitar
Guitar, Vocals
Bass Guitar
Guitar, Bass Guitar
Guitar
Piano
Vocals, Piano
JULY:
Martin Cleal Guitar, Bass, Piano
Gerry Chaput Guitar
AUGUST:
Marc Bourgon
Catherine Donkin
Rory Lewis
Fanny Marks
Bass Guitar
Piano
Guitar
Cello
Matt Babineau
Nelson Blakeney
Sarah-Judith Hinse-Pare
Michael Fraser O’Brien
Ryan Purchase
Dominique Trudel
Expelled
Sari Abboud
Thomas Annand
Daniel Aube
Anna Baksheeva
Dany Bilodeau
Gordon Birkinshaw
Laurent Bourque
Robert Brown
Andrew Burns
James Calkin
Rebecca Campbell
John Campbell
Joel Delaquis
Alistair Dennett
Dan Deslauriers
Murray Doggett
Cindy Doire
Matthew Dorgan
Jacques Doucet
Yves Doyon
Anders Drerup
Claire Duguay
Jonathan Edwards
Tricia Foster
Rory Gardiner
Roland Graham
Francois Gravel
Fraser Holmes
Victor Houle
Christian Jurt
Tim Kealey
Marie Knapik-Sztramko
Tom Krukowski
Melissa Laveaux
Robert Letourneau
Anne Lewis
Richard Levesque
Christopher Linden
Dan MacDonald
Alan MacKenzie
Thomas MacLeay
Pierre-Yves Martel
Patricia Messner
Dennis Michaelis
Steven Morotti
Hilary Plaschka
Cesar Ricardo Caballero
Nick Rodgerson
Kenny Saunders
Jacinthe Trudeau
Robert Twiss
Mark Wilkinson
Alexa Wilks
Gregory Wood
Magali Gavazzi-April
Roland Gjernes
Joe Goering
Eva Hassel
Ralph Hopper
John Loretan
Mark Larin
Adamandea Nantsios
Bianca Pittoors
Jesse Ramsay
Paul Reda
Ralitsa Tcholakova
Laura Telford
Heather Searson
Sean van Gulik
Noah Waters
Trevor Wilson
Adora Wong
Resignations
ERRATUM
In the last edition of the News Harp
Barbara Zuchowicz was incorrectly
placed on the Suspended List.
In fact, Barbara resigned in Good Standing.
She had been a member of Local 180
for thirty-two (32) years.
Emily Bellman
Barry Blair
Maxime Brisson
Robert Cleall
Davide da Silva
Christina Deaville
Genevieve de Caen
Daniel Desgroseilliers
Jolani Domitrovits
A REMINDER ABOUT EXPELLED MEMBERS
A person who has been expelled from our Association is no longer a member of the Association or the
AFM. Members and leaders are reminded: do not play engagements with non-members. Persons are
generally expelled for serious violations of our Constitution and By-Laws. Expulsion is not like a life
sentence; the individual has the right to settle these matters with the Board and regain member status.
But until that step has been taken, we urge leaders and members not to give a non-member rights and
privileges which belong only to members.
eNews Harp Sept. 2015
page 20 of 26
LOCAL 180 NEWS
PAL OTTAWA
Hi everyone,
PAL Ottawa’s Supporting Cast is a corps of
trained volunteers who assist artists in need
in the tasks of daily living and help them to
retain their independence in their current
home. Our services include referrals, advocacy, basic home support, and learning
events on topics of concern to senior members of the arts community.
We will be hosting an information session
in the fall entitled, Helping with Healthcare,
presented by Ottawa Public Health, the
Community Care Access Centre, and the
Victorian Order of Nurses, and would appreciate it if you could circulate the attached ad
to your friends, colleagues, and members.
The information session will take place on
Monday 19 October 2015 from 1:30 to
3:30 pm at the Sunnyside Branch of the
Ottawa Public Library at 1049 Bank Street.
Refreshments will be served.
Please see the attached ad for more information, including information on how to register
for the session.
Thank you and best wishes for the summer.
Julie
Julie Hodgson
Outreach Coordinator
PAL Ottawa
[email protected]
Helping with Healthcare
Should an unexpected health event strike, will you be able to find the right care at the right time and in the right place?
Will you be prepared to help a friend, loved one, colleague, or yourself?
PAL Ottawa Supporting Cast is hosting an information session presented by Ottawa Public Health (OPL),
the Community Care Access Centre (CCAC Champlain) and the Victorian Order of Nurses (VON).
Learn about the professional health resources available in our community.
Understand your options and how to connect to quality community-based health care and resources.
Learn what you can do using the skills of the VON “Neighbours Helping Neighbours” programme.
Date: October 19, 2015
Time: 1:30 p.m. – 3:30 p.m.
Place: Sunnyside Branch Ottawa Public Library
1049 Bank Street
To register contact: [email protected]
Refreshments. Please note that parking on site is limited. Parking is available on neighbouring streets.
Bus routes: #7, #1
For those who may require transportation assistance,
PAL Ottawa Supporting Cast volunteer drivers are available. First come first served.
PAL Ottawa is a non-profit, charitable organization incorporated in 2012. PAL Ottawa is a unique resource for arts professionals in all disciplines
who, due to age-related challenges, disability, and/or low income struggle to maintain a decent standard of living in their senior years.
PAL Ottawa Supporting Cast is a corps of trained volunteers who assist artists in need with the tasks of daily living and help them to retain
their independence in their current home. Our services include referrals, advocacy, basic home support and learning events on topics of concern
to senior members of the arts community.
This project was funded by a grant from the Community Foundation of Ottawa.
eNews Harp Sept. 2015
page 21 of 26
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AFM NEWS
...directly to your door!
www.leadingnote.com
AFM updates
“ROAD GIG”
WHEN MUSICIANS TRAVEL TO PERFORM
they face a host of challenges—from transporting and
setting up gear in a new space, to finding a great latenight eating spot, to getting their instruments across
a border or in the cabin of an airplane. The last thing
any traveling group wants to worry about is getting
“stiffed” on a gig. If that ever does happen, though,
the AFM offers help through “Road Gig,” an AFM policy
to assist traveling musicians in the event of contract
defaults. But what exactly is Road Gig? First, let’s talk about what it isn’t. Road Gig isn’t roadside assistance, help at the border with a missing visa
or passport, nor help in the event of stolen instruments or equipment (instrument insurance is offered
through Mercer in the US and HUB/Intact in Canada).
It is assistance with contract enforcement, in cases
where a venue or purchaser defaults on payment.
Qualifications
The AFM will assist with collecting on defaulted contracts, when the following criteria are in place:
• The claim is for a traveling engagement.
• The engagement is covered by a written AFM contract (for US engagements only, other written contracts may also be accepted). • The contract must have been filed with the appropriate union local, and must meet minimum scale.
• Each instrumentalist and member vocalist who
performed/would have performed, must be a
member in good standing at the time the engagement was scheduled/performed.
The policy does not apply in cases where the venue/
establishment is covered by an existing AFM Collective
Bargaining Agreement, or in cases where musicians
are acting as a backup unit for a traveling “name”
artist/act. Assistance
Policy
Canada’s Classical Print
Music Specialist
Visit our online store!
Making a Claim
Claims can be made by calling 1-800-ROADGIG (7623444) in the US, or 1-800-INFOFED (463-6333) in
Canada. Claims can also be made via e-mail, to [email protected]. Any calls or e-mails received after
normal business hours will be responded to on the
next business day. Claimants should include a copy
of the defaulted engagement contract, and all other
pertinent information, such as venue and purchaser
details, in their claims. Upon reviewing all this, the
AFM will determine the appropriate course of action,
and do everything it can to effect an equitable resolution to the claim.
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182 Rachael Avenue
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Tel.: 613 521-6446
Fax: 613 521-5962
When claims are made, the AFM’s Touring, Theatre,
Booking and Immigration Division will determine how
best to pursue the claim. This usually begins with an
official letter to the purchaser/venue to demand payment. If there is no immediate resolution, the AFM
will seek authorization from claimants to pursue a legal collection process. At a minimum, the AFM may
elect to pay musicians the Traveling Scale, at $150 for
leader and $100 for sidemusician, for the defaulted
gig. Reprinted with permission from Doug Kuss
Calagary, Local 547
...directly to your door!
www.leadingnote.com
Charlie Sohmer
Enforcement and Collections
When it comes to road gigs, the AFM isn’t going to
rush in and change a flat tire or keep a restaurant
open past midnight. But we can help our AFM traveling members from being left out in the cold, when it
comes to their gig contracts. on orders of
$100 or more
Canada’s Classical Print
Music Specialist
Visit our online store!
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on orders of
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eNews Harp Sept. 2015
page 22 of 26
ADVERTISEMENT
eNews Harp Sept. 2015
page 23 of 26
ADVERTISEMENT
eNews Harp Sept. 2015
page 24 of 26
ADVERTISEMENT
SALES ~ LESSONS ~ RENTALS ~ CONSIGNMENT
Guitars and more of life’s needs/desires
695 Bank St. Ottawa 613-233-9688
metromusicottawa.ca
eNews Harp Sept. 2015
page 25 of 26
e
ADVERTISEMENT
NEWS
C
eNews Harp
Advertising
Rates
LOCAL 180
D
B
Submission deadlines:
MUSICIANS’ ASSOCIATION
OF OTTAWA-GATINEAU
E
• March edition: February 15, 2015
• June edition: May 15, 2015
INCLUDING SUDBURY AND HUNTSVILLE
A
• September edition: August 15, 2014
• December edition: November 15, 2015
Please contact Jarrod Goldsmith (613-834-6641)
for additional information or to place an advertisement.
Do you have products or services
targeted for musicians, artists,
singer-songwriters and producers?
If so, advertise directly to them
through the News Harp!
The News Harp is published
four times a year and sent to
over 1000 regional, national and
international recipients, including
AFM Locals in all major cities
throughout Canada and
the United States.
Size of ad
Width x Height
Per Issue
Four (4) Issues
Pre-paid
A
1/9 (Business card)
3 3/8” x 1 7/8”
at 300 dpi
$40.00
$150.00
B
Bottom Banner
10 3/8” x 1 1/8”
at 300 dpi
$45.00
$165.00
C
1/6 page
3 3/8” x 3 1/2”
at 300 dpi
$50.00
$180.00
D
1/3 page Horizontal
10 3/8” x 2 3/8”
at 300 dpi
$65.00
$250.00
E
1/3 page Vertical
3 3/8” x 7 3/8”
at 300 dpi
$65.00
$250.00
F
Half page
5 1/8” x 7 3/8”
at 300 dpi
$75.00
$275.00
G
Full page
10 3/8” x 7 3/8”
at 300 dpi
$100.00
$360.00
F
G
F
*AFM members receive a 20% discount
eNews Harp Sept. 2015
page 26 of 26