Mike Murley

In the words of Toronto Star critic, Geoff Chapman:
“Murley always raises the level of the game around him, effortlessly innovative, polished and demonstrating technical skill that you take for granted.”

Mike MurleySince moving to Toronto from his native Nova Scotia in 1981 Mike Murley has become one of Canada’s most highly regarded jazz saxophonists. He was a founding member of the ‘Shuffle Demons’, the highly acclaimed electric jazz ensemble ‘Metalwood’, and numerous other award-winning groups under his own name. Since 1991, Murley has played on nine Juno Award winning recordings and has been named saxophonist of the year eight times by the Jazz Report Awards and National Jazz Awards.

As a long time member of ‘Time Warp’ he founded Cornerstone Records in 1993 along with co-leaders Barry Elmes and Al Henderson. More recently Murley has collaborated as a co-leader and/or sideman in various groups with guitarist David Occhipinti, pianist David Braid, and saxophonist Tara Davidson. In January 2008 he released two co-led recordings, ‘DMBQ Live’ with the Davidson/Murley/Braid Quintet and ‘Day & Night’ with his former teacher, the legendary American saxophonist David Liebman.

Mike has toured extensively throughout Canada and internationally in Europe, South America, Asia, Mexico and the US with various groups. He has performed with many top international and Canadian jazz artists, including: Kenny Wheeler, Randy Brecker, John Abercrombie, Renee Rosnes, Ed Bickert, Guido Basso and Rob McConnell.

Mike joined the TMA in June of 1982.

April 14, 2007
Jim Biros Comments on Status of the Artist Legislation


Following almost two years of artist and industry consultations, by the Ministry of Culture’s Status Of The Artist Sub-Committee, and the release of the Committee’s “Report On The Socio-Economic Status Of The Artist In Ontario In The 21st Century”, the Province of Ontario’s March 2007 budget contained a Status of the Artist Act that failed to address the needs of Ontario’s professional artists.

To say that the legislation was extremely disappointing is an understatement. The Status Of Ontario’s Artists Act, 2007 does not address collective bargaining rights, working conditions, protection for child performers, or any other economic and social benefits referred to in the 23 recommendations contained in the Committee’s report. The Government legislative undertakings contain no specific action with the exception of a proclamation that, “The first weekend wholly in June every year is proclaimed as Celebrate the Artist Weekend.”

What Ontario’s musicians and other artists will continue to work for and need is effective Status of the Artist Legislation which at the very least provides artists with the right to improve our economic, social and working conditions through collective bargaining.

Jim Biros, Executive Director

AFM Freelance Musicians Division, headed up by tireless dynamo Paul Sharpe, has implemented a new web hosting service for AFM members starting at $19/yr. If you need affordable hosting, with excellent support, visit www.goprohosting.com

Don’t forget to get your free online artist listing at www.gopromusic.com. GoPro working for you.

The Copyright Board of Canada released its Decision on Tariff 22A concerning royalties for online music use.

To learn more, visit www.socan.ca and look under “Front Page News.”

AFM Freelance Musicians Division, headed up by tireless dynamo Paul Sharpe, has implemented a new web hosting service for AFM members starting at $19/yr. If you need affordable hosting, with excellent support, visit www.goprohosting.com

Don’t forget to get your free online artist listing at www.gopromusic.com. GoPro working for you.

Headed up by tireless dynamo Paul Sharpe, has implemented a new web hosting service for AFM members starting at $19/yr. If you need affordable hosting, with excellent support, visit www.goprohosting.com

Don’t forget to get your free online artist listing at www.gopromusic.com. GoPro working for you.

Jacques Israelievitch

Jacques Israelievitch is celebrating his twentieth and final year as Concertmaster of the Toronto Symphony Orchestra – the longest such tenure in the ensemble’s history.

Jacques IsraelievitchHe was born in France and made his debut on French National Radio at the age of eleven. He graduated from the Paris Conservatory with three first prizes at just sixteen, upon which he was a prizewinner at the Paganini International Competition. At age 23, Sir Georg Solti appointed Jacques Israelievitch to Assistant Concertmaster of the Chicago Symphony Orchestra, making him the youngest musician in the orchestra. In 1978, after six seasons in Chicago, he became Concertmaster of the Saint Louis Symphony Orchestra, a position he held for ten years prior to moving to Canada. He joined the Toronto Musicians’ Association in 1988.

As a conductor, Mr. Israelievitch has led the Saint Louis Symphony Orchestra, Toronto Symphony Orchestra, Buffalo Philharmonic, Windsor Symphony Orchestra, and other ensembles in France, North America, and Japan. In 2005, he was named Music Director and Conductor of the Koffler Chamber Orchestra, the ensemble-in-residence at the Koffler Centre for the Arts.

He has recorded works by Ludwig van Beethoven and R. Murray Schafer with the Toronto Symphony Orchestra, violin works by Edvard Grieg, and Wolfgang Amadeus Mozart’s Sinfonia Concertante. His CD “Suite Hebraique” was nominated for a Juno award. Other CDs include “Suite Enfantine”, “Suite Fantaisie”, “Suite Fran栩se”, and “Solo Suite”. Recently, he made a complete recording of the 42 Kreutzer Etudes, the first of its kind. The CD and the accompanying score have been praised internationally.

In 1999, Jacques Israelievitch and his son, Michael (a percussionist) formed the Israelievitch Duo. They have commissioned and premiered works by distinguished contemporary composers including Michael Colgrass, Srul Irving Glick, and Murray Adaskin. The CD “Hammer and Bow” is the Israelievitch Duo’s first full length CD. Upcoming releases include an all-French album with the Mirage Quintet for NAXOS Records and a brand new recording by the New Arts Trio, to be released in 2008.

Mr. Israelievitch is an accomplished chamber musician, performing with such distinguished artists as Emanuel Ax, Yefim Bronfman and Yo-Yo Ma. He is a founding member of the Toronto Symphony Quartet and is a Faculty Member of the University of Toronto and the Royal Conservatory of Music. During the summer, he teaches Violin Performance and Chamber Music at the Chautauqua Institution. He is also a member of the New Arts Trio, which has been in residence at Chautauqua since 1978.

In 1995, Israelievitch was honored by France with the title of Chevalier (knight) of the Ordre des Arts et des Lettres (Order of Arts and Literature). In 2004, he was made Officier (Officer) of the Order.

The Toronto Musicians’ Association is proud to honour our distinguished member Jacques Israelievitch with the TMA Lifetime Achievement Award.

TMA 149 member Vito Rezza involved in international benefit to help children with special needs.

The Rhythmic Arts Project (TRAP) is a non-profit organization based in Carpinteria, California. Eddie Tuduri, Director of TRAP, was a full time musician until 11 years ago when he broke his neck in a surfing accident.

The program was born during the course of Eddie’s own recovery. The program empowers people with various disabilities to succeed in the world. We integrate drums and percussion instruments as creative learning tools that address life skills and enhance the mind, body and spirit. We are currently in 20 States in the US as well as in several other countries.

Eddie is an veteran rock and roller with credits ranging from The Beach Boys, Rick Nelson and Dr. John, to Marianne Faithfull and Dwight Yoakam. Eddie has strong ties to Canada having recorded with The Five Man Electrical Band and Chilliwack. Living in Canada, Eddie performed with The Downchild Blues Band, Rocky Rolletti and The Lincolns.

Long & McQuade and Pearl Canada are proud to support Eddie’s work and are presenting a free workshop to introduce this program to facilitators and program coordinators. This workshop is open to anyone interested in learning more about this wonderful program.

If you are one of the following, you may particularly be interested in this…

1) Percussionists interested in learning how to use this program and who may be interested in working as a facilitator within this field
2) Program coordinators that see this as something that would work well implemented in your facilities
3) Music therapists or students that would like to be introduced to something new
4) Special education, as well as mainstream teachers, and also parents that might be interested in learning more about this program

The Rhythmic Arts Project empowers people with various disabilities to
succeed in the world. We integrate drums and percussion instruments as
creative learning tools that address life skills and enhance the mind, body
& spirit.

Email: Etuduri@verizon.net

AFM Supports Network “Net” Neutrality by Joining Rock the Net and Internet for Everyone


CONTACT: Carmen Group – Sabrina Ram
(212) 983-6100

The American Federation of Musicians Announces Its Support for Network “Net” Neutrality by Joining Rock the Net and Internet for Everyone

New York, NY – The American Federation of Musicians of the United States and Canada (AFM), in support of the concept of network “net” neutrality, has joined Future of Music Coalition’s Rock the Net campaign and Free Press’ Internet for Everyone initiative.

In the 21st century, the Internet has become a critical method for musicians to distribute their work. Artists of all levels of success use the Internet to get their music to fans, either through iTunes, eMusic, Amazon, YouTube, MySpace or the myriad other websites that allow music to be sold or streamed. The Internet allows music and musicians to flourish and must be kept open and neutral. At the same time, the music that is carried over the Internet must be protected from copyright infringement. These two concepts are not antithetical, and AFM will work to see that both principles are enshrined in legislation and administration policy.

AFM congratulates the Future of Music Coalition and Free Press for their success in advocating for an open Internet and will work with them and the creative community to promote network neutrality while protecting copyrighted content.


Founded in 1896, the American Federation of Musicians of the United States and Canada (AFM), AFL-CIO, is the largest organization in the world dedicated to representing the interests of professional musicians. With more than 90,000 members, the AFM represents all types of professional musicians, including those who record music for sound recordings, film scores, videogames, radio, television and commercial announcements, as well as perform music of every genre in every sort of venue from small jazz clubs to symphony orchestra halls to major stadiums. Whether negotiating fair agreements, protecting ownership of recorded music, securing benefits such as health care and pension, or lobbying legislators, the AFM is committed to raising industry standards and placing the professional musician in the foreground of the cultural landscape. www.afm.org

Phil Nimmons

In a brilliant career spanning six decades, jazz musician, composer and educator Phil Nimmons, O.C., O. Ont., B.A. has made an indelible contribution to the cultural life of Canada.

Phil NimmonsHe is largely responsible for bringing jazz into the mainstream of music in Canada through radio performances, concerts and workshops with Nimmons ‘N’ Nine and other groups. Best known in the early part of his career as a jazz clarinetist, bandleader, composer and arranger, he has also been a tireless advocate of jazz as a significant North American art form. He has been a key figure in Canadian music education, always willing to help and encourage other musicians, particularly those just beginning their studies and careers. Phil Nimmons joined the TMA in June 1949 and has been a Life Member of the Association for several decades.

Born in Kamloops, B.C. in 1923 he graduated (1944) in pre-medicine from the University of British Columbia before taking up music studies (clarinet) at the Juilliard School, New York (1945-47) and at the Royal Conservatory of Music (composition), Toronto (1948-50). He formed the jazz ensemble Nimmons ‘N’ Nine in Toronto in 1953.

Enlarged to 16 musicians (Nimmons ‘N’ Nine Plus Six) in 1965, and active until 1980, the band enjoyed considerable popularity through regular CBC broadcasts and concert tours. Among its nine albums, made between 1956 and 1976, were recordings of the major Nimmons compositions The Atlantic Suite (1974) that received the first Juno Award ever given in the jazz category, and Transformations/Invocation (1976). Nimmons continued after 1980 to perform in small-band settings, recording the 2-CD Sands of Time with a quartet (2001).

A founding member of the Canadian League of Composers (1950), he co-founded the Advanced School of Contemporary Music (1960) with Oscar Peterson and Ray Brown. Nimmons’ involvement in music education dates to 1960; he began teaching at the University of Toronto in 1973, and has helped to establish jazz programs elsewhere in Canada. He is now Director Emeritus of Jazz Studies at the U. of T. In addition to over 400 original jazz compositions and countless arrangements, Phil Nimmons has written numerous contemporary chamber and orchestral works for voice, piano, strings and other ensembles. His work includes commissions for Expo 67 (Montreal), UNESCO World Music Week (1975), the 1976 World Olympics, Expo 86 (Vancouver) (Skyscape: Sleeping Beauty and the Lions – for concert band), and the 1988 Winter Olympics (The Torch – for big band); he has composed scores for stage, film, radio and television, and contemporary concert presentation (Moods and Contrasts – for the Esprit Orchestra, 1994).

In 2002, Phil Nimmons received the Governor General’s Award, the highest civilian award, for his contributions to Canadian music. The Toronto Musicians’ Association is proud to honour our distinguished Life Member Phil Nimmons with the TMA Lifetime Achievement Award.



September 21, 2010 | AFM Supports Introduction of Bill to Combat Online Piracy

On Monday, September 20, 2010, Senate Judiciary Committee Chairman Patrick Leahy and senior Republican member Orrin Hatch introduced the Combating Online Infringement and Counterfeits Act. This legislation will enable the Department of Justice to shut down “rogue websites” that specialize in providing unauthorized downloads, streaming, or sale of copyrighted content and counterfeit goods.

Music and video piracy costs the United States $16.3 billion annually and 375,000 jobs within the entertainment industry. “This bill is a positive step forward in combating piracy and protecting the copyrights of musicians,” said AFM International President Ray Hair. “The American Federation of Musicians of the U.S. and Canada is pleased to see the Senate taking action to address the serious issue of copyright infringement by these rogue sites, and we look forward to working with the Judiciary Committee as the legislation moves forward.”


Founded in 1896, the American Federation of Musicians of the United States and Canada (AFM), AFL-CIO, is the largest organization in the world dedicated to representing the interests of professional musicians. With more than 90,000 members, the AFM represents all types of professional musicians, including those who record music for sound recordings, film scores, videogames, radio, television and commercial announcements, as well as perform music of every genre in every sort of venue from small jazz clubs to symphony orchestra halls to major stadiums. Whether negotiating fair agreements, protecting ownership of recorded music, securing benefits such as health care and pension, or lobbying legislators, the AFM is committed to raising industry standards and placing the professional musician in the foreground of the cultural landscape. www.afm.org

ANDREW BURASHKO – A member of the TMA since 1990

Since his brilliant début with the Toronto Symphony at the age of seventeen under the baton of Sir Andrew Davis, Andrew Burashko has established himself as one of the most soughtafter soloists in Canada. He has performed extensively around the world collaborating with among others, conductors Jukka-Pekka Saraste, Pinchas Zukerman, Marin Alsop, Peter Oundjian and Bramwell Tovey. Passionately dedicated to the music of our time as well as the great piano master-works of the past, Andrew Burashko has developed a reputation for versatility and brilliantly conceived programmes. He has given numerous Canadian and world premières, including the Canadian première of Schnittke’s Piano Concerto.

His musical dexterity and commitment to building a future audience for classical music brought him in 1998 to the artistic directorship of the Art of Time Ensemble, a chamber music society comprised of the finest classical and jazz players on the Canadian scene. Andrew Burashko began his piano studies with Marina Geringas in Toronto. He went on to study with Kum Sing Lee in Vancouver, Leon Fleisher and Marek Jablonski in Toronto, and Sella Davidovich in New York. He is at present on the faculty of the Glenn Gould School at the Royal Conservatory of Music in Toronto.

Performance Diploma and Artist Diploma (RCM). Studied with Bella Davidovich in New York, with Marek Jablonski, Leon Fleisher and Marina Geringas at The RCM, Toronto and with Kum Sing Lee in Vancouver. Awarded numerous grants from the Canada Council and the Ontario Arts Council. Has given master classes throughout Canada and the United States. Soloist with orchestras including the Toronto, Vancouver, and Winnipeg Symphonies, the Manitoba Chamber Orchestra, CBC Vancouver Orchestra, the National Arts Centre Orchestra. Sought after as a recitalist and chamber musician, with performances throughout North America and Europe. Artistic Director of Chamber Music Unlimited. Recorded for Naxos, CBC SM5000, and Opening Day Labels. Regularly broadcast on CBC Radio and American Public Radio. RCM faculty since 1990.

In recognition of the outstanding artistic excellence during the year 2009 and his universally acclaimed stature as one of Canada’s most highly regarded classical pianists, the Toronto Musicians’ Association presents the 2009 Musician of the Year Award to Andrew Burashko.

Guido Basso

Guido Basso & Stompin’ Tom Connors

The Toronto Musicians’ Association is proud to recognize Guido Basso’s decades of artistry with the TMA Lifetime Achievement Award and is delighted to acknowledge Life Member Stompin’ Tom Connors with our Lifetime Achievement Award.


“Guido Basso is quite simply the best damn flugelhorn player in the world.” – Rob McConnell

Guido BassoMontreal-born Guido Basso began playing trumpet at the age of nine. At the age of nineteen, he left Montreal to tour with Vic Damone, followed by three more years touring with Pearl Bailey and Louis Bellson. In 1960, Guido settled in Toronto and quickly became “first call” in the studios and jazz clubs. While still in his early twenties, he was featured as an on-air personality and music director on several popular television programs including Nightcap and Barris & Company, and co-hosted Mallets & Brass with Peter Appleyard. From 1969-71 he was music director of After Noon on CBC radio, and he later led orchestras for the CBC television programs In the Mood and Bandwagon.

As a founding member and featured soloist with Rob McConnell and the Boss Brass, Guido performed with The Singers Unlimited, Phil Woods, Mel Torme and The Hi Lo’s. Many of his recorded solos with that award-winning ensemble have become jazz classics studied by both professionals and students across North America. He was also a member of the Rob McConnell Tentet, Nimmons ‘N’ Nine Plus Six, and Ron Collier’s big band. Guido has also been in great demand on harmonica, having been featured in many concerts and on dozens of recordings. Guido has shared the stage with many of the world’s top jazz artists including Dizzy Gillespie, Quincy Jones, Benny Goodman and Diana Krall. He is one of those rare musicians whose sound is unique and immediately recognizable, and has set the international standard for playing jazz flugelhorn. In 1994, Guido was made a Member of the Order of Canada. His CD Lost in the Stars was honoured with a JUNO award in 2004. Guido currently plays jazz concerts, is featured in a myriad of musical situations, and is currently in the studio working on a new CD. Otherwise he can be found at his home Eastern Ontario with his wife Kristin, growing garlic, cooking gourmet meals, and generally enjoying life. Guido is a Life Member of the TMA, having been a member since 1961. The Toronto Musicians’ Association is proud to recognize his decades of artistry with 2009 TMA Lifetime Achievement Award.


Tom Connors was born in Saint John, New Brunswick in 1936, and after being orphaned for several years, was adopted by the Aylward family of Skinner’s Pond, PEI. At thirteen, Connors left home and hitchhiked to virtually every part of Canada. Fifteen years later, his big break came when he found himself short of money at the Maple Leaf Hotel in Timmins, and the bartender offered to give him a beer if he would sing a few tunes. This performance turned out to be the start of a 13-month stint playing at the hotel, and also led to a daily spot on the local radio station where he made his first recordings. So began a career that would see Stompin’ Tom Connors release fifty albums which have sold some four million copies in Canada, including many songs that have become treasured favourites across the country.

From his first hit, “Bud the Spud,” Connors’ songs have celebrated and defined what it is to be Canadian. Many of his songs, like “Tillsonburg,” tell stories from his own journeys across the country. He has written about national passions (“The Hockey Song”), national heroes (“Blue Berets”), and national tragedies (“The Black Donnellys” and “Fire in the Mine”). Connors was made an Officer of the Order of Canada in 1996. He received a SOCAN National Achievement Award in 1999, and the Governor General’s Performing Arts Award in 2000. Tom also holds three honourary Doctorates, from St.

Thomas University (Laws, 1993), the University of Toronto (Laws, 2000), and the University of PEI (Literature, 2003). In 2009, Connors received the special distinction of being portrayed on a stamp released by Canada Post. From 1971 through 1975, Stompin’ Tom received five straight JUNO awards as best country male artist, and another for his album To It and At It. In 1978, he returned them all, explaining, “I feel that the JUNOs should be for people who are living in Canada, whose main base of business operations is in Canada, who are working toward the recognition of Canadian talent in this country and who are trying to further the export of such talent from this country to the world with a view to proudly showing off what this country can contribute to the world market. Until the academy appears to comply more closely with aspirations of this kind, I will no longer stand for any nominations, nor will I accept any award given.” More than simply playing songs about Canada, Stompin’ Tom Connors has been a fierce and uncompromising advocate for truly Canadian music and musicians. His patriotism, integrity, and his tremendous contribution to our nation’s musical heritage are truly exemplary. The Toronto Musicians’ Association is delighted to acknowledge Life Member Stompin’ Tom Connors with our Lifetime Achievement Award.

FTM Arts Law is receiving an increasing number of reports from artists, managers, agents and presenters that the Internal Revenue Service is contacting presenters and venues where non-resident foreign artists are scheduled to perform and directing them to withhold 30% of the artists’ gross fee.

The IRS is sending out letters called Directed Withholding Letters (“DWLs”) and they have serious implications. Unless a foreign artist qualifies for an exemption from tax withholding, or enters into a Central Withholding Agreement (“CWA”) with the IRS, then 30% of the artist’s gross fee must be withheld. (Note that not all exemptions from taxation entitle an artist to an exemption from withholding!) Those who represent or present foreign artists in the U.S. and who continue to choose not to address tax issues are taking an enormous risk.

Why is this happening? How is this happening?

Read the full article here.

Attention SOCAN members!

Are you planning on attending CMW this year?
If you are, be sure to check out the latest SOCAN education panels…

Saturday, March 12: 10:15 – 11:15 AM

Terry O’Brien”Know Your Alphabet: A Songwriters’ Introduction to Cha-Ching$”

Salon A – Fairmont Royal York Hotel

If you are a musician or emerging songwriter, your head is probably spinning with the ‘A-B-Cs’ of all the organizations out there – SOCAN, CMRAA, CFM, RE:Sound, CPCC and SX. This panel will clear up the confusion and show you where the money is, ad how to get it. Come and hear from these important organizations that manage your rights.

With panelists: Veronica Syrtash (CMRRA), Andrew Karis (ACTRA), Walter McDonough (Future of Music Coalition/Sound Exchange) and Arif Ahmad (Re:Sound).

Moderated by SOCAN’s Terry O’Brien.

Saturday, March 12: 11:15 – 12:15 PM

“Life of a Song: Anvil’s ‘Metal on Metal'”

Salon B – Fairmont Royal York Hotel
Rodney MurphySongwriters ask the question all the time; What is a hit song worth? Depending on the genre and performance type, there are always ball park figures. But the correct answer is… it depends upon the Life of the Song. Songs come and go on the charts, but the good ones always find their way back, again and again. This panel will focus on Anvil’s clasic hit; “Metal on Metal”. Hear how the song was written, became a success story and how it has been used over again through the years via covers, and placement in film, television and advertising. More importantly, hear how much money can be made from your song that just won’t go away!

With panelists: Steve “Lips” Kudlow and Robb Reiner from the band Anvil, Cheryl Link (peer Music) and David Hayman (music supervisor).

Moderated by SOCAN’s Rodney Murphy.

The TMA salutes all of our members who were nominated for a JUNO Award this year and offers our congratulations to those who won.

This year Local 149 members took home awards in the following categories:

Country Album of The Year

“A Place Called Love” – Johnny Reid

Traditional Jazz Album of the Year

“Our First Set” – John MacLeod’s Rex Hotel Orchestra

Classical Album of the Year: Solo or Chamber Ensemble

“Beethoven: Piano Trios Op. 70 No. 1, Ghost & No. 2: Op 11” – Gryphon Trio

Recording Package of the Year

“Forgiveness Rock Record Vinyl Box Set” – Broken Social Scene

Music DVD of the Year

“Rush: Beyond The Lighted Stage” – RUSH

This April, in partnership with 918 Bathurst, Centre for Culture, Arts, Media and Education, CCCO is offering The Business of Art, a six week course to help artists take control of their career and plan the steps for their success

The Business of Art is

  • Intensive practical course taught by industry experts
  • Classroom sessions and homework assignments
  • Entrepreneurial concepts for a successful career

The class will be held at 918 Bathurst St., conveniently located near the Bathurst St. subway on Wednesdays from 6 PM – 9 PM, beginning April 20th and continuing until May 25th.

“I highly recommend this course. My business jumped 30% after I finished it. I left inspired and with a more defined vision for my career.”
Kyra Millan, vocalist, arts educator and coach

“Taking The Business of Art course in 2009 was one of the most valuable things I have done…. It gave me insight into my practice and helped me define where I really want to go with it. It was a lot of work, but also great fun…. By the time I completed the course I had a 12-page five-year business plan and by the end of 2010 I had accomplished or attempted all the 14 goals I set for myself. I would highly recommend this course to any artist interested in taking the mystery out of the business end of being an artist.”
Camilla Geary-Martin, sculptor

“Every artist deserves to be fairly compensated for their creation. If you take yourself seriously as an artist, and wish to take your art-as-business to the next level, The Business of Art Course is an invaluable introduction.”
Bruce Dow, Actor, Broadway/Toronto, and the Stratford Shakespeare Festival

For more Information and easy registration, check www.workinculture.ca or call 416 – 340 – 0086.

Information also available at 918 Bathurst St. Centre 416 – 538–0868 or info@918bathurst.com
There is a limited enrollment for this course.

Stay in touch with CCCO by visiting our website to check for job postings, career skills and other business tips, and the latest in research and information!

The following is a list of previous Musicians of the Year recipients.

  • Bare Naked Ladies
  • Rush
  • Rob McConnell
  • Peter Desotto
  • Alex Pauk
  • Oscar Peterson
  • Jeff Healey
  • Jeanne Lamon
  • Kevin Breit
  • Broken Social Scene
  • Nelly Furtato
  • Jim Cuddy
  • Mike Murley
  • Ron Sexsmith
  • Andrew Burashko
  • Diana Krall

The following is a listing of previous Lifetime Achievements Awards recipients.

  • Moe Koffman (posthumous)
  • J. Alan Wood
  • Howard Cable
  • The Travellers
  • Johnny Cowell/ Eddie Graf
  • Andrea Hansen/ John Kay
  • Gordon Lightfoot
  • Jacques Israelievitch / Phil Nimmons
  • Joe Macerollo
  • Guido Basso / Stompin’ Tom Connors
  • Archie Alleyne / Tommy Hunter
  • John Barnum / Anne Murray

NOTE: A Toronto Musicians’ Association “Special Recognition Award” was presented to Eugene Amaro in December 2005. Jerry Toth was given an award at one of the “Evening to Remember” dances at the Royal York years ago.

Enhancing Quality of Performance

Master class for vocal artists with Lori Holmes, Speech-Language Pathologist & Voice Coach

Thursday April 28, 2011
Time: 1 p.m. – 5 p.m.
Fee: $50 / Students/ Seniors & ASO: $40
Location: Toronto Western Hospital, 399 Bathurst Street, 3rd Floor, McLaughlin Wing 3-405

This master class will focus on various aspects of voice work including breath, formation of sound, resonance, and articulation. Participants will be invited to explore each of these components to help move towards vocal freedom in performance. Extending the voice work toward vocal color and expression, each performer will have the opportunity to read a piece of text (4-5 lines) and receive feedback from Lori. This session is suitable for emerging and professional artists, as each participant will uncover different moments of discovery depending upon their understanding of their own voice and their current career demands.

Lori Holmes (B.Sc.CD; M.Sc.) is a highly respected speech-language pathologist with over 20 years of experience, integrating a solid background in science with practical experience in training the voice. Since 2001 she has had the joy of combining her love of theatre with her love of voice at the Stratford Shakespeare Festival and has since become an integral part of the coaching team. In London, her private practice, WellSpoken, provides expertise in communication and speaking skill enhancement, accent reduction and rehabilitation for injured voices. A dynamic speaker, she provides workshops in voice care and training for various professionals throughout Ontario. She currently teaches the graduate course in Voice and Voice Disorders to speech-language pathology students at The University of Western Ontario. She regularly lectures to the otolaryngology residents at the Shulich School of Medicine and is the speech-language pathologist at The Vocal Function Clinic, London Health Sciences Centre. She is a guest presenter with the Artist’s Health Centre in Toronto providing workshops and lectures to professional artists and students in training.

Pre-registration is required, as space is limited. To register please contact us at:
Phone: 416.351.0239
Email: info@ahcf.ca
Fax: 416.595.0009

The AHCF appreciates recognition of our cancellation policy, student rate and senior discount requirements. Thank you.

For your comfort, this is a scent-free workshop. Please refrain from wearing any perfume, cologne, aftershave or scented products. Thank you.

In celebration of our 40th Anniversary Season, ORIANA Women’s Choir presents

The competition provides three $1,000 prizes for compositions in the following categories:

  • one $1,000 prize for a new setting of the text Silent Night
  • one $1,000 prize for a new setting of the text Laudate Dominum
  • one $1,000 prize for a setting of the poem Rubies, by Ralph Waldo Emerson

The winning compositions will be performed by ORIANA Women’s Choir on:

  • Saturday, November 26, 2011: Silent Night
  • Saturday, March 3, 2012: Laudate Dominum
  • Saturday, May 5, 2012: Rubies

Entry deadline: August 1, 2011
Entry fee: $25 per composition
Duration of composition: not exceeding 4 minutes
Type of composition: for SA/SSA/SSAA voices, a cappella or with piano accompaniment

Competition Background

Over the past 15 seasons, under the direction of Artistic Director William Brown, ORIANA Women’s Choir has commissioned and premiered over 60 new choral works by Canadian composers. ORIANA Women’s Choir is extremely proud of this accomplishment. Many of the commissioned composers have had their works published and ORIANA is now able to share these compositions for treble voices with choirs around the world. To celebrate the choir’s 40th Anniversary, we have chosen to focus on the future of choral music in Canada by highlighting the work of up-and-coming Canadian choral composers (30 years of age and under). We introduce this new competition to showcase new Canadian talent, and so that we can continue to publicly perform new compositions during this special 2011–2012 season.

For more information, contact William Brown, Artistic Director: william.brown4@sympatico.ca


The administration of the Brazilian Symphony Orchestra (Rio de Janeiro) is organising recruitment auditions in London and New York, respectively on May 16-18 and May 20-23, 2011, in order to replace unfairly dismissed OSB musicians.

Positions are open in the following sections: violin, viola, cello, clarinet, trombone and piano.

FIM urges musicians around the world to refrain from taking part in these auditions, as it would result in taking the jobs of their unfairly dismissed colleagues.

All FIM member unions are therefore requested to circulate this call to their membership, thus expressing their solidarity with the ongoing struggle of the Musicians Union of Rio de Janeiro, SINDMUSI.

Don’t hesitate to come back to us, should you need any further information about the above.

Yours in solidarity, The FIM Secretariat

International Federation of Musicians

21 bis, rue Victor Massé F-75009 Paris
Tel: +33 (0) 145 263 123
Fax: +33 (0) 176 701 418
E-mail: office@fim-musicians.com


After five years and 23 short-term extensions, Congress has passed legislation reauthorizing the Federal Aviation Administration (FAA) for the next four years. Included in the bill are provisions that create a uniform national policy regarding musical instruments on airplanes.

Any instrument that can be safely stored in the overhead compartment or underneath the seat may be brought on board as carry-on luggage. Additionally, the bill sets standard weight and size requirements for checked instruments, and permits musicians to purchase a seat for oversized instruments, such as cellos, that are too delicate to be checked. Existing law allowed each airline to set their own policy regarding musical instruments, and size requirements varied widely for both carry-on and checked baggage. The American Federation of Musicians (AFM) has been lobbying Congress to enact such a policy for nearly a decade. “This is great news for professional musicians throughout the U.S. and Canada who carry the tools of our trade – our instruments – aboard commercial aircraft,” said AFM President Ray Hair. “Ending the confusion over musical instruments as carry-on baggage has been a top legislative priority for nearly a decade. I am proud of our Government Relations Director, Hal Ponder and his assistant Laura Brigandi in our Washington legislative office for seeing the effort through. Musicians can now fly in friendlier skies.” The FAA reauthorization was passed by the House of Representatives on Friday, February 3 by a 248-169 vote. It subsequently passed the Senate on Monday, February 6, 75-20.  The President is expected to sign the bill into law.

ABOUT THE AFM Founded in 1896, the American Federation of Musicians of the United States and Canada (AFM), AFL-CIO, is the largest organization in the world dedicated to representing the interests of professional musicians. With more than 90,000 members, the AFM represents all types of professional musicians, including those who record music for sound recordings, film scores, videogames, radio, television and commercial announcements, as well as perform music of every genre in every sort of venue from small jazz clubs to symphony orchestra halls to major stadiums.  Whether negotiating fair agreements, protecting ownership of recorded music, securing benefits such as health care and pension, or lobbying legislators, the AFM is committed to raising industry standards and placing the professional musician in the foreground of the cultural landscape. For more information, visit the Web site at www.afm.org.
AFM; 1501 Broadway, Ste. 600; New York, NY 10036
Follow the AFM on Twitter http://twitter.com/musiciansunion and
Facebook http://www.facebook.com/afm.org

Annual General Meeting
Sunday May 27, 2012 (9 min.)

  • the effects of CBC cut-backs on recording facilities at the CBC and the use of public money
  • our hosting the Unity Conference in mid August
  • royalties, copywrite and neighbouring rights

You can listen to the report now.

Jim Cuddy

When Jim Cuddy got his first guitar at the age of ten, the first song he learned was Gordon Lightfoot’s “That’s What You Get For Loving Me.” Today, twentyfive years after the formation of Blue Rodeo, Jim is respected as one of Canada’s best songwriters. He received multiple Juno award nominations this year for his third solo album, Skyscraper Soul. His voice, always a voluptuous instrument, has never sounded better, and Cuddy proves once again that his songwriting ranks with the best Canada has to offer. This year, The Canadian Academy of Recording Arts and Sciences (CARAS) inducted Jim into the Canadian Music Hall Of Fame. He also appears on this year’s CBC “Top 50 Artists” chart.

Jim has long been a champion for music education. He has enthusiastically supported MusiCounts as a participant in Band Aid Grant celebrations at local schools, and represented MusiCounts at fundraising events. He is a driving force behind the annual JUNO Cup, the hockey game pitting rockers against NHL greats, that has become a highlight of JUNO week.
This year, Jim has been named as a MusiCounts Ambassador. The personal passion and enthusiasm of an ambassador can powerfully convey the message of MusiCounts to increase
the understanding and awareness of the importance of music education in Canada. The proceeds from the JUNO Cup go to MusiCounts initiatives.

“Jim Cuddy has been a long-time friend and supporter of MusiCounts. His dedication and passion to help spread the word about the work that MusiCounts does is remarkable,” said Melanie Berry, President and CEO of CARAS/The JUNO Awards & MusiCounts.

“Jim’s strength as a pillar of the Canadian music industry and MusiCounts is clear through events like JUNO Cup. MusiCounts is honoured that Jim has accepted the title of Ambassador.” Toronto Musicians’ Association is proud to name Jim Cuddy our 2011 Musician of the Year.

Anne Murray with Charlie Gray

Anne Murray

Anne Murray with Charlie Gray

Anne Murray with Charlie Gray

I hate to think how long it’s been since I first heard Anne Murray sing at the Agricultural Exhibition in Truro, Nova Scotia — the mid-1960s, you do the math. At the time, it was a welcome break from the quilts, the cotton candy, the cattle, and the thrill of the Tilt-AWhirl. But I do remember that she came onstage barefoot and sang her heart out as though she were playing Carnegie Hall.

Anne claims to be retired, but I don’t believe it. Again and again, someone will search her out of her hiding place and into the public eye, for her musicality, her good humour, and her down-to-earth humanity. You don’t see a lot of that sort of thing, these days.

I worked in Anne’s back-up band for a couple of years, and it was the most enjoyable way to travel. Anne had just had a hit with “You Needed Me,” and in her wisdom decided she needed a trumpet to spruce things up. (These days, it is rare to find a pop musician who actually knows what a trumpet is for — sprucing things up!)

Anne has always appreciated and hired many musicians. When touring artists were beginning to reduce their bands to synths, drum machines, and recorded tracks to cut overhead, she was backed up by three horns, pedal steel, a full rhythm section, two guitars, and two singers. She usually hired a large local string section and percussion as well.

Anne was and is a big deal. She has played to massive audiences of adoring fans all over the world; I remember one of her opening acts being Jerry Seinfeld, and Lenny Breau played in one of her early bands. Toronto arranging luminaries Doug Riley and Rick Wilkins arranged for her, along with many other Toronto-based musicians. Anne has always had an ear for serious musicianship, as well as for a great studio and a perceptive engineer, and she was a member of Local 149 right from the start.

A true Canadian legend, Anne Murray is a Companion of the Order of Canada — the country’s highest civilian honour. She has sold more than 54 million albums. She is a best-selling author with her memoir, All Of Me. She has accumulated a record 24 JUNO Awards, four Grammy Awards, three American Music Awards and three Country Music Association Awards. She has been inducted into the Canadian Country Music Hall of Fame, the JUNO Hall of Fame and The Songwriters Hall of Fame. She is a member of Nashville’s Walkway of Stars, and has her own star on the Hollywood Walk of Fame and on Canada’s Walk of Fame. She has literally had the world at her feet!

Anne’s artistry is matched by her generosity. A proud supporter of Canadian Women’s Foundation, Sheena’s Place, the David Suzuki Foundation, several East Coast charities and a member of the TELUS Atlantic Canada Community Board, Anne became a spokesperson for Colon Cancer Canada in 2008, and hosts the annual Anne Murray Charity Golf Classic to raise money for a cure. In 2010, she was one of eight notable Canadians who carried the Olympic Flag into the stadium at the Vancouver Winter Olympics.

Calling Anne a Legend doesn’t quite cover it; she also plays one hell of a game of golf !

by Charlie Gray

The Canada Council for the Arts is changing its travel grants programs to enhance funding opportunities for musicians, composers, bands and small ensembles.

The Travel Grants to Professional Musicians and Festival Travel Grants programs are being folded into one to create a single, flexible program supporting performance and professional development opportunities both nationally and internationally. This consolidated program is intended to support travel to activities that have a significant career benefit.

This program works in complement to the Grants to Professional Musicians – Individuals and Touring Grants in Music programs. The first deadline of the new Music: Travel Grants program will be February 15, 2013


  • Individual musicians and composers, as well as bands and ensembles, are eligible to apply.
  • Eligible travel opportunities include performances at festivals or other settings, participation in professional training opportunities such as residencies and master classes and attendance at important premieres.
  • Five (5) deadlines per year offer increased opportunity for performance-related travel.
  • The program features a simplified application that can also be made through our Go! Grants Online.

Detailed program and eligibility criteria will be posted on the Canada Council for the Arts website in mid-December, 2012.

Contact Nathalie Cléroux at
1-800-263-5588 ext. 4241, or

Dave Young

The Toronto Musicians’ Association is delighted to recognize Dave Young & Jeanne Lamon with our Lifetime Achievement Award as well as the group Billy Talent with our Musician of the Year Award for 2012

The Toronto Musicians’ Association is delighted to recognize Dave Young with our Lifetime Achievement Award

Dave Young

Dave Young

Dave Young joined the Toronto Musicians’ Association in 1967, one of the rare bassists who is truly at ease swinging a bow or walking in a jazz rhythm section. He has been a member of the Edmonton Symphony, the Hamilton Philharmonic, and, in his home town, the Winnipeg Symphony.

At the same time, Dave has been a first call “go-to” jazz bass player since he arrived in Toronto, where he has gained a reputation as not only a great bassist but as a joy to work with. Highlights of his illustrious career include his work from 1961 to 1966 with Lenny Breau, and of course his 35-year association with Oscar Peterson, as well as performances with Clark Terry, Harry “Sweets” Edison, Zoot Simms, Oliver Jones, Kenny Burrell, Cedar Walton, Hank Jones, Nat Adderly, Peter Appleyard, Joe Williams, Gary Burton, Barney Kessell, Ed Bickert, Ranee Lee, Marcus Belgrave, Don Thompson, Kenny Burrell, and James Moody.

Dave has also recorded as a leader, including We Three with Phil Dwyer and Michele Lambert, Tale of the Fingers with special guest Cedar Walton, Mainly Mingus, and, with co-leader Phil Dwyer, Fables and Dreams, which won a Juno Award as Best Mainstream Jazz Album in 1994. Two by Two – Volumes 1 & 2 (1995 & 96) featured Dave in duet performances with jazz legends Oscar Peterson, Cedar Walton, John Hicks, Mulgrew Miller, Tommy Flanagan, Ellis Marsalis, Barry Harris, Kenny Barron, Renee Rosnes, Cyrus Chestnut, and Oliver Jones. His most recent CDs are Mean What You Say, released in 2009, and Octet Volume One (2012) with the Dave Young-Terry Promane Octet.

As a teacher, for many years Dave has been a member of the Faculty of Music at The University of Toronto. As a classical player, he regularly tours with clarinetist James Campbell and pianist Gene Di Novi. For many years, he has been an ongoing feature in both classical and jazz groups at the annual Festival of the Sound in Parry Sound, Ontario.

Dave was recently named a Member of The Order of Canada — our country’s highest civilian honour. Beyond the long list of accolades and acknowledgements, Dave is known for his pragmatic, realistic view of the music business, always ready to adapt, and to “put the music first.”

When not in the studio or on the stage, you will often find Dave Young playing a duo or some such with guitar or piano, in a small venue you might have discovered by accident, playing for the sheer enjoyment of it, surrounded by a small jazz-loving audience.

Putting the music first.

The Toronto Musicians’ Association is delighted to recognize Jeanne Lamon with our Lifetime Achievement Award

Jeanne Lamon

Jeanne Lamon

Jeanne recently announced that she will be stepping down as Music Director of Tafelmusik, an organization she has guided for over 30 years. In that time, the ensemble has put Toronto on the map as a centre of excellence in period performance. Under her leadership, they have travelled the globe, performing in over 325 cities in 30 countries across North America, Europe, and Asia, in venues such as Carnegie Hall, the Concertgebouw, and the Musikverein. With a discography of some 78 recordings — winning 9 Juno awards — on such labels as Sony Music, CBC Records, Analekta, BMG, Collegium, Hyperium, and now their own house label, Tafelmusik Media, they have shone a fresh light on a huge amount of repertoire, not just by achieving relentlessly exacting musical standards in everything they do, but by keeping the music relevant long after it was new. Jeanne was made a Member of the Order of Canada in 2000.

What makes Tafelmusik’s international success particularly remarkable is that so much of it was accomplished from an old church basement. Tafelmusik achieved greatness despite a lack of air conditioning, doors too narrow for a pair of timpani, a stage that needed to be torn down every Saturday night for church services, offices without windows, and a backstage area no bigger than a postage stamp. These obstacles were overcome in large part because Jeanne’s talent, passion, determination, and leadership ability allowed her to gather a critical mass of people with a common goal, whom she guided to become greater than the sum of its parts. That is truly a lifetime achievement.

It is leaders like Jeanne whose skills and vision create the institutions in our city that we as musicians depend upon for sustenance, both financial and — much more importantly — musical. Musicians are by nature dreamers, and we strive to communicate great ideas and emotions with notes. Some musicians, like Jeanne Lamon, are dreamers who cause their dreams to come true, and we are better for having them in our midst.

Thank you Jeanne, and congratulations on an exceptional journey!

Musician of the Year Award for 2012

The Toronto Musicians’ Association is delighted to recognize the group Billy Talent with our Musician of the Year Award for 2012

Billy Talent

Just find a style, so you can mimic
The tortured artist, the jaded cynic
The latest gadget, is just a gimmick
Another sucker, born every minute
“Surprise, Surprise” from Dead Silence — Billy Talent

Billy Talent

Billy Talent

Billy Talent is a Canadian melodic punk rock, alt rock, post-hardcore band from Mississauga, formed in 1993 by lead vocalist Ben Kowalewicz, lead guitarist Ian D’Sa, bassist Jon Gallant, and drummer Aaron Solowoniuk.

TMA members since 2004, the band existed for almost a decade before starting to find mainstream attention. Billy Talent’s major label debut album, Billy Talent I found much commercial success and went three times platinum in Canada. Billy Talent II hit the shelves in 2006. It fared very well in Canada, landing at number 1 in its debut week on the Canadian charts eventually going two times platinum, selling over 200,000 copies. The album also enjoyed significant success in Germany, where it also debuted at number 1 in the album charts, and was one of the ten top-selling albums that year, going platinum there as well. The band’s fourth album, Billy Talent III, was also released in the United States through Roadrunner Records.

During their career, the band has toured extensively across Canada, the US, Europe, and Australia, and are currently wrapping up 22 headlining arena tour dates before heading to Europe for additional dates in support of their current release, Dead Silence.

Billy Talent has racked up an impressive list of achievements and accolades, winning 2 CASBY Awards for favourite new single and new album in 2004. The band has won two ECHO awards in Germany, for Best International Newcomer and Best International Rock/Alternative Album in 2007. Billy Talent has received a significant amount of recognition in Canada, winning 9 awards from 29 nominations at the MuchMusic Video Awards, and 7 awards from 17 nominations at the JUNO Awards. Overall, Billy Talent has received 16 awards from 46
nominations in Canada. At this year’s JUNO awards, they are nominated for the Fan Choice Award, Group of the Year, and Rock Album of the Year.

If you’ve seen the video on YouTube, you can’t help but marvel at the sight of over 100,000 fans singing along to “Viking Death March,” the first track released to the public from Billy Talent’s latest album, Dead Silence. Watching the mass celebration of this song is powerful enough, but the fact that the track had only been released days before the band hit the stage at the Rock am Ring festival in Germany is testament to the loyalty of the band’s fans around the world.

The Toronto Musicians’ Association Member Assistance Fund

August 28, 2013

In 2012, the Toronto Musicians’ Association Board of Directors appointed a Member Assistance Fund Committee comprised of Les Allt (Board of Directors), and myself, Réa Beaumont (Board of Directors) as Committee Chair.

The new MAF Committee has been busy revitalizing the Member Assistance Fund (MAF) and expanding its role to assist TMA members in financial need. The Member Assistance Fund was started in the early 1980’s by our member, the late Donald Pierre and his band, when they held a concert and donated the proceeds to start a fund to help TMA members.

The purpose of the Member Assistance Fund is to provide short-term aid to TMA members in good standing who are met with financial hardship as a result of long-term illness. Currently the Toronto Musicians’ Association provides “sick benefits” to eligible members in the amount of $75 per week, to a maximum of twelve weeks with approval from the Board of Directors.

The MAF Committee is pleased to announce that, after these twelve weeks have been exhausted, an additional six weeks of assistance (up to twelve weeks in special circumstances) may be approved and/or annual TMA membership dues reimbursed.

Extending the existing benefit is a significant step in the right direction to helping our members and we are now accepting applications. The MAF Committee appreciates the support it has received from the Board of Directors and wishes to thank Vice President Linda Cara and Administrative Manager Dawn Rodriquez for their time and input.

In order to maintain the Member Assistance Fund the MAF Committee will be spearheading fundraising initiatives so check back for updates as more details become available!

For additional information, please contact:
Dr. Réa Beaumont, Chair, MAF Committee

c/o Toronto Musicians’ Association
15 Gervais Drive, Suite 500
Toronto, Ontario M3C 1Y8

If you are a musician or vocalist who has performed on a sound recording released during the last 50 years, MROC may have money for you!

The Musicians’ Rights Organization Canada (MROC) was founded on September 31, 2009 as a federally incorporated not-for-profit organization that distributes neighbouring rights and private copying royalties to musicians and vocalists. MROC takes over the role played by AFM Canada’s Musicians’ Neighbouring Rights Royalties (MNRR) since 1998.

MROC pays musicians neighbouring rights royalties related to the broadcast and public performance of their sound recordings. This includes royalties from commercial radio, CBC radio, XM/Sirius and businesses such as fitness clubs and retail stores. MROC also distributes private copying royalties collected from the importers of blank media CD-Rs.
This is an additional stream of royalties to the one that SOCAN pays songwriters and music publishers. If you are a songwriter and a musician, you need to register with both SOCAN and MROC.

MROC is the only collective in Canada for musicians governed by musicians.
Visit www.musiciansrights.ca and register.

Or contact us…
Email: info@musciansrights.ca
Phone: 416-510-0279 (Toll Free) 1-855-510-0279

Jeanne Lamon

On Sunday, September 29, Tafelmusik Early Bird Subscribers attended two special “sneak peek” concerts at the newly revitalized Trinity-St. Paul’s Centre. Both audience and musicians were thrilled to experience the new space, which we think is beautiful for both the ears and the eyes. The day was made even more special because of a presentation at the 3:30pm concert.

Tafelmusik was joined on stage by Jim Biros, Executive Director of the Toronto Musicians’ Association, Local 149 of the American Federation of Musicians of the United States and Canada. Mr. Biros presented Music Director Jeanne Lamon with the 2012 Lifetime Achievement Award from the Toronto Musicians’ Association (TMA). The Lifetime Achievement Award is presented to a 20+ year TMA member who has demonstrated significant achievement in the areas of musical excellence, music education and/or public service through music, and whose contribution to the musical community has received significant public recognition. Past recipients include Guido Basso, Howard Cable…

– To view the rest of article & see pictures of award presentation visit the Tafelmusik website.

Victor Feldbrill

by Dr. Réa Beaumont

Throughout his stellar 74-year career, Maestro Victor Feldbrill has conducted symphonies around the world, including every major Canadian orchestra. After studying with Ettore Mazzoleni and Pierre Monteux, Feldbrill’s national and international reputation flourished as he collaborated with Glenn Gould, Claudio Arrau, Janos Starker, Philippe Entrement, Luciano Pavarotti, and many of the finest musicians of the twentieth century. Feldbrill had the honour of conducting the Winnipeg Symphony Orchestra in command performances for Queen Elizabeth II and Prince Philip during their tour of Canada in 1959.

v febrill press releaseBorn in Toronto in 1924, Maestro Feldbrill first joined the Toronto Musicians’ Association at age 16 when he was contracted as a violinist to perform in the High Time Orchestra for a CFRB radio broadcast of music by a fellow TMA member, the composer and producer Howard Cable. With an early start as a violinist in the Toronto Symphony Orchestra, Feldbrill began a 62-year relationship with the orchestra that he guest conducted at age 18, later becoming its Resident Conductor (1973-76). He founded the Canadian Chamber Players (1952), was Acting Music Director of Orchestra London Canada (1979-1981), led the National Arts Centre Orchestra in a cross-Canada tour (1992), was Music Director and Principal Conductor of the Hamilton Symphony Orchestra (1990-96), and guest conducted the CBC Orchestra on nineteen occasions.

Beyond the Canadian borders, Feldbrill’s growing stature led to an international career and he was appointed Principal Conductor of Tokyo’s Geidai Philharmonia (1982-87) as a professor at Tokyo University of the Arts. He continued to receive invitations to guest conduct in China, the Philippines, the former Soviet Union (1963, 1966), and throughout Europe, including concerts for the BBC from 1957 onward.

Feldbrill’s long and illustrious career was not without its difficulties, however, and few people are aware that he has always been a strong advocate of ensuring that musicians receive adequate financial support. As part of his contract negotiations with the Winnipeg Symphony Orchestra in 1958, he stipulated that professional musicians would have to be recognized for their work. As a result — and after many negotiations — the bulk of the WSO were given 26-week contracts for the first time. He also conducted the National Arts Centre Orchestra in support of its 1989 strike concerts, despite warnings from management.

Feldbrill has consistently supported Canadian composers. In his ten seasons as Music Director and Principal Conductor of the WSO (1958-68), he programmed works by Harry Somers, John Weinzweig, Barbara Pentland, Clermont Pépin, and S.C. Eckhardt-Gramatté, to name a few. Although the Canadian compositions met with opposition from the WSO board, they proved to be acceptable to the audience at large, with proof being that they did not affect the box office. He also programmed works by Prokofiev, Stravinsky, Shostakovich, Copland and others, to ensure that Canadian audiences would experience some of the greatest music of their time.

For Canada’s centennial, Feldbrill premièred the Canadian Opera Company’s performances of the country’s most famous opera, Harry Somers’ Louis Riel (1967), which Feldbrill describes as “a masterpiece.” Following one of the performances, the Canadian League of Composers surprised him with the first Canada Music Citation on stage at Toronto’s O’Keefe Centre.

Most classical musicians in Canada have either performed under Feldbrill’s leadership or heard the maestro at work, partly as a result of his dedication to training young musicians, including the University of Toronto Symphony Orchestra (1968-82), Toronto Symphony Youth Orchestra (founder, conductor 1974-78), and the National Youth Orchestra of Canada (resident conductor, 1960-62, 1964, 1969, 1975). For his work with young musicians, he was awarded the City of Tokyo medal (1978) and became the first Canadian to receive an American Concert Guild Award (1964). Previously a faculty member for fourteen years and head of its Orchestral and Conducting Department (1968-1982), Feldbrill returned to the University of Toronto Faculty of Music last year as the recipient of the Distinguished Visitor Award where he led the orchestra in concert and taught the department’s conducting majors.

Perhaps Maestro Feldbrill’s greatest achievement is his reputation as an esteemed yet respectful conductor committed to attaining the highest musical standards. He developed a strong vision for present and future generations of Canadians musicians, insisting that they receive the finest training to take their place alongside international artists.

On April 4, Feldbrill will celebrate his 90th birthday. His remarkable talent continues to be recognized with awards from composers, educators, and governments, which he describes as “gratifying.” He was appointed an Officer of the Order of Canada (1986), received the Order of Ontario (1999), an Honorary LLD from Brock University (1991), Honorary FRHCM (1978), and the inaugural Roy Thomson Hall Award (1985). This year the Royal Conservatory of Music named him an Honorary Fellow (2014) for his “extraordinary contributions” to music in Canada, and the historic Arts and Letters Club is awarding him the Sir Ernest MacMillan Honorary Membership for Music (2014).

The Toronto Musicians’ Association is pleased to announce that on May 25th, 2014, Maestro Victor Feldbrill will receive the Association’s highest honour, the Lifetime Achievement Award.

The Good Brothers

The Good BrothersThe Good Brothers played their first gig at the legendary Toronto club The Riverboat on May 14, 1974. Twins Bruce (autoharp) and Brian (guitar) had previously performed with James Ackroyd as James and The Good Brothers, opening for Grand Funk Railroad at Maple Leaf Gardens, travelling across Canada on the Festival Express with the Grateful Dead, Janis Joplin, Ian & Sylvia, and The Band, and touring throughout North America. In 1973, Bruce and Brian returned home, recruited younger brother Larry on banjo, and formed The Good Brothers.

Soon, The Good Brothers were packing El Mocambo five nights a week, and headlining at such venues as Massey Hall, Roy Thomson Hall, the National Arts Centre, and at L.A.’s Universal Amphitheatre with Gordon Lightfoot. Beginning in 1977, they won an astonishing eight consecutive Juno awards as Country Group of the Year. In 1980 their fifth album, Good Brothers “Live”, was certified gold, and they have since recorded ten more records. They continue to perform across Canada and the United States and have toured Europe 29 times.

Still going strong after over forty years, The Good Brothers were inducted into the Canadian Country Music Hall of Fame in2004. The Toronto Musicians’ Association is proud to recognize their tremendous success with our Lifetime Achievement Award.

“When we joined our union back in the early 70s, we had no idea that this would be the beginning of such a long and significant relationship. Working with brothers can be both rewarding and challenging, but one thing is certain: we always have each other’s backs. As members of the TMA, we have always felt like we had another brother watching our backs, and that was the brotherhood of Local 149. We are now and always will be very proud to be a part of this organization.” – The Good Brothers

Kirk MacDonald

Born in Sydney, Nova Scotia, Kirk MacDonald joined the Cape Breton Musicians’ Association at age 12, and made his first recording a year later.

Since moving to Toronto in 1997, he has performed on over 45 CDs, both as leader and sideman, and has participated in numerous national broadcast recordings for CBC Radio. He has performed extensively throughout Canada, as well as in the USA, Spain, France, Italy, Holland, Monaco, Australia, Korea, Bermuda, and the Bahamas. Over 90 of his compositions appear on 22 CDs, of his own and of other artists.

Kirk has built an extensive body of jazz reflecting both tradition and innovation, and has built a solid reputation as a player, having performed or recorded with leading musicians from all over the world. In 1992 he was declared Winner at the prestigious 4ème Concours International de Solistes de Jazz in Monaco; he has been nominated for National Jazz Awards Saxophonist of the Year three times, among many other nominations and accolades.

An educator for 27 years at jazz studies programs such as the University of Toronto and McGill, he is presently a full time professor at Humber College in Toronto. A member of the Toronto Musicians’ Association since 1979, he has received 11 Juno Awards nominations, winning in 1999 and again in 2015, for Vista Obscura.

The Toronto Musicians’ Association congratulates Kirk on his recent Juno, and we are delighted to acknowledge him with our highest honour — our Lifetime Achievement Award.

The Toronto Musicians Association (TMA), local 149 of the American Federation of Musicians of United States and Canada, representing professional musicians in Toronto for over 100 years, is pleased to announce the appointment of Michael Adam Murray as our new Executive Director, effective August 24th, 2015.

 Michael comes to the TMA from the Ontario Arts Council (OAC), where he has held the role of Music and Arts Service Organizations Officer since 2007. His skills and experience are broad, yet his focus has been on the music and larger arts community in Ontario and the Toronto area. As a musician (trumpet, electronics and voice), songwriter and as a professional with CPA, CMA and MBA designations, Michael’s combination of skills led to exceptional development work with OAC.  He is an exciting leader, well poised to lead the TMA into the next 100 years of development.

 As the Music industry continues to go through seismic changes across all sectors, it is vital that we continue to grow and change to ensure that the TMA is part of the conversation in the larger music and arts community and that we continue to provide services that ensure fair compensation and quality of life for all musicians.

 “As a songwriter, trumpet player and vocalist myself, I understand firsthand the immense rewards and challenges in pursuing a career as a professional musician. When fairness for artists is achieved, all stakeholders in the cultural industries benefit, from artists, to audiences, to communities to companies. It is my vision that the TMA is a leader in making the Greater Toronto Area the best region nationally and internationally for musicians to live and work and by doing so help the GTA protect and grow it’s reputation as one of the world’s major music and art centres.”

We are pleased to announce that as a member of the Toronto Musicians’ Association Local 149, you now qualify for exclusive group rates on your home and auto insurance through our new partnership with The Personal Insurance Company.

Whether on the road or in your home, we offer options to ensure you get the coverage you need at the right price. Since 1974, The Personal has been committed to providing exclusive group rates and customized coverage on home and auto insurance, and it has earned the trust of more than 700 Canadian organizations.

Switch to The Personal, and you’ll have access to:

  • Exclusive group rates
  • Individual discounts based on your personal needs
  • 24/7 claims response
  • Convenient online services

Plus coverages for:

  • Students
  • Rental Properties
  • Summer homes and more

Get your exclusive group rates!


P.S. – Enter The Personal 2016 My Winning Quote contest and you could win $30,000 for an eco-friendly home renovation. To enter, get a home or auto insurance quote!

The Personal refers to The Personal Insurance Company. Certain conditions, limitations and exclusions may apply. Savings and discounts are subject to eligibility conditions, may vary by jurisdiction and may not apply to all optional coverages. The terms and conditions of the coverages described are set out in the insurance policy, which always prevails. Auto Insurance is not available in Manitoba, Saskatchewan and British Columbia due to government-run plans. Client comments were obtained from and approved by our clients and may have been translated from their original language.
No purchase necessary. Contest ends on December 31, 2016 and the draw will take place on January 16, 2017. There is one (1) prize to be won: the winner may select an amount of $30,000 (CAN) awarded in the form of gift vouchers to a home renovation or building supplier, exchangeable for eco-friendly products or eco-friendly renovations; or a cheque for $30,000 (CAN). The winner will be responsible for selecting suppliers — upon approval by The Personal —and coordinating all work. Chances of winning depends upon the number of quotes received and the number of policies in force with The Personal on December 31, 2016. The winner must correctly answer a skill-testing question to receive the prize. Full contest rules and details available at www.thepersonal.com/mywinningquote.

AFM President Ray Hair visited Toronto with five other members of the International Executive Board to discuss film scoring issues with VP from Canada Al Willaert and the CFM Film Committee comprised of members of locals 145, 149 and 406 as well as joint members of the Screen Composers Guild of Canada. Organizing and contract ideas to increase film and TV scoring work in Canada were discussed and recommendations are expected to flow following the IEB meeting in March 2016.

TMA Staff will be pursuing strategic goals of the association in a committee structure for the first time beginning this February. Committees focused on Agreements, Membership, Operations and Strategy will make recommendations to the board of the TMA to increase the value of TMA membership and pursue the vision of the association.

Canadian Content

Example Responses

What are the most urgent challenges facing your industry in the creation, discovery and export of Canadian content in a digital world? Please select up to three items.

  • Creator remuneration
  • How public funding is allocated
  • Lack of legislation to ensure well paid contracts for Canadian artists (under Other)

What are the most significant barriers facing your industry in the creation, discovery and export of Canadian content in a digital world? Please select up to three items.

  • A lack of private sector investment
  • Government policies or programs that have not kept up with change
  • Creative contracts are depreciating and/or going elsewhere under heavy US and foreign corporate influence with relatively few Canadian artists/creative companies benefitting (under Other)

The digital shift has created new types of content, such as digital newspaper articles with embedded video, as well as new aggregators and content providers, such as Google News, Netflix, YouTube, Spotify and many others.

As someone working in the culture sector, looking ahead to 2020, what will be the most important way(s) to provide access to content?

The two revenue models that will continue to gain strength are subscription and advertising, neither are regulated by the federal government.

The objectives of regulating foreign owned media entities online, such as Netflix, YouTube, Spotify, should be the same as the government has done with terrestrial radio and television.

  1. Create more Canadian Control: Mandate that all online media companies of a certain size have a Canadian presence, with Canadian offices and control. This will create leadership and media leadership jobs in Canada.
  2. Mandate that Large Online Media Companies need to adhere to artist contracting standards: To allow Canadian content creators and the fellow artists that they employ to benefit from a fair share of media revenues clarify that Large Media companies, whether domestic or foreign owned, are responsible under the Status of the Artist Act – this allows Canada’s great artist and cultural sector associations and unions to negotiate fair compensation for content creators and use their infrastructure to ensure this compensation continues fairly. If it is only domestic media companies and traditional media companies that have to negotiate with arts unions, it puts them at an unfair disadvantage.
  3. Ensure that subsidiaries of large media companies are subject to 1 and 2 above.
  4. Continue to invest in the arts and cultural industries through grants and agencies, but also ensure grantees where grants are of a certain size are subject to Status of the Artist Legislation.

Otherwise allow media companies to compete for the great Canadian market.

The federal government uses a range of tools to support the sector, including legislation, regulation, policies, funding mechanisms, and the operation of national institutions like CBC/Radio-Canada, among others.

Looking ahead, what do you believe will be the most effective tools for ensuring the creation and discovery of great Canadian content in a digital world? Please select up to five items.

  • Enhanced public support for creators
  • Direct government support to creative industries Canadian content rules for TV and radio Legislation, such as the Broadcasting Act
  • Enhanced Status of the Artist Legislation (under Other)

Looking ahead, what do you believe will be the most effective tools to support the export of Canadian content to the world stage? Please select up to three items.

  • Direct public support to creators or distributors
  • Co-production treaties with other countries
  • Requirement of foreign media companies to have offices and labour agreements to operate in Canada. (under Other)

What are the key roles for CBC/Radio-Canada to play in supporting Canadian content creation, discovery and export in a digital world? Please select up to five items.

  • Reflecting the diversity of Canadian culture and communities
  • Being an incubator for Canadian creative talent and training the next generation of content creators
  • Striking partnerships with other players, including other public broadcasters, to extend content to new audiences at home and abroad
  • Providing services to Canada’s Indigenous peoples
  • Fair compensation for Canadian Content Creators and artists and using their relative power to ensure subcontracted media companies do the same by following labour agreements. (under Other)

Do you believe there is sufficient local content available that is relevant to your community?

  • Yes

What type of local content would you like to see more of in your community? Please select up to five items.

  • Information about local and regional cultural events
  • Information about local and regional community events
  • Information about local and regional public affairs
  •  Information about municipal affairs
  • Local and regional audiovisual programming (e.g. local talk shows)

What is being done in other countries, jurisdictions and the private sector that could be instructive to the Government of Canada in terms of best practices for supporting content creation and discovery in a digital world?

From Sweden: Outside of policy circles, a much more critical and interesting discussion is starting to take place, and it is one in which cultural workers need to engage. Innovation is increasingly being seen as a primary, if not the primary reason for support, particularly of the creative industries, but also of other cultural and arts activities. Much of this rests on a rather untested set of assertions about the links between innovation in the cultural sectors themselves and in the wider economy. The danger here for the cultural sectors is that if no such links can be clearly demonstrated (and there are already sceptics in some finance ministries, including the UK Treasury), then the arguments for supporting the cultural sectors themselves have already been weakened. I am generally of the view that non-instrumental public policy is an oxymoron, and the arguments for supporting the cultural sectors have always included a variety of instrumental rationales. But there is a danger in allowing the only rationales to be instrumental ones. If the current fashion for linking the cultural and creative sectors to wider innovation fades, and unless the supporting evidence for such process improves, the sectors themselves will have gained relatively little and will have sacrificed another claim on the public’s attention and taxes. However, there are more important reasons why cultural workers should start to engage in a critical discussion about innovation, and that is, simply, that it is not an uncontested good. Some innovations are harmful;

What is being done in other countries to promote the export of their cultural content?

Within the framework of the Government’s export strategy, the MFA and the Kreativ Sektor (Creative Sector) project have together created Showcase Sweden, a digital showcase for the Swedish cultural and creative industries. The aim is to make creative content accessible in a coordinated and useful format that can be used as a tool for press contacts, talks and meetings, for instance, but that can also be shown on screens in lobbies and waiting rooms and distributed to the broad public, potential customers and recipients of Swedish exports.

How important is it for you to have access to Canadian content in a digital world?

Very important

Please explain why it is important to you.

Canadian content remains important for us as a country to craft a voice, an economy, employment and pride in the larger media world. Now more than ever, with technology breaking down the physical and geographic barriers between content producer and audience, policy becomes a more key element in promoting Canadian content.

What other questions or issues as they relate to the goal of strengthening Canadian content creation, discovery and export in a digital world should we explore?

Most importantly, how can we modernize the Federal Status of the Artist Act to increase rights for creative people in modern agreement, governing the relationship between contract creative persons and producers? In this modernization the enabling of Canadian artists’ representative bodies to compel subcontractors of Status eligible producers, and also media distributors, both domestic and international to negotiate fair terms for Canadian creative persons, would ensure that Canada is the best place to live as a creative person. Subsequently Canadian content would increase in quality from the increased quality of the creative people we attract.

Shawn Mendes

Shawn Mendes has made huge inroads in his short time in the public spotlight. The 17-year-old GTAborn and -raised singer/songwriter, who also plays guitar and piano, launched his career through the power of social media. In 2012, he began posting a series of videos of himself performing cover versions of popular songs across various video sharing websites including Vine and YouTube, earning him a dedicated following of viewers.

This eventually brought him to the attention of Island Records/Universal Music, who signed him to a deal in 2014. That year, they released the then-15-year-old’s debut single, “Life of the Party.” Initially ignored by American radio, the track entered the Billboard 100 Singles chart at number 24, making Mendes the youngest artist to land a single in the top 25. The single was part of a four song EP, The Shawn Mendes EP. Like the single, the EP performed incredibly well, reaching number 5 on the Billboard charts and selling over 100,000 copies. For his efforts in 2014, he was nominated for a Juno award as Breakthrough Artist of the Year.

In the spring of 2015, the young artist’s first full length album, Handwritten, was released, debuting at number one in both Canada and the U.S. On the strength of this album, Mendes was nominated for four Junos this year: Juno Fan Choice Award, Album of the Year, Artist of the Year, and Pop Album of the Year.

For making such a phenomenal explosion onto the world stage and his already impressive list of accomplishments, the Toronto Musicians’ Association is proud and honoured to name Shawn Mendes our Musician of the Year for 2015. We look forward to watching his career continue to grow in the coming years.

Norm Amadio

Norm Amadio fittingly just turned 88 this April, and will soon celebrate his 62nd wedding anniversary with his wife, Lorraine. Norm retired after the 2014 Toronto Downtown Jazz Festival, ending a career that spanned over 70 years.

Born in Timmins, Ontario, Norm made his professional debut at age 13, playing piano in a country music band. He had ideas of becoming an architect, but instead, influenced by the likes of Lennie Tristano, Art Tatum, and Bud Powell, left for Toronto at 17 to study with Boris Berlin at the Royal Conservatory.

He quickly emerged on the after-hours jazz scene at the House of Hambourg, worked with Chicho Valle and Jimmy Amaro, and later became a fixture at the Colonial Tavern, Silver Rail, Bourbon Street, First Floor Club, and George’s Spaghetti House. And, of course, the Town Tavern, where he led the house band during the fifties and sixties, backing many American jazz superstars: Roy Eldridge, Stan Getz, Coleman Hawkins, Zoot Sims, Bill Harris, Ben Webster, Lester Young, Chet Baker, Carol Sloane, Mel Tormé, Anita O’Day, Sonny Stitt, Clark Terry, Howard McGhee, Max Roach, Carmen McRae, Joe Williams, Dinah Washington, Irene Kral, and Bud Freeman.

One snowy night in 1956, when the rest of the band got delayed at the border, Miles Davis and drummer Philly Joe Jones played the Town with Norm, Ed Bickert, and Lenny Boyd. That year, he became the first and only Canadian to play at the original Birdland in New York City, opposite Duke Ellington. But he wasn’t happy there, saying that he preferred the “straight life” and that “coming back to Toronto saved my life.” He would, later in his career, perform in Switzerland, Eastern Europe and Japan.

The Norman Amadio Trio evolved from the 50s & 60s with Bill Britto and Archie Alleyne, through the 70s, 80s & 90s with Bob Price and Alex Lazaroff, and into the new millennium with Rosemary Galloway and Don Vickery.

Peter Goddard writes: “Reliability got him work. Unrivaled musicality gave him stature and clout. Jazz stars arriving in town wanted him. Or even needed him, as the veteran American singer Maxine Sullivan once told me.”

The Canadian and Toronto-based musicians Norm has worked with are too numerous to list, but include Tommy Ambrose, Don “D.T.” Thompson, Ed Bickert, Jack Lander, Moe Koffman, Guido Basso, Phyllis Marshall, Terry Clarke, Sam Noto, Debi Sander Walker, Jackie Richardson, Rick Wilkins, Neil Swainson, Reg Schwager, John MacLeod, Lorne Lofsky, Jerry Fuller, John McDermott, and Steve Wallace.

Norm was pianist and/or musical director for such CBC Television shows as Music Hop, Wayne & Shuster, Juliette, Hit Parade, Take 30 and Swing Gently, as well as TV specials with Robert Goulet, Al Hirt, Steve Lawrence, Kenny Rogers, Buddy Rich, Maynard Ferguson, Henry Mancini, Nelson Riddle, and the two-hour live CBC Special 100 Years of Canada, featuring the 40-piece Norman Amadio Orchestra.

Norm also had the house orchestra at the Royal York’s Imperial Room in the late 80s, backing stars like Peggy Lee, Eddie Fisher, Bobby Darin, Donald O’Connor, The Drifters, The Coasters, The Mamas and The Papas, Bobby Rydell, Tommy Tune and Phyllis Diller. At the O’Keefe Centre, Norm worked with Judy Garland, Paul Anka, Engelbert Humperdinck, Red Skelton, The Supremes, and Bob Hope.

Alex Barris writes that “musicians and singers… were quickly aware that ego played no part in his work” and “through the many years of playing for some of the most famous musical artists around, he [has] remained a modest, soft-spoken, totally professional musician.”

Norm says of his career: “I never thought I’d get to play with all these people, but… I had a ball!”
The Toronto Musicians’ Association is delighted to recognize Norm Amadio with our Lifetime Achievement Award.

Ontario Logo

May 12, 2016

The Honourable Michael Coteau
Minister of Tourism, Culture and Sport
900 Bay Street. Ninth Floor, Hearst Block
Toronto, Ontario, M7A 2E1

Delivered Electronically

Dear Minister Coteau,

The following is in response to the public draft of Ontario’s Culture Strategy. On behalf of our over three thousand professional musician members in the City of Toronto, Peel Region, Durham Region, York Region, Simcoe County, Muskoka District and Parry Sound District I would like to thank you and your team for your efforts to create this plan and your efforts to bring the cultural community and Province together under a unified vision for culture.

1. The draft vision for culture in Ontario and the principles to guide government support for culture reflect much of what is important to us.

a. In the vision the notion of value resonates with us as it is what drives our association. We work towards a society and workplace where all professional musicians are valued for their many contributions.

b. The notion of inclusiveness mirrors our larger mandate to treat each other with respect and dignity no matter what ethnicity, creed, sex, age, disability, citizenship, sexual orientation, marital status, family status, or national origin;

2. We especially appreciate and would ask for increased emphasis on economicdevelopment for individuals and communities, as the development of businesses, especially foreign-owned businesses often takes precedence in economic development conversations in the music sector.

a. Specifically, while we appreciate the increased support for the music sector through the Ontario Music Fund, we would like the Province to monitor and incentivize the fair payment of individual musicians as part of the delivery of the fund. We have had the experience that our members work for businesses supported by the fund has not increased since the advent of the fund. Our concern with government support and the work of government agencies in general, is advocating for a fair balance of investment in Ontario- based professional musicians, when compared to foreign-based services or non-artistic expenses and to partner with the Province to increase its vigilance in collecting and verifying this investment.

b. As a local of a trade union, our exclusion from being able to apply for support from OMF also hinders our ability to contribute strategically to Ontario’s culture sector

3. We are confident that Goal 2 – fuel the creative economy, will be successful, and we wish to point out the following areas that we see as especially strong, or in need of further attention for our members:

a. Despite our request to sit on the Ontario Live Music Working Group as a representative approved by the Canadian Federation of Musicians we have not been included and to our knowledge the group lacks any representation from associations dedicated solely to individual artists, or any arts sector unions. We would still be happy to represent on this group and help find more representation of individual artists and technicians working in the live music sector.

b. Our members are directly involved in the creation of film scores in Ontario for Canadian and world distribution and as such we would like to contribute to the discussions regarding film scoring and be included on the film and television industry advisory panel

c. It is especially exciting to hear that the Ministry of Tourism, Culture and Sport will be working with the Ministry of Employment and Infrastructure as our single largest barrier to increased positive work environments for our members is our lack of inclusion as contract workers under the Employment Standards Act and the Labour Relations Act. Working with the Ministry of Employment and Infrastructure we are asking you to expand our inclusion either by changing the aforementioned acts as part of the Changing Workplaces Review or by updating the Status of Ontario’s Artists Act to include the content that helps govern relationships between cultural sector producers and distributors and the creative people that fuel their work.

d. Of course the strategy that most reinforces our work is that which states “engage federal, provincial and territorial culture partners on strategies to improve the socio-economic status of artists…” this is what we dedicate ourselves to every day and would be proud to partner in the pursuit of this goal. One immediate way to impact this goal, and perhaps another goal itself is for the Government of Ontario to commit to minimum fees for artists in all of its activities and the activities it invests in through the Ministry of

Tourism Culture & Sport and the agencies under the Ministry.

4. While we believe major amendments and additions to the Status of Ontario’s Artists Act are required, the idea of an Arts Policy Framework that at minimum outlines best practices for artist payment and other matters such as extended healthcare and retirement planning for artists is a major step in the right direction.

5. Lastly, understanding that the Province of Ontario has economic challenges the same as many jurisdictions in the world, and notwithstanding the stated goals to attract investment from other ministries and the private sector, we believe that increased public investment in the cultural sector through the Ministry of Tourism, Culture and Sport and its agencies, especially Ontario Arts Council and Ontario Media Development Corporation, should be a separate and explicit goal in the strategy.

Through the draft we are already confident that the Government of Ontario recognizes the importance of a healthy cultural sector, and the importance of at least maintaining, if not improving the socio-economic status of artists. Considering the next generation of artists includes amazing creators and interpreters

from Ontario’s many cultural and Aboriginal communities, uses technology to create and disseminate in such a different way, and are vital to our future, it is so important that we do not lose, and instead gain ground for them and make life more livable for all artists in our great Province.

Please do not hesitate to call upon us for more feedback or as partners in the implementation of the strategy.


Michael Adam Murray
Executive Director
Toronto Musicians’ Association

Local 149 of the American Federation of Musicians of United States and Canada

c. Ontario Legislative Assembly
Paul Miller, MPP, Hamilton East-Stoney Creek, Ontario NDP Critic, Tourism, Culture and Sport
Steve Clark, MPP, Leeds-Grenville, Ontario PC Critic, Tourism, Culture and Sport
Ontario Ministry of Tourism, Culture & Sport and Agencies
Maureen Adamson, Deputy Minister
Kevin Finnerty, Assistant Deputy Minister
Samantha Fox, Policy Advisor, Ministry of Tourism Culture & Sport
Peter Caldwell, CEO and Director, Ontario Arts Council
Karen Thorne-Stone, President & CEO, Ontario Media Development Corporation
American Federation of Musicians of the United States and Canada
Alan Willaert, Vice President from Canada, Canadian Federation of Musicians
Liana White, Executive Director, Canadian Federation of Musicians
Ray Dillard, President, Local 149, Toronto
Charlie Gray, Secretary, Local 149, Toronto
Robin Moir, Secretary / Treasurer, Local 180, Ottawa Francine Schutzman, President, Local 180, Ottawa David Knarr, Secretary, Local 226, Kitchener
Paul Mitchell, President, Local 226, Kitchener Steve Case, President, Local 276, Sault Ste. Marie Paul Leclair, Secretary, Local 276, Sault Ste. Marie Ted Peacock, Secretary, Local 279, London
Colin Stewart, President, Local 279, London Larry Feudo, President, Local 293, Hamilton Brent Malseed, Secretary, Local 293, Hamilton
Gordon Cleland , Secretary, Local 298, Niagara Falls Ryszard (Rick) Rybak, President, Local 298, Niagara Falls Allen Torrance, President / Secretary, Local 384, Brockville Grant Heywood, President, Local 418, Stratford
Stephanie Martin, Secretary, Local 418, Stratford Marg Conway, Secretary, Local 467, Brantford Kenneth Johnson, President, Local 467, Brantford Sue Moore, Secretary, Local 518, Kingston
Gene Richard, President , Local 518, Kingston Christopher Borshuk, President, Local 566, Windsor Lynne Wilson-Bradac, Secretary, Local 566, Windsor Garry Agostino, President, Local 591, Thunder Bay Norman Slongo, Secretary, Local 591, Thunder Bay
Eve Goldberg, Vice President from Canada, Local 1000

Rehearsal Factory

Toronto, ON – June 15, 2016 – With increased travel, housing, and living costs for Musicians in the Greater Toronto Area, especially those touring to the United States, Toronto Musicians’ Association (TMA149) has announced two partnerships to try and alleviate the burden for its members.

In partnership with Rehearsal Factory, TMA149 members will receive a 50% discount on rehearsal space at all six Rehearsal Factory locations across the GTA for rehearsal time occurring before 6pm Monday to Friday. “Whether you are about to go on tour, or you are preparing for ongoing gigs, Rehearsal Factory provides the most professional rental spaces in the region, every suite complete with full backlines and PA’s. With this considerable discount partnership, professional musicians of the GTA can focus on preparing the astounding work they do with a little less pressure on the existing resources that support them” says Michel Murray, Executive Director of TMA149. The discount is being offered as a three-month pilot project with intentions to renew in the fall.

In addition to the partnership with Rehearsal Factory TMA149 will be expanding its existing relationship with thePersonal Insurance Group and adding discounted comprehensive travel insurance for musicians on tour, work travel or leisure travel to its list of membership benefits. “With our current partnership with the Personal, our members are reducing their home, renters, auto and motorcycle insurance expenses by hundreds of dollars per year, often far eclipsing the cost of our annual membership dues. With this additional elective package, our members can travel on tour, for other work engagements or for leisure, whether alone or with their families and again save significantly. All while being underwritten by one of the most trusted names in travel insurance for Canadians, the Desjardins group” says Michael Murray, ED of TMA149.

The Rehearsal Space discount may be accessed by identifying yourself as a TMA149 member at Rehearsal Factory locations (map attached) or on the single booking line for all Rehearsal Factory studios (416) 366-1525.

thePersonal travel insurance is available for members at http://www.thepersonal.com/tma149.


Derek Singh, Systems Manager
Toronto Musicians’ Association

15 Gervais Dr.
Suite 500
Toronto, ON
M3C 1Y8

North York Civic Centre


FRIDAY, MAY 26, 2017, 11:00 A.M. TMA Building Corp Annual Meeting 11:30 TMA Annual General Meeting

COMMITTEE ROOM 3 (lower level)
5100 YONGE STREET, Toronto, ON (north of Sheppard)



North York Civic Centre / Committee Rm. 3 / 5100 Yonge St. (north of Sheppard); Public Parking on Beecroft Rd. behind the Civic Centre

Subway stop: ‘North York Centre’ on the Yonge line.

Tariff of Fees

TMA149 is happy to announce that, after being approved at our spring Annual General Meeting, effective September 5, 2017, a new Tariff of Fees will apply to all live engagements in our local, not covered under a TMA149 negotiated agreement. A big thanks to the whole Board of Directors of TMA149, especially Andy Morris, Richard Sandals, Paul Spurgeon and Steve Mosher who led the development of the new tariff. Please get in touch with us if you have any questions.

Members please log-in then you may click on the Tariff Cover below to View and Download the 2017-2021 TMA Tariff of Fees:

TSO Logo

After four months of negotiations the Toronto Symphony Orchestra and TMA149 reached an agreement in principle on June 26, 2017, then ratified by the orchestra on July 6, 2017.

The agreement brings increases in scale and electronic media compensation while allowing the orchestra to continue its pursuit as a top Canadian cultural institution. The fundamental driver of this agreement was the TSO Negotiations Committee made up of TMA149 members Camille Watts, Vanessa Fralick, Peter Seminovs, Gabriel Radford, Neil Deland, Jeffrey Beecher, under the leadership of Orchestra Committee Chair Shane Kim. They are an incredible example of respectively and persistently pursuing a better quality of life and music making for themselves and their fellow musicians.

Toronto Public Library

Fall General Meeting

Friday October 27, 2017
11:00 AM – 12:30 PM
Northern District Library
40 Orchard View (Eglinton & Yonge) Room 200
Lunch & $20 per member for parking or other expenses will be provided

After more than 36 and a half years helping musicians and engagers at TMA, Angella Hamilton is retiring from the TMA’s staff. Most of Angella’s time with the TMA was dedicated to the Theatre and General Live Performance (Miscellaneous) areas and we know many members and engagers who have spent most, or even all, of their careers referring to Angella. Angella’s last day at TMA will be Friday, September 1, 2017. Please join us in offering her a huge congratulations and best wishes in retirement.

After the retirement of Pat Taylor earlier this year and Angella Hamilton’s pending retirement, TMA is thrilled to announce that Rebecca Sinnaeve has been named to the new position of Membership & Contracts Coordinator (MCC). With education in Entertainment Management, Psychology and Computer Science from Windsor University and Trebas Institute, Rebecca has worked at TMA for nearly a decade, focusing on Membership Registration, and before that at the Canadian Federation of Musicians and CMRRA. As an MCC Rebecca will be working in a variety of areas, but will be the primary contact for members and engagers contracting for Commercial Announcements (Jingles) and Theatre. Rebecca will begin this work as soon as an additional Membership & Contracts Coordinator is named. Both now and as we go through staff changes you may refer to our newly laid out Office Directory, which offers multiple staff members to contact in all functional areas of TMA.

Please join us in congratulating and welcoming Rebecca in her new role.