The Musician, Autumn 2017 by Musicians' Union

The Musician Journal of the Musiciansâ&#x20AC;&#x2122; Union Autumn 2017 theMU.org

Delegate Conference

The Unionâ&#x20AC;&#x2122;s 37th Conference charts successes and plans

BJ Cole On Pedal Steel The acclaimed musician and go-to guy for pedal power

Good Health Guide

How to prevent and manage performance-related injuries

The Future For Teaching The challenges facing teachers during the new academic year

contacts Union HQ General Secretary Horace Trubridge Assistant General Secretary Naomi Pohl (Music Industry) Assistant General Secretary David Ashley (Finance & Administration) National Organiser Bill Kerr (Orchestras) National Organiser Diane Widdison (Education & Training) National Organiser Phil Kear (Recording & Broadcasting) National Organiser Dave Webster (Live Performance)

Regional Offices Head of Government Relations & Public Affairs Isabelle Gutierrez In-House Solicitor Dawn Rodger Communications Official Keith Ames Recording & Broadcasting Official Michael Sweeney Royalties Official Annie Turner Sessions Official Peter Thoms Live Performance Official Kelly Wood Education & Equalities Official Bindu Paul Orchestras Official Morris Stemp Campaigns & Public Affairs Official Maddy Radcliff

Union HQ 60â&#x20AC;&#x201C;62 Clapham Road London sw9 0jj t f e

020 7582 5566 020 7582 9805 info@theMU.org

w theMU.org @WeAreTheMU

London Regional Organiser: Jo Laverty 33 Palfrey Place, London SW8 1PE t 020 7840 5504 f 020 7840 5599 e london@theMU.org East & South East England Regional Organiser: Paul Burrows 1a Fentiman Road, London SW8 1LD t 020 7840 5537 f 020 7840 5541 e eastsoutheast@theMU.org Midlands Regional Organiser: Stephen Brown 2 Sovereign Court, Graham Street, Birmingham B1 3JR t 0121 236 4028 f 0121 233 4116 e midlands@theMU.org Wales & South West England Regional Organiser: Paul Gray Transport House, 1 Cathedral Rd, Cardiff CF11 9SD t 029 2045 6585 e cardiff@theMU.org North of England Regional Organiser: Matt Wanstall 61 Bloom Street, Manchester M1 3LY t 0161 236 1764 f 0161 236 0159 e manchester@theMU.org Scotland & Northern Ireland Regional Organiser: Caroline Sewell 333 Woodlands Road, Glasgow G3 6NG t 0141 341 2960 e glasgow@theMU.org

REPORT

Moving Forward General Secretary of the MU, Horace Trubridge, reflects on the General Election, recounts the success of the MU Conference, and announces his forthcoming plans. This autumn I will be visiting your Region with the Chair of the Executive Committee, Dave Lee, and we will be holding open meetings for any of you to attend. The idea is to explain how the MU Secretariat and the EC work together and implement MU policy. The open meetings will give you the opportunity to come along and ask us any questions you might have about how your Union is run, and make suggestions as to how we might improve the way that we work for you.

As we now know, a significant contributor to Mr Corbyn’s comparative success in the General Election was the number of young people who turned up to vote, and this is surely a very positive sign for future elections.

Whilst the idea that we might have a Labour government much sooner than I thought when I wrote my last column is encouraging, it saddens me that we still seem to be staring down the barrel of Brexit, and neither of the main parties seem willing to contemplate the notion of a second referendum.

Horace Trubridge, General Secretary

I should start this column by congratulating Jeremy Corbyn and the Labour Party for their performance in the General Election, which led to the Conservative Party failing to secure an overall majority in the House. Whilst I was right when I wrote back in April that the Labour Party would lose the General Election I, like the vast majority of people that I spoke to at the time – including a number of Labour MPs – underestimated the party leader’s formidable skills on the campaign trail.

“The open meetings will give you the opportunity to come and ask us any questions you may have.”

With so many young people now engaging with politics – the majority of whom we are told are remainers – and with the economic effects of our exit from the EU starting to kick in, is it too much to hope that there might be a second referendum? Politics moves so fast these days I may well end up reading this in two months time and wincing again!

We have just held our 37th Delegate Conference in Brighton, and what a great event it turned out to be. We had speeches from major players in the UK music industry, and high ranking politicians who have become firm friends of the MU. A sure sign that there was very little for the delegates to disagree on was the fact that not one of the sixteen motions brought to Conference was rejected. Of course, that means that the EC, the Officials and the Secretariat now need to act upon those motions wherever possible and practicable, and you will read more about that work in The Musician over the next twelve months or so.

Your Regional Office will be in contact in due course to let you know when the meetings will be. I sincerely hope that you can find the time to attend and play your part in the open forum. Until then, look after your chops and have a good autumn. Horace Trubridge

TO HEAR MORE FROM HORACE, VISIT THEMU.ORG The Musician • Autumn 2017

The Grand Union Orchestra embrace a world of sounds at the MU Delegate Conference.

Contents Autumn 2017

“I think there’s a hunger for ideals and for things that move people, which is why music is so important.” Tony Haynes, The Grand Union Orchestra

This issue... On the Frontline

6 MPs and peers sign pledge for musicians post-Brexit 7 AIR Studios faces closure following planning application 8 Tolpuddle Martyrs’ Festival 9 The MU’s Motion to TUC LGBT+ Conference 2017

Reports

3 MU General Secretary 10 Assistant General Secretary 14 All the news from the floor at the MU Conference 24 Licensing opportunities with BBC Worldwide

26 The Fair Play Venues scheme 28 Report on the challenges facing members who teach

Inbox 12

Emails, tweets and letters

Features

49 Why I joined the MU

Profiles

20 British pedal steel guitar pioneer BJ Cole 30 A look at the work of the Grand Union Orchestra 50 Cover star Sam Leak

Advice

34 Preventing and managing performance-related injuries 38 The benefits of using the online platform Bandcamp

Reviews 41

CDs and downloads

Union notices 2 40 44 46 51

Key contacts Ask Us First Tributes Union news: motions carried at Conference Member benefits

Cover: Sam Leak (see profile on p50) samleak.com Photographed at ronniescotts.co.uk Photo: Joseph Branston. © MU 2017

Check your membership details online at theMU.org

MU Contributors Andrew Stewart Andrew writes for The Times, The Guardian, Classical Music and BBC Music Magazine, among others. He is also Director of Southwark Voices. p14 & 30

Alex Stevens Alex is a writer, editor and producer. He edits Music Teacher magazine and is head of content for the Music & Drama Education Expo. p28

Will Simpson Will has contributed to a range of music magazines, including Total Guitar, Guitarist and Mixmag. Will has also published the book Freedom Through Football. p38

Key benefits l

Photo: Joanna Dudderidge. © MU 2017

Hugh Fielder Hugh has written about music since 1975 for Sounds, Billboard and Classic Rock among others. He has written books on The Beatles, Genesis, and Queen. p20

Neil Crossley A journalist and editor who has written for The Independent, The Daily Telegraph, The Guardian and The Financial Times. Neil also fronts the band Furlined. p34

Ben Jones An ex-MU Official and longtime member, Ben is now a freelance music business consultant and project manager for British Underground. p24

Photo: Joseph Branston. © MU 2017

l l l

Insurance schemes Legal assistance Nationwide network Rights protection Career and business advice

For more on benefits see page 51

frontline Autumn 2017

The MU in action, working on behalf of professional musicians.

07 JULY

The Union lobbies for fair remuneration from streaming

The Musicians’ Union continues to lobby at European Union and UK levels for fair remuneration for performers and songwriters from streaming.

Streaming sites such as YouTube currently fall under ‘safe harbour’ legislation which effectively means they are not held responsible for user-generated or uploaded content that they host. This means that labels and publishers struggle to achieve reasonable licence fees for use of music. This lack of income from streaming is known as the ‘value gap’.

06 JULY

The MU is urging all members to ask MPs and peers to support the free movement of musicians in the European Union (EU) post-Brexit. More than 80 MPs and peers have signed the MU’s pledge to help ensure that musicians continue to travel easily across Europe, for time-limited activities such as touring and performing, with minimum administrative burdens. The Union is concerned that the Brexit process may lead to the introduction of individual member state work permits and/or visas The Musician • Autumn 2017

for British musicians working across EU member states. “British musicians have long enjoyed easy access to touring in Europe, as UK venues and festivals have benefitted from easy access to European performers,” said MU General Secretary, Horace Trubridge. “We know from touring in the US and elsewhere, that visas and other restrictions impose significant costs and administration, and occasionally considerable financial loss when visas aren’t processed in time.”

MPs and peers back musicians to get best possible deal for Brexit

Thangam Debbonaire, one of more than 80 MPs and peers to sign the MU’s pledge.

To avoid such an outcome, the MU is asking members to contact their MPs to request that they sign

the pledge. Members can contact their MPs via writetothem.com and include the following link to the pledge: tinyurl.com/y8lspzah The MU asks that members who have written to their MPs let the Union know via Facebook, Twitter, Instagram, Linkedin or by emailing maddy.radcliff@theMU. org. The Union is also asking members who work in Europe to share photos and stories on social media, using the hashtag #WorkingInTheEU. Posts will be used to show MPs and peers why they must support musicians. For more on the MU’s five Brexit issues visit theMU.org/Brexit

Labels and publishers have been extremely proactive in campaigning for legislation to change and pressure to be applied to services such as Google-owned YouTube to pay fairly. The MU is supporting this effort and has been lobbying in conjunction with the labels and publishers via UK Music. To sign the petition members should visit makeinternetfair.eu

“The Musicians’ Union is asking members contact their MPs to request that they sign the pledge.”

FRONTLINE

SEPTEMBER

ist ic A tu i s in London is under threat from a local planning application.

24 JULY

AIR Studios under threat from neighbour’s building works

The studios, founded by Sir George Martin in 1991 and housed in the former Lyndhurst Road Congregational Church in London’s Hampstead, would suffer greatly from the building noise next door, as it is a key facility for classical recordings and film scores. The studio has been the location of many noted soundtrack recordings in recent years, including Dunkirk and Wonder Woman, as well as Beauty And The Beast, Fantastic Beasts And Where to Find Them and Captain America: Civil War. There is to be a public hearing to discuss the implications of this planning application, on 26 and 27 September at Camden Town Hall, Judd Street, London, WC1H 9JE, starting at 10am. If you are able to attend, AIR would appreciate your support. A large turnout of musicians would stress the essential nature of this building, and how much it means to the wider music community. If you would like to attend either or both days, email Rob Tulloch (rob.tulloch@camden.gov.uk).

Music Minds Matter scheme launches

The future of AIR Studios in Hampstead is under threat following a planning application for alteration works submitted by the building’s next door neighbours. The resulting disruption could cause the closure of the studio, which may affect the employment of many session and orchestral musicians, as well as studio staff, producers and engineers.

JULY

25 New channel for BBC Scotland

The BBC has proposed significant changes and major investments across the UK and wants to do more to recognise the importance of spending more of the licence fee, raised in Scotland, on Scottish content and services. The corporation is therefore undertaking a Public Interest Test and consultation on the proposal, which – if approved by Ofcom – could result in a new BBC channel for Scotland. The Union is involved in the initial consultative talks and has made a submission to this consultation.

26 JULY

Employment Tribunal victory for workers in Supreme Court The Supreme Court has ruled that the requirement to pay fees in employment tribunals is unlawful. The ruling marks the end of a four-year legal battle by UNISON to overturn the Coalition government’s decision to impose fees on workers who wished to challenge their employer at an employment tribunal.

These fees are no longer payable, and additionally all fees that have already been paid will now be reimbursed. This is a hugely significant ruling, and we will be keeping a close eye on its many implications for our members as they become clearer.

JULY

Help Musicians UK, the largest provider of health and welfare support for the British music industry, has announced Music Minds Matter – a new campaign for industrywide support of the world’s first dedicated 24/7 mental health service for people working in music. The charity has identified a mental health crisis in the industry, which has led it to initiate a unique Mental Health Fund with an investment starting at £100,000. The announcement of the campaign sees Help Musicians UK call for arm-inarm support from the industry and philanthropists to match its investment pound for pound. A minimum of £200k will enable the mental health service to be sustainable beyond 2018. For more information on this scheme, visit the website at helpmusicians.org.uk

DJ campaign launch in Scotland The Scotland and Northern Ireland Office is leading efforts to recruit DJs and electronic musicians to the MU in Scotland.

The Union received over £14,000 in funding from the Union Modernisation Fund, a Scottish Government initiative put in place after the passing of the Trade Union Bill in Westminster to mitigate and counteract the Bill’s negative effects. “It’s really important for us to be able to demonstrate that the MU also represents musicians working in electronica, DJs, and dance music,” said Regional Organiser Caroline Sewell. To get involved email glasgow@TheMU.org

The Musician • Autumn 2017

Paul McCartney’s One On One Tour in 2016 grossed over $48m in the US alone.

05 JULY

JULY

Guidance in the event of a terrorist attack

The MU has published guidance aimed at gigging and touring musicians to ensure that members are aware of how best to protect themselves and others in the event of a terrorist incident.

To read the guidance, and to find out more about what you can do to safeguard yourself at your shows, visit tinyurl.com/safegig and study the advice. The Musician • Autumn 2017

02 Are you affected by show closure?

The MU is calling out to members affected by the sudden closure of the production Wonderland: The Musical. If you were a part of this show and are in need of assistance, please email us immediately at live@theMU.org

UK success in US top earners list

British acts made a significant dent in Billboard’s annual Top 50 Moneymakers list. Adele and Coldplay sat in a respectable fifth and sixth slot on the list, with high entries for heritage acts such as Sir Paul McCartney, Black Sabbath, Elton John and Def Leppard.

Although there is no explicit need for concern, the terrorist attacks at the Bataclan in Paris and at the Manchester Arena have demonstrated that music venues and gigs can occasionally be a target for terrorists, and the MU wants to ensure that members know what to look out for, and what to do in the event of an incident. The guide also provides tips on how you can best secure your backstage area and make your workplace safe.

AUGUST

But the list was remarkable for the fact that touring revenue accounted for nearly 75% of overall revenue, with physical sales taking the biggest hit in percentage numbers.

Paul Quayle / Alamy Stock Photo

The march of the trade union flags at the Tolpuddle Martyrs’ Festival.

Tolpuddle Martyrs’ Festival

In time-honoured tradition, the Musicians’ Union Marching Band once again led the procession of unions at the Tolpuddle Martyrs’ Festival on 14-16 July. Taking place on the Sunday of the three-day event, the band led the pace ahead of dignitaries including Labour leader Jeremy Corbyn, TUC General Secretary Frances O’Grady, and a host of trade unions and their banners. The festival – which also included musical performances from the likes of The Mekons, Rob Johnson and Rory McLeod, speeches and workshops from Shakira Martin, Tim Roache and Clive Moody, plus the Small Axe Radical Film Festival – took place in the beautiful Dorset village in celebration of the six farm workers whose bravery kickstarted the trade union movement back in 1833. This year the MU expanded its presence, with the attendance of MU Regional Organiser Paul Gray, a host of volunteers, and a stall in the event’s main marquee.

16 JULY

14 JULY

SoundCloud in fear of shut down

SoundCloud, the Berlin-based online audio distribution platform, is reported to be in financial difficulty after the company laid off 40% of its staff in July, and there are fears that it may not see the year out. After laying off 173 staff when it closed its London and San Francisco offices, the company is only reported to have enough operating funds to last until the end of September, although rumours abound of buy-outs and rescue packages. All of this could have a significant effect on musicians who use the platform to store their music. More than 18 million musicians have uploaded somewhere in the region of 150 million tracks on the system, so users are advised to back up their files, download their tracks, and contact their online followers just in case the worst happens.

FRONTLINE

06 JULY

Venues like London’s iconic 100 u sa the ate hi es ut them under threat of closure.

MU Motion to TUC LGBT+ Conference 2017

Despite this, generalist services fail to meet the needs of LGBT+ people, who without specialist support, continue to experience mental health inequality, stigma and discrimination, suggests the research. The motion called on Conference to ask the TUC LGBT+ Committee to lobby government and the NHS to ensure: • An increased proportion of funding is allocated to providers of mental health support services to help rebalance efforts towards prevention of mental ill-health. • LGBT+ people and organisations that represent them are involved in the development and provision of mental health services. • Improved equality and diversity training for representatives from the health and social care services and primary care staff, including frontline staff so they are more LGBT+ friendly. • That the importance of LGBT+ awareness is enforced across the wider policy spectrum including housing, crime and policing, Glasgow is one of six transport, and employment, to cities surveyed about enable joined-up policy making their live music scene. to meet LGBT+ people’s needs.

11 APRIL

PRS and PPL trial technology pilot for royalties payments Members of PRS and PPL could benefit from new technology that aims to provide more accurate data on exactly what songs are being played by DJs in clubs and bars, which will then distribute their royalties accordingly.

TO , S

The MU was delighted to take part in the TUC LGBT+ Conference on 6–7 July at Congress House in London. This year, the MU’s motion was about mental health. Research suggests people are more likely to suffer from mental ill health if they are LGBT+. This problem is compounded if they are LGBT+ and working in the arts.

JULY

Known as Music Recognition Technology (MRT), it uses similar recognition software to apps such as Shazam to identify songs and pieces of music. A pilot scheme has rolled out at clubs across the country, and participating venues will monitor what is being played using an MRT device. This device will then send the data back to a secure database to be matched, analysed, and reported back to both PPL and PRS For Music, the originators of this scheme. More clubs are expected to join the scheme in 2018.

“Generalist services fail to meet the needs of LGBT+ people.”

07 JULY

Retrieving unpaid money for our members

MU Midlands Officials recovered over £6,300 in outstanding unpaid gig monies and cancellation fees on behalf of nine members in the second quarter of 2017. That’s an average of £700 per member who asked for help.

This is an important part of the inclusive service the MU provides for its members, who mostly work in self-employed positions. So if you are owed money, either for work done, or engagements cancelled at short notice, the MU strongly advises you to contact your local Regional Officer for further details about how they can help you to get paid.

Rate rise threat to small venues

Rapidly rising rates could pose a major threat to the UK’s live music scene. The major overhaul of commercial property rates – revealed in the government’s Spring Budget – saw a massive hike in operational costs, which could result in the closure of many small venues. London’s 100 Club has seen its rates rise by 40%. Owner Jeff Horton said: “The impact of this on grassroots music venues is going to be huge and will make it very hard for many to survive. I am not sure the government realise the damage they are doing with these business rates increases.”

The Musician • Autumn 2017

The Importance Of Funding Grassroots Music Provision The Arts Council England (ACE) funding announcement always prompts some interesting internal discussion at the MU because there are inevitably winners and losers. ACE, in its wisdom, decides where the axe will fall, and in recent times its modus operandi has been to avoid ‘misery for all’. Consequently, there will be cuts for some and a windfall for others, rather than across-the-board austerity measures. I don’t envy the decision making – there is a finite pot allocated to ACE by government.

MU Officials have an overall objective to maximise employment and income for musicians across the whole spectrum of the creative industries, and therefore we don’t have to pick and choose. Sometimes this does require a certain balancing act, however. For example, I have found myself weighing the engagement of a small live band for a stage show (“Keep Music Live,” I hear you say) against larger recording sessions, which would offer a one-off work opportunity followed by a long-tail of ongoing usage fees. Strong principles We are fortunate as Union Officials to be able to consult our members and act on their behalf. Occasionally, however, the interests of different sections of our membership fail to align, and these are the trickiest moments for us to negotiate. If we keep the aim of maximising employment and income for musicians in mind when we are bargaining

“MU members are extremely principled and will prioritise the wider interests of musicians over their own interests.” The Musician • Autumn 2017

with employers, we will usually reach a satisfactory outcome for members in my experience. And I must say that MU members are extremely principled and will prioritise the wider interests of musicians over their own interests in almost all cases. In representing individual musicians or negotiating for a group I am often told, “I’m not worried about the money, but I want to make sure this doesn’t happen to anyone else,” or asked, “If we accept this deal will it set a bad precedent for others?”. Musicians have far more in common than that which divides them. This ethos of commonality and shared goals is never more apparent than at the MU’s biennial Conference. At this year’s Conference particularly, it was a clear theme among the motions submitted for discussion. A motion from the North of England Region asked the Executive Committee to produce a “statement [that] would provide a vision for the future and serve to remind us all that, whilst we may have political differences, there are many fundamental beliefs and values that we can share”. This motion was carried with an overwhelming majority. Conflicting interests However, there are times, as I say, when the interests of various different sectors of our membership conflict. There was an emergency motion to Conference referencing the rejection of an ACE funding application by the Music Venues Trust. This motion stated that a similar application had been turned down by Creative Scotland, highlighting the failure of government-funded schemes to

Left: © Katharyn Boudet. Right: WENN Ltd / Alamy Stock Photo

MU Assistant General Secretary Naomi Pohl reports back from Conference for The Musician, and tells us of her hopes, fears and expectations for the future of music funding in the UK, and why it’s more important than ever…

PROFILE REPORT

“Regional inequality needs to be addressed and the solution is more money.” supported and thriving. They aren’t at present, or the Music Venues Trust wouldn’t have sprung up to assist in the fight to preserve them. These are just a couple of areas in which increased funding could make a real difference.

The Forum in Tunbridge Wells has survived as an independent venue for 25 years but others struggle due to a lack of financial support.

provide for grassroots music venues. When a much-loved music venue closes it is often because of a lack of support from the local authority, either financial or practical, or because such venues are required to operate on a solely commercial basis. This makes it very difficult for them to take risks. Arts organisations in receipt of public funding – particularly the National Portfolio Organisations (NPOs) – which are regularly funded, are in a position to be able to make artistic leaps of faith because they can afford the occasional flop. These organisations provide a space for artists of all kinds to experiment and grow their talent. Grassroots music venues fulfil the same function but do not receive official public support.

The problem with the finite pot is that it throws into relief the fact that some arts organisations simply don’t have workable business models in the present climate. They currently require public funding to function, and I will defend their right to that funding to my last breath. Orchestras, for example, provide a unique live experience and play a crucial role in communities to boot. Most of our members working in orchestras are involved in music education as well as engaging with vulnerable groups, such as dementia patients, who wouldn’t otherwise have access to live music. I cannot over-emphasise the importance of government funding for orchestras, including opera and ballet companies which are expensive to maintain but worth every penny. That said, I would love to see more money for jazz, which gets a tiny fraction of the money set aside for orchestras. I would also love to see grassroots music venues properly

Regional challenges An even more complex challenge is that of geography. Approximately 40% of ACE funding goes to London-based organisations, and our Midlands Regional Organiser Stephen Brown told me “£69 per head of funding in London compares to £4.58 in the Midlands, which demonstrates the level of regional inequality. Whilst I agree that robbing Peter to pay Paul is not acceptable, government funding for ACE needs to be increased dramatically to bridge the gap”. He’s spot on, of course. Regional inequality needs to be addressed, and the solution is more money. This should be a no-brainer for those of our elected representatives who hold the purse strings. Frances O’Grady, General Secretary of the TUC, spoke at the MU Conference this year and said that “every pound invested in the arts returns at least double that. If the chancellor doesn’t get that then he’s in the wrong job”. This is where the Union should be concentrating its collective efforts, I believe. We will continue to argue for more central government funding, in tandem with a co-ordinated campaign to lobby local authorities.

The Musician • Autumn 2017

inbox

facebook.com/ musicians.union Follow us on Twitter @WeAreTheMU

These pages reflect the diverse range of multi-channel communications between the Union and its members. We welcome your contributions via email, Twitter or letter. Sign Them Up

Ask your MP to sign The MU’s free movement pledge. Robin Bennett @robinfbennett

soundcloud.com/ musicians-union Find us at theMU.org Email us TheMusician @TheMU.org

Eliza Carthy wants you to let the government know your views on freedom of movement post-Brexit.

Working In The EU

Welcome to the Autumn 2017 issue of The Musician, which contains a thorough report on our successful Delegate Conference held in Brighton in July. The motions carried at Conference can be found on p46 to 48. Please remember that we welcome comments and recommendations from members at any time, whether by email, traditional letter or on social media. Your involvement is key in ensuring that two-way communications remain a vital part of the MU and its future. Keith Ames TheMusician @theMU.org The Musician • Autumn 2017

Freedom Of Movement

Please support our world beating musicians and music industry. #WorkingintheEU is a great initiative by The MU on freedom of movement. Best For Britain @BestForBritain

YOUR EDITOR

Just back to my hotel, working in Switzerland for an Italian orchestra. I’ve just sent more #WorkingInTheEU postcards out. Anneke Scott @AnnekeScott

Eliza’s Call To Arms

Musicians! Have you sent your postcard off to the government yet to protect free movement for professionals in the EU? Get on that, babies x Eliza Carthy MBE @elizacarthy

Negative Effects

The MU rightly alarmed about Brexit’s negative effects on musicians and other artists. Richard Corbett @RCorbettMEP

Listen And Learn

Having a great day at the #MULearn event. Just off stage from a Q&A session, and about to hear some new music! Mike Macdermid @oursongwriter

Save Our Culture

Really important, this. British culture can’t be allowed to suffer because of Brexit. Please take action. Alison McGovern @Alison_McGovern

Archive Donation

A big thank you to Linda who visited from NZ to add her father’s MU memorabilia to the MU Archive! StirlingUniArchives @unistirarchives

Back For More

Renewed my MU membership. Great to have the union behind us. Alison Diamond @ADsaxist

Cover Star

Yay I’m on the cover of The Musician magazine! #weirdfeeling SK Shlomo @SKShlomo

Teenage Kix

So great to be featured in the The Musician Summer 2017 magazine on their Why I Joined The MU page. Thank you… Sour Kix @SourKix

Leeds The Way

Excited to be back in Leeds next week, where I went to uni, to run funding workshop with The MU. Remi Harris @RemiMcHarris

LETTERS

Plugged Up

Just had new ear plugs fitted through the Help Musicians UK and The MU Hearing Scheme! Sign up while you still can. Imogen Hancock @imogentrumpet

Join Us

In a band or solo? Join the The MU! Free legal advice, instrument insurance. Get clued up about your rights! Chardine TaylorStone @misschazmatazz

Live From Europe

My band was on our first German tour, last month. So much more support for musicians there. We need this market! Becky Baldwin @BeckyB_Bass

Keep Creative

Great to speak to representatives from Trade Unions in the creative arts industry. Any Brexit deal must protect our creative industries. Louise Ellman MP @LouiseEllman

Top Man

Really good to see Horace Trubridge again yesterday, the incoming General Secretary of The MU. Top man, great union. Michael Dugher @MichaelDugher

Busy Cardiff

Over 600,000 attend live music events in Cardiff every year. Music tourists contribute £52m to the local economy. UK Music @UK_Music

Motion Passed

Powerful motion at #TUCLGBT from The MU seconded by EquityUK on mental health service provision for the LGBT+ community. This is vital. Graeme Edwards @g_d_e

Jeremy Speaks

Our music industry contributes £4bn to our economy a year. But every Adele or Stormzy has to start somewhere. We need culture #ForTheMany. Jeremy Corbyn @jeremycorbyn

Love the MU! My former union when I was a professional cellist, and an exemplary union for upholding workers’ rights and for modernising. Thangam Debbonaire @ThangamMP Band Leader

So proud to be in the MU band leading the parade at Tolpuddle. Ceri Williams @cerirwilliams

Save Our Venues

The MU vows to continue campaigning for music venue protection as Edinburgh’s Studio 24 closes. MI Pro @miprofessional

Make The Agenda

t f e w

Editor Keith Ames (MU) Consultant editor Neil Crossley Art editor Chris Stenner Writers Keith Ames Neil Crossley Roy Delaney Hugh Fielder Ben Jones Tom Short Will Simpson Alex Stevens Andrew Stewart Production editor Roy Delaney

Director of Content Marketing Clare Jonik Head of Fusion procurement and production Matt Eglinton Production and procurement manager Abi Dougherty Account director David Parker Editorial director Mark Donald Art director Stuart Hobbs Repro Future Pre-Press Printed at Precision Colour Printing See page 02 for the contact details of Musicians’ Union offices.

Lovely to be invited to The MU committee meeting to talk about my score for the film Dawn, and Underwire Festival. My first time as an item on an agenda! Justine Barker @JustineBarker12

Get Funding

How do bands and artists find out what funding is available to them and apply? The MU has expert advice for you. The Unsigned Guide @unsignedguide

Let’s Work

On Workers Day it’s time to reflect on what our trade unions do for us. I’m proud to be an MU member, and their help is invaluable. Sam Murray @samuelgemurray

All information contained in this journal is for informational purposes only and is, to the best of our knowledge, correct at the time of going to press. This journal is published by Future Publishing Limited on behalf of Musicians’ Union. Neither Future Publishing Limited nor Musicians’ Union accept any responsibility for errors or inaccuracies that occur in such information. Readers are advised to contact manufacturers and retailers direct with regard to the price of products/services in the journal. Publication of an advertisement does not imply any form of recommendation. Organisations offering financial services or insurance are governed by their relevant regulatory bodies and problems with such services should be taken up with those bodies. Neither Future Publishing Limited nor Musicians’ Union accept any liability for the quality of goods and services offered in advertisements. We do our best to avoid inaccuracies, but if you believe that an error has been made, please contact the editor straight away before taking any other action and the Union will take appropriate steps. If you submit material to this journal, you automatically grant Future Publishing Limited and Musicians’ Union a licence to publish your submissions in whole or in part in any edition of this journal that is published worldwide in any format or media throughout the world, and you grant Musicians’ Union a licence to publish your submissions in whole or in part in any format or media for the purpose of promoting any products or services referred to in your submissions. Any material you submit is sent at your risk and neither Future Publishing Limited nor Musicians’ Union nor their respective employees, agents or subcontractors shall be liable for any loss or damage. © Future Publishing Limited and Musicians’ Union 2017. All rights reserved. No part of this journal may be used or reproduced without the written permission of Future Publishing Limited and Musicians’ Union.

The Musician • Autumn 2017

MU Conference Report The 2017 Delegate Conference highlighted successful campaigns from the last two years, and underlined plans for what to do in the wake of Brexit…

All photos: Joanna Dudderidge. © MU 2017

Report by Andrew Stewart

MU Delegate Conference. Left to right: Naomi Pohl, Horace Trubridge, Dave Lee and John Smith.

The 37th biennial MU Delegate Conference, held in Brighton on 25-26 July and hosted by the Union’s Executive Committee (EC), addressed a UK political landscape transformed over the past two years by a general election, the Brexit referendum, and Jeremy Corbyn’s revitalisation of the Labour movement.

“We’ve had two elections for the Labour Party leadership, an election for the Tory Party leadership, and a general election, proving that assumption is the mother of all cock-ups. We’ve had Trump, we’ve had Brexit, and we’ve got populism gone mad. But we’ve got Horace Trubridge. And for one show only we have two General Secretaries at the table.”

Dave Lee made his debut as Conference Chair by highlighting the unparalleled changes to politics since MU delegates and guests gathered in Brighton two years ago.

Dave noted that the Executive Committee has been reorganised since the last Conference and now contains more women. He also welcomed Naomi Pohl’s election as the MU’s Assistant General Secretary, Music Industry, the first woman to join the Union’s team of senior Officials since its foundation. In addition, he cited the high mutual respect he shared with newly-elected General Secretary Horace Trubridge.

“John turned our Union into a dynamic servant of our members’ interests.” Dave Lee The Musician • Autumn 2017

“On digital rights, copyright, streaming, and many other things, he is internationally recognised as someone who has the subject at his fingertips. He’s a great negotiator. I’m

looking forward to him putting his stamp on the job of General Secretary.” The MU’s work, observed Dave, extends far beyond the UK thanks to its close association with the International Federation of Musicians (FIM). “It’s a reminder of how Europe and the rest of the world look to the British MU for leadership and experience in dealing with working difficulties in today’s increasingly competitive international marketplace.” Dave also expressed warm words for outgoing General Secretary John Smith. “It can’t often happen that a General Secretary retires just as a book is published about his achievements.” Dave recommended Players’ Work Time to delegates. “John turned our Union from a divided, cash-strapped organisation into a solvent, dynamic servant of our members’ interests. Read the book – it’s all in there.” To see the motions that were carried at MU Conference 2017, go to page 46.

REPORT

Highlights From Brighton The issues of Brexit and equalities loomed large in Conference debates over the twoday event. Singer-songwriter and activist Jonny Walker turned the spotlight on life for UK-based musicians in post-Brexit Europe. He spoke with power and passion as proposer of a Motion calling for the EC to lobby for musicians to retain visa-free access, or at least to minimise work permit requirements. His words were echoed by Michael Dugher, the new Chief Executive of UK Music, who praised the MU’s #WorkingInTheEU campaign, and stressed the vital need for UK musicians to access EU with the greatest ease after Brexit. Frances O’Grady’s address on the first day of Conference cultivated an atmosphere of hope. For all the turmoil of domestic and international politics, the TUC’s General Secretary felt that the Labour movement offered positive answers to deep problems created by the Tory government. Echoes of optimism sounded in Tom Watson’s speech on day two, an address comprising rallying calls and an affirmation of the Labour Party’s commitment to music education. Presentations made to Conference by guest speakers highlighted the MU’s place at the centre of a network of organisations concerned with fair pay, terms and conditions for musicians. John Shortell, the MU’s former Education and Equalities Official, gave a rapidfire summary of the many advances made

MU members voting on a motion at the Delegate Conference in Brighton.

Equalities Focus

Cindy Douglas addressed the difficulties still facing women in the music industry.

in promoting equalities since Conference last convened in 2015. Conference delegate Cindy Douglas gave a forthright account of the difficulties still facing women musicians, especially in the pop world. Conference delivered a lively second day panel session with Labour MPs Stephen Doughty, Alison McGovern, and Jo Stevens, who are all long-term parliamentary champions of musicians and the Musicians’ Union. Their contributions left an indelible impression of music’s value to the nation’s spiritual and material wellbeing. It was left for John Smith, on his last day as General Secretary, to reflect on the MU’s achievements, and its determination to fight for musicians from a position of strength.

Equal rights and protection for minority groups surfaced throughout Conference. John Shortell, the MU’s Education and Equalities Official until he joined education union ATL earlier this year, presented a detailed summary of the Union’s activities to promote equalities. “Most of the work over the last two years has been about building the MU’s profile in terms of equalities. To do that, we’ve worked with best practice organisations and been present at as many equalities events as possible.” Equalities work, he added, has entered the mainstream of all MU sections, emphasising diversity, access, and equality in orchestras, live performance, recording and broadcasting, and education. The Union recently launched the first part of an online Equalities Toolkit, developed in collaboration with Maternity Action. It offers accessible information on everything from maternity, adoption, and parental rights to shared parental leave. The Union will publish a comparable toolkit covering disability rights and mental health this autumn, and develop policy for gender transitioning at work. Guides to equality and diversity for venues and the use of inclusive language were also in development. Union initiatives to keep LGBTQ+ venues open, promote ethnic diversity in orchestras and tackle racism and unconscious bias in the industry, John observed, had delivered positive results and are set to continue. The MU, he concluded, was determined to raise awareness of the issues facing disabled musicians and promote the cause of equality for women in music.

Frances O’Grady’s Conference Address The General Secretary of the TUC speaks to Conference about the new political landscape.

Michael Dugher From UK Music 16

Michael Dugher, Chief Executive of UK Music, launched a withering attack on the gravest threats to the future of music-making in the UK. Dugher called for action to combat the effects of declining school music provision, the demise of grassroots venues, and the possible loss of visafree travel to Europe. “Our industry is now facing a perfect storm that, if allowed to develop unchecked, poses an existential threat to our sector,” he said. “The grim reality potentially puts in jeopardy the UK’s ability to generate breakthrough artists that are the key to sustaining Britain’s £4.1 billion music industry. Music should not be the preserve of a privileged few. It should be open to everyone in this country.” “We want to work with you to address the value gap between digital services and the music industry,” he added. “The proposed EU directive on copyright in the digital single market presents a once-in-a-generation opportunity to finally get the law right. Musicians are also workers. And all workers should get paid properly, treated fairly and have decent terms and conditions.”

The Musician • Autumn 2017

General Secretary of the TUC Frances O’Grady’s address contained words of hope and a call for the end of austerity. She paid tribute to John Smith for leading the MU from strength to strength. “Together with all of you, he transformed the MU into a powerful, principled campaigning force,” she noted. Frances welcomed Naomi Pohl’s election as MU Assistant General Secretary and her induction into the “first ever woman club”, before reciting a Darts hit in honour of the band’s former saxophonist, Horace Trubridge. The song’s final line – ‘You’ve got to make the most of your man’ – drew heavy applause. The MU, she said, was on the frontline of the industrial and public policy map. “You’ve exposed the scandal of musicians working for free, defended copyright and performers’ rights, kept the flag flying for live music, and supported the work of music teachers.” She listed the MU’s interventions in everything from illegal downloading to arts funding cuts. “It’s high time the government woke up, because these cuts are a false economy.

For every pound we invest in the arts, we get double that back in growth and regeneration. If the Chancellor doesn’t recognise that, then frankly he’s in the wrong job.” The opinion poll-defying general election performance of Labour under Jeremy Corbyn, noted Frances, reflected the electorate’s growing rejection of the “demeaning, demoralising and dehumanising” public sector pay cap, and frustration at poor quality jobs and shrinking pay packets. “The only certain outcome of the election is that the Prime Minister finally knows what it feels like to be on a zero-hours contract!” While counselling against complacency, Frances raised the genuine prospect of a Labour government. “We could be on the cusp of something,” she said. “Millions of voters are fed up with an economy that fails too many and enriches too few.” The economy must support working people and protect workers’ rights, she insisted, as must any Brexit deal. “That includes freedom of movement for musicians, not just for your members’ professional prospects, but for the very essence of what it means to be an artist. The result of the EU referendum was clear but the government has boxed itself into a corner. Labour, in my view, must not make the same mistake. The TUC is still pressing to keep all options on the table, looking afresh at the single market and customs union to prioritise protecting jobs.”

“For every pound we invest in the arts, we get double that back in growth and regeneration.” Frances O’Grady

REPORT

A View From Parliament Standing up for musicians’ rights to work in Europe, and what the music-friendly MPs are doing for us. Tom Watson told Conference that the Labour Party “believes in a pluralism of voices”. His point was proved by three parliamentary colleagues, who showed their strength of support for the MU with incisive comments about threats to musicians as Brexit unfolds.

belonged to her earliest memories, placed there by her folk musician grandfather, and intensified in her home town by organisations such as the Royal Liverpool Philharmonic Orchestra, and the local music services that enabled her to learn an instrument.

Alison McGovern MP, Chair of the Performers’ Alliance All-Party Parliamentary Group, thanked all MU members who campaigned for Labour during the election. Music, she said,

“People understand that if you’re a musician in Britain and you’ve got a talent, you need to be able to work right across Europe,” McGovern noted. Freedom of movement and cultural exchange, she added, were to be preserved not destroyed. “That’s why the MU is right to put itself at the heart of the Brexit debate.”

Several MPs, including Stephen Doughty, addressed Conference.

The government’s approach to Brexit was branded as “absolutely bonkers” by Stephen Doughty MP. He expressed deep concern about the EU withdrawal process and noted his preference for staying within the single market and customs union. “I cannot believe we are willing to chuck away this market, this

set of relationships, this freedom to work together across continents in such a reckless way.” Doughty also paid tribute to bassist Tom Edwards, whose death was announced during the election campaign. “His inspiration as a campaigner and activist for what you stand for will sit in my heart and inspire me to carry on standing up for you in Parliament.” Jo Stevens MP drew attention to the successful grassroots campaign to save thriving music venues in Cardiff’s Womanby Street from redevelopment. The MU, she noted, was integral to the campaign. Lessons learned from Womanby Street were available to share with other threatened venues. “It’s really important that we keep these cultural hubs.” The Labour movement, she noted, must fight to retain EU-wide workers’ rights won over many decades. “As with every single fight we’ve gone through as a trade union movement, we’ll do this together.”

“If you’re a musician in Britain and you’ve got talent, you need to be able to work in Europe.” Alison McGovern

Dr Faiza Shaheen On The Work Of CLASS Cuts to public services, escalating household debt, and rising inequality occupied Faiza Shaheen in a summary of her work as Director of CLASS, the Centre for Labour and Social Studies. “We are your think tank,” she announced before listing a series of statistics attached to social division and inequality. “There’s going to be a lot for musicians to sing about,” Faiza suggested. She challenged recent research published by the IFS on inequality, poverty and living standards, contradicting the idea that the gap between the UK’s richest and poorest had narrowed. “In the last 10 years, the top 10,000 have seen

their wealth double. Meanwhile, in the last five years, the number of food packages handed out by food banks has tripled.” Her analysis highlighted reports that the majority of working people would favour paying more income tax in return for better public services. She also welcomed Labour’s proposed national investment bank while calling for a reboot of the welfare state. “When we think about solutions, we’re not just thinking about how we protect the status quo. We have to tackle the underlying issues. There are signs of hope and some sort of awakening about how poorly we are doing.” The Musician • Autumn 2017

Tom Watson On The Vital Role Of Music In The UK The opposition’s key cultural spokesman highlights the importance of the music in the UK’s economy. The Deputy Leader of the Labour Party and Shadow Secretary of State for Digital, Culture, Media and Sport recalled how childhood ambitions to become a professional performer were undermined by his lack of progress as third fiddle in the Sladen Middle School orchestra. Tom conveyed Labour leader Jeremy Corbyn’s best regards to Conference before paying generous tribute to John Smith. While retiring from the MU might feel like an ending for the outgoing General Secretary, he noted, “bearded white men of a certain age are in fashion”.

Setting the tone for his keynote speech he dubbed the UK’s live music scene as the world’s best. “Our music is admired everywhere on the planet,” he said before listing serious threats to its future, from Brexit and secondary ticket websites to the “collapse of creative education in our schools”. Changes to the workplace and jobs, he noted, demanded a greater emphasis on creativity in education. “We need to be a nation of creative

problem solvers. Robots may be taking those highly skilled manufacturing jobs, but they’re never going to match our creativity. That’s why we need creative subjects at the heart of our school curriculum.” Fair pay and fair terms and conditions, Watson added, should be central to the music industry. The existing business model, whereby artists so often receive poor returns on their creativity while labels and publishers harvest large profits, was unacceptable. Streaming, he observed, had delivered greater access to a greater variety of music than at any time in history. It was also delivering revenue. “But it’s only going to work if the artists that have broadened that access are properly paid. Right now, they’re not being properly paid.” Music makers, he continued, must receive a bigger share of the streaming revenue pie.

The energy and optimism generated by Labour’s general election campaign were set to increase. “We did better than expected,” Tom observed. “And that was because of the campaign Jeremy Corbyn led and because of our Labour Deputy Leader policies. They addressed the Tom Watson spoke of the strength of music in the UK. concerns of ordinary people.” He invited MU members to feed the Labour Party with ideas and opinions, to help shape its next manifesto. “You are invaluable and you are irreplaceable. I’m here to assure you that the Labour Party and a future Labour government will keep pushing to promote and protect you.”

“We need to be a nation of creative problem solvers.” Tom Watson The Musician • Autumn 2017

Vanessa Reed’s Conference Address The Chief Executive of PRS for Music Foundation cited the MU and PPL among key strategic partners working with her organisation, which has supported over 5,700 new music initiatives and disbursed around £26.5 million since its launch in 2000. The demand for Foundation funds, she noted, is increasing. “One of our aims is to give musicians, songwriters and composers of all backgrounds the chance to realise their potential.” Reed encouraged MU members to use the PRS Foundation’s user-friendly application process to bid for project funding. “We’re now receiving over 3,500 applications every year. I think that reflects some of the challenges increasing for musicians.” The Foundation, she added, was also at the forefront of promoting equality through Women Make Music, and by supporting individual artists across genres through its Open Fund. “We want to be as close to the grassroots as possible in every part of the UK.”

Doug Nichols From The GFTU The General Secretary of the General Federation of Trade Unions reminded delegates of the need to connect with the past to make sense of the present and to shape the future. “You can’t think of the GFTU without the close involvement of many friends and colleagues from the MU.” That relationship, he added, is set to continue, with the MU’s David Ashley, Maddy Radcliff, and Bindu Paul as trustees and John Smith as the GFTU’s next President. “All the evidence is that, despite all difficulties we have faced over the last 40 years, the trade union movement is moving forward and small, specialist groups of workers are still organising.”

REPORT

Peter Leathem’s Reports On The Progress Of PPL The MU’s partnership with PPL is paying dividends for its members, says the company’s chief executive. The MU has a strong association with PPL, the UK-based licensing company for recorded music. John Smith, who became PPL’s President in January 2016, recalled the positive experience of representing performers’ interests while working to grow PPL royalties to musicians.

Pete Leathem of the PPL spoke of increased royalty revenues.

PPL’s chief executive, Peter Leathem, reported that income from its licenses reached £212.1 million in 2016, a year-on-year increase of £15.1 million. Work to boost international collections delivered additional revenue to PPL in recent years. “The most impressive growth in 2016 was in international, where we grew to £48.3 million, a 32% increase. Over £40 million of that is for performers.” Peter recalled that PPL made payments to 83,000 performers and around 10,000 record companies and others, performers among them, owning rights in recordings. Over the past five years, PPL has increased its collection revenue by £58.6 million, a 38% increase, and has moved from paying 31,000 to 92,000 performers and record companies. “We are making dramatic increases in the number of performers who are being paid.”

The revenue pot is set to grow thanks to a new UK public performance licensing initiative, created by PPL and PRS for Music. “We will launch a joint venture company that will be a one-stop business for all those using recorded music to get their music cleared. It’s a big step forward.” Peter underlined PPL’s relationship with the MU and the consequent increase in royalty distributions. “The MU team is very well respected across the entire music industry.”

Benoît Machuel On FIM Campaigns covering everything from instruments on planes to internet income, social welfare, and workers’ rights concerned Benoît Machuel, in his comprehensive report on the International Federation of Musicians (FIM) to the MU Conference. The organisation’s General Secretary commended the MU for its international work and for the many global issues contained within its Conference Report. Benoît outlined recent steps taken by FIM to guarantee an unwaivable right to fair remuneration for authors and performers from internet streaming services and other online media companies. The European Parliament Industry and Culture Committees, he noted, had adopted opinions in favour of fair remuneration into their advice on the Draft EU Copyright Directive. “Many people did not believe we could reach that point. I think we have chances to win this battle, but it is going to be extremely difficult.”

John Smith’s Farewell Speech Conference found time to break from intense debate to celebrate the achievements of outgoing General Secretary John Smith. The London Gabrieli Brass Ensemble came to Brighton to serenade their former tuba player with a blast from his past, while many guest speakers and EC colleagues lauded John for his tireless work on behalf of the Union and its members over the last 15 years. John’s closing remarks retraced the steps that led from early life in brass bands and the local youth orchestra, to success as a professional

musician and election as MU General Secretary. Along the way, he recounted his evolution as a Union steward and activist and paused to thank those who helped and encouraged him along the way. “I’ve had a brilliant working life. It’s not quite over yet but the bit with the MU is ending now.” He received a standing ovation from Conference and a large bronze sundial from the EC. “What was I saying about digitisation?” asked John. “The wrist strap’s in the bag,” Dave Lee replied. The Musician • Autumn 2017

Pedal

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Taking the least obvious route can pay off, as BJ Cole found out when he devoted his life to the pedal steel guitarâ&#x20AC;Ś Profile by Hugh Fielder

The Musician â&#x20AC;˘ Autumn 2017

PROFILE

“I had this built–in conviction that the pedal steel could be used for anything,” says BJ. “I chose it because it did more interesting things than any other instrument.” But it wasn’t country music that turned a young Brian John Cole on to the steel guitar when growing up in Enfield in the 60s. “I knew nothing about country music. It wasn’t around much, not where I was listening anyway.” What did it was seeing an act called Santo & Johnny performing Sleep Walk on The Perry Como Show. “It was an electric Hawaiian guitar, and I had been listening to a lot of Hawaiian-style music because I loved the lyrical exotic nature of it. Only then did I realise why.” ea nin the es It was after he’d sold his train set to buy a lap steel – a Dallas Rangemaster – that BJ became aware of country music. “To learn more about the instrument, who the good players were and what they were doing, I needed to listen to country music, and I started importing records from America.” His hobby turned into an obsession after he acquired his first pedal steel – a Fender 1000 – a couple of years later. “I was just besotted with the sounds it made,” he recalls. No sooner had he plucked up courage to play a gig than he was invited to join a country band. They mainly played American air bases in East Anglia, but there was also a thriving scene in West London centred around the Irish pubs. The British country scene wasn’t keen on trying new things however, much to BJ’s increasing frustration, especially as he was aware of the expanding musical scene in America headed by groups like The Band and The Flying Burrito Brothers. So when he was

The Musicians’ Union And Me asked to join a new band that was trying to fuse rock and country he didn’t hesitate. That band evolved into Cochise, and for three years BJ lived the life of a rock musician. “We had the same management as Hawkwind, and when we did gigs with them it was fantastic because I could use big amplifiers and extend the sounds into areas you wouldn’t think of doing in country music,” he recalls. Unfortunately Cochise never fulfilled its promise, but for BJ the real value of the band was the number of people he got to know through them. “The rhythm section had played with David Gilmour, and through them I got to know Steve Marriott, Dave Edmunds and Andy Fairweather Low. Plus we were signed to Dick James Music for publishing and I’d run into Elton John in the corridor outside the demo studio. All these people were interested in what I was doing with the pedal steel.” Steve Marriott was the first to bite, enlisting BJ for sessions for Humble Pie’s first album. “I remember walking into the big room at Olympic Studios where the band were setting up with producer Glyn Johns in the control room and thinking: ‘I’ve made it!’ I was working with one of the most important bands at that time.” BJ ended up playing on all three Humble Pie studio albums. It was as Cochise were beginning to wind down in 1971 that BJ got a call from Elton John, asking him to a session at Trident Studios where he was recording Madman Across The Water. “He liked a country influence on certain songs and he wanted me to play on Tiny Dancer. I was part of the band putting the arrangements together, and after six hours or so it was complete, apart from the strings and backing vocals.”

ine in 1 7 as in a sessi ns in i stu i s a un that time an the ten ha e an chest a in the e an e i en m th ee s ua e eet t set u in An the e as ene a a Musicians ni n e esentati e the e ma in su e that e e ne ha thei a e in e That e esentati e as usua n mith h sa asse a a ecent emem e that he as th ea e an es ecte am n the musicians t

hat came t a ue m st hen ine the ni n as ust thei esence t as eassu in ine the i e ecti n mmittee a e ea s ecause ante t e e ience it m thei si e t as a a ua e e e ience me m e a a e a the in i i ua assistance the can e i u nee e a a ice e am e tunate e ne e ha t use them ut i ha a em the u ce tain em st ca

“It didn’t feel like it at the time, but in retrospect it was a very important session for me. Because I had created a context for the

“I had this built-in conviction that the pedal steel could be used for anything.” The Musician • Autumn 2017

All photos: Joseph Branston. © MU 2017

s me ne h has ma e a success u ca ee ut a in e a stee uita an inst ument that is in e i ass ciate ith c unt music e has ne it n t a in much c unt music nstea he has u e his n am iti n t a en the a ea the e a stee int an musica st e e it c a am ient e ect nic ance t s a ema a e achie ement that has ma e him the t a e an ne in t s ice u a s n ust a casua ance at his ist sessi ns e ea s a an e a tists an st es that e the musicians c u c me c se t emu atin

My Hardest Session BJ Cole’s pedal steel playing involves a deft lightness of touch with both hand and foot.

pedal steel in the British singer-songwriter genre. And the calls started coming in.” Roger Daltrey, T Rex, Procol Harum, Uriah Heep, The Walker Brothers (on No Regrets), Joan Armatrading, Olivia Newton John, Kevin Ayers, Alan Parsons, Cat Stevens, and Gerry Rafferty were just some of those who called. “I was able to apply the pedal steel to any piece of music that was put in front of me. I just had this 22 conviction that the pedal steel was so much better than any other instrument, so I had every right to go anywhere I wanted with it. I’d developed this accompanying kind of style. In fact I play more like a lead guitar sometimes. Which annoys guitar players a lot!” han in an sca e BJ remembers studios in the 70s being like social hubs. “Things happened in them and you got to know people who would later ask you to do a session.” But things soon began to change. “That’s when synthesisers came in and started to take over any sounds that were considered non-essential. So I got out of the session scene for a while. I started getting interested in country music again, but this time seeing how British musicians could reinterpret country in the way they had reinterpreted R&B in the 60s.” His interest led him to Hank Wangford, and along with a band of likeminded musicians he played on Hank’s first album, Cowboys Stay On Longer. As the novelty of the synthesiser wore off, BJ found himself back in demand as a session player again, with the range of artists as broad if not broader than before: Shakin’ Stevens, Paul Young, David Sylvian, The Stranglers,

The Musician • Autumn 2017

Deacon Blue, kd lang. But by the late 80s BJ’s restless instinct was leading him to ambient music. “It was new to me and presented a real challenge for the pedal steel. I was particularly interested in what Brian Eno and Daniel Lanois were doing. It inspired me to make my first solo record for 17 years.” That record, Transparent Music, was recorded with composer Guy Jackson and released in 1989, was an exploratory journey into ambient music that brought BJ a whole new range of session clients in the 90s: people like The Orb, Depeche Mode, Spiritualised, Bjork, and Pet Shop Boys. The end of the millennium was marked by a flurry of live activity, touring with The Verve in America, during which he was head-hunted by Peter Buck to join REM on their European tour, playing lap steel on Daysleeper. He also had a stint in Sting’s band, as well as working on three of his albums. i in sam in machine Meanwhile BJ’s interest in ambient music had led him on to dance music and DJs. “There was an antipathy towards DJs by people who didn’t consider them musicians,” he says. “I got interested in what they were doing after I played at The Big Chill and I realised that a lot of these guys were making some really good music.” Among them was Luke Vibert with whom BJ bonded over a shared love of funk and Hawaiian exotica. That led to a shared album, Stop The Panic in 2000. “He certainly liked me. I was a living sampling machine for him!” he laughs. “But then I’ve never set limits on what the pedal steel can do”. BJ was also quick to respond to the digital revolution that decimated the recording industry by setting up his own online

in ith tin ecame an inc easin e u a hi h i ht m ca ee a un the tu n the centu st e ith him in 1 n his Mercury Falling a um an a ain th ee ea s ate n Brand New Day n 2001 he in ite me t in him an his antastic an at his i a in Tuscan t ec a i e eatest hits a um in nt a se ecte au ience The ec in ate as e tem e 11 an u in the a hi e e e e e a in t sta t ne s the h en us e ents in e came te in th u h t cast a a m e the cee in s an a hi e tin as min e t cance the sessi n e as e sua e t ca n an the ec in s e ma e that a sh that the a ces the cann t am en the c eati e s i it

overdubbing service. “It was very obvious 10 years ago that the session scene was dying. So I set up a facility on my website – you send me a track and I will add a pedal steel in my Batcave basement studio.” He admits the lack of personal contact can create problems. “My solution is to send them my first intuitive overdub and get their response. That immediately creates a dialogue. On the other hand, working in digital means I can be more spontaneous than I ever was back in the 70s, when it was often just me and the producer with me stuck in a booth trying to get a feel for the track from what’s being fed to you in headphones.” Apart from the recording booth, BJ is at ease wherever he is asked to play. “I’ve never felt intimidated. I can get up on stage at the Albert Hall and it’s the same as if I’m playing in my living room. If they asked me to sing it might be a bit different though!”

PROFILE

â&#x20AC;&#x153;I just had this conviction that the pedal steel was so much better than any other instrument.â&#x20AC;?

Licensing With BBC Worldwide How members can access recordings that they may have made on a BBC session or television show for their own commercial use… Report by Ben Jones

The BBC has an extensive archive of recordings going back decades, across all genres, which were originally made for its radio and television programmes. We spoke to Simon Gurney, the Licensing & Synchronisation Manager (Radio & Music) at BBC Worldwide, to find out how those 24 recordings can be exploited. What is your role at BBC Worldwide (BBCW)? My main responsibility is to earn the BBC money through the secondary licensing of its roughly two million music copyrights (master rights rather than publishing rights) by means of licensing and synchronisation. To flesh that out a bit I spend most of my time licensing artists’ session, concert, and festival recordings back to the original record label (or directly back to an artist where such rights have reverted), so they can release them commercially in exchange for an advance and/or royalty. I spend most of the remaining time trying to earn income by placing (in co-operation with the same labels/ artists) the same music on to films, adverts, non-BBC TV, and other non-music products such as games and toys (ie synchronisation). A smaller but interesting part of my time also goes to licensing musical extracts for sampling on other music recordings. For what purposes do you license recordings? The bulk of our license deals are still for physical releases (CD and LP), reflecting that our recordings stretch back for the best part of a century, and thus we deal more often with back catalogue than current recording artists. That said we can and do enter into downloadThe Musician • Autumn 2017

Simon Gurney (left) from BBCW, can help you exploit your appearance on historical BBC TV and radio shows, such as Later… With Jools Holland.

only agreements at times, although more often it’s a combination of the two. Streaming rights for the likes of Spotify are often tacked on to these deals, although in some cases we engage in streaming only rights due to modern listening trends. Some typical deals could involve licensing a Radio 1 Live Lounge recording of theirs to feature as the b-side of their next single. Or for a more established artist maybe licensing a couple of their Peel Sessions to feature as a bonus disc when releasing a deluxe reissue of one of their seminal albums. We also look after the audio-visual side of the BBC´s music output (eg Top Of The Pops, Old Grey Whistle Test, Later… With Jools Holland), and so as well as DVD or CD/DVD combined deals we are getting more involved with output on Vevo and similar sites.

One area we are not involved in, but is probably my most commonly asked question, is the placing of music on to BBC programming or independent television programmes that the BBC broadcast. That is taken care of by my colleagues in Music Copyright over on the public service side and largely falls under the auspices of the blanket licence agreements entered into with the likes of PPL, PRS, and of course your good selves at the MU. If an MU member has recorded for the BBC and it has not been released, can it be accessed? To begin with, it has to be more than purely exploratory in nature because we can only call up recordings when there is a commercial purpose in mind, and potential income for the BBC. Furthermore it helps if your members belonged to the actual band rather than being engaged as session musicians, because any deals for release require the artist’s consent either directly or via their record label.

REPORT

What Exactly Is BBCW?

BBC Worldwide is the commercial arm of the BBC, set up as a separate limited company, but with the BBC as the sole shareholder.

It is usually this record label who will be releasing the recordings, because BBCW ceased to have its own record label in 2004 and so operate a licensing-out business model. If rights have reverted from a label to an artist directly, they are welcome to release such recordings themselves, subject to agreeing commercial terms with us so that the BBC shares in any commercial success.

This separation allows the BBC to operate as a fully public service oriented broadcaster, but not to miss out on secondary commercial opportunities that can fund further programming, but also give the audiences a further chance to enjoy the programming in and on alternative mediums and platforms. BBCW invest in the BBC’s programming at inception in order to gain these secondary rights, and then also pay its profits back to the BBC annually by means of a dividend. They do not use the licence fee for any of their ventures, but instead provide a second revenue stream to the BBC to assist in its funding.

Why does the BBC own or control these recordings, rather than the record company? Technically it’s down to provisions within the 1988 Copyright, Designs and Patents Act whereby we are funding the recording on our property and using our staff and equipment to do so. We still pay the artists a fee – MU approved! – for their performance, and the main attraction for record labels allowing their contracted artists to perform in this fashion is that the BBC still offers by far the best

“I feel that the clients are more aware than ever of their power.” Simon Gurney, BBC Worldwide

one-stop promotion for them via nationwide broadcasts to distinct demographics of listeners that tie in with their fan bases. Can you outline any costs involved? It’s difficult to provide figures, although we do have some minimum amounts in place as we have to account for how much time is taken in supplying masters, negotiating a deal, sorting a contract out, then raising and sending invoices and monitoring royalties during the (usually five year) term of a deal. Do you license BBC recordings for commercial use? The same deals with the majors, and many indies via AIM, that facilitate the licensing of these recordings for commercial release also allow the same labels to pitch these recordings for all standard sync purposes, knowing that a pre-agreed split of income is in place. We allow the labels to negotiate the fees with the film companies, advertising agencies and so on, in part because they are the ones who need to consult with the artists and pay them 25 afterwards, but also because it means it is no more tricky for anyone to use a BBC recording than it is one owned wholly by the label. Sync seems like an area of the industry that everyone wants to get involved in. Is this still true, or has it become saturated? Yes and yes. I feel that the clients are more aware than ever of their power, but with that said if you have the track that matches the director’s vision then you are often back in the driving seat in the negotiation. But there is always a fine line involved. A e the e ent ints mem e s t e their work for use in BBC programmes? The main one I suggest to people enquiring is the Desktop Jukebox, run by a company called I Like Music (web.ilikemusic.com). It used to be an in-house BBC facility but was privatised several years ago, and is now used by producers across the whole UK TV industry who deal with the blanket licences. It allows you to upload your recordings for a fairly nominal fee, and thus be in with a better chance of inclusion on UK programming than otherwise. As always you must make sure your recordings and compositions are registered with the appropriate collective management organisations (CMOs) because they won’t be considered otherwise. The Musician • Autumn 2017

MU Launches Fair Play Venues Database The MU’s initiative to wipe out unfair pay to play schemes from the nation’s music venues has reached the latest stage of its development… Report by Roy Delaney Grassroots venues such as Sneaky Pete’s (right) and The Bedford (above), have signed up to the MU’s Fair Play Venue scheme to help eradicate pay to play from the gig circuit.

Members will soon be able to search for grassroots music venues that have joined the 26 MU’s Fair Play Venue scheme on a new MU database. The scheme commits venues to treating working musicians fairly, recognises good practice in the live environment, and presents a united front against the unfair practice of pay to play. Until now, participating Fair Play Venues could only be identified by an official sticker at the venue. Now with the online database, musicians and artists can find Fair Play Venues across the country in seconds. The MU hopes it will become an essential tool in booking successful gigs and tours at grassroots music venues. As well as contact information, the database tells you about the kind of music the venues usually puts on, what deals they offer to artists, and how to go about getting a gig with them. The scheme recently engaged its hundredth member, and so this seemed like the perfect time to promote all of its fine work. MU National Organiser for Live Performance Dave Webster says: “We are delighted that this growing circuit of venues across the UK

has reached three figures. These venues provide a haven for nurturing local talent and opening their doors to visiting artists. This wave of venues have told us they oppose pay to play and support the principles of our Fair Play Guide. This is an important step forward in building relationships between artists and venues.” Working together Mark Davyd of the Music Venue Trust said: “We are really pleased to be working with the MU on the Fair Play Venue programme, and to see how the initial few venues are now developing into a real circuit where musicians can be assured they are working with, not against, the venue. The online database is the next step in the evolution of a comprehensive guide to places where everybody is working together to place a real value on music.” The Fair Play Venue scheme was created in response to the issue of pay to play, a practice operated by promoters or bookers whereby

“We do not believe that a musician should have to pay to perform anywhere.” Lydia Stockbridge, The Boileroom, Guildford The Musician • Autumn 2017

artists are expected to pay in order to play a gig, either by way of a cash payment, or by purchasing large quantities of tickets that they then have to sell to fans in an attempt to break even. The online database is the next stage of development in the MU’s support of the grassroots live music scene. What the venues think The MU Fair Play Venue Scheme supports grassroots venues, recognises good practice, and brings the fair treatment of musicians front and centre. To celebrate the success of the scheme, the MU asked some of its Fair Play Venues why they signed up, and what the Fair Play Venue Scheme means to them… Nick Stewart, Sneaky Pete’s, Edinburgh “We signed up because we agree with the reason it’s there, and we have always paid every artist no matter what. We’re happy to be signed up, but if there was no scheme we would still always pay acts – it’s really important to show that you value musicians, even if it’s just a small contribution. In a funny way, paying acts shows that you value their music above their financial worth. You’re paying an act for their artistic worth, even if

REPORT

MU Fair Play scheme signs up 100th venue Sixty Million Postcards, a grassroots music venue based in Bournemouth, has become the 100th enue t in the M s Fair Play Venue scheme. The 00 ca acit enue hich ene in 200 has seen an s i e ect A ice and The Wytches grace their stage alongside an eclectic mix of DJs and regular club nights.

it’s just a contribution, rather than just for the revenue they generate for you.” Tony Moore, The Bedford, London “We are proud to support artists and create an environment and stage where artists are treated with respect, and given the chance to be seen and heard at their best. In an age where it is easy to take advantage of limited gigs and a great demand to play, it is important to be fair. We believe that it is important to be part of an initiative to create supportive environments for musicians.” Lydia Stockbridge, The Boileroom, Guildford “It puts an official stamp on the practices we’ve always upheld. We’ve always been against pay to play schemes, and believe that a good show is a fair one for musicians and promoters alike. It’s respecting the artist and the work that they put into their performances. Creativity is a labour of love, and not always a profitable one. We do not believe that a musician should have to pay to perform anywhere.”

Jason Dormon, The Forum, Tunbridge Wells “The Forum has always been about supporting young and emerging musicians. Putting on a gig is a partnership between the venue and the acts themselves, with shared responsibilities. Fair Play emphasises this. It’s important that musicians are treated well and earn money from as early a stage as possible so they can get off the ground and invest in themselves and the local music community. The venue has always stood against pay to play and unscrupulous promoters. The scheme is a way of making that clear to musicians and our customers” How can a venue join? A venue may be considered an MU Fair Play Venue if it endorses the core principles of the Fair Play Guide. This offers advice to artists and promoters on ticketing deals, showcases and competitions, so that musicians can identify when a deal is fair. To nominate a venue you know, your own venue, or to find a Fair Play Venue near to you, email us at live@theMU.org

Sixty Million Postcards promoter Tor Byrnes told the MU what becoming a Fair Play Venue meant to the club; “It’s great to acknowledge and shout about the fact we treat everyone within the music industry fairly and with respect, as all venues should endeavour to do”. The Fair Play Venue scheme helps musicians find Fair Play enues ac ss the c unt A database of venues launched this summer, and we hope it will become an essential tool for MU members planning tours, or finding venues that value the fair treatment of musicians as workers. For more information, please contact Dave Webster, MU National Organiser for Live Performance, via dave.webster@theMU.org

The database will be hosted on the MU website. Look out for more news on the scheme and the database at theMU.org The Musician • Autumn 2017

The Future For Music Teachers After the establishment of teaching hubs, and ever-decreasing austerity era budgets, how do things currently stand for music teachers? Report by Alex Stevens

MU members who teach – particularly those who teach in schools – will have felt the impact of government policy in recent years more than most. Recent years have seen the profession shift towards self-employment, with a marked reduction in staff posts available. The effects of this shift have been multiplied through the effects of austerity on schools and local government, and through 28 the impacts of government initiatives. These included the wholesale reorganisation of local authority music provision in 2012, with the introduction of Music Education Hubs. While the intentions of music service reform may have been to bring in new resources, encourage partnership working between local educational and artistic communities, and to invigorate the sector, it is clear that the upheaval in the way music education is provided has led to widespread disruption for MU members. Hubs now operate on a variety of models, but the shift certainly led to redundancies, often only for teachers to be re-employed under different terms and conditions by the new organisation. The MU has responded to this new landscape by setting up a committee of hub reps to keep track of the trends, supporting and advising members through the changes, and by helping groups of teachers to work together and regain some control through, for example, setting up music teacher co-operatives. These can work with local hubs and directly with schools to provide an alternative to isolated self-employment.

Music teaching in schools is becoming considerably less secure in these austeritystrapped times. So what can be done to make the careers of music teachers safe in the current climate?

“The main thing for teachers, at the start of the new term, is to get in touch with us as soon as any issues come to light,” says Diane Widdison, MU National Organiser Education & Training. “Then we can help, advise and give guidance. One of the issues we have is that teachers wait until things have happened, and then contact us. It’s harder for us then to be proactive with their employers.” Room charging The MU has seen a significant increase in schools charging peripatetic teachers a room-hire rate. This phenomenon has often morphed from a nominal fee to being seen as an opportunity for financially independent

“We always encourage teachers to look at their hourly rate, and to benchmark it against ours.” Diane Widdison, MU National Organiser Education & Training

The Musician • Autumn 2017

state schools to raise revenue. “We’ve seen a massive increase in schools charging teachers for the use of rooms,” says Diane. “As schools really struggle, they look at instrumental teaching as a potential revenue stream for the overall school budget.” MU Education Official Chris Walters notes that the prevalence of multi-academy trusts is a contributing factor: “If you ask the head, they will refer you to the chain’s business manager, who will say: ‘We’re allowed to raise funds in this way – you know how cash-strapped schools are now’. They’ll say that music teachers are charging a fortune anyway for their lessons, and that they can afford to pay – in some cases – £10 an hour for a teaching room. The knock-on effect is that only well-off people can afford to pay an increased rate that takes into account that charge.” Overall, says Diane, the MU has seen success on this issue by challenging it case by case. “If schools introduce charging, we will challenge them if it is too onerous on the teacher. And we also encourage the teacher to itemise that on their bills to the parents, so that parents know that if their fees have increased, that is money going back to the school. Theoretically, if schools look as if they are making money out

Blend Images / Alamy Stock Photo

REPORT

of these arrangements, they could appear to be coming under agency legislation – and we can also suggest that to the school. Schools don’t like that, funnily enough.”

Understanding DBS Checks

Rates of pay In all this confusion, fundamentals such as rates of pay can get lost. The MU’s current recommended hourly rate is £33. “We always encourage teachers to look at their hourly rate, and to benchmark it against ours,” notes Diane. “We realise that there is going to be some variation on that, depending on which instrument you’re teaching and where you’re teaching. But we do think it’s important that either you increase it every year, or if you do not, you make sure that parents know that you’re not. Because what parents don’t like is a massive hike in fees. They prefer an incremental rise that they do understand and can get used to.”

Disclosure and Barring Service (DBS) checks were launched in 201 as a m e e i e c imina records service for employees an em es 1 a ea applicants should be able to re-use their DBS certificate when changing jobs within the sector.

Teachers’ status Overall, the fight is on for the position of music teachers, says Chris Walters: “Peripatetic teachers used to be properly employed, and it was a career. You’d be part of a paid structure, and you would go up the scale, and you’d be employed full-time by the music service. And just because you were going around teaching in different schools rather than classroom

The MU encourages all members to sign up to the update service within the in 1 a s m the initial check. If they have issues, they should report them to the MU, which will help them challenge it. The MU has seen good rates of success when cha en in an e ainin the system to schools.

However, the MU is seeing confusion about DBS checks. Some schools do not accept checks that have been done by a local authority, and music services appear to be confused about the update service.

teaching, that didn’t change the fact that you were a teacher, and you had a similar status. It was a viable career for people.” “The problem now is that music services and hubs generally haven’t got enough money to maintain that status, and they’ve had to make music teaching an hourly-paid activity, usually on a zero-hours contract. I find that a tremendous irony, because we’ve had so much policy over the last five or ten years about what the government wants to happen with music education, what every child’s entitlement is – but the actual delivery of that is by people who are lower status than ever, who don’t get paid for the time spent travelling between schools, but who do still have forms to fill in, preparation work to do, and to be officially appraised. Often it has the commitment of an actual job, but the teacher’s position has been pared right down to something that in many cases isn’t even legal.” The MU is currently working on several test cases which aim to challenge the state of affairs. “I don’t think that will mean getting back to full-time employment,” notes Chris, “because there just isn’t the money in the system any more. I think it will mean better self-employment contract arrangements, or it will mean worker contracts that are less exploitative. It will become a new way of working that doesn’t put teachers on such a bad footing as they are on now.” The Musician • Autumn 2017

Grand Designs Multiculturalism and music in action, with the Grand Union Orchestra… Profile by Andrew Stewart

All photos: Joanna Dudderidge. © MU 2017

The Musician • Autumn 2017

PROFILE

Few would expect a musical production about disease, poverty and social injustice to leave its audience feeling uplifted. And yet Grand Union Orchestra’s latest show, Song Of Contagion, earned standing ovations and rave reviews. It did so by training the spotlight on diseases preventable for little cost – cholera and malaria among them – while probing the common humanity that might yet save mankind from itself. Over the past four decades, Grand Union Orchestra has shown how the passion of protest can be harnessed to music-making of the highest quality. Tony Haynes, the company’s founder and artistic director, owns the alchemical skills required to make a harmonious blend of genres and styles. He draws on everything from his early experience as church organist and brass band trombonist, to ideas propagated in the late 1960s by left-wing theatre groups. Delegates at the MU Conference in Brighton had the chance to hear Haynes’s compositions during a Grand Union showcase specially devised for the occasion. The performance united big band jazz with sounds from Chinese, Indian and other traditions. It also brought together three generations of musicians, spanning ages ranged from 15 to 70-plus. Arts in action Tony has been a member of the Musicians’ Union for half a century. He served on its National Executive Committee from 1984 to 1988, and lobbied hard for the MU to provide its members with extensive professional services and practical support. “Grand Union received financial help from the Union in our early years, and we took part in initiatives such as Arts for Labour,” he notes. “It was good to receive a call out of the blue, inviting us to play at this year’s MU Conference.” Grand Union Orchestra grew out of Haynes’s work as a freelance musical director in theatre. He discovered his calling in the late 1960s, while balancing postgraduate studies

“It was good to receive a call out of the blue, inviting us to play at this year’s MU Conference.” in music analysis in Nottingham with a year’s work as musical director at the Nottingham Playhouse. The resident repertory company required live music for its productions. “It was a baptism of fire. But I loved it,” he recalls. Haynes joined Liverpool’s Everyman Theatre in the early 1970s, where he composed full scores for plays by such politically inspired writers as John Arden, Chris Bond and Adrian Mitchell. “We combined music and theatre with tough material – not agitprop but productions with a strong political message. That flowed over into Grand Union.” Tony deepened his commitment to political theatre while creating scores for productions of Brecht and Arden at Newcastle Playhouse and Leicester’s Haymarket Theatre. He became a founder member of Belt & Braces theatre company, and was founder and director of the touring band RedBrass. The catalyst for Grand Union came in 1982 when Haynes and John Cumming, best known today as a director of Serious, decided to form a touring music theatre company. They took to the road with Jelly Roll Soul, a proven critical and box-office hit, fresh from its run at the Lyric Hammersmith. Grand Union began with three white musician-actors, Haynes among them, and two black actor-musicians. When the opportunity arose to tour another small-scale music theatre work, Haynes and his Jelly Roll Soul co-writer David Bradford conceived Strange Migration, a cross-cultural composition for eight instrumentalists and singers. The new piece set the gold standard for all subsequent Grand Union projects. “I thought it would be dishonest to do a piece about migration and the refugee experience without performers who came from that background,” comments Haynes. He recruited the Ghanaian drummer and dancer Sarah The Musician • Autumn 2017

Brian Abrahams “There is nothing else like Grand Union in my experience. They were exploring cultural diversity long before anyone thought about bringing it into mainstream education. Grand Union were the front runners. There’s nothing like it where I live now in Australia, as attractive as the place may be. I’ve been so fortunate as a musician to travel the world and work in all the diverse categories of jazz. But there’s nothing as exciting or rewarding as what I’ve encountered as part of Grand Union Orchestra.”

“I would never have encountered this diversity in music if I had not been invited to become part of this wonderful organisation. Why can’t everything be like this? We do not want wars. We do not want hatred in this world. There can be no progress made until humanity unites itself in harmony. If we can’t do it together, we are going nowhere. I consider myself one of the most fortunate musicians to have become part of Grand Union Orchestra.”

Laryea, Chilean folk musician Vladimir Vega, then recently released after ten years in prison under Pinochet’s regime, and US-born Caribbean jazz and blues singer Tunukwa, who had been a press photographer at the time of the Civil Rights Movement. Strange Migration made its mark with three 10-week tours. The company gained momentum with shows like A Book of Numbers and Freedom Calls, hallmarked by their commitment to cultural diversity and the cause of social justice. “It wasn’t our intention, but we were perceived as a multicultural company,” says Haynes. “We happened to coincide with rising interest in cultural diversity, and were asked to do multicultural workshops, which none of us had done before.” In 1984 Grand Union was commissioned to create a piece for the GLC’s anti-racism year. The Song Of Many Tongues, first performed in Covent Garden Piazza that September, marked the launch of Grand Union Orchestra as an 18-piece band. South African trumpeter Claude Deppa, a London-based refugee from apartheid, joined for its first orchestral project, and has been a member ever since. There was, he notes, a genuine hunger for the band’s work. This debut led to a series of intergenerational cross-cultural participatory projects, beginning with Threads in Manchester in 1986. “Crossover in culture has been part of London for centuries,” Deppa observes. “Our music belongs to the melting pot that is London life.” Around 40 musicians have worked with Grand Union Orchestra over the years. Saxophonist Courtney Pine and Gail Ann Dorsey – who went on to play bass guitar in David Bowie’s band – were among the fine young players to pass through the ranks. The organisation widened its reach in 2007 with the launch of Grand Union Youth Orchestra, in which young musicians are free to explore a world of musical cultures. Its annual summer school convened in London for the first time this

August to mark a decade of artistic adventure, while its monthly workshops are set to resume in Shoreditch this autumn. Quality and integrity, observes Tony Haynes, are key ingredients in the Grand Union mix. “I call it artistic truth,” he says. “It’s hard to define but you know it when you hear it. Everything we do with schools and communities grows out of that. We’re passing on skills and ideas that come from these outstanding musicians from different cultures.” World of music Drummer Brian Abrahams was established on the UK music scene, known for his work with his band District Six, when he joined Grand Union. His friend Claude Deppa invited him to a show in the early 1990s. Abrahams arrived expecting an evening of jazz. He was unprepared for the impact of what he heard. “It was a life-changing experience for me as a musician. I’d always modelled my pursuit of music on jazz. But what I found with Grand Union Orchestra was this family of musicians, led by Tony’s vision. I’d never encountered

“We’re passing on skills and ideas that come from these outstanding musicians from different cultures.”

PROFILE

Veteran multicultural musical collective the Grand Union Orchestra delighted the delegates at this year’s MU Conference in Brighton back in July with their uplifting sounds.

anything like it before. It brought home something that was deep in my heart. Coming from South Africa under apartheid I always wondered why things couldn’t be different, why we couldn’t have unity, why I was supposed to be different. And here I found this incredible union of musicians, with Chinese, Turkish, Caribbean people in the same show. The beauty of it came from the integration and flow of different music, brought together in a way that embellished it all.” Grand Union, adds Abrahams, reflects London’s attachment to artistic freedom and deep history of cultural exchange. The results, he suggests, are unique. “To bring these diversities together is remarkable. Tony knows how to do this. How much more could you ask for? There’s a clarity about how things could be. It’s this wonderful big thing that the music tells you about the beauty of diversity and how we can all fit together as one. That’s a global message, a message for everyone.” Tony Haynes knows that music can entertain audiences at the same time as encouraging them to contemplate serious matters of politics, history and society. “Some might think that what we do is worthy and solemn,” he observes, “But so much of it is joyous. We are not a world music organisation, we are about putting together different voices

Tony Haynes “We are facing difficulties as an organisation, but I have been inspired by Jeremy Corbyn’s appeal to youth. Here’s someone who is unfashionable and despised by many in the media, but who has maintained his principles and integrity. He has come through to speak to a younger generation. We older musicians need to do the same now that music is disappearing from the school curriculum, and fewer people are able to afford instrumental lessons. We’re acutely aware at Grand Union of the need to reach out to young people through social media. When we work with people from different cultures, we find they naturally want to explore other cultures. It’s a rich seam to draw from. I think there’s a hunger for ideals and for things that move people, which is why music is so important. I’m surprised that there isn’t a social core to more music.”

and sharing their creativity. The experience that Brian, Claude, and all the other Grand Union musicians bring to this is so strong. I couldn’t create this music without these wonderful musicians.” An uncertain future While Song Of Contagion was widely acknowledged to be the best show in Grand Union Orchestra history, the band faces an uncertain future. Its earned income has declined in recent years, as has its 33 funding from public sources – national and local. The narrow application criteria set by many of the largest charitable trusts often rule out Grand Union’s culturally diverse shows, while the patchy nature of post-hub music education provision has done little to broaden the band’s portfolio of outreach work. “We don’t know what’s going to happen next,” admits Tony Haynes. “I can’t see Song Of Contagion, which we launched in June, touring to venues around the country as it would have 20 or 30 years ago. There’s no question that Grand Union and I lived through a golden age. What we’ve lost in society now is this sense of curiosity and the desire to hear new things. I want to see an open sharing of ideas, of musical techniques and of cultures. We must now encourage those with ability – wherever they come from – to share ideas with others and to help natural talents to learn from their peers. In the end, the music will always come out. We see that with our summer school and Grand Union Youth Orchestra, where natural musicians emerge. We’re a practical touring music-making organisation, always creative, always exploring.”

The Musician • Autumn 2017

Improving your fitness to aid better playingâ&#x20AC;Ś

ÂŠ DeshaCAM / Shutterstock

ADVICE

A GUIDE TO:

HEALTH AT WORK Musicians experience a high incidence of injuries at work. Self-help prevention and new initiatives could have a truly positive impact as Neil Crossley explains…

In an age when fitness dominates our culture, the promotion of health and wellbeing to musicians, their employers, and educators would seem a relatively easy sell. But recent evidence suggests that the message might not always be getting through, particularly when it comes to certain physical performance-related illnesses. According to the charity the British Association for Performing Arts Medicine (BAPAM), musculoskeletal problems make up around 70% of its caseload. “We see a lot of cases of upper limb pain,” says Dan Hayhurst, of BAPAM – bapam.org.uk – “shoulder, arm, wrist, hand problems, and back problems – usually muscular pain, tension and reduced range of movement. Many musicians who come to us with upper limb pain do not receive a specific diagnosis. Where they have sometimes been told (or self-diagnosed) that they have tendonitis, quite often they have a more non-specific pain – or work-related upper limb disorder or overuse injury – rather than a specific diagnosable pathology.” While the high prevalence of upper limb injuries among musicians is a source of concern, there is evidence that the instances among music and conservatoire students may be even higher than the BAPAM figures suggest. A project called Musical Impact, created by the Centre for Performance Science (CPS) and Conservatoires UK, conducted a survey to examine the location and extent of performance-related pain among conservatoire students. The survey concluded that nearly 80% of these musicians reported pain in the upper body, and that advanced music students are at particular risk of developing musculoskeletal health

problems. The survey found that: “overall prevalence was high regardless of specialism, with no differences between musicians whose performance required symmetrical or asymmetrical body alignment”. Don’t struggle through The dilemma for all musicians is how to cope with performance-related pain, when they have weeks of intensive rehearsal and performance in front of them. “That is always the difficulty,” says Dr Jonathan White, a BAPAM GP who specialises in performancerelated illness and works with the City of Birmingham Symphony Orchestra. “How do they manage to do that? It’s a question of sacrificing some practice time in order to be able to play through a whole concert. But when you’re in an orchestra, for example, you don’t say, ‘Well I’m not going to play the next few bars’. So that is where the pressure lies. They are under constant pressure to perform.” Despite the pressure, some element of rest is inevitable. BAPAM stresses that musicians must never attempt to play through the pain. But they should not completely cease playing either. “If you stop completely you can get de-conditioned,” says White, “and then there’s a danger of running into more problems when you start again. It’s a question of cutting down to a level where you’re not overusing the muscles and making them more fatigued. Each muscle fibre needs its set amount of time to recover from its contraction, and when a muscle is working all together then all the fibres are doing different things at different phases. So they’re all covering each other.”

“We see a lot of cases of upper limb pain. Shoulder, arm, wrist, hand, and back problems.” Dan Hayhurst, BAPAM in her right wrist, a problem linked to a muscle injury in her shoulder. “I’d slipped and fallen, but the pain was exacerbated with too much playing, especially tremolo. I dealt with it by physiotherapy, acupuncture, and rest. It’s quite depressing not being able to work, but determination gets you through, as well as support from colleagues. It helps that I’m now part-time. Thankfully, work is very supportive. My posture is apparently fine, but as string players we have a lot to play, and the positioning of a violin is not a natural one. It is almost bound to create some problems.” Taking a break Some clinicians advise that musicians should take a five-minute break every 20 minutes. But this is often not feasible. “You’d never get anything done,” says Emma. It’s a point reinforced by Diane Widdison, MU National Organiser, Education and Training. “This can sometimes be difficult in a working environment,” she notes, “so ensure you have warmed up and stretched appropriately,

Rest was the course of action prescribed for Emma [real name witheld on request], a salaried second violinist with a UK orchestra. Two years ago she began experiencing pain The Musician • Autumn 2017

“Ensure that you have warmed up, and make the most of scheduled breaks to rest properly.” Diane Widdison

THE MU IN ACTION

The MU provides help, advice, and resources for members with illnesses. Diana Widdison, MU National Organiser, Education and Training, advises musicians to prioritise their own health and wellbeing. “Be aware of the importance of diet, rest, and exercise,” she says, “manage your work schedule so it isn’t too onerous. Address problems as soon as possible, get help, and contact the MU, BAPAM, Help Musicians UK and the Royal Society of Musicians.” Diane notes that freelances tend to ignore problems like musculoskeletal pain: “Musicians often ignore symptoms because they have to keep working as they are selfemployed, and have no sickness cover in place. But often, rest or changing technique is the only way to help long-term, otherwise these issues become chronic. There is financial help available at Help Musicians UK for musicians unable to work”. The MU is actively involved with the CPS’s and Conservatoires UK’s Musical Impact study and the Healthy Conservatoires Network. “Employers are now much more aware of what the health issues are,” says Diane, “and what their duty of care is towards the players,”

The Musician • Autumn 2017

Diane Widdison, MU National Organiser, Education and Training

and make the most of scheduled breaks to rest properly. Manage your workload so your body has time to recover.” “I would settle for a 10-minute break every hour,” says Professor Aaron Williamon, from the Centre for Performance Science (CPS). “I suppose that most people believe that they’re too busy to take breaks, but in fact we don’t work effectively when we’re mentally and physically fatigued. Working when fatigued is not just a matter of diminishing returns, but rather it is at best ineffective, and at worst counterproductive.” Musical athletes Like Diane, Emma cites the importance of stretching before rehearsals. When asked what she feels would help improve the health and wellbeing of musicians in the workplace she cites “Free physiotherapy at work, and maybe doing proper stretching in paid time, as sports people do.” BAPAM has produced factsheets with useful warm-up exercises for musicians at bit.ly/2uU83U8 Emma’s reference to sports people is particularly apt. Some clinicians in performance-related medicine believe the high prevalence of musculoskeletal injuries stems from musicians not being fit enough. “Musicians should view themselves more as musical athletes,” says BAPAM, “taking greater care over their own health and fitness. Only by doing this will they minimise injury”.

Dr Jonathan White also believes that musicians must be fitter than the general population to cope with the rigours of their profession. Musicians must take a holistic approach to their health, he asserts, ensuring good diet, regular exercise, sufficient sleep, and a good work/life balance. But they should also perceive themselves in a wholly different way. “Good technique, good posture, and having a good regime of practice versus play versus rest is the key thing. But treating themselves as sports people, as athletes rather than people who just wanted to give up sport on a Wednesday afternoon at school so that they could play the violin instead.” Prevention is better than cure In a concerted effort to address such issues among music students, a new initiative called the Healthy Conservatoires Network has been created by Aaron Williamon and his team at the Centre for Performance Science. This network brings together key stakeholders from UK conservatoires and the wider performing arts sector to assist in maintaining, developing, and supporting aspects of health promotion and occupational wellbeing for performing artists. This approach adopts a whole system perspective, and aims to ensure that the places where people learn, live, work, and play facilitate good health and wellbeing.

Eugenio Marongiu / Alamy Stock Photo, Cultura Creative (RF) / Alamy Stock Photo

ADVICE

Self-taught musicians may develop bad posture habits early in life. But to the professional player, position is everything.

This initiative builds on the work of doctors such as Jonathan White, BAPAM clinicians who have been actively involved in setting up the new network. “It’s taken a long time to actually set up the Healthy Conservatoires Network, but there has been a champion in most of the conservatoires who has taken this on board, whether it’s been a part of the curriculum or not,” notes White. Sickness stigma White says there has been a major improvement within conservatoires, with clinicians such as himself talking to students and advising them on best practice in terms of health and wellbeing. One of the greatest obstructions to improving the health of musicians is the stigma that ill-health carries with it in the profession, due to musicians being fearful of talking about their illness to employers or colleagues for fear they might be overlooked for work. But Dr White believes that performance-related illness is gradually becoming de-stigmatised among musicians, employers, and educators.

5 Tips

for good health and wellbeing

1 Posture

Good posture is essential to avoiding performance-related injury. Check the position and height of your music stand, chair, and piano stool to ensure your position is comfortable and your posture is correct.

2 Take regular breaks

This can sometimes be difficult in a working environment, so ensure you make the most of scheduled breaks to rest properly. Always remember that you should never play through pain.

“Things have improved in recent years. We’ve been raising awareness of these sorts of things. And people do tend to talk about it a little bit more among themselves. So there has been a breaking down of the taboo of not talking about your problems. And quite often, people will come to me from an orchestra and say, ‘You saw my friend who had the same sort of problem’. So it is opening up quite a lot, and obviously BAPAM, the MU, Help Musicians UK, the Royal Society of Musicians – part of what we’re doing is education and raising awareness, getting people to seek advice before it becomes a chronic problem.”

3 Warm-up & cool-down exercises Always do a series of physical warm-up and cool down exercises away from your instrument to prepare for each episode of playing.

4 Holistic approach

Orchestra managements too are addressing the issue of performance-related illness, he says. “Our role as doctors has been to work for the musicians not the management. But the liaison with the management at the request of the player has now become much better. I think under these circumstances the players are a little more trusting of management than they used to be.” “Things are moving the right direction,” notes Professor Aaron Williamon, “but it will take a while for this to filter through at the individual level. There’s much that individual musicians can do towards realising this, but there’s also more that employers and educators should do to ensure that consideration of musicians’ health filters through entire organisations, environments, and practices.”

Top

Ensure you get enough sleep, eat healthily and take exercise. A good work/life balance is also key. Explore exercise and relaxation techniques.

5 Technique

Your physical build can make some repertoire uncomfortable, so play within your capabilities, and design your schedules accordingly.

TOP TIP

ACT LIKE A MUSICAL ATHLETE Your performance depends on taking care of yourself. Think twice before rollerblading, painting the ceiling, or banging nails into walls before a concert. The Musician • Autumn 2017

INTRODUCTION TO…

Bandcamp is easy to use, and puts your creations in front of thousands of potential customers.

BANDCAMP Not merely a means to digitally stream your work, Bandcamp can be a very useful online resource. Will Simpson explains how it can work for you…

Bandcamp was set up back in 2007, specifically to help the sort of artists who were increasingly falling between the cracks as the music industry began to move fully online. “Independent musicians attempting to release records on their own were running into technological hurdles at every turn,” explains Aly Gillani, Bandcamp’s UK/EU label representative. “One of our co-founders purchased a band’s record online but never received the music. Then he emailed the address listed on their site, and the lead singer wrote back with an apology and a direct link to the files which were named things like ‘master3final.mp3’. It was a messy and difficult process. We built Bandcamp to help every artist get their music out effectively, and on their own terms.” Getting set up So how do you use it? Well, setting up your own page is simple. There is no upfront fee and you could put your own music up within 20 minutes. Creating a page that stands out among the

“We built Bandcamp to help every artist get their music out effectively, and on their own terms.” Aly Gillani The Musician • Autumn 2017

Leeds post punk act Chest Pains know how useful Bandcamp can be for new bands.

It’s not as well known as iTunes or Spotify, and you’re unlikely to see its name the next time you glance at a headline about Superstar X and their recordbreaking number of streams. Yet Bandcamp is fast becoming the platform to be on, especially if you are an up-and-coming artist. For unlike those aforementioned digital behemoths it actually represents a good deal for musicians. Bandcamp takes just 15% commission, so you don’t have to stack up seven figure numbers of streams to make a decent amount from your music. You’re also able to sell physical product – and merchandise – on the site too. Plus, crucially, you’re able to control it all yourself.

platform’s millions of artists though is another matter. “Make sure your page looks good,” says Sammy Robinson, singer/guitarist of Leedsbased post punk band Chest Pains. “List your gigs, get a good cover photo, add on merch if you have any, and make sure the information is correct. And update it – there’s nothing more off-putting than an out-of-date web page.” “You can customise it as much as you wish,” adds Sam Winston, a singer-songwriter from south-east London. “I’ve seen some Bandcamp pages that look like websites that have had hundreds spent on them.” Indeed having a Bandcamp page does not mean you should abandon your own web presence. Many artists use Bandcamp to hang over their existing web page. Bristol-based producer/songwriter Andy Sonar explains: “That’s very easy to do, and

ADVICE

This flexibility also includes the freedom to price your music how you want. Beware of pitching it too high. One way of enticing listeners may be to click on the site’s ‘pay what you want’ function, which is what Chest Pains use. “We’ve used it for two singles, and you do actually get a lot of people paying £5 or £6 for one single. You end up making more money through people’s generosity! With one single we had about 25 downloads and made £35 after Bandcamp and PayPal took their cuts.” Complete control The control you have on the site also allows you to put in added extras. Sam Winston sold his debut CD on there for £6.99 with a free download code for all the other digital formats. Steve Cobby throws in signed photos as freebies: “Anything that makes it a little more craft-y is good. I’ve found loads of people have come back via Bandcamp. You can really initiate a relationship with fans. In fact, they feel more like sponsors than fans now.”

FIVE STEPS TO BANDCAMP SUCCESS

means that effectively your .co.uk or .com site and Bandcamp are linked as one. You have the same control over both.” All the musicians we spoke to enthused not just about the financial benefits the platform provides, but also the flexibility. Steve Cobby is a producer who made his name as a member of 90s downtempo outfit Fila Brasilia. As a more established artist he has found it ideal to service his small but loyal market. “In terms of being self-sufficient I couldn’t wish for a better model. I do augment it with distribution though. There is probably a critical mass in terms of how many people you can get to via Bandcamp so say I go for a minimum pressing of about 300 to 500 on a vinyl LP, I always put 150 to 200 on the Bandcamp account and send 100 or so to the distributors.” “I feel as if I’ve got the best of both worlds,” Steve adds. “After 10 years of crossing my fingers, hoping that the digital boat would come in someday and living off my wife’s wage, I’m suddenly financially independent again.”

• e s na ise u a e ic out good images that reflect you as an artist and update your gig listings regularly. • et u a a a acc unt t make and receive payments. • nc u e e itten u t date biog information. The site posts information about its members up to five times every day, but they need to know something about you! • nsu e an thin u e se in is priced correctly. And consider the ‘pay what you want’ facility – if people really do value your music they will pay you for it.

Indeed, there is one Bandcamp feature that allows you to geographically profile your fans. “You can find out where in the world your music is being downloaded,” says Andy Sonar. “I’ve discovered I have a little following in Mexico. Who knew?” Ultimately, as with so much in the modern music industry, you get out what you put in. But with £5m worth of digital and physical music being bought via the site every month, it’s a platform that any artist – even those lucky enough to be currently signed – can ill-afford to ignore. For many of us it represents the best chance of monetising our music. “Since I’ve been on Bandcamp I’ve been making a plumber’s wage,” says Steve Cobby. “Which really isn’t actually that bad.” To create your profile on Bandcamp, or to have a look and see what it could do for you, go to bandcamp.com

• et t n hat s t people are buying your music (the site’s download stats are useful here) and find out more about them. Consider adding in extras – you’d be surprised how this engenders customer loyalty.

The Musician • Autumn 2017

To submit an album or download track for review, send recordings and PR material to:

The Musician, 60-62 Clapham Rd, London SW9 0JJ or email TheMusician@ theMU.org

You should also forward your cover artwork and/ or photos (minimum 300dpi resolution) to: keith.ames@theMU.org

We try to help as many members as possible, and preference is given to members not previously reviewed.

reviews

REVIEWS

Reviewer: Tom Short

A look at some of the new albums, EPs and downloads released by MU members for 2017, together with links for more information on the featured artists. Tommy Smith brings his cool sax and some top flight sidemen in this tribute to the great John Coltrane.

TOMMY SMITH

n this album, which marks 50 years since John Coltrane’s death, saxophonist, composer and educator Tommy Smith has assembled a crack team of players who each bring their own unique interpretations to bear on the inimitable pioneer’s music. Smith’s career began prodigiously early, releasing his debut album at 16, studying at Berklee, then touring the world with Gary Burton’s band aged 19. With 26 albums under his belt, he’s had work commissioned for the Proms and made forays into cinema with The Talented Mr Ripley. As founder and director of The Scottish National Jazz Orchestra, he’s led a number of popular

treatments of the genre’s biggest names, from Gershwin to Weather Report. Smith enjoys particularly fine support on this album, which features one of the UK’s most promising pianists, Peter Johnstone, plus highly-regarded bassist Calum Gourlay, and the ace drummer Sebastiaan de Krom who has performed alongside Herbie Hancock and John Scofield.

TOMMY SMITH Embodying The Light Long noted for his Coltrane-like sound, it’s no surprise that each interpretation from Smith is faithful without sounding like a museum piece. Also threaded throughout the album are his own masterful compositions. A phenomenal session. tommysmith.scot The Musician • Autumn 2017

jazz

world/fusion THE JAM EXPERIMENT The Jam Experiment This London-based ensemble are purveyors of a very danceable blend of R’n’B and a funk inflected sound. The heady brew of Hancock-esque key twinkles, virtuosic rhythms and warm horn grooves makes for a breezy, uplifting listen. jamexperiment.com

SQUARE ONE In Motion

This talented quartet from the Conservatoire of Scotland are a sensation on the UK scene for good reason. Balancing Euro-cool and folk with jazz leanings, they show flair for melodic improvisation and delicate restraint. square-one. bandcamp.com

JOSEPHINE DAVIES Satori

STEEL PAN FUSION Melting Pot

Proudly flaunting their chord-less credentials, bassist Dave Whitford’s restrained performance leaves plenty of room for the intense dialogue between drummer Paul Clarvis and Josephine Davies’s tenor sax. Recorded with impressive clarity, this is a fine introduction. josephinedavies.co.uk

This contemporary steel pan group showcase the versatility of the Trinidadian instrument. Supremos of the pan Wade Austin and David Vine are supported by a number of fine musicians as they shift between traditional sounds and the shuffling beats of contemporary London. steelpanfusion.com

HAMER & CO Double Or Nothing

CHICO CHICA Birds

It’s great to hear two players who have genuine chemistry. The usual bebop standards are here, alongside some lesser-known gems, but each track is played with such finesse that you’ll be compelled to seek them out live. hamerandco.com

This seductive jaunt through the swinging world of Sergio Mendes travels through a variety of Latin genres with panache. Classy vocals from Hilary Cameron and hip-shaking instrumentals from an all-Brazilian rhythm section make this an essential summer purchase. chico-chica.co.uk

STAND OUT

rock/pop

ADDICTIVE PHILOSOPHY (Not A) Novelty This Derby four-piece make enjoyable headbobbing ska-punk, with lyrics that rail against middle class trustafarians, and harbour a distinctly confrontational bent. addictivephilosophy.biz

ANNA REAY BAND Sunset On The Tyne Every now and then a charity single comes along that warrants repeated listening. Anna and her collaborators have completed a superb project with this tribute to the participants of The Great North Run, with all proceeds going towards Prostate Cancer UK. annareay.co.uk

We have chosen a pair of albums that stand out from the crowd and have established themselves as ‘top pick’ favourites on our playlists. ROSETTA FIRE On The Line They may nod towards jazz, folk and funk, but for the most part this five-piece make infectious power pop. Tight harmonies recall the splendour of Teenage Fanclub, so it is no surprise that the latter group’s producer could be found at the helm of this very impressive EP. rosettafire.com

The Musician • Autumn 2017

MODULUS QUARTET 12 Seconds Of Light Known for their enchanting live audio visual experience, each deftly performed contemporary piece on this album is suitably exciting without such visuals, with the wailing glissandi of Veer Lummi’s title track a particular highlight. modulusquartet.com

FIT AND THE CONNIPTIONS Old Blue Witch Packed with charismatic basslines, unhinged but appealing fiddle playing, and ferocious lyrics that take aim at New Labour and Old Tories, this is a freewheeling tour of modern Britain with a defiantly funky edge. conniptions.org

REVIEWS

instrumental

singer/songwriter FRED CLARK Eternal Sun With an astonishing 600 gigs already under his belt, this Kent artist has developed a polished, commercial style which belies his years. Sunnier moments on this debut album are interspersed with moody ambient guitar-jams, ready made for festival sunsets and dark TV dramas. fredclark.co.uk

LINDA CAMPBELL My Geography With the help of world class musicians, Linda Campbell has produced a classic-sounding album that would not sound out of place on a 1970s jukebox. It is testament to her great voice, songwriting, and determination. lindacampbellmusic. com

EMMA STEVENS To My Roots Emma has revealed herself as a unique voice in a crowded genre. Instrumentally, her brand of sparkly folk-pop rarely ventures beyond the template of foot-stomping Americana, yet a neverending stream of catchy choruses elevates her above the rest. emmastevensmusic.com

folk TRADARRR Further Tales Of Love Death And Treachery Few can match the propulsive muscle that TRADArrr bring to the English folk tradition. A raucous mood leaps from the speakers in its hard-rocking parts, but there are moments of spellbinding beauty too. tradarrr.com

THE YOUNG‘UNS Strangers Sean Cooney emerges as a songwriter of extraordinary warmth and wit on this album, which gives voice to voyagers, soldiers and heroes past and present, borne aloft by ghostly harmonies from these young Aldeburgh musicians. theyounguns.co.uk

THE RUDE MECHANICALS Exit, Pursued By Bear Using Shakespearean sonnets as a starting point, it reimagines a series of ageless lyrics as modern folk songs, complemented by some emotive fiddle, guitar, and hushed percussion. rudemechanicalsband. co.uk

experimental/prog GORDON GILLTRAP & PAUL WARD The Last Of England This inventive pairing has resulted in a warm, pastoral record inspired by Pre-Raphaelite art. Ward’s synth flourishes and string arrangements are never obtrusive, serving to underscore each hypnotic guitar figure. giltrap.co.uk

COLIN HARPER Titanium Flag A sweeping musical journey through the landscapes and histories of the Arctic, this ambitious album encompasses everything from crunching prog-rock to Tibetan singing bowl, plus lilting lullabies that showcase Colin’s ability to write smallscale masterpieces. colin-harper.com

BERESFORD HAMMOND Each Edge Of The Field Improvisational music may seem challenging or austere, but this duo’s music is as far away from abstraction as one could get. Each song here is vivid and approachable enough to grab you on the very first listen. beresfordhammond.com

SIMON VINCENT Stations Of The Cross For Solo Piano A haunting interpretation comprised of moments of stark emptiness and extreme disruption, thanks to a brilliant interplay of jagged chords and lengthy, breathtaking pauses. simon-vincent.com

TERRY PACK’S TREES Heart Of Oak The Trees project was created with the aim to include and develop as many musically-minded members of his local community as possible. These combined forces work together brilliantly to reflect the sights and sounds of the Sussex coast, as filtered through their leader’s fertile imagination. treesensemble.org

CHARLOTTE SAVIGAR Tales Of New Albion Splicing historical cues, from sea shanties to whooshing sci-fi synths, with enough memorable themes to keep the listener grounded. charliesavigar. bandcamp.com The Musician • Autumn 2017

Marta Eitler

Committed teacher and player of the orchestral violin Born of a Hungarian father and Italian mother, Marta’s musical upbringing was strict. Her father wanted her to succeed where he had failed and become a professional musician.

At the age of 12 she went to the Budapest Academy and after five years of study she won a scholarship to Vienna to study with Wolfgang Schneiderhan. She became an ardent teacher of the violin, determined, through gentle persuasion and persistence, to improve the performance level of all who came to study with her. Several became professionals.

Hugo Gunning A well-loved pioneer of British steel band music It is with great sadness that the Gunning family announce the passing of Hugo Gunning, best known for not only being a loving brother, father, uncle, grandfather and great grandfather, but also a teacher, actor, entrepreneur and musician. He was a man of many words, and it was a hard feat to match his fluency. As an inspirational teacher he was spoken of very highly. As an actor and TV personality he starred in many popular programmes, talk shows and adverts for which he will be best remembered as the naked man

The Musician • Autumn 2017

tributes She had a wide repertoire, including Mozart, Bruch, Delius, Mendelssohn, Bartok, which she performed in broadcasts and with many English orchestras. In the mid-60s she became only the third woman to join the London Philharmonic Orchestra, but soon the freelance world beckoned, and she worked continuously over some 20 years for Chick Norton and Alan Franks in the session world and the West End theatre. But her teaching gave her the greatest satisfaction, helping pupils of all ages and ability. Their affection and gratitude are clear to see from the touching tributes she has been receiving. Kenneth Goode caught doing his ironing for a popular telecommunications company. However, his real passion was with his music and he formed his own steel band called Hugo and the Huguenotes bringing his Trinidadian heritage to life. They played at many prestigious functions and were renowned on the horse racing circuit playing as after races entertainment. Recognition and appreciation for the contribution made was shown by Newmarket racecourse, putting on a race in Hugo’s name while he was present. He impacted the lives of many in the best way possible, and his legacy will live on through his family as he would have wished. Andrea Gunning

Tom Edwards

Wales-born bass player and popular MU committee stalwart Born in Cardiff in 1940, Tom played bass guitar as a young teenager, joining the band The Heartbeats with, among other local lads, Dave Edmunds and Dave’s older brother Geoff. He moved to London in his early 20s, developing a love for the double bass, playing across several genres including folk with Crumbling Bandwagon, and the jug band Jugular Vein with whom he made the classic album Waterloo Road. He had a great love of jazz and played with several bands while working in London, but on return to Cardiff in 1979 he joined the folk group The Hennessys and remained with them for many years until ill-health forced him to retire. Tom was a union man through and through, joining the MU in 1981. He was Cardiff Branch Secretary, a member of the Wales and South West Regional Committee, and a member of the Executive Committee, including a period as Vice Chair. Tom’s health fluctuated, allowing for occasional gigs including those with The Hennessys on

Welsh Night at several Labour party conferences. He refused to let his ill-health stop his enthusiasm for life, music and travel, using his mobility scooter and oxygen unit to continue playing, and holidaying abroad. Tom died suddenly and unexpectedly at home 15 May 2017. He is survived by wife Anne, daughters Ruthie and Laura and sons Paul and Ross.

“Socially very entertaining and loved by all. Easy going, but also very wise in his comments within the EC.” Executive Committee chair Dave Lee said of Tom: “I didn’t know him for that long – maybe four years. But in that time it was as if I’d known him for years. From day one he became a friend. Socially very entertaining and loved by all. Easy going – he was a bass player after all with a jazzstyle sense of humour – but also wise in his comments within the EC. He was great fun to be with and around, and will be greatly missed but fondly remembered by all who knew him.” Anne Edwards

TRIBUTES

George Reynolds

Teacher, conductor, and trumpeter with the LSO Born in Croy near Glasgow in 1938, George took up the cornet, and played with local brass bands. After a spell with the Band of the Irish Guards he joined the CBSO where he spent two years. In 1963 he was encouraged by Denis Wick to audition for the LSO, and joined the trumpet section alongside his childhood hero Willie Lang. Later he was joined by another hero, Maurice Murphy. George was fortunate to be a member of the LSO during the golden era of recordings with many of the great conductors. He and Felicity and their two sons moved out to East Anglia and in 1979 George decided to leave the LSO to devote more time to family life, teaching, and later conducting. He was a most highly regarded teacher and musician who influenced so many. He is survived by his partner Diana, his sons Andrew and David, and two grandchildren. He will be greatly missed. Helen Vollam

Versatile cellist and stalwart MU member

She was happy working in duos, trios – notably with Judy Hill and Viola Tunnard – and quartets, and was a founder member of the Goldsborough Orchestra (which evolved into the English Chamber Orchestra), for whom she was principal co-cellist for many years. With the ECO she toured the world, working with such illustrious soloists as Rostropovich, Barenboim and Ashkenazy. She was also one of the quartet who played for the wedding of Prince Charles and Lady Diana Spencer in 1981. A dedicated musician and teacher, Olga will be remembered fondly by her many pupils and colleagues. Ian Kearey

Peter Morgan

The world of flamenco is mourning the loss of the last of the original Andalusian flamenco singers. Fernando Reyes, singer and guitarist, died on 13 June at the age of 78. Fernando’s knowledge of flamenco was second to none. He lived for flamenco. He knew the old songs. All of them.

I was greatly saddened to hear the news of the passing of my friend and colleague Pete Morgan.

The last of the old-time flamenco originals

Olga Hegedus

Cellist Olga, who has died aged 96, was a member of the MU for 63 years, joining in early 1954. She made her debut at the Wigmore Hall in 1937 and played concerts during World War II at the National Gallery and on the BBC.

Fernando Reyes

Gordon Langford

Multi-talented pianist, composer and arranger Born in Edgware in 1930, Gordon studied at The Royal Academy of Music, then joined the Royal Artillery Band. It was during the 60s however that Gordon came to prominence as a pianist, arranger and composer having acquired a reputation as a fine orchestrator.

“Colleagues have described him as a shy genius.” Along with orchestrating music for the West End, he took on commissions from the likes of Henry Mancini, Jerry Goldsmith and John Williams. In 1971 Gordon won the Ivor Novello Award and was awarded the Gold Badge of Merit by BASCA in 1994, and the Fellowship of The Royal Academy of Music (FRAM) in 2011. Colleagues have described him as a shy genius. His wonderful musical legacy lives on and for that we remain forever grateful. Joanna Baker

Born into abject poverty at the end of the Spanish Civil War, it was his voice that was his fortune. Learning to accompany himself on guitar, he could travel the world as a soloist. From touring with Los Paraguayos in the 1960s to singing for flamenco dancers in India and Pakistan in 2000, he performed everywhere from Madison Square Garden to the Royal Albert Hall. His fine tenor voice, rooted in flamenco tradition, was unrivalled and will be sorely missed. Jill Reyes

Famously dependable British jazz bass player

We met in the mid-60s at a club called the Cool Elephant where he was appearing with the Morgan James Duo. At this time the club was also featuring the Dudley Moore Trio and the John Dankworth group. Pete occasionally deputised for Peter McGurk, and after Peter’s death became a member of the trio. During that time we became good friends and when he found out that I was also from Greek origins, he gave me a huge hug. In the years to come we worked together in the studios, and with Roy Budd and Harry Stoneham. He was quite relentless as a personality, and as a player, with great time and sound. He was always a joy to play with and I shall miss him greatly. RIP Pete. Chris Karan

The MU also notes the sad passing of: • Ray Elgar Jazz double bass player and writer • Sheila Hawkins Viola, BBC Symphony Orchestra • Nona Liddell Violinist, London Sinfonietta • Keith Harvey Cello, Gabrieli string quartet • Mick Bund Guitarist, Felt, Saint Etienne, Mexico 70 • Pete Jeffries Pianist, composer, arranger • Marcus Intalex (Marcus Kaye) Drum ‘n’ Bass producer • Kitty Lux Ukulele Orchestra of Great Britain

The Musician • Autumn 2017

2017 Delegate Conference Carried Motions

All the motions that were carried by the 37th Musicians’ Union Conference, as amended by the Standing Orders Committee.

The MU’s biennial Delegate Conference fulfils the EC’s constitutional obligations to report actions arising from the decisions of the 2015 Delegate Conference. Conference also determines any changes to the Union’s Rules, discusses and decided upon matters of policy and the Union’s 46 activities, plus its responses to the many other issues that have arisen since the previous Conference took place. The Conference Report itself included the proposed Motions submitted for consideration. The motions that were carried by Conference are listed below.

Motion 1

Women in the MU This Conference recognises that Women in music face particular issues within the industry which affect their success. Many of these have been highlighted by the MU and the media in general. From direct and indirect sexism in how women are portrayed to how they are treated by promoters, managers, labels and sometimes fellow musicians, to societal attitudes and expectations that impact on girls and women’s attitudes about themselves and their abilities. There is a huge and indisputable problem to be dealt with. Many organisations and unions offer training and support to increase awareness and change attitudes and behaviours of all within

The Musician • Autumn 2017

and without their organisations. The MU has done much to promote women within its organisation but we can always do more. Our aim should be to increase the numbers of women working in music and the numbers joining the union and to provide targeted support to this group. There is much we can do: surveys to gather info on the music environment that women and LGBTQ members are operating in in the UK; setting standards for all members, promoters and managers and taking legal action and/or publicising breaches; working with other organisations to promote music as a career to women & LGBTQ in schools; networking and discussion support groups; providing mentoring to members from other experienced members; and, many other potential initiatives. Work has previously been done on developing a mentoring programme for the MU so, at the minimum, the MU can progress implementation. Conference therefore calls on the EC to implement a mentoring programme for women and other marginalised groups, in the first instance. In addition, an action plan of initiatives targeted at (a) providing direct practical support to women and marginalised groups and (b) influencing the environment and the third parties they work with and for. This should be published as a 3-5 year plan. Measurable outcomes should be set to increase membership numbers and participation levels and visibility of women in the Union, and increase their presence on other platforms in the music industry, as well as on festival circuits.

Motion 2 Trident

Conference opposes the continuation of the Trident weapons system and calls for the MU to actively support initiatives aimed at the conversion of the technologies and expertise of workforces involved in the development and production of nuclear weapons to peaceful purposes.

Motion 3

Credit for Theatre Bands Conference recognises that it is common practice not to credit musicians by name on theatre programmes and the end titles of television shows. Why this should be the case is unclear and it does not apply to actors. Musicians make a sizeable contribution to the artistic success of such productions and surely it is only right that they have recognition of that by name. Conference calls on the EC to investigate ways to establish the practice of crediting musicians by name in the programmes of theatre shows, film and television shows which feature live music.

NOTICES

Motion 10 Networking

Motion 4

The Musician “Musician” magazine provides an important source of information and news for the members of this union. It is professionally presented and is a high quality publication which provides a positive view of the union and its members. Conference calls on the EC to further develop the magazine and to enhance the perception that it is a tangible membership benefit by making it more member led. The magazine should include regional news, features about cities, interesting members’ enquiries and a regular letters page for example.

Motion 6

Working in Europe following Brexit UK musicians are currently able to work in other EU countries without the need for work permits, carnets or other movement restrictions. Likewise, EU musicians are currently able to work in the UK on the same terms. Following the decision to leave the EU, Conference calls on the EC to make representations with a view to retaining this situation or minimising the requirement for work permits, carnets and associated costs that might place expensive or difficult restrictions on UK musicians working in EU countries and EU musicians working in the UK.

Motion 7

Taxation following Brexit UK musicians earning income in mainland Europe are currently subject to reciprocal double taxation arrangements which even as it currently exists can be highly problematic. In light of the decision to leave the EU, conference calls on the EC to lobby government for current reciprocal taxation agreements around withholding tax to be improved or new measures agreed, so that live gig and royalty payments from Europe aren’t taxed twice or at a higher level, and that any tax paid in Europe can still be deducted from a UK tax return.

Motion 8

Culture & Education following Brexit UK musicians currently benefit from being part of a European wide set of values that are the result of years of cultural and educational exchanges. The UK’s decision to leave the EU and seek trade links and contacts elsewhere could result in the country becoming culturally isolated from Europe and our music losing its relevance as a key export. Conference calls on the EC to work to protect our cultural and educational links with Europe in the future.

Motion 9

Statement of Core Values Conference believes that the UK Music Industry is facing unprecedented social and economic changes, and the views communicated by members around recent events such as the Labour leadership election and EU referendum have highlighted significant differences in political views across the membership. To prepare the Union for these changes and nurture a sense of solidarity, Conference asks the EC to develop a manifesto that defines our core values and the rights we want to protect. The objects as defined in Rule 1, section 2 of the MU Rules should be used as a starting point and combined with a wider consultation of the membership (such as through online surveys). The result would be the creation of an accessible and engaging document that provides a vision for the future and a framework for the EC to use when considering political endorsements. The manifesto will serve to remind us all that, whilst we may be divided on individual issues from time to time, there are fundamental beliefs and values that we all share.

Conference believes that the current structure of the MU does not maximise the possibilities for members to network and contact each other. This has reduced the number of union activists and the possibility of new activists coming forward. Conference calls on the EC to assess and provide new opportunities for members to contact each other with the aim of exchanging views, information and employment opportunities.

Motion 12

Music Education Services (Recognition Agreements) There is an increasing and worrying fragmentation of music education due to both Government policy and austerity with Local Authorities outsourcing or creating spin-off organisations to deliver music education. This is resulting in what can only be described as a post-code lottery of access to instrumental tuition in schools which works against poorer communities, and means many Musicians’ Union members face redundancy, real erosions in their pay, terms and conditions, and even forced self-employment. Many peripatetic music teachers are now questioning whether their choice of career is even viable and look to the Musicians’ Union as their trade union representative organisation to campaign to address this concern. In the traditional model of Local Authority Music Services, the Musicians’ Union did not hold a Recognition Agreement with the Local Government Association or Local Authorities in order to be better directly placed to influence the terms and conditions of peripatetic music teachers, or the types of models Local Authorities use for the delivery of the service. As more Local Authorities divorce themselves from such music services it presents an opportunity to explore

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Recognition Agreements with both these existing Local Authority providers and the new organisations delivering music education. This Conference calls upon the Executive Committee to use its best endeavours to secure Recognition Agreements with organisations delivering Music Education Services, especially those in receipt of National Plan For Music Education monies, so that the Musicians’ Union can be better placed to influence pay, terms and conditions for peripatetic music teachers and shape the types of models used to deliver music education. In doing so, Conference understands this may mean formulating a specific recruitment drive amongst such peripatetic music teachers to achieve any Recognition Agreements, and that a national campaign aimed at influencing decision makers locally and nationally about more inclusive and sustainable music education models may be required.

Motion 13

Equality Training 48

The MU has already adopted the TUC’s recommended Union Equality Objects into our rules (MU Rule I.2h(i, ii) & 2i). These rules include the requirement for the promotion of Equality through Union organisation and structures, education and training etc. It would therefore seem pertinent that we encourage everyone carrying out MU business to avail themselves of basic Equalities training so we are all able to carry out our duties in pursuit of those requirements. Equally, it seems sensible that everyone involved in the Union is given up to date information as to the legal requirements

concerning Equality Law and ongoing recommendations of Equalities best practice as delivered from time to time by the TUC. Not least because of the need to represent all members equally, educate the wider membership on matters of Equality, and negotiate on members’ working conditions with Employers who should themselves be following Equality Law and workplace best practice. Conference requests that the EC reminds Regions of the importance of equalities and to ensure equalities training is available where practicable.

Motion 14

Student Recruitment and Retention Conference recognises the success of the Student membership rate as an important tool in engaging with young musicians at the start of their careers, where there is a particular pressure on them to work for low or no pay in both the live and media sectors. Unchecked, this pressure can only have an adverse long-term effect on pay and conditions throughout the industry. It is therefore of paramount importance that our Union’s efforts to recruit and retain students are as effective as possible. Currently there are a few reported obstacles to our success:

their institution. At enrolment days/Freshers’ week when the bulk of student recruitment happens, not every student will have this to hand, preventing them from signing up “on the spot”. A student card is far more likely to be readily available. • There is no stepping stone for a ne professional (often on very low earnings) between the Student rate and the full rate – this is one of the main reasons given for resigning MU membership. Conference therefore requests that the EC gives consideration to the following measures as part of a review of our Union’s student recruitment and retention strategy: 1. Reduce the Student membership rate to zero or introduce a free “register” system. 2. Remove the requirement for a letter of enrolment to support a student membership application and replace with a student card. 3. Introduce a Young Professional rate of reduced membership for a defined period immediately following a Student membership, or for qualifying new members.

Motion 16 Pay Parity

One of the most divisive issues in orchestral life is that of the lack of parity in pay and media enhancement for Extras and Deputies. Conference asks the Union to pursue, as a matter of principle, parity in all its future negotiations with managements and organisations.

• ven a to en is a considera le outlay for the modern student. Many unions offer free student membership, or sometimes a “student register” scheme allowing communication via a mailing list. • To oin at the tudent rate a mem er must provide a letter of enrolment from

Rule Changes Please note that no changes to the MU Rules were put forward for consideration by Conference.

The Musician • Autumn 2017

FEATURE

Why I Joined The MU We asked some musicians about their reasons for joining the Union and why they treasure their Musicians’ Union membership.

HANNA

“I first joined the MU while studying for a songwriting degree at ICMP. One of my lecturers recommended the MU due to needing industry advice. Sam Jordan and Pete Thoms were extremely helpful and I can’t thank them enough for their support! If you are starting your career as a singer-songwriter I’d recommend the MU, as it can help you gain knowledge and to reach your full potential!” Hanna is an upcoming “indie pop-rock tomboy”, with a unique voice and self-penned, upbeat, catchy songs. Her debut single Forever Young was released in July and her next single Love Bite will be released in September. She performs regularly across the UK and has appeared two years running in the Mayor of London’s GIGS busking competition in 2015 and 2016, which led to her achieving a busking licence. In 2016 Hanna also performed at the Edinburgh Fringe, Tin Pan South in Nashville, Live in the Living Room and national talkRADIO. In September she returns to Nashville to perform at the Bluebird Café. In December she is also releasing a charity single called World For Two. She is currently looking for a charity to be involved in for this project. For info about Hanna’s releases visit: facebook.com/hannaandmusic

TOBIE CARPENTER

JAMES BURKE

Tobie is a London based jazz guitarist and composer. His recent EP with his Organ Trio Dead Pan Party reached No.1 in the iTunes Jazz Album chart. Also featuring hammond organist Jamie Safir and drummer David Ingamells, the group play original compositions celebrating the music of 1920s New Orleans, 1950s New York, and new millennium Europe. Tobie’s recent performances include Ronnie Scott’s Jazz Club, and up coming shows include Birmingham Symphony Hall and The Royal Albert Hall. tobiecarpenter.com

James leads a busy career as both co-principal of the BBC Symphony Orchestra and principal clarinet of the Academy of St Martin in the Fields. When not performing, he teaches as a clarinet professor at the Guildhall School of Music and Drama. James continues to play as guest principal in other orchestras, including the London Symphony Orchestra, London Philharmonic Orchestra, Philharmonia, City of Birmingham Symphony Orchestra and Royal Northern Sinfonia. James’ work with the Academy of St Martin in the Fields means that he also has many opportunities to perform chamber music on a regular basis, often with music director Joshua Bell. For more information, go to: tinyurl.com/burkeclarinet

“Joining the MU was an important part of setting up as a professional musician. The immediate benefits are obvious, with instrument and public liability insurance, and contracts all taken care of. When I’ve needed legal advice the service has been really amazing, with virtually instant access to high-level professional advice for no charge. Most recently the MU has been especially useful with advice around my latest release, providing some really clear guidelines on licensing, royalty collection and working with a record label. And when travelling to play abroad, it’s great to know the MU have your back with instrument travel, as well as support with visas for working in the USA.”

“I first joined the MU after graduating from the Guildhall School. As a new freelancer, the information and advice that was readily available to me as a member became an invaluable resource. As my career has gone on, I find myself relying on the MU more and more. With orchestral representatives liaising regularly with MU Officials, I can have the piece of mind that our interests are being well looked after. I love working in the music industry. I hopefully will be for some time to come, and being a part of the MU means that I have a say in its future.”

The Musician • Autumn 2017

COVER STAR

Renaissance Man

This issue’s cover star Sam Leak likes to keep busy. He’s in demand as a jazz pianist, loves to teach, and is also studying for a PhD. But how does he fit it all in?

When did you join the MU and why? It was in the autumn of 2012. I was just about getting to financial recovery point, having blown all of my money on my first album. I joined for a number of reasons, including the public liability Insurance cover, the legal advice, and in support of the lobbying and campaign efforts the MU makes to help us all. Self-employed musicians can be horribly easy to take advantage of, so it’s crucial to be part of a union that stands to protect us from this. If you weren’t a musician, what do you think you would be? A wannabe musician probably! It’s hard to imagine not making or thinking about music… I also love teaching and science, so I guess I’d be either a teacher or an academic. Is it a big responsibility being dubbed one of the brightest stars in the jazz piano galaxy? It’s always nice to hear positive things said about you, although I think it’s quite important for me to not take any of them too seriously. Nice reviews can definitely make you feel The Musician • Autumn 2017

better about your playing, so they’re always welcome, but I never let them become a distraction from all of the hard work and practice that I need to do. Tell us a little about your PhD? It’s in music psychology, so not having studied science previously this has definitely been like diving in at the deep end. It’s all very interesting and inspiring though, so it never feels like a chore. It’s also in something that I find really fascinating (Can absolute pitch be learned by adults?), so I think that makes it easier to do the work that I need to. Do you have a secret insider tip for playing? Make sure you’ve got the fundamentals covered. I have lots of students that show up with an extensive and impressive knowledge of music theory who can’t play Happy Birthday by ear on request. Similarly you need to ensure you have a good time, and that you play with a good feel.

Where is the strangest place you’ve played? I’ve mimed at Café de Paris, dressed in a medieval robe, while acrobats performed circus acts around me. I once played with a group at the base of the escalator in the Earth gallery of the National History Museum. I played with the girl band B*witched in a nightclub in Birmingham , with dudes on podiums dancing as we played. I’ve played at two naturist jazz festivals… the list goes on! What does the next 12 months hold for you? I’m going to be releasing my next album, which is a piano duet recorded with US pianist Dan Tepfer. It’s come out really well, so I’m excited about getting it out there! I’ll also be recording the next Aquarium album, and I’m considering recording a suite for quintet that I wrote in 2010. I’m coming to the end of a tour with my trio, and I’m in the process of booking up the next one. On the PhD front, I have just passed my upgrade interview, which means I can get on with conducting a series of experiments – it’s looking like they’ll be pretty fruitful, so watch this space! samleak.com

MEMBER BENEFITS

Have you registered for your MU benefits?

While membership of the MU offers a wide range of free services, there are a number of benefits that you need to register or apply for. MU website

To fully access our website – theMU.org – you will need to register on your first visit using your membership number.

Instrument and equipment insurance

For £2,000 worth of free musical instrument and equipment cover, register for the scheme by calling Hencilla Canworth on 020 8686 5050.

Are you due a royalty payment from us for the use of any of your recordings in television programmes, films or adverts? Are you the next of kin of a musician who used to receive royalties from us? The Musicians’ Union pays royalties to a growing number of musicians for the secondary exploitation of their recordings. In most cases we know which musicians performed on the recording and already have their contact and payment details, so the royalty income can be distributed straight away. However, there is a certain amount of income we have collected that we cannot distribute as we have not been able to identify who

Motoring service

The MU Family Motoring and Accident Aftercare Services provides 24/7 cover. Members must enter discount code MU24 to obtain free membership of the scheme. Register now via telephone or the web. mu.totalmotorassist.co.uk

Contract advice – before you sign

Receive professional advice on the terms and implications of any complex agreements via our Contract Advisory Service. Contact your Regional Office to find out more.

If all the members of your group are already MU members, or decide to join, we can offer free partnership advice and an agreement. Contact your Regional Office for more information.

performed on the recording; or we do know the names of the musicians but we have been unable to trace them or their next of kin. If you can assist the Musicians’ Union with line-up information or contact details, visit theMU.org/Home/Advice/ Recording-Broadcasting/Royalties Here, you will be able to find more information on the types of royalty income we collect, as well as lists of musicians and recording line-ups we are currently trying to trace.

theMU.org/Home/Advice/ Recording-Broadcasting/Royalties

Partnership advice

Medical assistance

The British Association for Performing Arts Medicine delivers specialist health support to musicians. Visit bapam.org.uk

Musician’s Hearing Services (MHS)

MHS offer a top range of hearing related services for MU members. For an appointment, call MHS on 020 7 10 or visit musicianshearingservices.co.uk

Full details of all the benefits of membership can be found in your MU Members’ Handbook.

MU Sections

To join, contact the relevant MU Official. Live Performance Section Dave Webster National Organiser – Live Performance 60–62 Clapham Road London SW9 0JJ T 020 7840 5512 F 020 7582 9805 E live@theMU.org Music Writers’ Section Phil Kear National Organiser – Recording & Broadcasting 60-62 Clapham Road London SW9 0JJ T 020 7840 5557 F 020 7793 9185 E writers@theMU.org Orchestra Section Bill Kerr National Organiser – Orchestras 61 Bloom Street Manchester M1 3LY T 0161 233 4002 F 0161 236 0159 E orchestral@theMU.org Recording & Broadcasting Section Phil Kear National Organiser – Recording & Broadcasting 60–62 Clapham Road London SW9 0JJ T 020 7840 5557 F 020 7793 9185 E rb@theMU.org Teachers’ Section Diane Widdison National Organiser – Education & Training 60–62 Clapham Road London SW9 0JJ T 020 7840 5558 F 020 7582 9805 E teachers@theMU.org Theatre Section Dave Webster National Organiser – Live Performance 60–62 Clapham Road London SW9 0JJ T 020 7840 5512 F 020 7582 9805 E theatre@theMU.org The Musician • Autumn 2017

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