BELA FLECK - Nashville Musicians Association
BELA FLECK - Nashville Musicians Association
BELA FLECK - Nashville Musicians Association
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REVIEWS: CHET ATKINS • PARACHUTE • BLAKE SHELTON • JAY PATTEN<br />
Official Journal of AFM Local 257<br />
October - December 2011<br />
<strong>BELA</strong><br />
<strong>FLECK</strong><br />
Classical<br />
Explorations<br />
NASHVILLE<br />
STRING<br />
MACHINE<br />
30 years and<br />
counting<br />
Nonprofit<br />
U.S. Postage<br />
PAID<br />
<strong>Nashville</strong>, TN<br />
Permit No. 648<br />
<strong>Nashville</strong> <strong>Association</strong> of <strong>Musicians</strong> #257<br />
11 Music Circle North<br />
<strong>Nashville</strong>, TN 37203-0011<br />
- Address Service Requested -<br />
LEON RHODES<br />
Interview with a<br />
country-jazz legend
Thank You!<br />
When the flood waters rose and we needed<br />
your help, you came through big time.<br />
The <strong>Nashville</strong> <strong>Musicians</strong> Flood Relief Fund offers our heartfelt “THANKS” to everyone<br />
who contributed money and gear to help musicians affected by the <strong>Nashville</strong><br />
Flood of May 2010. With your invaluable help, we raised and distributed over<br />
$130,000 in funds and more than $60,000 worth of gear to musicians who really<br />
needed it. There are too many of you to thank individually, but we want you to know<br />
that we really appreciate your assistance. We are proud of what we were able to do<br />
to help our fellow musicians, but we couldn’t have done it without YOU!<br />
Official Journal of the <strong>Nashville</strong> <strong>Musicians</strong> <strong>Association</strong>, AFM Local 257<br />
October - December, 2011<br />
4 Announcments<br />
Date of the next membership meeting, upcoming bylaw amendments,<br />
past minutes and more.<br />
6 State of the Local<br />
President Dave Pomeroy discusses the meaning of respect for union<br />
musicians.<br />
7 New Grooves<br />
Secretary-Treasurer Craig Krampf reports on the local’s finances, new<br />
members and more.<br />
8 News<br />
50-50 man Bill Anderson, C.G.P. Paul Yandell, ACM honorees, the<br />
Future Of Music Coalition Summit and more.<br />
11 Heard on the Grapevine<br />
The notable comings and goings of Local 257 members.<br />
12 Gallery<br />
15 30 and counting<br />
The <strong>Nashville</strong> String Machine, a longtime fixture in Music City’s<br />
recording scene, is celebrating a milestone anniversary.<br />
17 The <strong>Nashville</strong> Musician interview: Leon Rhodes<br />
The legend stopped by the Local 257 offices recently and talked about<br />
the inspiration behind his guitar artistry.<br />
19 Bela Fleck’s classical explorations<br />
With the debut of his Concerto for Banjo and Orchestra, Bela Fleck<br />
continues to blaze new trails.<br />
23 Reviews<br />
The HOF’s Chet Atkins exhibit and book, The Lost Notebooks of Hank<br />
Williams, and new recordings by Parachute, Blake Shelton, Ronnie<br />
Dunn, Jay Patten and Frankie Ballard.<br />
27 Symphony Notes<br />
As NSO prospers, symphonies elsewhere are struggling for survival..<br />
29 Jazz & Blues Beat<br />
Larry Carlton’s journey into Philly R&B and Rahsaan Barber’s new<br />
musical endeavors.<br />
30 RMA Corner<br />
Professional musicians must be positioned to profit from emerging<br />
revenue streams.<br />
31 Final Notes<br />
We bid a final farewell to six of our members.<br />
33 Member Status<br />
34 Do Not Work For<br />
Cover photo by Mickey Dobo<br />
The <strong>Nashville</strong> Musician October - December 2011<br />
Contents<br />
Leon Rhodes interview: The wizard<br />
of country-jazz guitar reflects<br />
on a historic career. page 17.<br />
Banjo virtuso Bela Fleck’s recent<br />
work with the <strong>Nashville</strong> Symphony<br />
is just the latest in a lifetime<br />
of musical exploration. page 19.<br />
AFM 257 guitar god Chet Atkins<br />
is the subject of a new exhibit and<br />
book from the Country Music Hall<br />
of Fame. Reviews begin on page 23.<br />
3
Official Quarterly Journal of the<br />
<strong>Nashville</strong> <strong>Musicians</strong> <strong>Association</strong><br />
AFM Local 257<br />
Publisher: Dave Pomeroy<br />
Editor: Craig Krampf<br />
Associate Publisher: Daryl Sanders<br />
Managing Editor: Kathy Osborne<br />
Assistant Editor: Kent Burnside<br />
Contributing writers: Austin Bealmear, Warren<br />
Denney, Roy Montana, Laura Ross, Tom Wild,<br />
Ron Wynn<br />
Contributing photographers: Mickey Dobo,<br />
Donn Jones, Craig Krampf, Dave Pomeroy<br />
Art Direction: Daddy D Design<br />
Web Administrator: Kathy Osborne<br />
Sales: Anita Winstead<br />
Local 257 Officers<br />
President: Dave Pomeroy<br />
Secretary-Treasurer: Craig Krampf<br />
Executive Board<br />
Bruce Bouton, Jimmy Capps<br />
Duncan Mullins, Bobby Ogdin, Andy Reiss,<br />
Laura Ross, Denis Solee<br />
Alternates: Tim Smith, Tom Wild<br />
Hearing Board<br />
William “Tiger” Fitzhugh, Kathy Shepard, Mike<br />
Douchette, Michele Voan Capps, Teresa Hargrove,<br />
John Terrence, Jonathan Yudkin<br />
Trustees<br />
Ron Keller, Biff Watson<br />
Sargeant At Arms<br />
Tom Wild<br />
Next General Membership Meeting, Monday, Nov. 7, 2011<br />
The next General Membership meeting will be Monday, Nov. 7, 2011 at 6 p.m. Doors will open at 5:30. There<br />
is one Bylaw proposal on the agenda, as well as a vote to approve the 2012 dues amount of $235, including a $5<br />
voluntary contribution described below.<br />
Immediately following the Nov. 7 general membership meeting, a special nominating meeting will take<br />
place. Nominations will be taken for: President, Secretary-Treasurer, Executive Board (seven positions), Hearing<br />
Board (seven positions), Trustees (two positions) and Sergeant-at-Arms. Following the nominations, an Election<br />
Committee will be elected by the members present. Ballots will be sent to all Local 257 members in good standing,<br />
and the votes will be counted no more than 30 days after the nominating meeting. We urge all Local 257 members<br />
to attend, and to consider running for office if so moved. Please note the applicable election Bylaws below:<br />
From our Bylaws: Article XV, Section 2: “The term of office for all elected officials shall be three years.”<br />
Article XV, Section 3: “To be eligible for nomination, a member must be in good standing and have held full<br />
membership in the <strong>Association</strong> for not less than twelve (12) months prior to the election, and during that said period<br />
shall not have been found guilty of the violation of any of the Bylaws.”<br />
Article XV, Section 5: “An Election Committee of five members and two alternates shall be elected by the<br />
membership after nominations are complete.”<br />
Also from our Bylaws, Article XV, Section 4: “To nominate a member who is not present, the member nominating<br />
such member must present a signed statement stating his/her willingness to accept the nomination.”<br />
Our complete Bylaws are viewable online at www. nashvillemusicians.org. Article XV deals with Elections.<br />
2012 Dues Breakdown (must be approved by Membership at Nov. 7 meeting)<br />
$131.50 Local Dues (Life member Local Dues $33.00)<br />
$56.00 AFM Per Capita (Life member Per Cap $40.00)<br />
$15.00 Funeral Benefit Fund<br />
$24.50 Funeral Benefit Fund Assessment<br />
$3.00 Emergency Relief Fund<br />
$2.00 AFM Tempo Fund (Voluntary)<br />
$3.00 ERF Contribution (Voluntary)<br />
Total 2012 Dues: $235. Regular Members (including $5 Voluntary)<br />
$120.50 Life Members (including $5 Voluntary contribution)<br />
2011 Dues for Regular Members (incl. Voluntary Contribution) were $245<br />
2011 Dues for Life members (incl. Voluntary Contribution) were $153.50<br />
Bylaw Amendment Proposal<br />
Whereas, on May 18, 2009, a bylaw amendment was passed unanimously by the membership changing the name of<br />
the <strong>Nashville</strong> <strong>Association</strong> of <strong>Musicians</strong> to the <strong>Nashville</strong> <strong>Musicians</strong> <strong>Association</strong>; and<br />
Whereas, this name change has proven to be beneficial in many ways as was its intention; and<br />
Whereas, the resulting change to the bylaws contained both names to avoid confusion as we made the transition to<br />
our new name; and<br />
Whereas, there is still some paperwork that must be completed in order for us to legally use the name “<strong>Nashville</strong><br />
<strong>Musicians</strong> <strong>Association</strong>” with banking institutions, the State of Tennessee, and the IRS, including a clearly written<br />
bylaw describing our name; therefore be it<br />
Resolved, that Article 1 Section 1 shall be changed as follows, effective immediately on approval:<br />
(Existing Language) This <strong>Association</strong> is and shall be known as the <strong>Nashville</strong> <strong>Association</strong> of <strong>Musicians</strong>, <strong>Nashville</strong><br />
<strong>Musicians</strong> <strong>Association</strong>, Local 257, American Federation of <strong>Musicians</strong>.<br />
(Proposed Language in Bold) This <strong>Association</strong> (known as the <strong>Nashville</strong> <strong>Association</strong> of <strong>Musicians</strong> 1902 - 2009)<br />
is and shall be known as the <strong>Nashville</strong> <strong>Musicians</strong> <strong>Association</strong>, Local 257, American Federation of <strong>Musicians</strong> of<br />
the United States and Canada.<br />
Respectfully submitted: Dave Pomeroy and Craig Krampf<br />
Executive Board recommendation - Favorable<br />
Minutes of the Executive Board meeting, June 27, 2011<br />
Minutes of the Membership meeting, May 31, 2011<br />
Attendees: John Terrence, Gary Miller, B.Ross Wellman, Phil Roselle, Bruce Radek,<br />
Jason Howard, Avery Gardner, Ron Keller, Steven Sheehan, Michael J. Pozzebon,<br />
Kent Burnside, Tisha Simeral, Denis Solee, Daniel L. Johnson, John C. Morgan, Larry<br />
Crew, Paul Deckelman, Matt North, Mark W. Winchester, Kenny Vaughn, Phil Arnold,<br />
Matt McKenzie, Andy Reiss, Kent Goodson, Jonathan Yudkin, Barry Green,<br />
Ted Wagner, Craig Krampf, Dave Pomeroy, Scott Mulvahill, Rick Lonow, Bruce Bouton,<br />
Tiger Fitzhugh, Waldo La Towsky, Bill Poe, Jon-Paul Frappier, and one member<br />
(sign in sheet No. 34) whose handwriting could not be deciphered by anyone.<br />
Meeting called to order at 6:14 p.m. by President Dave Pomeroy.<br />
Roll Call of Officers: President Dave Pomeroy, Secretary-Treasurer Craig Krampf.<br />
Executive Board: Denis Solee, Andre Reiss, Bruce Bouton<br />
Hearing Board: John Terrence, Jonathan Yudkin.<br />
Parliamentarian: Ron Keller<br />
Pomeroy asked the membership’s permission for Matt Dugger, education co-coordinator<br />
for the Tennessee Labor Council, AFL-CIO, to be in attendance. There were<br />
no objections.<br />
Secretary Report<br />
Minutes of the November 8, 2010 membership meeting were approved.<br />
President’s Report<br />
President Pomeroy reported on the following:<br />
1. Member Tony Harrell has generously loaned his baby grand piano to Local 257 for<br />
use in the rehearsal hall. Harrell received a round of applause.<br />
2. SRLA (Phono) negotiations are progressing slowly.<br />
3. The IEB meets this week in Las Vegas. The agenda includes discussion about the<br />
Joint Venture Agreement based on the bandstand agreement and the Single Song<br />
Overdub Agreement.<br />
4. Members with significant dues balances owed to Local 257.<br />
5. Progress of downtown musician loading zones and discount parking.<br />
6. The possibility of using Paypal for work dues payment.<br />
7. Musician’s Corner, which is held in Centennial Park, has now begun paying musicians<br />
who back-up the featured artists.<br />
8. Musician Rights cards are now available. They cover Weingarten Rules and AFM<br />
contract rules that prohibit waivers of rights and benefits.<br />
9. Promotional bumper stickers – nashvillemusicians.org – are now available for a $1<br />
donation to Local 257’s Vic Willis Emergency Relief Fund.<br />
10. Pomeroy introduced Matt Dugger, who gave a 10-minute presentation about the<br />
Tennessee Members’ Assistance programs available to union members, after which he<br />
departed the meeting.<br />
Treasurer’s Report<br />
Krampf distributed and discussed the treasurer’s report. MSC (Andre Reiss/Bob<br />
Ross) to approve report.<br />
The Bylaw Proposals<br />
Discounted Youth Membership (Bylaw with changes)<br />
Whereas, the Local 257 Bylaws do not offer a discounted “Youth Membership” price<br />
to musicians under the age of 21 who join as new members, beyond the waiving of<br />
initiation fees for Youth Membership, and<br />
Whereas, these initiation fees are waived in other circumstances, such as a membership<br />
drive or a number of musicians joining as a group, and<br />
Whereas, it is in the best interests of Local 257 to attract younger musicians and make<br />
it more affordable for them to not only become a union member, but to remain in<br />
good standing, therefore:<br />
Be it resolved, that Article II, Section 1B be changed to reflect a 50 percent discount<br />
for Local Annual dues for members under the age of 21. The proposed new language<br />
appears underlined, with deletions struck through.<br />
Section 1B. Youth Membership applies is available to any musician under 21 years of<br />
age. twenty (20) years or younger, who joins the Local and remains in that classification<br />
until their twenty-first (21st) birthday. Youth Members shall have all of the rights<br />
and obligations that Regular Members have, and they shall be subject to all Federation<br />
and Local rules, regulations and bylaws. They Youth members are exempt from Local<br />
and Federation Initiation fees, and shall pay Annual Local dues and assessments at the<br />
same 50 percent of the rate as Regular Members rate as set by the Local,. and wWork<br />
dues and assessments where applicable, shall be paid at regular established rates. but<br />
they shall not pay LIF or FIF. Applications under the legal age of sixteen (16) must<br />
Announcements<br />
have written consent of approval of their parent or guardian.<br />
Submitted by Dave Pomeroy<br />
Executive Board Recommendation: Favorable<br />
Discussion - Roy Vogt, Tiger Fitzhugh<br />
Call for the question: Tiger Fitzhugh/Jon Paul Frappier<br />
Motion to accept bylaw proposal: Denis Solee/Steve Sheehan<br />
Bylaw was adopted.<br />
Increase Executive Board Contribution Limit (Bylaw with changes)<br />
Whereas, The Executive Board has been restricted from making contributions to charities<br />
or functions in excess of $100 without the approval of two-thirds of the members<br />
at a general or special membership meeting for at least the last 30 years; and<br />
Whereas, There have been occasions where an important donation or expense from<br />
Local 257 has not occurred due to this restriction; and<br />
Whereas, The general membership scheduling and <strong>Nashville</strong> Musician production<br />
schedules have, in the past, precluded requests for a donation because a strike or disaster<br />
occurred rapidly and did not fall within the quarterly publication and meeting<br />
schedules or was in a state of flux; and<br />
Whereas, Some situations such as strikes can occur and end before a resolution can be<br />
written, approved, printed and voted on at a meeting in which a quorum is achieved;<br />
therefore, be it<br />
Resolved, That Article VI, Section 2 be amended to increase the donation limit from<br />
$100 to $500:<br />
Article VI<br />
Section 2. The Executive Board is hereby empowered to make contributions to worthy<br />
charities or functions, not to exceed one five hundred dollars ($100.00 $500.00). No<br />
other money shall be donated for any purpose except at regular or special meetings and<br />
by a two-thirds (2/3) vote of the members present and voting.<br />
Submitted by the Local 257 Executive Board<br />
Recommendation: Favorable<br />
Discussion – Bob Ross, Denis Solee<br />
Call for the question: Bob Ross/Tiger Fitzhugh<br />
Motion to accept bylaw proposal: Denis Solee/Matt McKenzie<br />
Bylaw was adopted.<br />
Salary increase for the office of president and secretary-treasurer<br />
Whereas, Local 257 Bylaws require that salary increases for President and Secretary-<br />
Treasurer be addressed at the first membership meeting of each year; and<br />
Whereas, consideration of those salary increases has been waived by the President<br />
and Secretary-Treasurer for a number of years, citing efforts to save the local money,<br />
especially in financially difficult times; and<br />
Whereas, it is the concern of the Executive Board that salaries not be allowed to languish<br />
too long without increases to attract potential officers who would be required to<br />
either heavily curtail or completely stop performing to serve in office; and<br />
Whereas, Officer salaries do not include overtime payments or other inducements,<br />
therefore, be it<br />
Resolved, That the Executive Board of Local 257 recommend increasing the salary of<br />
President by two percent beginning April 1, 2011, thereby increasing the annual salary<br />
to $61,080.21; and, be it further<br />
Resolved, That the salary of Secretary-Treasurer be increased by 4.5 percent beginning<br />
April 1, 2011, thereby increasing the salary to $50,061.82.<br />
Respectfully submitted, Laura Ross, Bruce Bouton, Bobby Ogdin, Jimmy Capps,<br />
Denis Solee, Andre Reiss, Tom Wild, Tim Smith, Local 257 Executive Board Members<br />
and Alternates<br />
Local 257 Executive Board Recommendation: Favorable<br />
Discussion: Dave Pomeroy read statement from Executive Board member Laura Ross<br />
who was unable to attend meeting, Bob Ross, Tiger Fitzhugh, Denis Solee<br />
Call for the question: Andre Reiss/Tiger Fitzhugh<br />
Motion to adopt: Bob Ross/John Terrence<br />
Proposal was adopted.<br />
<strong>Nashville</strong> Symphony Steward<br />
Laura Ross<br />
President Pomeroy called the meeting to order at 9:11 a.m.<br />
Attending: President Dave Pomeroy, Secretary-Treasurer Craig Krampf, Bruce Bouton (BB), Laura Ross (LR),<br />
Office Manager: Anita Winstead<br />
Denis Solee (DS), Bobby Ogdin (BO), Andre Reiss (AR), Jimmy Capps ( JC) and alternate Tom Wild (TW).<br />
Not Present: Duncan Mullins<br />
Assistant: Laura Ross<br />
Secretary’s Report<br />
MSC to approve the minutes of April 11, 2011 as amended: BO and LR.<br />
Electronic Media Services<br />
President’s Report<br />
Director: Juanita Copeland<br />
1. The SRLA negotiations are proceeding slowly. Pomeroy is attending a sidebar meeting in New York this week.<br />
Assistant: Teri Barnett<br />
2. Changes have been made to the Single Song Overdub scale in order to make it easier to use, and the Joint Venture<br />
Data Entry: Mandy Arostegui<br />
Recording Dept. Assistant: Kelly Spears<br />
Agreement is now ready for use.<br />
3. Progress towards creating an agreement for publishers to release demos as Limited Pressing releases.<br />
4. The RFD Network<br />
Membership Coordinator and<br />
5. The CMA<br />
6. Progress of the downtown Musician Loading and Unloading signs.<br />
Live Engagement/MPF Coordinator<br />
Treasurer’s Report<br />
Rachel Mowl<br />
Copies of the financials were distributed. Krampf went over the various details of each component of the report.<br />
MSC to approve the treasurer’s report: BO and LR.<br />
There being no further business, Pomeroy thanked everyone for attending.<br />
Front Desk: Janet Butler<br />
New Business<br />
MSC ( John Terrence/Denis Solee) to adjourn at 7:20 p.m.<br />
A bylaw proposal that addresses overdue work dues was presented by Pomeroy. After much discussion, it was decided<br />
© 2011 The <strong>Nashville</strong> <strong>Musicians</strong> <strong>Association</strong>.<br />
P.O. Box 120399, <strong>Nashville</strong> TN 37212<br />
All rights reserved.<br />
to table the proposal. MSC to table: DP and LR<br />
BB left the room due to previous commitment.<br />
New membership applications were reviewed. MSC to accept the new applicants: AR and DS.<br />
MSC to adjourn meeting: BO and TW. Meeting adjourned at 11:11 a.m.<br />
Respectfully submitted: Craig Krampf<br />
Respectfully submitted: Craig Krampf, Secretary-Treasurer<br />
4 October - December 2011 The <strong>Nashville</strong> Musician<br />
The <strong>Nashville</strong> Musician October - December 2011<br />
5
State of the Local<br />
By Dave Pomeroy<br />
Music City, USA, has become<br />
a name known around the<br />
world for quality, built on the<br />
artistic contributions of countless Local<br />
257 members past and present. More than<br />
ever before, <strong>Nashville</strong> is home to a unique<br />
creative community of world-class musicians<br />
of all descriptions. One glance at all of the<br />
amazing players profiled in this issue will tell<br />
you we have a music scene like none other<br />
on earth.<br />
“Respect” is defined in the dictionary as<br />
“a feeling of deep admiration for someone<br />
or something elicited by their abilities,<br />
qualities, or achievements” and “due regard<br />
for the feelings, wishes, rights or traditions<br />
of others.” Respect is also the one word that<br />
best describes what being a member of the<br />
AFM and Local 257 is all about, and the<br />
common thread of all different aspects of my<br />
job as your president.<br />
This really hit home to me when I attended<br />
the <strong>Nashville</strong> Symphony’s first Classical<br />
Series concert of the season, featuring the<br />
world premiere of Bela Fleck’s Concerto for<br />
Banjo and Orchestra at the Schermerhorn<br />
Symphony Center. If you have not<br />
experienced the <strong>Nashville</strong> Symphony in the<br />
amazing Turner concert hall, I urge you to<br />
do so.<br />
The confidence and passion of the NSO’s<br />
performances of Appalachian Spring and<br />
Tchaikovsky’s Symphony No. 4 were absolutely<br />
outstanding, and Bela’s concerto was a<br />
stunning double whammy of composition<br />
and performance. It was an incredible night<br />
of music, one that not only made me very<br />
proud of my longtime friend Bela, but also<br />
the musicians of the <strong>Nashville</strong> Symphony,<br />
who have never sounded better.<br />
Respect what you do as a professional<br />
Although Tennessee is a “right-to-work”<br />
state, Local 257 has a long tradition of work<br />
done under AFM contracts all the way back<br />
to pioneers like Owen Bradley and Chet<br />
Atkins, who always took care of musicians<br />
on whom they depended. They established<br />
that to record in <strong>Nashville</strong> and work with<br />
the best professional musicians in Music<br />
City, you need to work through the union,<br />
period. Over the years, Local 257 members<br />
have kept this tradition alive by doing the<br />
right thing and respecting this principle.<br />
Respect takes many forms for AFM<br />
members. It means not being afraid to ask if<br />
a potential gig, session, or TV show is going<br />
to pay scale and be on a union contract. It<br />
means not signing a release that tries to take<br />
away your rights of fair compensation and<br />
protection, and using your AFM Musician<br />
Rights card — if you don’t have one, pick one<br />
up at the local — to back your position.<br />
It means exercising your right to ask for<br />
a union representative to be present at a<br />
disciplinary meeting with your employer.<br />
These are smart short-term choices that will<br />
benefit you in the long run.<br />
Educating employers to do the right<br />
thing<br />
I spend a lot of time talking about respect to<br />
employers who don’t want to pay musicians<br />
what their time is worth or cancel a gig with<br />
little notice. These people use the old excuse,<br />
“I can get someone else to do it cheaper”<br />
or talk about “promotional value,” which<br />
seldom benefits a backup musician and can’t<br />
buy groceries. They often don’t get it until it<br />
is explained to them in a non-threatening,<br />
informational way that the protections of<br />
AFM recording and live contracts work both<br />
ways. They serve to protect the employer, in<br />
addition to giving musicians a paper trail if<br />
something goes wrong.<br />
Unfortunately, I spend even more time<br />
chasing down employers who think it’s<br />
okay to sign a union contract and still<br />
not pay musicians who worked for them.<br />
Obviously, they have removed “respect”<br />
from their vocabulary. We filed a number of<br />
legal actions recently after exhausting every<br />
reasonable means to collect some of these<br />
long-delinquent debts.<br />
On our Do Not Work For List, which<br />
appears in the magazine and on our website,<br />
you may see names or companies you<br />
recognize. Sometimes it is simply because of<br />
bad contact information, a lack of signatory<br />
paperwork and/or a pension check that is<br />
outstanding. We urge you to help us contact<br />
them so we can resolve these obligations and<br />
move on.<br />
Working together to build our future<br />
Respect means not just doing what is best for<br />
you, but taking into account what is best for<br />
our community as a whole. It’s not as hard<br />
as it sounds. When players work together to<br />
explain to employers hesitant to sign an AFM<br />
agreement, “We need to do this through the<br />
union – it’s the right thing to do,” it makes a<br />
HUGE difference, not just for that one job,<br />
but for the future. That’s how we grow our<br />
business.<br />
Filling out time cards and signatory<br />
paperwork accurately and in a timely fashion<br />
when you are session leader in the studio<br />
helps us help you. If you are on the road<br />
and suddenly faced with an unexpected TV<br />
appearance or live recording, being proactive<br />
and getting us in the loop immediately<br />
greatly increases your chances of getting paid.<br />
Also remember that it takes a lot of Local<br />
257’s time and resources to process contracts,<br />
so paying your work dues promptly — and<br />
regularly — keeps our cash flow intact so we<br />
can continue to serve you better.<br />
When you work non-union, what you<br />
make that day is all you will EVER make,<br />
with no pension, no new use, re-use, or<br />
residuals. Simply going with the flow and<br />
not asking “the union question” will have dire<br />
consequences for everyone in the short AND<br />
long term. Someone has to step up and ask<br />
for respect. If you don’t ask for it, it probably<br />
won’t come.<br />
We do not have to be combative to make<br />
our point with employers. If you have a nonunion<br />
situation and want to bring it into<br />
compliance, you can talk to us honestly about<br />
it. This is what we do every day and it is our<br />
passion. The AFM offers a variety of scales<br />
to fit different budgets and situations, and<br />
we are constantly working on ways to solve<br />
problems and become more responsive to<br />
new scenarios.<br />
In this age of digital piracy, anti-unionism,<br />
and a rapidly changing music business, our<br />
tradition of respect is under attack like never<br />
before. It is up to all of us to stick together and<br />
do what’s right, or it’s a race to the bottom.<br />
The next time you have that choice to make,<br />
don’t forget the effects of your decision for<br />
not only yourself, but all of us. As Benjamin<br />
Franklin said, “We can hang together or we<br />
can hang separately.” The choice is yours.<br />
Dave Pomeroy is president of AFM Local 257.<br />
You can reach him at dave@afm257.org.<br />
6 October - December 2011<br />
The <strong>Nashville</strong> Musician<br />
By Craig Krampf<br />
Greetings Brother and Sister<br />
<strong>Musicians</strong>. We are at the end<br />
of another year and at this time<br />
I usually find myself reflecting on what<br />
transpired during the preceding months. It<br />
appears that many of the ups and downs of<br />
life are experienced by all of us during the<br />
course of a year, but in varying degrees. I am<br />
very grateful to say that, all in all, it has been<br />
a good year for me, and my hope is that all of<br />
you had a good year as well.<br />
The finances<br />
Here at the union, we also had a pretty good<br />
year. For the first time in many years, we were<br />
in the black for two consecutive quarters.<br />
Our revenue in 2011 was down from 2010<br />
by $17,977.78, with work dues revenue alone<br />
down $21,181.85. However, we still managed<br />
to pull into the black, with $13,671.45 in hard<br />
cash. We accomplished this by continuing to<br />
cut costs wherever we can.<br />
It’s worth noting that there will be extra<br />
costs in the fourth quarter since this is an<br />
election year, which means the local must mail<br />
every member ballots and return envelopes,<br />
along with paying for other printing and<br />
postal costs. Again, we are doing everything<br />
we can to improve our bottom line while still<br />
making sure we improve the services that we<br />
provide to you.<br />
New members<br />
Visiting with prospective new members<br />
is always a gratifying experience. Dave<br />
Pomeroy and I always take time to listen<br />
to their personal stories, talk about our<br />
common experiences, how important it<br />
has been for us to be AFM members, and<br />
explain all the benefits of joining. Many are<br />
new to town, and have already heard that<br />
all the top musicians in <strong>Nashville</strong> belong to<br />
AFM Local 257.<br />
It is wonderful when some explain that<br />
they already have landed a gig and that all<br />
or most of the musicians in the band are<br />
union members. A few musicians recently<br />
related to us that they were about to do some<br />
recording sessions and the producer and<br />
other musicians on the session asked them if<br />
they belonged to the union. A few were told<br />
that they better join…like now!<br />
A few of the new members are part of the<br />
indie recording scene. They related how they<br />
were getting sick of hearing themselves on<br />
TV shows and in films without getting paid.<br />
Some fellow union musicians took the time<br />
to explain to them that they should get paid<br />
for a new use of their work.<br />
Thank you to those producers and<br />
musicians who value themselves, their<br />
professions and our union when they spread<br />
the word about the benefits of the AFM and<br />
Local 257. We appreciate it very much.<br />
We can report that once again, we have<br />
over one hundred new members so far for the<br />
year and over three hundred new members<br />
since 2009. The majority of them are in their<br />
twenties and early thirties. In these times of<br />
what people call the “graying of unions,” this<br />
is most gratifying. Everyone at Local 257 is<br />
ready to help our brother and sister musicians<br />
anytime with concerns or questions. That is<br />
why we are here. May I say to all those new<br />
members: Welcome and please let us know<br />
how we can help you.<br />
We are professional musicians<br />
When asked what I do for a living, I have<br />
responded countless times, “I am a musician.”<br />
The Los Angeles local is called Professional<br />
<strong>Musicians</strong> Local 47, and I always have liked<br />
that name, from the first time I heard it<br />
when I became a member there. Over the<br />
years, I sometimes forget to use the word<br />
“professional” in my own job description.<br />
May I suggest we all remember to say with<br />
pride, “I’m a professional musician.” There is<br />
a difference.<br />
Value yourself and your profession<br />
Since we belong to the AFM, we should<br />
feel a sense of pride that we are professional<br />
musicians. We all have our unique stories<br />
of how we choose music for our career, but<br />
there are many common threads on how we<br />
got here.<br />
Value who you are and all that you endured<br />
to get you to the level of being a professional<br />
musician. Don’t forget it when a producer, or<br />
a film or video game company calls and wants<br />
you to work without a contract and perhaps<br />
for a lower wage as well. Offers of more than<br />
scale without a union contract are still a bad<br />
deal for musicians — no pension, no new use,<br />
no protections. The NFL players did not go<br />
to work without a new collective bargaining<br />
agreement. As of this writing, it looks like<br />
The <strong>Nashville</strong> Musician October - December 2011<br />
New Grooves<br />
the start of the NBA’s training camp, preseason<br />
and possibly the regular season will be<br />
delayed until there is a new contract. These<br />
athletes are professionals, and so are we. Let<br />
us stand together as professional musicians.<br />
The Live Department<br />
Some of you know, and others will find<br />
out with this issue, that longtime employee<br />
Kathy Shepard has retired. Kathy served us<br />
well for over 19 years and we wish her all the<br />
best. Thank you, Kathy!<br />
With that being said, we thought it was a<br />
good time to analyze the Live Department<br />
and not just quickly fill the position. Earlier<br />
this year, we formed various committees,<br />
such as education, technology, community<br />
outreach and promotion; one of these is the<br />
club and touring musicians committee.<br />
This committee has been especially<br />
diligent in meeting, and interacting with<br />
us. We continue to discuss ways to make<br />
improvements, deal with various compliance<br />
issues and in turn, help our union with the<br />
bottom line. We hope to have new strategies<br />
in place shortly.<br />
In the meantime, Rachel Mowl, our new<br />
front desk person and member co-coordinator,<br />
is helping with the live engagement work,<br />
along with Dave and Kathy Osborne.<br />
Together, all of us are working hard to<br />
redefine what the live department can do for<br />
members.<br />
Epilogue<br />
My wish, hope and prayer is for you and your<br />
loved ones to have a wonderful Thanksgiving,<br />
Hanukkah, Christmas, and New Year’s. May<br />
next year be a good one for us all, filled with<br />
lots of love, good health, laughter, peace and<br />
prosperity.<br />
Leopold Stokowski, the great orchestral<br />
conductor, said “A painter paints pictures on<br />
canvas. But musicians paint their pictures on<br />
silence.” With that, I also hope and wish for<br />
you that you paint some beautiful pictures.<br />
Yours in unity, harmony, artistry and<br />
diversity.<br />
Craig Krampf is secretary-treasurer of AFM<br />
Local 257. You can reach him at craig@<br />
afm257.org.<br />
Next Membership Meeting<br />
Monday, Nov. 7, 2011<br />
George Cooper<br />
Rehearsal Hall<br />
Doors open at 5:30 p.m.<br />
Meeting starts at 6 p.m.<br />
Election nomination meeting to follow.<br />
7
News<br />
BILL ANDERSON: 50-50 MAN<br />
Bill Anderson was honored in July by<br />
the Grand Ole Opry on his 50th anniversary<br />
as an Opry member. The<br />
Country Music Hall of Fame member made<br />
his Opry debut just a few weeks before his<br />
21st birthday and became a member less<br />
than three years later. Coincidentally, this<br />
year also marks Anderson’s 50th year in<br />
AFM Local 257.<br />
Even with these two amazing milestones,<br />
Anderson doesn’t seem ready to slow down<br />
just yet.<br />
“It is amazing how time flies when you’re<br />
having fun making a living doing something<br />
you love. But that is exactly what I have<br />
discovered here in 2011 — the year that<br />
not only marked my 50th anniversary as a<br />
member of the Grand Ole Opry, but also as<br />
a member of Local 257. It’s hard to believe<br />
it’s been a half-century. The good news is I’m<br />
still having fun, and my “whisper” is just getting<br />
warmed up!” Anderson said.<br />
Anderson, a Life member who joined Local<br />
257 in April 1961, began his career in<br />
1958 when Ray Price recorded his song, “City<br />
Lights,” which spent 13 weeks at the top of<br />
Billboard magazine’s country chart. Soon<br />
after this success, he signed with Decca Records<br />
and began to have hits of his own such<br />
as “Po’ Folks,” “Mama Sang a Song,” “Still,”<br />
and “Bright Lights and Country Music.” By<br />
now he had affectionately been nicknamed<br />
“Whisperin’ Bill” because of his soft-spoken<br />
delivery and recitations.<br />
Anderson went on to write hit songs for<br />
many artists, including Connie Smith’s debut<br />
smash “Once A Day,” Lefty Frizzell’s “Saginaw,<br />
Michigan,” Conway Twitty’s “I May<br />
Never Get to Heaven” and more through<br />
the years, like Kenny Chesney’s “A Lot of<br />
Things Different.” “Give It Away,” recorded<br />
by George Strait, and the Brad Paisley and<br />
Alison Krauss duet “Whiskey Lullaby,” both<br />
won CMA Song of the Year honors.<br />
“Beginning with classics sung by Ray<br />
Price, Lefty Frizzell, Connie Smith, and<br />
more, and continuing today with unforgettable<br />
hits by the biggest names in the business,<br />
Bill Anderson tunes have hit the country<br />
charts in each of the last seven decades,” said<br />
Pete Fisher, Opry vice president and general<br />
manager. “Of course Bill is also known<br />
around the world for his own hit records as<br />
well as for blazing country music trails far<br />
and wide for others to follow.”<br />
Dave Pomeroy, president of AFM Local<br />
257, praised Anderson’s accomplishments.<br />
“Bill Anderson is a country music icon and<br />
a great example of how a truly nice person<br />
can succeed in the music business. He has<br />
remained relevant through all of the changes<br />
<strong>Nashville</strong> has seen over the past 50 years, and<br />
shows no signs of slowing down.<br />
“His double milestone of 50 years as an<br />
Opry member and also being a 50-year<br />
member of the <strong>Nashville</strong> <strong>Musicians</strong> <strong>Association</strong><br />
is a rare achievement. Congratulations<br />
on being a 50-50 man, Whisperin’ Bill — we<br />
are all very proud of you!” Pomeroy said.<br />
— Staff report<br />
Touring musicians fear<br />
impact of Lacey Act<br />
Interest in the enforcement of the Lacey<br />
Act went mainstream last August, when<br />
U.S. Fish and Wildlife Service officers<br />
raided Gibson Guitars in <strong>Nashville</strong>. The U.S.<br />
government’s Environmental Investigation<br />
Agency has stated that the Lacey Act<br />
requires end users of endangered wood to<br />
certify the legality of their supply chain. The<br />
EIA investigations concluded that Gibson<br />
knowingly imported tainted wood.<br />
Gibson vigorously denied these allegations,<br />
maintaining that all of its purchases from<br />
Madagascar have complied with U.S. and<br />
Malagasy law.<br />
Regardless of the outcome of this particular<br />
case, it is a fact that professional musicians<br />
are worried the Lacey Act will impact their<br />
ability to travel out of country with vintage<br />
instruments, or buy and sell them.<br />
In July, AFM Local 257 Secretary-<br />
Treasurer Craig Krampf brought musicians’<br />
concerns about implications of the Lacey<br />
Act to a meeting with staff members for U.S.<br />
Senator Bob Corker and Lamar Alexander.<br />
The meeting also included representatives<br />
from AFTRA (American Federation of<br />
Television and Radio Artists), IATSE<br />
(International Alliance of Theatrical Stage<br />
Employees) and DGA (Directors Guild of<br />
America), and was originally scheduled to<br />
discuss felony Internet streaming, and other<br />
intellectual property concerns.<br />
Krampf distributed handouts on the Lacey<br />
Act to the other union representatives and<br />
the Senate staffers, who said both Corker<br />
and Alexander are aware of concerns and are<br />
looking into the issue.<br />
In a statement released from U.S.<br />
Representative Jim Cooper’s office, Cooper<br />
also has addressed the Lacey Act, and his<br />
efforts to bring changes to the legislation.<br />
“Many of you have voiced your concerns<br />
over the Lacey Act Amendments of 2008<br />
and their impact on musicians…I’m working<br />
on legislation to clarify the law,” Cooper<br />
said.<br />
Late in September, U.S. Fish and Wildlife<br />
issued this statement through their website:<br />
“To be clear: Individual consumers and<br />
musicians are not the focus of any U.S.<br />
Fish and Wildlife Service law enforcement<br />
investigations pertaining to the Lacey<br />
Act, and have no need for concern about<br />
confiscation of their instruments by the U.S.<br />
Fish and Wildlife Service.”<br />
More information on the Lacey Act is<br />
available at www.fws.gov and www.aphis.<br />
usda.gov. — Staff report<br />
8 October - December 2011<br />
The <strong>Nashville</strong> Musician<br />
In August, AFM 257 member Paul Yandell was presented with the Certified Guitar Player<br />
award by Chet Atkins’ daughter Merle as fellow C.G.P. Steve Wariner looked on.<br />
PAUL YANDELL HONORED<br />
WITH FINAL ‘C.G.P.’ AWARD<br />
Guitarist and local 257 member Paul<br />
Yandell was honored with the final<br />
“C.G.P.” (Certified Guitar Player)<br />
award during a ceremony Aug. 15 at the<br />
Country Music Hall of Fame.<br />
Yandell was Chet Aktins’ bandleader for<br />
more than 30 years. The C.G.P. was only<br />
given four times by Atkins over the years.<br />
Other recipients were Tommy Emmanuel,<br />
John Knowles, Jerry Reed and Steve<br />
Wariner.<br />
Atkins’ daughter Merle asked Wariner to<br />
help her continue the tradition by reading a<br />
proclamation to officially confer the title on<br />
Yandell.<br />
After high school in western Kentucky,<br />
Yandell came to <strong>Nashville</strong> in 1955 and began<br />
his career with the Louvin Brothers, who he<br />
worked with until 1959. After a stint in the<br />
U.S. Army, he joined the Kitty Wells Show<br />
from 1961-1970. Yandell said he “went to<br />
college” playing with Jerry Reed, who he<br />
went to work for in 1970.<br />
In 1975 Yandell joined Atkins, and played<br />
with him for the next 25 years.<br />
Yandell was also sought after as a session<br />
player, and worked on many hit records<br />
with Atkins, Reed, Dolly Parton, Wariner,<br />
Hank Thompson, Perry Como, Kitty Wells,<br />
Les Paul, Mary Chapin Carpenter, Woody<br />
Herman, The Everly Brothers, and the<br />
Louvin Brothers.<br />
Along with his work for other artists,<br />
Yandell has also released solo albums,<br />
including Forever Chet (2001) and Dream<br />
Train (2004); followed by In The Groove<br />
(2005) and Drive On (2006).<br />
In 2009, Yandell performed with Steve<br />
Wariner at the ceremony marking Atkins’<br />
entry in the <strong>Musicians</strong> Hall Of Fame in<br />
<strong>Nashville</strong>.<br />
— Staff report<br />
ACM Keyboard Player of the Year Gordon<br />
Mote accepts his award with wife Kimberly.<br />
AFM 257 members<br />
honored by ACM<br />
The Academy of Country Music<br />
presented its annual Honors show at the<br />
Ryman Auditorium Sept. 19. Hosted by Joe<br />
Nichols, the show was a star-studded affair<br />
with excellent musical performances, moving<br />
speeches and heartfelt tributes.<br />
Special award recipients included Reba<br />
McEntire, Garth Brooks, songwriters Tom<br />
T. Hall, the late Hank Cochran, longtime<br />
ACM treasurer John Dorris, Taylor Swift and<br />
Larry Gatlin, both members of Local 257.<br />
Members accepting their Instrumentalist of<br />
the Year awards onstage were Dan Dugmore<br />
(steel) Aubrey Haynie (fiddle), Gordon Mote<br />
(keys) and Eddie Bayers (drums), with Paul<br />
Worley winning his first ACM producer<br />
award. Other winners not present were Tom<br />
Bukovac (guitar) Glenn Worf (bass) and<br />
Bryan Sutton (specialty instrument).<br />
— Staff report
Calling<br />
for AFM<br />
Member<br />
Recordings!<br />
<br />
<br />
<br />
<br />
<br />
News cont.<br />
Ralph Land (far right), longtime Local 257 member (drummer) and president of the Vietnam<br />
Veterans of Tennessee, addresses the troops before last year’s Veteran’s Day parade in<br />
downtown <strong>Nashville</strong>. This year, Veteran’s Day is Friday, Nov. 11, so be certain to show your<br />
appreciation to our men and women in uniform, past and present.<br />
FUTURE OF MUSIC COALITION SUMMIT FOCUSES<br />
ON DEVELOPING TRENDS IN MUSIC BUSINESS<br />
Music advocates from across the<br />
country convened in Washington, D.C.<br />
in October for the Future of Music<br />
Coalition Policy Summit at Georgetown<br />
University. Policymakers, musicians, media<br />
representatives and other industry figures<br />
HELP IS AVAILABLE<br />
AT EVERY STEP!<br />
took part in a two-day event that addressed<br />
current economic, technological, and<br />
business trends, in light of finding “a path<br />
<br />
<br />
<br />
<br />
<br />
to a sustainable, twenty-first century music<br />
business that rewards creators and fans,”<br />
according to Summit Communication<br />
Director Casey Rae-Hunter.<br />
This year’s Summit featured a variety of<br />
keynote speakers in policy and performance<br />
arenas including Cheap Trick guitarist Rick<br />
Nielsen, Marie Pallante of the U.S. Copyright<br />
Panelists on the FMC Music Scenes and<br />
Community Building session were (L-R)<br />
Brandy Doyle (Prometheus Radio, New<br />
Orleans), <strong>Nashville</strong> journalist/producer Craig<br />
Havighurst, AFM Vice President and Portland,<br />
Ore., Local 99 President Bruce Fife.<br />
just with our partners at the Future of Music<br />
<br />
Office, and retiring F.C.C. Commissioner<br />
Michael J. Copps. Copps has been an strong<br />
Coalition, but with the ever-growing expanse<br />
that is our industry. This biz is changing<br />
advocate for independent radio and against daily, and not necessarily to the musicians’<br />
radio consolidation.<br />
benefit, so we must make sure that we have a<br />
Local 257 President Dave Pomeroy took voice, on behalf of our members, in the look<br />
part in the AFM co-sponsored summit as of that future,” Fife said.<br />
a panelist with Local 802’s Gail Kruvand The Future of Music Coalition is a<br />
for a discussion focused on session players’ national non-profit organization focused<br />
revenue. AFM Vice President and Local on helping to grow the future for those who<br />
99 President Bruce Fife also participated make music, as well as those who enjoy it.<br />
For more info reach us at<br />
as a panelist for a discussion on local music<br />
scenes and community building.<br />
The organization’s work towards this goal<br />
is accomplished by building collaborations<br />
WWW.GOPROTUNES.COM<br />
GOPROTUNES.COM<br />
Call us at 1-800-762-3444 ext 238 during<br />
normal business hours EST<br />
“The policy summit is the perfect place for<br />
the AFM, and musicians, to debate, discuss<br />
and visualize the future of our business, not<br />
with musicians and other public interest<br />
groups.<br />
— Staff report<br />
10 October - December 2011<br />
The <strong>Nashville</strong> Musician<br />
Rascal Flats invited to join Grand Ole Opry<br />
Rascal Flatts was invited to join the Grand Ole Opry during a<br />
surprise segment following the group’s performance at the show.<br />
Vince Gill announced the news onstage to singer Gary LeVox, and<br />
Local 257 members Jay DeMarcus (bass, keyboards) and Joe Ron<br />
Rooney (guitar).<br />
“My hero is Vince Gill, and for him to come out here…man, what<br />
a surprise!” Rooney said.<br />
Rascal Flatts has sold over 20 million albums and 26 million<br />
digital downloads since their musical debut in 2000. They have sent<br />
13 singles to the top of the chart, and are the most awarded country<br />
group of the past decade, with over 40 trophies from the American<br />
Country Awards, Academy of Country Music, Country Music<br />
<strong>Association</strong>, People’s Choice Awards and more.<br />
The group will be inducted into the Opry during its 86th birthday<br />
weekend, Saturday, Oct. 8. The show will air live at 8 p.m. CDT on<br />
GAC.<br />
Jennifer Nettles to host CMA TV special<br />
Sugarland’s Jennifer Nettles will return<br />
to host the second annual CMA Country<br />
Christmas televised special, set to air on<br />
ABC this holiday season.<br />
“I love holiday traditions and am so<br />
excited to add hosting CMA Country<br />
Christmas to my new list of traditions<br />
now,” Nettles said. The special will tape in<br />
front of a live audience November 10 at<br />
Bridgestone Arena.<br />
Sugarland resumed its Incredible Machine tour following a hiatus<br />
after the tragic stage collapse immediately prior to a show at the<br />
Indiana State Fairgrounds in August. The band’s tour will conclude<br />
at the end of October.<br />
Wyatt Beard receives inaugural CMA award<br />
Keyboardist Wyatt Beard, a 14-year member of the Kenny Chesney<br />
band, was given the Inaugural Touring Musician Award by the<br />
CMA in August. Chesney and CMA CEO Steve Moore made the<br />
presentation to Beard, a Local 257 member, at Foxboro Stadium in<br />
Boston.<br />
Beard started playing for the public when he was five years old, and<br />
had his own band by age nine. When he was 15 he started a Branson,<br />
Mo., summer show and played there fulltime for seven years before<br />
he was hired by Chesney.<br />
The <strong>Nashville</strong> Musician October - December 2011<br />
Heard on the Grapevine<br />
The Touring Musician Award was established in 2011 by the<br />
CMA Board of Directors, and is presented to a touring musician<br />
who is known primarily as an instrumentalist in a non-headlining<br />
capacity. In order to qualify the musician must have toured with an<br />
artist within the country music industry.<br />
Jack<br />
Clement<br />
Jack Clement, Lorene Mann among NSAI<br />
Maggie Cavender Award honorees<br />
Producer-songwriter Cowboy Jack Clement and songwriter-artist<br />
Lorene Mann were given the Maggie Cavender Award by the<br />
<strong>Nashville</strong> Songwriter’s <strong>Association</strong> International (NSAI) at its<br />
outdoor party in <strong>Nashville</strong> Sept. 19. The award is given to individuals<br />
for serving all interests in the songwriting community.<br />
The Local 257 members were among 70 songwriters honored at<br />
the event.<br />
Condolences to Larry Paxton and family<br />
Local 257 member Larry Paxton and his brother Kip Paxton, report<br />
the passing of their father, Robert Ivan Paxton, age 87, of <strong>Nashville</strong>,<br />
Tenn., and formerly of McDonald, Ohio.<br />
Paxton was a 52-year member of the AFM, having joined<br />
Warren <strong>Association</strong> of <strong>Musicians</strong> (Local 118) in 1950. He passed<br />
away Thursday, Aug. 18, 2011 at the Alvin C York VA Hospital in<br />
Murfreesboro, Tenn. Paxton was a World War II U.S. Army veteran<br />
who received two Purple Heart medals.<br />
In addition to a 33-year career teaching music in the Ohio school<br />
system, he played with the Klein’s Attraction Stage Band backing up<br />
such artists as Bob Hope, Steve Allen and Red Skelton. He was also<br />
a charter member of the Packard Concert Band and performed many<br />
concerts with the Kenley Players, and was active in three Ohio area<br />
community bands in Canfield, Cortland, and Youngstown, where<br />
he both directed and performed. He also served as a trustee for the<br />
Warren <strong>Association</strong> of <strong>Musicians</strong> Local 118.<br />
Survivors include his two sons, his wife, Lois Rebecca Evans Paxton;<br />
daughter Kathy; eight grandchildren, five great-grandchildren, and<br />
several nieces and nephews.<br />
Got an item for the Grapevine?<br />
Send your news and notes to<br />
Managing Editor Kathy Osborne.<br />
kathyo@afm257.org<br />
11
Gallery<br />
1<br />
1. 257‘s Craig Krampf and Dave Pomeroy back up jazz guitar great<br />
Lee Ritenour at Summer NAMM’s “All Star Guitar Night.” 2. Local 257<br />
member and bassist Gene Hughey received his Life pin this summer,<br />
celebrating 35 years in the <strong>Nashville</strong> <strong>Musicians</strong> <strong>Association</strong>. Hughey<br />
got his start in Memphis on The Rhodes Show. In 1976 Hughey joined<br />
the Twitty-Birds, and along with his brother John, played with Conway<br />
Twitty for nearly 17 years, until the singer’s passing in 1993. “50 years<br />
has been a great journey, and it is a great honor to have been a part<br />
of the business, and riding the wave,” Hughey said. 3. 257 guitarist<br />
Russ Jeffers stopped by the offices recently to pick up his 25-year pin.<br />
Congrats to Russ. 4. Guitarist Brent Mason (left) salutes the great<br />
James Burton (right) while playing a smoking version of “Workingman<br />
Blues” with guitar legend Seymour Duncan and brother Randy Mason<br />
on drums during the “All Star Guitar Night” show.<br />
4<br />
12 April - June 2011<br />
The <strong>Nashville</strong> Musician<br />
2<br />
3<br />
1 2<br />
The <strong>Nashville</strong> Musician October - December 2011<br />
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1. Guitarist Mike McAdam stopped by the 257 offices in August to receive his<br />
25-year membership pin. Mike joined our local on June 9, 1986. Congratulations,<br />
Mike. 2. Dave Pomeroy reads a special proclamation thanking longtime<br />
Local 257 employee Kathy Shepard for her many years of great service, as<br />
Kathy looks on. Kathy recently retired after 19 years of service. Thank you<br />
again Kathy! 3. Guitarist-artist Bobby Jenkins stopped by and received his 50year<br />
pin from Craig Krampf. Bobby joined Local 257 on April 18, 1958. Congratulations<br />
to Bobby on this wonderful milestone. 4. A pair of AFM 257 luminaries,<br />
bassist-producer Norbert Putnam (left) and keyboardist David Briggs<br />
(right) pose with “Elvis” after taking part in the Country Music Hall of Fame<br />
and Museum’s “Conversations With All The King’s Men” program, which was<br />
hosted by fellow 257 legend Harold Bradley at RCA Studio B on August 9.<br />
5. Multi-instrumentalist John Heinrich received his 25-year AFM membership<br />
pin from Krampf in August. John joined Local 257 on May 20, 1986. Kudos<br />
to John!<br />
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Gallery cont.<br />
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1. (L-R) The Time Jumpers’ Joe Spivey, Kenny Sears, Vince Gill, Paul<br />
Franklin and Andy Reiss pick a hot tune on stage at the Station Inn on<br />
Sept. 26. All five were presented with 25-year AFM 257 member pins<br />
on stage. 2. The group posed backstage after the show with their new<br />
hardware and photos of Bill Monroe and Roy Huskey, Jr. in the backgound.<br />
3. Lutist Francis Perry received his AFM 25-year pin at the 257<br />
offices recently from Dave Pomeroy and Craig Krampf. Francis, who<br />
transferred to Local 257 in 2006 after many years as a member of Local<br />
399, Asbury Park, N.J., is holding a theorbo (sometimes called a<br />
chitaronne) which is a lute with a long neck extension. Congratulations,<br />
Francis! 4. Pomeroy gives a thumbs up to AFM 257 guitarist and vocalist<br />
Darnell Miller upon receiving his 25-year pin.<br />
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14 October - December 2011<br />
The <strong>Nashville</strong> Musician<br />
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The <strong>Nashville</strong> String Machine at work during a recent session at Ocean Way Recording Studio under the direction of producer Bret Teegarden.<br />
30 AND COUNTING<br />
<strong>Nashville</strong> String Machine celebrates milestone anniversary<br />
When 15 of the best musicians in<br />
Music City decided to formally<br />
organize on Nov. 13, 1981,<br />
none of them suspected they would still be<br />
together some 30 years later.<br />
“Well, it was a Friday the 13th, I remember<br />
that,” <strong>Nashville</strong> String Machine founder and<br />
leader Carl Gorodetzky said with a laugh.<br />
“We were doing recordings for different<br />
people. We just decided to have our own<br />
group. We got the idea for the name from<br />
a synthesizer, an instrument that was pretty<br />
popular around that time. So from there<br />
came The <strong>Nashville</strong> String Machine.”<br />
The String Machine has evolved over<br />
the past three decades into a prolific and<br />
versatile aggregation, able to provide musical<br />
backing and support in any genre from<br />
country to rock, pop to soul, jazz, gospel and<br />
contemporary Christian, R&B and funk.<br />
“Anyone who needs musicians for any type<br />
of session, we can provide what they need,”<br />
Gorodetzky said.<br />
They are the ultimate one-stop musical<br />
organization, able to offer expertise for<br />
sessions requiring strings, woodwinds, brass<br />
or rhythm. In addition, the String Machine’s<br />
services include arrangers, engineers and/<br />
By Ron Wynn<br />
Photos by Mickey Dobo<br />
or studios. String Machine members, virtually<br />
all of whom belong to AFM Local 257, work<br />
on sessions ranging from duos to 80-piece<br />
orchestras and everything in between.<br />
Their extensive list of credits and sessions is<br />
stunning by any yardstick. Gorodetzky,<br />
among a handful of String Machine<br />
members who have been there the entire<br />
<strong>Nashville</strong> String Machine founder<br />
and leader Carl Gorodetzky.<br />
The <strong>Nashville</strong> Musician October - December 2011<br />
time, estimates he’s played more than 17,000<br />
union sessions and on approximately 50,000<br />
songs. Bassist Craig Nelson, violist Kris<br />
Wilkinson and violinist Pam Sixfin are also<br />
30-year members.<br />
Bruce Springsteen’s “Silver Palomino,” Neil<br />
Young’s “Only A Dream,” The Dixie Chicks’<br />
“Without You,” Lee Ann Womack’s “I Hope<br />
You Dance,” Garth Brooks’ “The Dance”<br />
and Vanessa Williams’ “Save The Best For<br />
Last” are just a handful of the numerous hits<br />
that feature the String Machine’s signature<br />
sound. Matchbox 20, Alison Krauss,<br />
Whitney Houston, and Dionne Warwick<br />
are among many others who have enlisted<br />
their services.<br />
String Machine members are very<br />
special musicians, resulting in a remarkably<br />
diverse body of work for the group. “We<br />
do everything, with the vast majority being<br />
studio work,” Gorodetzky explained. “We’ve<br />
done television, radio, jingles, award shows,<br />
classical.<br />
“When we’re auditioning a new member,<br />
they need a background in classical and some<br />
pop work. Most of our members have played<br />
in some of the best orchestras around the<br />
country. We have a very small amount of<br />
15
The <strong>Nashville</strong> Musician interview:<br />
Leon Rhodes<br />
turnover. There are some of the world’s best<br />
musicians in the String Machine.<br />
“You have to look at a piece of music and<br />
be able to get in there and go. But it’s more<br />
than just sight-reading, although that is very<br />
important. You’ve also got to have good ears<br />
and be able to react and respond after only<br />
seeing a piece of music one time. There’s not<br />
a lot of rehearsals.”<br />
With graduates hailing from Juilliard,<br />
The New England Conservatory, the<br />
Eastman School of Music, Yale, and Indiana<br />
University, among other places, there’s<br />
little doubt any String Machine member<br />
can handle all musical challenges. When<br />
assessing the biggest changes he’s witnessed<br />
over his tenure in the <strong>Nashville</strong> music<br />
scene, Gorodetzky cited the technological<br />
revolution as responsible for most of them.<br />
“Back when we started, everything was<br />
predominantly eight-track recording,” he<br />
recalled. “You had eight-track machines,<br />
then later 16- and 32-track. Now, instead of<br />
tape, everything is on computers. We used<br />
to get the arrangements handwritten. Now<br />
Countless guitar players have come to<br />
<strong>Nashville</strong>, but only a handful have<br />
left an indelible mark on country<br />
music. One of those men is the legendary<br />
guitarist Leon Rhodes, who many consider<br />
to be just as innovative and influential as<br />
Hank Garland, Doc Watson, and Grady<br />
Martin. Rhodes moved to <strong>Nashville</strong> from<br />
Dallas, Texas, and joined Local 257 in late<br />
1959 as a member of Ernest Tubb’s band,<br />
The Texas Troubadours.<br />
A natural musician, he was self-taught,<br />
and first picked up guitar from his older<br />
brother, who showed him a few chords.<br />
Taken by the instrument, he played “day<br />
and night,” Rhodes has said. When he<br />
was 14 his father bought him his own<br />
guitar, and Rhodes was in the staff band<br />
for the local Big D Jamboree broadcast by<br />
everything is computerized, and the parts<br />
the age of 16. Humble to a fault, Rhodes<br />
are printed out. Pro Tools has become a big<br />
gives full credit for his talent to God, and<br />
part of the business. Playing the music hasn’t<br />
says he’s sure all he knows about the guitar<br />
changed, but almost everything else around<br />
“was God-given.” As a young man, he was<br />
it is different.<br />
a pro softball player, but he also worked<br />
“Also, we’re now facing competition from<br />
constantly in the Dallas music scene, and<br />
around the globe, with sessions being offered<br />
his guitar work was a key ingredient on Guitar legend Leon Rhodes shares a vintage photo from his heyday with Ernest Tubb<br />
in places like Canada, China and the Czech<br />
records by Ray Price, Lefty Frizzell, and and The Texas Troubadours during his interview at AFM 257. Photo by Craig Krampf<br />
Republic. This has definitely become an<br />
other greats of the era.<br />
international thing.”<br />
The classic mid-‘60s lineup of the Pomeroy: Did you come from a musical me through the chicken wire. He must<br />
Still, the <strong>Nashville</strong> String Machine<br />
continues to attract plenty of clients, so many<br />
that Gorodetzky doesn’t have any notions<br />
about retiring anytime soon. His wife Carol,<br />
who was once a violinist in the group, now<br />
works full-time on the business side. They<br />
still do between 200 and 300 sessions a year,<br />
which is down from a high of 500 at one<br />
time, but certainly still a formidable number.<br />
As the 30th anniversary approaches,<br />
Gorodetzky looks back fondly on some<br />
of his favorites among numerous sessions.<br />
“Certainly anything involving Johnny Cash<br />
and June Carter Cash — those were special<br />
days,” he recalled. “Anything with a lot of<br />
the great country stars like George Jones<br />
and Tammy Wynette, or Jimmy Dean, I<br />
really enjoyed working with him. Martina<br />
McBride, Garth Brooks, Don Williams,<br />
those were also wonderful.”<br />
“I feel very fulfilled,” Gorodetzky said in<br />
conclusion. “You know, we’ve never made a<br />
record as a group. We talked about it, but<br />
we’ve never done it. But I’m still feeling great,<br />
and as long as I can do it, I’ll keep doing it. I<br />
think when it’s time for the celebration, we’ll<br />
Troubadours, (Rhodes, steel guitarist<br />
Buddy Charleton, bassist Jack Drake,<br />
and future Opry vocal stars drummer<br />
Jack Greene and rhythm guitarist Cal<br />
Smith) was considered by many to be one<br />
of the finest backup bands in the history of<br />
country music. They recorded a number of<br />
memorable instrumental albums in their<br />
own right, and tunes like “Honey Fingers”<br />
and “Rhodes-Bud Boogie” (look for them on<br />
You Tube) are still mindboggling today.<br />
His incredibly fast and melodic countryjazz<br />
picking has earned him the respect of<br />
subsequent generations of guitar players.<br />
Known for pushing the envelope in form and<br />
style, Rhodes has said that he tried to play<br />
in a way that allowed him to get “outside<br />
the melody and outside other players’ way<br />
of thinking.” Rhodes has brought his unique<br />
sound to countless records with everyone<br />
from Willie Nelson to John Denver, was a<br />
regular on Hee Haw for 20 years, and also a<br />
member of The Grand Ole Opry staff band<br />
for over three decades. He still remains an<br />
active musician today. Recently, <strong>Nashville</strong><br />
Musician publisher Dave Pomeroy and<br />
editor Craig Krampf sat down with this<br />
family?<br />
My mother played the piano, but we never<br />
had one, so I never heard her play! Daddy<br />
would strum a guitar — you know G, C and<br />
D. I started playing guitar when I was about<br />
9 or 10.<br />
Krampf: Did you know you wanted to be a<br />
musician from an early age?<br />
No, actually I was a pro ball player. I was one<br />
of two pitchers for a fast pitch softball team<br />
out of Dallas. We traveled all around and I<br />
played in five world tournaments with them.<br />
In my spare time, I had been playing drums<br />
in a trio at Bob Wills’ Ranch House in Dallas<br />
with Clay Allen and George McCoy. On<br />
Sundays, we would sometimes play as the<br />
opening act at the Longhorn Dance Hall,<br />
a bigger room that seated 3500, so I would<br />
go up front and play guitar, and we would<br />
add a piano player and drummer to make the<br />
group bigger.<br />
Pomeroy: How did Ernest Tubb find you<br />
and hire you to play for his band?<br />
It was an accident, because I was normally<br />
a drummer, but it changed my life. This<br />
particular Sunday in 1959, I was playing<br />
have stood there 20 minutes not looking at<br />
anyone else, and I wasn’t sure if he was okay<br />
or not! I didn’t have any idea who he was or<br />
that Ernest Tubb was closing the show that<br />
night.<br />
He took off, and I figured, “Well, that<br />
was it,” and a few minutes later then he<br />
came back with another guy. They both kept<br />
watching and he finally signaled to me. I<br />
leaned over to hear him and he said, “My<br />
friend and I would like to buy you a drink<br />
on the break.” I said, “Well, I don’t drink, but<br />
you can buy me a Coke.” So when we took a<br />
break they invited me out back to talk. They<br />
said, “We want to offer you a job.” I said, “A<br />
job doing what?” They said, “Playing guitar<br />
with Ernest Tubb!”<br />
I said, “Wait a minute, I’m not a guitar<br />
player, I‘m a drummer!” The first gentleman<br />
said, “No, man. You’re not just a guitar<br />
player, you’re THE guitar player.” I said<br />
“Who ARE y’all?” He said, “My name<br />
is Buddy Emmons, and I play steel with<br />
Ernest and this is Jack Drake, he plays<br />
bass.” They asked for my phone number, but<br />
I never took them seriously at all. I didn’t<br />
know who they were, or who Ernest Tubb<br />
have a big party, then we’ll get back to doing<br />
down-to-earth legend at Local 257 for a guitar at the Longhorn, and this guy came was either. They started calling me from<br />
more sessions.” n<br />
chat about his life and career.<br />
across the dance floor and started watching <strong>Nashville</strong>, and I kept saying “No, I’m a pro<br />
16 October - December 2011 The <strong>Nashville</strong> Musician<br />
The <strong>Nashville</strong> Musician October - December 2011<br />
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At left, Leon Rhodes accompanies Ernest Tubb. At right, young Leon sports<br />
one of his first guitars. (Photos courtesy of Leon Rhodes.)<br />
ball player,” — or so I thought!<br />
The fourth time, Jack said, “Leon, I got<br />
a deal for you. We’re gonna fly you up here,<br />
and give you good money just to travel with<br />
us, no strings attached. Just think of it as a<br />
vacation.” I thought, you know I never have<br />
had a vacation, so I went up, never asked how<br />
much money or anything. So I came up to<br />
<strong>Nashville</strong> and did a 15-day tour with them.<br />
No rehearsal, we just went out and played,<br />
and Emmons was sitting next to me, and he<br />
knew all the tunes.<br />
That very first night during my first show,<br />
Jack Drake said, “Play an instrumental —<br />
whatever you want!” I said, “How about<br />
‘Lady Be Good in F,’ and I kicked it off at<br />
a pretty fast tempo. I played a couple of wild<br />
choruses, but when it came time for the<br />
steel solo, I backed off and glanced at him<br />
[Emmons] and he took off. In all my life, I<br />
had never heard such steel playing! He was<br />
playing like me!<br />
I couldn’t hardly sleep that night on the<br />
bus thinking about that guy on stage next<br />
to me – Mr. Buddy Emmons. I had been<br />
looking for someone like that to play with my<br />
whole life! I called my daddy and said “Pack<br />
up all my stuff, I’m moving to <strong>Nashville</strong>!” He<br />
said, “What are you talking about?” But he<br />
brought up my stuff and I’ve never gone back<br />
to Dallas since, except to visit.<br />
Buddy Emmons recalls: “We had been<br />
having guitar player troubles, and when I<br />
heard Leon I perked right up. He blew my<br />
mind, and a lot of people’s minds. He was an<br />
absolute joy to work with, and always kept<br />
me on my toes with that speed thing he had<br />
going.”<br />
Krampf: What was your musical training<br />
like? Did you ever take lessons?<br />
I never had any lessons, and I don’t know<br />
theory. Basically, you’ve got to sleep with the<br />
guitar, and I did that. I just hung in there<br />
with it. I can’t tell one note from another,<br />
except where it is on the guitar, but I can<br />
read a number chart. When I went to work<br />
with E.T., it was just his songs and our stuff,<br />
the instrumentals and such. Bottom line, it’s<br />
a God-given talent that He gave me, and I<br />
guess I had the fingers to do it.<br />
Krampf: Do you remember how much you<br />
made back then? And did the band ever get<br />
to play on his records?<br />
Mr. Tubb paid $25 a day, plus your ride and<br />
hotel room. He paid that the whole time I<br />
was with him. He always used his band to<br />
play on the records, which were produced<br />
by Owen Bradley. We didn’t have drums at<br />
first; I’m thinking it might have been a fellow<br />
named Bun Wilson who played the snare,<br />
but we also used Buddy Harman.<br />
Krampf: Did you prepare for recording<br />
sessions with Ernest or go in cold?<br />
Sometimes Mr. Tubb would give us a hint<br />
that we would be recording a certain song we<br />
had been playing live, but not always. Back<br />
then, everything was live, you couldn’t punch<br />
anything in. If one person made a mistake,<br />
everybody had to play the song again. He<br />
was most interested in the steel and the<br />
guitar. He never said anything if there was<br />
a mistake on the bass or the rhythm guitar;<br />
he mainly wanted that lick on the guitar, and<br />
the steel guitar in that style as well.<br />
Mr. Tubb was a kind man. He never told<br />
any of us what to play or how to play — just<br />
play that lick at the beginning or the end and<br />
he was happy.<br />
Pomeroy: You and Buddy Emmons had a<br />
special relationship. What was it like for<br />
you when he left Tubb’s band?<br />
When Emmons left, I thought, “Oh my gosh,<br />
no one can do what he does,” but Jack Drake<br />
said, “I know a boy in Virginia who can play<br />
just like Emmons, and maybe better.” They<br />
called him and he came down to play, and<br />
Buddy Charleton was unreal, just unreal.<br />
He could play anything I wanted to play, no<br />
matter how fast. I loved playing with him.<br />
Pomeroy: Tubb’s band made some<br />
amazing instrumental records as the Texas<br />
Troubadours. How did that happen?<br />
I went to Mr. Tubb and told him I had<br />
written some tunes that I would like to<br />
record, and I knew Buddy Charleton had<br />
some, too. I said “What do you think about<br />
us cutting an album?” He said “Go and talk<br />
to Jack Drake,” and Jack said “That’s a great<br />
idea,” so I told him “Go tell Ernest!”<br />
We recorded for Decca, Mr. Tubb’s label.<br />
Those albums we made together were a lot<br />
of fun. After a while, some people had heard<br />
those instrumental records and started asking<br />
me to play with them, and I was jamming a<br />
lot with folks backstage at the Opry. So after<br />
seven years of playing with Ernest, I got off<br />
the road and had a chance to play on some<br />
records, and thanks to the good Lord, I was<br />
able to do that.<br />
Krampf: Who were some of the folks you<br />
enjoyed working with in the studio?<br />
I enjoyed working with some of the folks<br />
who weren’t country, like Andy Williams,<br />
Debbie Boone, Nancy Sinatra, as well as all<br />
the country folks too. It really came together<br />
for me, and it pleased me to know that people<br />
wanted me to work on their records. I always<br />
love working with The Whites, and play with<br />
them every chance I get. They are absolutely<br />
beautiful people.<br />
Pomeroy: Speaking of The Whites, you’ve<br />
played regularly on the Opry for many<br />
years. What was it like the first time you<br />
played there?<br />
I hadn’t really listened to the Opry in Texas,<br />
cause our family’s little radio sounded so bad!<br />
But I had heard of it for years, and I thought,<br />
“This is The Opry! How did this happen?”<br />
At the time, it paid $15 a spot. Later, I was<br />
in the Opry staff band for around 33 years,<br />
and still play out there quite a bit. These days<br />
we have a lot of younger bands who come in<br />
and the players all have their effects and stuff,<br />
and that’s fine. I like it, but I just go out there,<br />
plug straight in and do my thing.<br />
Pomeroy: Every time you play, I can hear<br />
the joy and love for music that you still<br />
have.<br />
Thanks. I’m a simple guy, I like being a<br />
sideman, and I don’t want to be a star. I’m<br />
just happy to play with anyone who wants<br />
me to play with them. I’ve been blessed.<br />
Having a great home life has meant a lot<br />
to me, too. My wife Judi and I have been<br />
married 46 years, and I still think she’s the<br />
best thing since sliced bread! I’m a Christian<br />
man, and never drank or smoked ever in my<br />
life. I know why I’m here. n<br />
18 October - December 2011<br />
The <strong>Nashville</strong> Musician<br />
Banjo virtuoso Bela Fleck enjoys himself during the performance of his composition Concerto for Banjo and Orchestra with the NSO,<br />
<strong>BELA</strong> <strong>FLECK</strong>’S<br />
CLASSICAL EXPLORATIONS<br />
Consider the banjo. Few instruments<br />
associated with American music carry<br />
its cultural weight and mystique.<br />
So often misunderstood and stereotyped,<br />
the banjo’s simple circular frame and<br />
distinctive sound delivers powerful,<br />
fundamental images. Within our history, it<br />
has managed to evoke representations of a<br />
terrible colonialism, while alternately serving<br />
as a plaintive bedrock of our folk music,<br />
conjuring the isolated, almost primitive<br />
individualism we hold so dear.<br />
The banjo’s association with old-time<br />
music and bluegrass has been so burned<br />
into our consciousness, that it is difficult to<br />
imagine it in any other setting. And, this<br />
is precisely why players such as Béla Fleck<br />
are so important. Over the years, Fleck has<br />
stretched the boundaries of the very idea of<br />
the banjo.<br />
“Banjos are really special things,” Fleck<br />
said recently, sitting unassumingly, in the<br />
back corner of a coffee shop in <strong>Nashville</strong>.<br />
“It’s connected to our history, and American<br />
ingenuity — consider what we’ve made<br />
By Warren Denney<br />
Photos by Mickey Dobo<br />
this instrument into here, especially when<br />
you think about where it started in Africa.<br />
It’s become one of those uniquely American<br />
things that have somehow made it through<br />
“I’m always looking<br />
for things to do that I<br />
haven’t done before.<br />
Especially things<br />
that will provide<br />
an opportunity for<br />
growth.”<br />
unharmed. It’s traveled through time and<br />
gotten to this point with integrity intact.”<br />
The 28-year AFM Local 257 member<br />
was two weeks away from the performance<br />
of a lifetime — the performance of his<br />
original Concerto for Banjo and Orchestra,<br />
commissioned by the <strong>Nashville</strong> Symphony<br />
Orchestra and dedicated to Earl Scruggs.<br />
The <strong>Nashville</strong> Musician October - December 2011<br />
Considered by many to be the world’s<br />
leading player, Fleck is agile and voracious,<br />
and beyond technical reproach, warping the<br />
perception of the instrument by placing it<br />
within unexpected and uncharted musical<br />
settings. It is exactly this line of thinking<br />
that led to Fleck’s interest in writing the<br />
concerto.<br />
The piece is a crowning achievement and<br />
speaks to Fleck’s artistic makeup. Challenge<br />
and evolution are key to his musical existence.<br />
A player of uncanny sensibility, Fleck has<br />
always sought to bring the banjo into a more<br />
universal perspective, and he has largely<br />
achieved this due to a desire and ability to<br />
play it as a fully chromatic instrument.<br />
“I’m always looking for things to do that I<br />
haven’t done before,” Fleck said. “Especially<br />
things that will provide an opportunity for<br />
growth. I’m hooked on that as a modus<br />
operandi. I need to know that whatever I’m<br />
doing now and whatever I’m doing next —<br />
and I’m keeping them all in my mind — has<br />
to be something that affords the opportunity<br />
for me to really stretch, to put the banjo into<br />
19
a new setting, or play with someone inspiring<br />
— I’ve been pretty successful at finding<br />
things that have challenged me again and<br />
again, for many years.”<br />
The New York City native, who has<br />
garnered Grammy nominations in every<br />
imaginable category from jazz to bluegrass<br />
to pop to country, and even contemporary<br />
Christian, earned his bones early as a soloist<br />
and as a member of the Boston-based band<br />
Tasty Licks. In 1982, he moved to <strong>Nashville</strong><br />
to work with Sam Bush as a member of the<br />
New Grass Revival. Fleck formed his seminal<br />
band, Béla Fleck and The Flecktones, in<br />
1988 and set about the hard and joyous work<br />
of defying all convention.<br />
The Flecktones consist of electric bassist<br />
Victor Lemonte Wooten, his percussionist<br />
brother Roy “Futureman” Wooten, and<br />
currently — harmonica player and keyboardist<br />
Howard Levy. Known for their collective<br />
ability to meld bluegrass, jazz, and world<br />
music elements into their own otherworldly<br />
“blu-bop” sound, the Flecktones have thrived<br />
since their formation. They have released<br />
13 albums during that time, primarily on<br />
Warner Bros. and Columbia, and this year<br />
released the first Flecktones’ record since<br />
2008 — the acclaimed Rocket Science on<br />
the eOne label. And, while this record has<br />
earned high praise and brought the original<br />
Flecktones back together (with the return of<br />
Levy after a long absence), it is but one piece<br />
of Fleck’s musical puzzle.<br />
In recent years, Fleck has collaborated with<br />
legendary jazz pianist Chick Corea, brought<br />
the banjo back to Africa in the mesmerizing,<br />
award-winning documentary Throw Down<br />
Your Heart, released a third and fourth record<br />
as part of Tales from the Acoustic Planet,<br />
and played Carnegie Hall with virtuoso<br />
bassist Edgar Meyer and renowned Indian<br />
tabla master Zakir Hussain. Those projects<br />
provide a tiny window of insight into the<br />
musical evolution of Béla Fleck, which now,<br />
of course, includes the composition and<br />
performance of a concerto.<br />
“There’s the exciting potential to create<br />
some classical repertoire for the banjo, that<br />
might exist after I’m gone,” Fleck said. “It’s<br />
possible other people might want to play<br />
this banjo concerto, or if I wrote a piece for<br />
banjo and woodwind ensemble, or banjo<br />
and string quartet, or other sets of orchestral<br />
instruments.<br />
“Composing is a different experience for<br />
me — and it complements the improvising<br />
musics that I do very well. And if I continue<br />
to compose these sorts of pieces, it will give<br />
me the opportunity to interact with a world<br />
of musicians that I wouldn’t normally have<br />
access to.”<br />
Performing for three nights in September<br />
at the Schermerhorn Symphony Center<br />
under the direction of conductor Giancarlo<br />
Guerrero, in a setting in which the crowds<br />
were as diverse in their tastes as his own body<br />
of work, Fleck shone brightly, confirming his<br />
instincts. The concerto had been nearly a year<br />
in the making, and its performance had come<br />
in the midst of the Flecktones’ world tour in<br />
support of Rocket Science. Once again Fleck<br />
and the banjo had defied the odds.<br />
“We’ve [the Flecktones] been going strong<br />
since May,” Fleck said. “Before that I was<br />
finishing up a touring project with Edgar<br />
and Zakir — and I’ve also managed to have<br />
significant times when I was off the road —<br />
big chunks that were saved as writing time.”<br />
Classical music was not a direction he<br />
was drawn to originally, though named after<br />
Hungarian composer Béla Bartók, Austrian<br />
composer Anton Webern, and Czech<br />
composer Leos Janácek — Béla Anton Leos<br />
Fleck.<br />
“It takes a long time to write one of these<br />
[concertos] when you know what you’re<br />
doing — and I definitely didn’t know what<br />
I was doing,” he said.<br />
“Growing up I just loved music and I<br />
loved the banjo,” he continued. “I wasn’t all<br />
that tuned in to classical music, although my<br />
stepfather Joe Paladino played the cello, and<br />
he’d play string quartets at our apartment. So<br />
people would come over and read through<br />
stuff, and I’d watch them practicing — while<br />
looking at the score — and often fall asleep!<br />
I found it interesting but I wasn’t super<br />
compelled by it.<br />
“I was listening to bluegrass and jazz<br />
at the time, and I was studying all of that<br />
intently. When I finally got to hear some of<br />
the amazing folks playing [classical] music I<br />
became more interested in it — actually this<br />
also happened to me in the bluegrass world. I<br />
was a little disdainful of traditional bluegrass<br />
until I started playing with the guys who were<br />
really great at it, then I was very respectful of<br />
it. In a weird way it’s similar.”<br />
It wasn’t until Fleck met and forged<br />
his friendship with Edgar Meyer that the<br />
classical world opened up for him. “When I<br />
met Edgar, I knew he was a real composer,”<br />
Fleck said. “I had realized that guys like<br />
that existed, but I hadn’t been around them<br />
enough to understand what it took. I was<br />
a little bit familiar with some of the great<br />
classic composers, but I’d never studied any<br />
of them.<br />
“So when I got to spend time with Edgar,<br />
it was like that [being exposed to the next<br />
level]. You know, this guy is just amazing. I<br />
met him in the early ’80s. He was playing on<br />
the street in Aspen while going to school up<br />
there in the summer, and I ended up jamming<br />
with him there one night, while I was on tour<br />
with New Grass Revival. We became friends<br />
and then he moved to <strong>Nashville</strong>, where I was<br />
living, and he did recitals at [Vanderbilt’s]<br />
Blair [School of Music] — I saw him doing<br />
bass recitals, just with piano accompaniment,<br />
doing a lot of music that he transcribed from<br />
other instruments, often because there wasn’t<br />
really enough great repertoire for a bassist<br />
with his level of technique. And he was<br />
composing these new pieces and it was like,<br />
‘Wow!’<br />
“It was like magic to hear a brand new<br />
piece that was so detailed, and so incredible<br />
— every single note of it. Edgar became a<br />
real inspiration for me. When we got to write<br />
some pieces together, my contribution would<br />
be similar to what I do in other situations —<br />
which is come up with tunes, arrangement<br />
ideas and suggestions.”<br />
The window had been raised. Fleck learned<br />
about framework and composition. He got<br />
the opportunity to write two concertos with<br />
Meyer, and felt he was starting to develop<br />
his own ideas and perspective. And though<br />
his collaborative relationship with Meyer<br />
remains strong to this day, Fleck began to<br />
dream of doing something on his own.<br />
“After doing the first concerto with<br />
Edgar and then one with Edgar and Zakir,<br />
I got really hungry for a chance to do one<br />
by myself,” Fleck said. “It started becoming<br />
a bit of a thing for me — it was like I had<br />
to show myself that these weren’t just really<br />
good because of Edgar — that I could do<br />
something worthwhile on my own.<br />
“Not just that, but there are some things<br />
I might approach differently because I am a<br />
different musical personality than he. And<br />
there really hadn’t been an opportunity for<br />
the banjo alone to be showcased the way I<br />
imagined it, in an orchestra setting.”<br />
Fleck began to investigate the possibility<br />
of getting such a gig. He asked his manager<br />
The <strong>Nashville</strong> Musician October - December 2011<br />
to look around, though finding a commission<br />
was of a completely different world. There<br />
was little reason for anyone to believe Fleck<br />
could compose a concerto.<br />
“Why would they hire me and spend<br />
that money and invest it?” Fleck said. “Then<br />
finally I had some conversations with Alan<br />
Valentine with the <strong>Nashville</strong> Symphony and<br />
he seemed quite open to it; I think it was<br />
largely because of the respect he had for the<br />
Flecktones. He seemed to like the work I<br />
was doing.<br />
“Things I worked hard on seemed to end<br />
up pretty good, you know. The African film,<br />
Bela Fleck gives a congratulatory fist bump to concertmaster Jun Iwasaki<br />
during a rehearsal with the NSO for his Concerto for Banjo and Orchestra,<br />
the duet tour and album with Chick Corea,<br />
and of course the Flecktones showed a certain<br />
level of ability and initiative. So he took a<br />
measured risk and gave me the opportunity.”<br />
And, while that opportunity has proven to<br />
be another benchmark in Fleck’s evolution,<br />
it was an altogether frightening one. There<br />
were defining moments of fear.<br />
“What am I doing?” Fleck said. “I don’t<br />
even know how to write or read musical<br />
notation. How am I going to do this thing?<br />
Now I’ve manipulated myself into a real<br />
tight corner. But that is what I do. This is my<br />
process — and when you’re creative, some of<br />
it is generated by enthusiasm, some of it can<br />
even be generated by fear!<br />
“That’s the way I like to do it. I force<br />
myself into situations where I have to grow<br />
in order to survive. It’s what happened when<br />
I went to Africa; it’s what happened when I<br />
played with Chick, et cetera.”<br />
And, as always, the defining moment —<br />
the light of recognition was revealed. Fleck<br />
knew what must be done.<br />
“In retrospect, writing with Edgar and<br />
21
Zakir was a very protected situation because<br />
it was on all three of us,” he said. “We were<br />
doing it very equally and Edgar had a great<br />
overview. He’d tell us what he thought we<br />
were looking for and had a real sense of<br />
where we were going. But I normally do<br />
things in a much more spontaneous way —<br />
by feel sometimes — that’s how I play, and<br />
that’s how I write, and that’s how things<br />
often work well for me. It occurred to me<br />
that perhaps my concerto should be that way<br />
too.<br />
“Maybe I shouldn’t write a concerto as if<br />
I know what I’m doing. I didn’t have anyone<br />
orchestrating it although I did have a copyist<br />
(Bruce Daily) to make sure it would be<br />
legible for the musicians. I did have to figure<br />
out how to work [the software] Sibelius — I<br />
read banjo tablature and Sibelius has that in<br />
its program, so I could write things in banjo<br />
notation and then copy and paste them<br />
onto other instrument staves. I did a lot of<br />
that. But a lot of these lines are not banjooriented<br />
lines.<br />
“I just let it naturally move to where the<br />
music felt right. I tried not to be limited<br />
by the banjo itself. I’d listen back to what I<br />
had and realize ‘it’s trying to go here, or it’s<br />
trying to go there.’ There’s the personality<br />
of the instrument — and then there’s my<br />
personality. When I get the instrument out<br />
of my hands at times I force my musical<br />
personality to come out in different ways.”<br />
Technical aspects aside, Fleck had to find<br />
his musical voice within the framework, and<br />
this required inspiration and introspection.<br />
He spent time in Oregon and in Mexico,<br />
scheduled specifically for writing in between<br />
his other commitments. He would take jogs<br />
on the beach or in the desert, listening to<br />
“The metamorphosis<br />
of the <strong>Nashville</strong><br />
Symphony is very<br />
inspiring. ... They’re<br />
more highly regarded<br />
than ever in the world<br />
of classical music.”<br />
Bartók, Mozart, and Beethoven, among<br />
others for clarity of vision.<br />
The result was a thirty-five minute piece of<br />
beautifully orchestrated music, infused with<br />
rich tonal qualities, that moved effortlessly<br />
through each of the three divergent<br />
movements. In performance, Fleck’s 1937<br />
mahogany Gibson Mastertone banjo<br />
alternately took its place out front with its<br />
rich and evocative voice, before submerging<br />
itself beneath the orchestra’s current, hiding,<br />
only to resurface again to deliver to the<br />
A music transcription and arranging service in <strong>Nashville</strong><br />
TRANSCRIPTIONS ARRANGING<br />
listener its primal singularity.<br />
“I wanted to do something that had some<br />
emotion and resonance musically, along with<br />
technical virtuosity,” Fleck said.<br />
“I’ve dedicated this piece to Earl Scruggs.<br />
I realized that he’s the reason that thousands<br />
of people have come to <strong>Nashville</strong>. None of<br />
the bluegrass folks would have come here if<br />
it wasn’t for him — or Bill Monroe — and<br />
for the banjo, he is the holy grail. He turned<br />
that instrument around and rescued it from<br />
the garbage bin, really. It had been excised<br />
from the [popular and jazz] music partly<br />
because some hated it and the reminder of<br />
the slave days.<br />
“He [Scruggs] made it popular again , and<br />
basically brought the banjo back from the<br />
dead. I wouldn’t do what I do if it wasn’t for<br />
his innovations.”<br />
And Fleck is thrilled that his latest<br />
personal progression was able to take place in<br />
<strong>Nashville</strong>, where he believes the instrument<br />
is understood and appreciated.<br />
“The metamorphosis of the <strong>Nashville</strong><br />
Symphony is very inspiring,” he said. “It’s<br />
very amazing. They’re more highly regarded<br />
than ever in the world of classical music.<br />
They’re so vital — they’re commissioning<br />
new works, they’ve created this new hall. I<br />
have to say that I’m really glad I’ve ended up<br />
doing this here; the banjo has always had a<br />
home here in <strong>Nashville</strong>.”n<br />
Next Membership<br />
Meeting<br />
Monday, Nov. 7, 2011<br />
George Cooper Rehearsal Hall<br />
Doors open at 5:30 p.m.<br />
Meeting starts at 6 p.m.<br />
Election nomination<br />
meeting to follow.<br />
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22 October - December 2011<br />
The <strong>Nashville</strong> Musician<br />
By Dave Pomeroy<br />
Chet Atkins, the late AFM 257 icon,<br />
is the well-deserved subject of a<br />
new exhibit at the Country Music<br />
Hall of Fame, Chet Atkins: Certified Guitar<br />
Player, which will run through June 2012.<br />
This fascinating exhibit captures the essence<br />
of Atkins’s multifaceted career as a performer,<br />
composer, recording artist, producer, engineer,<br />
instrument designer, record executive, and<br />
of course, one of the most influential and<br />
imitated guitarists of all time.<br />
The entrance to the exhibit is a huge<br />
montage of dozens of Atkins album covers,<br />
just a small sampling of his prodigious<br />
recorded output from 1947 to 1997, and<br />
instantly gives you a sense of how long and<br />
varied his career really was.<br />
The well-designed exhibit contains many<br />
of Chet’s most beloved and important<br />
personal artifacts, including a stunning array<br />
of his instruments, rare photographs, awards,<br />
letters, and audio and visual presentations<br />
that illuminate the different sides of Atkins<br />
musical career and his incredible legacy.<br />
George Harrison’s original typewritten<br />
and hand-corrected liner notes, written for<br />
the album Chet Atkins Picks On The Beatles,<br />
is a priceless example of the respect Atkins<br />
routinely inspired in even the most famous<br />
musicians in the world. His collaborations<br />
with many of the world’s greatest pickers are<br />
well documented in pictures and video clips.<br />
One particularly touching section contains<br />
Atkins’ actual home workshop just as he left<br />
Photo by Donn Jones<br />
GUITAR GOD<br />
New Country Music Hall of Fame exhibit,<br />
book honor the late, great Chet Atkins<br />
it, with guitar tools, golf clubs, favorite hats,<br />
and more, and is a beautiful snapshot of a<br />
creative soul in his home environment. This<br />
exhibit is certainly a Holy Grail for any guitar<br />
aficionado, but even a casual music fan will<br />
appreciate this retrospective look at the life<br />
and music of one of the greatest musicians<br />
the world has ever known.<br />
The Country Music Foundation Press<br />
has also published a companion book to the<br />
exhibit, and it contains pictures of many of<br />
the highlights, along with a lot of additional<br />
material. The list of contributing authors is<br />
impressive to say the least, and includes Local<br />
257 members Steve Wariner, Walter Carter,<br />
John Knowles, Tommy Emmanuel, and Dr.<br />
Mark Pritchard, the longtime president of<br />
the Chet Atkins Appreciation Society. Fred<br />
W. Gretsch of Gretsch Guitars, a primary<br />
sponsor of the exhibit, opens the book with a<br />
heartfelt reflection of the special relationship<br />
between Atkins and the company that built<br />
many of his classic guitars.<br />
The book is split into four parts detailing<br />
different aspects of Atkin’s life and career,<br />
and the opening section “American Icon:<br />
The Musical Journey of Chet Atkins”<br />
chronicles his roots in east Tennessee and<br />
unflinchingly describes the challenges<br />
Atkins faced coming from a broken<br />
home. His father and mother divorced<br />
when he was only six years old. Despite<br />
their frequent absences, both his father<br />
and older half brother Jim, a successful<br />
The <strong>Nashville</strong> Musician October - December 2011<br />
Reviews<br />
guitarist 12 years his senior, were still big<br />
influences on his life and interest in music.<br />
His chronic asthma caused him to move<br />
to Georgia to live with his father at the age<br />
of ten. His health improved and he began<br />
to explore the world of music, influenced by<br />
everything he heard: his dad’s radio, street<br />
singers, and every guitar player within reach<br />
of Atkin’s inquisitive ears and fingers.<br />
Atkin’s career path was not an easy one, and<br />
this book pulls no punches when describing<br />
the setbacks that served to harden his resolve<br />
to make an impact on the world of music. He<br />
paid his dues with many staff guitarist gigs<br />
at radio stations across the country and made<br />
his Opry debut in 1946 playing with Red<br />
Foley.<br />
Foley featured Atkins on his own solo<br />
acoustic guitar spots, which were under<br />
appreciated and ultimately cut from the Opry<br />
show. Atkins resigned from Foley’s band and<br />
left <strong>Nashville</strong>. Following months without<br />
work, he finally landed a job at KWTO in<br />
Springfield, Mo., where he was given full rein<br />
to develop his guitar style as a featured artist.<br />
In 1947, he began recording for RCA<br />
Records under the direction of Steve Sholes,<br />
and while his initial records as a singing<br />
guitar player in the Merle Travis mold were<br />
not a success, the two men made a musical<br />
and business connection that would come to<br />
change Atkin’s life. Sholes began using him<br />
as a bandleader and arranger in the studio for<br />
his other acts on RCA.<br />
Still, he was not yet out of the woods.<br />
The recording ban of 1948 sent him back to<br />
Knoxville one more time, where he purchased<br />
piano tuning tools in order to ensure his ability<br />
to take care of his wife Leona and daughter<br />
Merle. He described this as the low point of his<br />
23
Reviews cont.<br />
career, but when the Carter Sisters came to<br />
WNOX, his opportunity for redemption<br />
arrived with them.<br />
Before long Atkins was a featured part<br />
of their act and his bold, distinctive style on<br />
electric guitar and dry humor as June Carter’s<br />
“straight man” proved to be perfect for the<br />
Carters, who insisted that he be included<br />
when they joined the Grand Ole Opry in<br />
1950. He moved the family back to <strong>Nashville</strong><br />
and reunited with RCA’s Steve Sholes as well,<br />
and the rest is history.<br />
The “Guitarist” section of the book focuses<br />
on the development and impact of Atkin’s<br />
sound and style, those who influenced him,<br />
and vice versa. The book takes you through<br />
his long-and-storied career as a recording<br />
artist, and collaborator with guitar titans<br />
such as Merle Travis, Les Paul, Jerry Reed<br />
and Earl Klugh.<br />
In the “Tinkerer” section, guitar historian<br />
Walter Carter goes into intricate detail<br />
about Atkins’ lifelong pursuit of perfection<br />
in guitar design, playability, and sound, and<br />
the legacy of the many guitars that bear his<br />
name and design influence. He was famous<br />
for constantly tweaking his instruments<br />
and amplifiers right up until the end of his<br />
career and he also had one of the first-ever<br />
home studios, as well as the aforementioned<br />
workshop.<br />
“Producer: RCA’s Man In <strong>Nashville</strong>”<br />
spotlights Atkins’ achievements as a record<br />
company executive and producer. Along with<br />
Owen Bradley, he was one of the architects<br />
of the <strong>Nashville</strong> Sound, which led to the first<br />
country music boom in the early ’60s. The list<br />
of hit records with which he was associated<br />
remains one of the great accomplishments in<br />
music history. The pictures in this book alone<br />
are enough to make any guitar fan salivate,<br />
and the content is fascinating.<br />
The defining characteristics of Atkins‘<br />
life and career — his never-ending quest<br />
for musical knowledge and self expression<br />
— is eloquently told through his music and<br />
the words of his friends and colleagues in<br />
essays, pictures, letters, and anecdotes. As a<br />
companion piece, this book does justice to<br />
the spectacular CMHOF exhibit, but it also<br />
stands alone as an intimate overview of the<br />
man known as “Mr. Guitar.”<br />
Chet Atkins was a one-of-a-kind person<br />
as well as a musician’s musician, whose<br />
impact on the world, the guitar, the music<br />
industry, and <strong>Nashville</strong> in particular, cannot<br />
be overestimated. It is moving to see his<br />
personal guitars on display once again, and<br />
wonderful to have his story told so well by<br />
the Country Music Hall of Fame. Both the<br />
book and the exhibit will warm your heart,<br />
make you laugh, and reach for the nearest<br />
Chet Atkins album. n<br />
Parachute<br />
The Way It Was<br />
Mercury<br />
The band Parachute, consisting of Will Anderson,<br />
Johnny Stubblefield, Alex Hargrave,<br />
Kit French, and Nate McFarland, are recent<br />
transplants to Music City and Local 257.<br />
They began their career in 2008 in the Charlottesville,<br />
Va., area, also home to Dave Matthews.<br />
Parachute’s second album for Mercury<br />
Records, The Way It Was, is an energetic,<br />
hook-filled effort that showcases excellent<br />
songwriting and musicianship, passionate<br />
vocals, state of the art production by John<br />
Fields, and has something to appeal to nearly<br />
every rock and pop fan.<br />
Songwriter, keyboardist and guitarist<br />
Anderson has a knack for creating fresh<br />
musical ideas and accessible lyrics that give<br />
Parachute its own identity, yet have an air of<br />
classic familiarity. His vocal performances<br />
on the album are unashamedly emotional<br />
and the band rises and falls behind him with<br />
excellent dynamics, plenty of U2-ish ringing<br />
guitars, a driving rhythm section, and explosive<br />
production flourishes.<br />
Unafraid of lyrical drama, the ever-shifting<br />
sonic landscape seems to reflect the<br />
mood of the singer in that moment. “Forever<br />
and Always” is a bittersweet tale of losing<br />
a loved one unexpectedly, and the rush<br />
of thoughts and images reflect the real life<br />
panic that such a situation creates, while the<br />
unexpected ending brings the built-up tension<br />
to a satisfying conclusion.<br />
The album covers a lot of stylistic ground,<br />
with echoes of Brit-pop, classic rock, and<br />
singer-songwriter influences alternating as<br />
the album progresses. The string section on<br />
“You And Me” leads the charge, and takes the<br />
record to an unexpected, cinematic place.<br />
Stubblefield’s pulsating drumming and<br />
Hargrave’s energetic bass work are an excellent<br />
underpinning to songs like “Something<br />
To Believe In,” which marries an uplifting<br />
gospel lyric with a choir vocal approach.<br />
October - December 2011<br />
“American Secrets” is the album’s epic centerpiece,<br />
with its stop-start rhythms building<br />
to a huge sing along chorus and a wall of<br />
melodic guitars that would do Tom Petty or<br />
Springsteen proud.<br />
The introspective coda is a glimmer of<br />
hope for love not lost. “Kiss Me Slowly” will<br />
undoubtedly gain the band legions of female<br />
fans with its combination of insistence, sensitivity,<br />
quiet piano-driven verses, and memorable,<br />
hooky chorus.<br />
The Way It Was is an intriguing combination<br />
of contemporary and classic rock and<br />
certainly points toward any number of new<br />
musical directions for this exciting young<br />
band. Keep your eyes peeled for Parachute<br />
— they’ve got the goods. — Roy Montana<br />
Blake Shelton<br />
Red River Blue<br />
Warner Bros.<br />
Blake Shelton is a busy man these days. Yet<br />
despite the recent demands of being both<br />
a newlywed and a network TV panelist on<br />
NBC’S The Voice, he somehow found the<br />
time to record Red River Blue, which debuted<br />
at No. 1, and is his seventh album for<br />
Warner Bros.<br />
The opening track, “Honey Bee,” is the<br />
fastest-selling single by a male country artist<br />
to go gold. In the chorus Shelton cleverly<br />
name-checks a legendary country duo: “You<br />
be my little Loretta, I’ll be your Conway<br />
Twitty.” Here’s hoping that the reference will<br />
motivate some of Shelton’s younger fans to<br />
search a few record bins.<br />
“Honey Bee” is followed by a range of<br />
mostly midtempo songs. “Get Some” is a humorous<br />
look at the lengths we all go to in the<br />
hope of, well, you know. “Good Ole Boys”<br />
claims it’s getting harder all the time to find<br />
the real men, the ones “working on a farm /<br />
Or out there chasin’ rainbows.”<br />
“Hey” is the sort of homonym joke that<br />
only Music Row writers really can pull off:<br />
“Hey, hey, I’m out here bailin’ hay.” Verse two<br />
takes a hilariously strange turn; without giv-<br />
24 The <strong>Nashville</strong> Musician<br />
ing away too much, let’s just say that Shelton<br />
probably won’t be asked to perform this one<br />
for the Family Research Council. The bridge<br />
even quotes “I Am The Walrus” just for fun.<br />
The final track is the true heart and soul<br />
of this collection. “Red River Blue,” written<br />
by Ray Stephenson and Buddy Owens, is an<br />
absolute gem, a moving tale of heartache experienced<br />
by the stubbornly proud man who<br />
let the woman he loves slip away. The acoustic<br />
guitars of Bryan Sutton and Ilya Toshinsky<br />
— both Local 257 members — drive this<br />
one all the way. Producer Scott Hendricks<br />
wisely chooses to keep the intensity level low,<br />
letting the lyric — and Shelton’s delivery —<br />
do the emotional heavy lifting. It’s the kind<br />
of song <strong>Nashville</strong> does best, and it draws the<br />
album to a perfect close. — Kent Burnside<br />
Various Artists<br />
The Lost Notebooks of Hank William<br />
Egyptian Records/CMF Records/Columbia Records<br />
Ronnie Dunn<br />
Ronnie Dunn<br />
Sony <strong>Nashville</strong><br />
“Singer In A Cowboy Band,” the first track of<br />
Ronnie Dunn’s solo debut album, opens with<br />
a nasty tremolo guitar lick that explodes into<br />
a punk country roadhouse beat before setting<br />
up his familiar voice passionately belting out<br />
a lyric of a hard life spent on the road.<br />
Dunn’s distinctive vocals are front and<br />
center like never before, and are in top form<br />
throughout this self-produced project. The<br />
rockers are smoking, the ballads have an<br />
R&B edge that brings out the soulful side of<br />
Dunn’s voice, and his classic country growl<br />
is fine shape.<br />
The album credits reveal that 48 of <strong>Nashville</strong>’s<br />
finest players appear on this record, although<br />
individual songs are not specified, so<br />
it’s a bit difficult to know exactly who played<br />
on what. Regardless, the playing is consistently<br />
outstanding. Five acoustic guitar players,<br />
six bassists, and seven electric guitarists<br />
are listed, as well as dozens of other players<br />
and singers, including strings beautifully orchestrated<br />
by Bergen White.<br />
Nine of the 12 songs were written or cowritten<br />
by Dunn, and most celebrate work-<br />
The <strong>Nashville</strong> Musician October - December 2011<br />
There are many questions concerning<br />
the appropriateness of the new<br />
tribute album, The Lost Notebooks of<br />
Hank Williams, in which a variety of singersongwriters<br />
added melodies, and in some cases<br />
lyrics, to unpublished Hank Williams songs.<br />
Those questions were underscored when<br />
Williams’ grandson, AFM 257 member and<br />
recording artist Hank Williams III, revealed<br />
he was not asked to participate in the project.<br />
But putting all those questions of propriety<br />
aside, there can be no argument of the artistic<br />
credibility of the record.<br />
The album is the brainchild of veteran A&R<br />
executive Mary Martin. Martin originally<br />
envisioned it as a project for Bob Dylan, who has always cited the influence of Williams<br />
on his own music, and unquestionably a full-length album of material cowritten by two<br />
of the most influential songwriters in the history of popular music would have generated<br />
enormous interest. But Dylan thought additional artists should be involved, so they brought<br />
12 other singer-songwriters on board who count Williams among their influences — not<br />
only country artists, but also artists from the pop and rock worlds, including Levon Helm,<br />
Lucinda Williams and Jack White. And although Hank III wasn’t asked to participate, one<br />
of Williams’ grandchildren, singer-songwriter Holly Williams, was among the contributors.<br />
The song she cowrote with her grandfather, “Blue Is My Heart,” features her father, Hank<br />
Williams Jr. on backing vocals.<br />
Williams’ words, and their transcendent energy, are what empower this collection. You<br />
can tell the artists approached the project with care, borrowing heavily from the Williams<br />
songbook, with a few twists and turns, in crafting their melodies and arrangements. The<br />
result is every track feels right, even the contributions by artists whose names leap out<br />
as possibly not being a good fit for the project — White, Norah Jones, Jakob Dylan and<br />
Sheryl Crow. It’s easy to imagine Williams himself singing any of the 12 tracks included<br />
on this remarkable collection.<br />
Alan Jackson’s collaboration, “You’ve Been Lonesome, Too,” kicks off the record and<br />
immediately establishes an authentic tone with a sparse arrangement — “just like Hank<br />
[would’ve] done it back in 1949,” as he explained in an interview with GAC — no piano<br />
or drums.<br />
Dylan’s cowrite, “The Love That Faded,” follows, and even though his accompaniment<br />
includes drums and piano, it continues the authentic vibe. His pained vocals, which suggest<br />
he himself has lived William’s expression of love past, are backed with an arrangement<br />
featuring a catchy, Cajun-flavored waltz groove.<br />
A number of 257 members contributed to this unique tribute album, including Jackson,<br />
Patty Loveless, and Vince Gill and Rodney Crowell, who both collaborated with the late<br />
legend on “I Hope You Shed A Millions Tears,” the only three-way cowrite on the record.<br />
Although it is often written, but rarely true, there is not a bad track on this album. Some<br />
tracks, however, reveal more than others. It is really not surprising that Loveless’ track,<br />
or other tracks by artists with <strong>Nashville</strong> connections, sound like Hank Williams songs.<br />
But Jones’ beautiful “How Many Times Have You Broken My Heart” is a complete and<br />
pleasant surprise because it shows what a great country artist she could be if she wanted.<br />
And Levon Helm not only nails his collaboration, “You’ll Never Again Be Mine,” but in<br />
the process, reminds us how much Williams’ songs informed the music of The Band.<br />
The album closes with a religious-themed track by Merle Haggard, “The Sermon On The<br />
Mount.” Like Dylan and Helm, Haggard is of the generation that felt the direct influence<br />
of Hank Williams — while he was still alive and performing and recording — and just like<br />
Dylan and Helm, he is able to reach within and find that place occupied by Williams in his<br />
own art. Haggard’s cowrite is a moving and fitting finale to a project that was inherently<br />
fraught with artistic risks and yet succeeded.<br />
— Daryl Sanders<br />
25
Reviews cont.<br />
ing class values, perseverance, and the faithful<br />
side of love. “Your Kind Of Love” is a dynamic<br />
ballad with an insistent build, gospel vocal<br />
chorus, and an arena-worthy rock guitar solo.<br />
“Cost of Livin’” is a real world tale of a man<br />
doing all he can to get by, and Dunn’s understated<br />
vocal performance brings it home.<br />
“Bleed Red” is an uplifting pop rock anthem<br />
calling for a common understanding of<br />
the many things we all have in common. “Let<br />
the Cowboy Rock” does exactly that, with a<br />
funky barroom 2/4 beat featuring hot guitar<br />
and bass interplay.<br />
The closer “Love Owes Me One” is a soulful<br />
ballad that closes the album with a reflection<br />
on love lost and the hope of redemption.<br />
Dunn’s voice has never sounded more genuine<br />
and vulnerable than it does here. This album<br />
emphatically serves notice that Dunn is<br />
ready to stretch out artistically after his legendary<br />
20-year run with Kix Brooks as one<br />
of the top duos in country music history.<br />
— Roy Montana<br />
Frankie Ballard<br />
Frankie Ballard<br />
Warner Bros.<br />
The power chords that open track one tell<br />
the tale: This ain’t your father’s country.<br />
Frankie Ballard’s self-titled debut is a pedalto-the-metal<br />
ride through today’s country<br />
music landscape, and it never slows down or<br />
lets up.<br />
Produced by Michael Knox, Frankie Ballard<br />
is a crunch guitar-dominated collection<br />
of rock-oriented country songs in the vein of<br />
Montgomery Gentry or Jason Aldean — not<br />
surprising, given that Knox is also Aldean’s<br />
producer.<br />
Ballard is a young artist with a voice and<br />
guitar style well suited to the material. On<br />
six of the eight tracks he shares electric guitar<br />
duties with Local 257 member Adam<br />
Shoenfeld. The liner photos show him with<br />
four axes — a Strat, a Firebird, a Les Paul,<br />
and a Heritage — for those keeping score at<br />
home — and his “thank you” list includes one<br />
“for makin’ sure I don’t blow all my money on<br />
guitars.” Got to love his attitude!<br />
The first single, “A Buncha Girls,” sings<br />
the praises of the fairer sex while driving<br />
home the ageless truth: “Nothing drives the<br />
boys right outta their minds / Like a buncha<br />
girls.” And those boys want nothing more<br />
than to be “right-now Romeos” to the “seven-day<br />
senoritas” vacationing south of the<br />
border.<br />
“Sober Me Up” stands the old lyrical conceit<br />
of love-as-intoxicant on its head. Here<br />
the pressures and demands of everyday living<br />
“get you drunk and cloud up your mind,” so<br />
“I need you to come and stop the room from<br />
spinnin’ / Sober me up.” It’s an imaginative<br />
reworking of a well-known idea.<br />
“Grandpa’s Farm” closes the album with a<br />
bang. The swampy rock groove calls to mind<br />
late-period Lynyrd Skynyrd, right down to<br />
the slide guitar and gospel-drenched female<br />
backing vocals. It’s a classic tale of young love<br />
(or lust) for the girl who “comes down every<br />
summer / To waste time on your grandpa’s<br />
farm.” Ballard and Shoenfeld’s twin guitar<br />
attack flat-out rocks, and the drumming of<br />
Local 257’s Greg Morrow really seals the<br />
deal. Crank it up! — Kent Burnside<br />
Jay Patten<br />
Crystal Nights<br />
Flamingo Records<br />
“Blue” Jay Patten has been a respected member<br />
of the <strong>Nashville</strong> music scene for many<br />
years, and this multi-talented Local 257<br />
member wears many hats on his latest album,<br />
Crystal Nights. His trademark alto sax and<br />
mellow vocals are at the forefront as usual,<br />
but he also plays soprano and tenor saxes,<br />
guitar, mandolin, keyboards, and flutes.<br />
He wrote or cowrote eight tunes on this<br />
project, which he coproduced with Rick<br />
Lonow and Christos. This diverse record is a<br />
mix of jazz, rock and pop influenced instrumentals,<br />
sentimental vocal ballads, and reworkings<br />
of classic songs from various genres<br />
and, as Patten says in the liner notes, a couple<br />
of more “far-out” tunes.<br />
Patten moved to <strong>Nashville</strong> in 1978 and<br />
became a fixture in the local scene and on<br />
the road as longtime bandleader for Crystal<br />
Gayle. This record is dedicated to her and she<br />
makes a guest appearance as Patten’s duet<br />
partner on “Memories Are Made Of This,”<br />
which features Tony Newman on drums, Jim<br />
Ferguson on bass, Mike Holten on trumpet<br />
and Bob Patin on keys.<br />
The album’s opener is a creative remake of<br />
Allen Reynolds’ classic song, “Ready For The<br />
Times To Get Better,” with a ghostly vocal<br />
by Christos that enters at the end of the eloquent<br />
instrumental version, which features<br />
Andy Reiss’ supple acoustic guitar interwoven<br />
with Patten’s stacked saxophones.<br />
His original instrumentals have an accessible,<br />
friendly feel and combine Blue Note<br />
grooves, contemporary jazz stylings, and<br />
memorable melodies.<br />
Patten’s roots as a classic jazz singer come<br />
out in lush originals like “Finally” which<br />
sounds like it could have been written back<br />
in the day. He also has a way with standards,<br />
and both “Can’t Help Falling In Love” and<br />
“I’m So Lonesome I Could Cry” get unusual<br />
rhythmic and harmonic treatments that remain<br />
fresh with repeated listenings.<br />
Lonow’s drums and percussion are funky<br />
and tasteful in every style, as is the bass<br />
work by Toni Sehulster, long one of <strong>Nashville</strong>’s<br />
underappreciated gems. Catherine<br />
Marx plays keyboards with her trademark<br />
flair. In addition to Patten’s solid arch top<br />
rhythm guitar playing, Andy Reiss is featured<br />
on the title track playing burning<br />
Carlton-esque leads, and longtime Patten<br />
collaborator Mike Loudermilk also contributes<br />
some brilliant acoustic playing on<br />
“Little Friend.”<br />
“One More Goodbye” has an atmospheric<br />
“ECM meets David Sanborn” sound. As for<br />
Patten’s more far-out numbers, “True and<br />
Tried” features Native American flutes and<br />
a passionate vocal that expresses the need for<br />
peace and understanding between peoples,<br />
and the vibey “Freedom Song” rounds out<br />
the stylistic journey with a street-wise hip<br />
hop beat and a ‘60s style lyric that celebrates<br />
the universal need for all types of freedom.<br />
This album takes the listener to many satisfying<br />
places, and Patten and friends once<br />
again demonstrate the varied talents of the<br />
<strong>Nashville</strong> music community to great effect.<br />
For more information go to www.jaypatten.<br />
com. — Roy Montana<br />
26 October - December 2011<br />
The <strong>Nashville</strong> Musician<br />
By Laura Ross<br />
As our season begins, I find myself<br />
reflecting on the history of our<br />
orchestra; what it has endured<br />
and accomplished. This season we present<br />
a number of NSO-commissioned world<br />
premiers, including Bela Fleck’s Concerto<br />
for Banjo and Orchestra, which will be<br />
recorded for future release by Naxos. They<br />
are interested in releasing our recording<br />
projects this season, so the planned <strong>Nashville</strong><br />
Symphony recording label is currently on<br />
hold. We return to Carnegie Hall 12 years<br />
after our first concert, which led to building<br />
a top-notch performance space – the<br />
Schermerhorn Symphony Center.<br />
We have a talented management team,<br />
led by Alan Valentine, along with a board<br />
and public who support the orchestra and<br />
understand the importance of the arts in our<br />
communities. The orchestra is at full strength<br />
and all vacancies — aside from musicians on<br />
disability — have been filled. We have much<br />
to be thankful for. As someone who lived<br />
through some of our worst times – the strike<br />
in 1985 as well as the shutdown and Chapter<br />
11 bankruptcy in 1988 – I am appreciative,<br />
but aware that it takes care and dedication by<br />
all parties to keep the orchestra from going<br />
down the wrong path.<br />
Orchestras nationwide struggle for<br />
survival<br />
Orchestras all around the country are fighting<br />
for their lives and livelihoods. ICSOM<br />
(International Conference of Symphony and<br />
Opera <strong>Musicians</strong>) delegate Brad Mansell<br />
and I traveled to Detroit in August to attend<br />
the ICSOM conference where speakers and<br />
panels of musicians shared their stories and<br />
insights with attendees.<br />
The Detroit Symphony strike, a result<br />
of unreasonable proposals that attacked<br />
job security, and also drastically reduced<br />
compensation and benefits, should never have<br />
happened. The strike could have been averted<br />
if management had wanted an agreement,<br />
but it was clear they did not. The strike took<br />
six months to settle and DSO musicians<br />
successfully fought off egregious terms, first<br />
of all because they were tenacious. They<br />
also received incredibly generous financial<br />
support from orchestras across the country<br />
The <strong>Nashville</strong> Musician October - December 2011<br />
Symphony Notes<br />
thanks to ICSOM’s Call to Action, which<br />
raised more than $300,000 in contributions.<br />
In addition, they had wonderful support by<br />
the Detroit community that sustained them<br />
throughout the strike. Sadly, key members<br />
and entire sections of the orchestra left to<br />
find a better working relationship without<br />
the toxic atmosphere in Detroit that must<br />
now be repaired.<br />
Now orchestras are filing bankruptcies<br />
that, in nearly all cases, could and should<br />
have been handled differently.<br />
In Syracuse, the board managed to<br />
negotiate two incredibly concessionary<br />
contracts and then bailed in the middle of<br />
the orchestra’s 50th anniversary by filing for<br />
Chapter 7 – liquidation bankruptcy. Worse<br />
yet, the orchestra joined the AFM-EPF four<br />
years ago but the majority of these musicians<br />
are not vested to receive a retirement benefit<br />
because it takes five years to qualify.<br />
The New Mexico Symphony Orchestra<br />
filed for Chapter 7 this year, and<br />
simultaneously, tried to cheat their musicians<br />
from receiving payment of back wages owed<br />
as claimants in bankruptcy court when<br />
musicians were asked to sign waivers.<br />
Three hours north, Louisville Orchestra<br />
musicians face the fight of their lives. In<br />
December they filed for Chapter 11 –<br />
reorganization bankruptcy, and though they<br />
worked under the terms of their contract until<br />
Detroit Symphony members and supporters took to the streets during a six-month strike that was resolved last April.<br />
27
Symphony Notes cont.<br />
May 31, it has now expired. The executive<br />
director and board chairman are attempting<br />
to gut and disassemble the orchestra by<br />
instituting a series of tiered contracts that<br />
drop about one-third of the musicians to<br />
poverty level wages.<br />
They also appear dedicated to replacing<br />
seasoned professional musicians with<br />
students and non-union employees. The<br />
board refused to take advantage of the<br />
impending 75th anniversary of the orchestra<br />
that would have begun this September. They<br />
also refused to take advantage of a newly<br />
released documentary, Music That Made a<br />
City, which relates how a former Louisville<br />
mayor convinced the city to support<br />
commissioning and recording of new works<br />
that made this orchestra famous and leaves a<br />
legacy of recordings unduplicated since that<br />
time.<br />
Then there is the Philadelphia Orchestra<br />
Chapter 11 bankruptcy. This orchestra, which<br />
toured Europe earlier this fall, has a $140<br />
million endowment and owns a renowned<br />
performance venue that they abandoned<br />
for pennies to supposedly gain better rental<br />
terms in a new auditorium they don’t own.<br />
They have a frozen private pension plan as<br />
UPCOMING<br />
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*some exclusions apply<br />
well as eight years of participation in the<br />
AFM-EPF. Yes, there were some terrible<br />
business decisions made by the management<br />
and board but rather than accept liability<br />
for their actions and identify solutions, the<br />
board filed for bankruptcy so they could<br />
unload their musicians’ pension obligations,<br />
plus burn through three million in attorney<br />
fees in five months with more to come until<br />
the bankruptcy is settled.<br />
The New York City Opera’s problems<br />
seem almost unimaginable, yet they are all<br />
true. Their board depleted their endowment<br />
while the New York State Theater, now<br />
called the David H Koch Theater, was<br />
refurbished. Then the company was told that<br />
due to lack of funding, they would abandon<br />
Lincoln Center to play in multiple venues.<br />
They were also told that their season was cut<br />
to five productions; and that the contracts<br />
of the various constituencies, including the<br />
orchestra, would be reduced to per service,<br />
which is illegal, since even an expired contract<br />
remains in place until a successor agreement<br />
is negotiated.<br />
This is unconscionable and irresponsible<br />
behavior by businessmen and businesswomen<br />
who should know better. Can you imagine if<br />
<strong>Nashville</strong>Symphony.org 615.687.6400<br />
SunTrust Classical Series<br />
Nov. 3-5 TCHAIKOVSKY’S VIOLIN CONCERTO<br />
Nov. 17-19 MAHLER’S FOURTH<br />
Dec. 1-3 BRAHMS’S FIRST<br />
Bank of America Pops Series<br />
Oct. 20-22 CHRISTOPHER CROSS<br />
Nov. 10-12 MIKE ELDRED — The Very Best of John Denver<br />
The Ann & Monroe Carell Family Trust Pied Piper Series<br />
Oct.29 THE COMPOSER IS DEAD, Two performances:<br />
One in English and one in Spanish!<br />
Dec. 17 THE HOLIDAY MUSIC INSTRUMENT WORKSHOP<br />
Special Events<br />
Oct. 31 HALLOWEEN MOVIE NIGHT<br />
Featuring Phantom of the Opera<br />
with organist Tom Trenney<br />
Nov. 8 DRUMLINE LIVE<br />
Nov. 13 NATALIE MERCHANT<br />
Nov. 22 KINGS OF SALSA<br />
Dec. 8 HOME FOR THE HOLIDAYS<br />
Featuring LeAnn Rimes<br />
Dec. 15-17 HANDEL’S MESSIAH<br />
Dec. 18 ORGAN RECITAL with ISABELLE DEMERS<br />
Dec. 20 ASLEEP AT THE WHEEL:<br />
Santa Loves to Boogie<br />
Dec. 22 RICKY SKAGGS FAMILY CHRISTMAS<br />
they ran their own companies in this fashion?<br />
In all these situations the musicians, who<br />
have dedicated their lives and livelihoods to<br />
their orchestras were willing to find solutions<br />
but were instead treated no better than<br />
unwanted pets. There is no excuse for this<br />
abdication of responsibility.<br />
Thank you to our supporters<br />
During our week in Detroit another thing<br />
was made clear to me – we are blessed with<br />
dedicated local officers and staff who work<br />
hard on our behalf. The Detroit Symphony,<br />
with the enthusiastic assistance of Local 5,<br />
put on a magnificent conference. During<br />
the six-month strike Local 5 did everything<br />
it could to support its musicians, including<br />
spending considerable resources. Honolulu’s<br />
Local 677 is another fine example of the<br />
support and leadership we hope to find when<br />
we are struggling.<br />
Sadly, not all our colleagues are as<br />
lucky; there are locals in this country more<br />
concerned about keeping work dues flowing<br />
into the local than assisting musicians<br />
who face difficult battles. Interestingly, the<br />
musicians in Detroit rewarded Local 5 for<br />
their loyalty and support by contributing<br />
$25,000 to the local once the dust settled<br />
after the strike.<br />
As we begin our season, from now until<br />
the end of December we will perform 21<br />
different types of concerts – a Gala, five<br />
Classical Concert series, three Pops Concert<br />
series, one opera, two ballets (including<br />
Nutcracker), four holiday themed concerts,<br />
youth and children’s concerts, run-outs, and<br />
a free concert. We will even stream our first<br />
Thursday Classical Concert on the web —<br />
which is allowed under the terms of the<br />
Integrated Media Agreement.<br />
In closing, I joined some of our new<br />
members following a rehearsal and so<br />
enjoyed the opportunity to know them<br />
better. They are funny and charming and<br />
very excited to join our orchestra. They bring<br />
energy and enthusiasm to our orchestra, and<br />
we welcome them to our family.<br />
Laura Ross is the <strong>Nashville</strong> Symphony Union<br />
Steward. You can reach her at lar2vln@<br />
afm257.org.<br />
If you run for office in<br />
AFM Local 257<br />
Remember that your candidate biography is<br />
limited to 250 words and may include a photo.<br />
The deadline for bio submissions will be determined<br />
and announced to the candidates by the<br />
chair of the Election Committee.<br />
28 October - December 2011<br />
The <strong>Nashville</strong> Musician<br />
By Austin Bealmear<br />
Although multiple-Grammy winning<br />
guitarist Larry Carlton has been a<br />
major presence here since moving<br />
to the area about 15 years ago, <strong>Nashville</strong> is<br />
rarely on his regular touring schedule. This<br />
was remedied with a performance Sept. 30 at<br />
the Schermerhorn Symphony Center, which<br />
showcased his latest album, Larry Carlton<br />
Plays the Sound of Philadelphia.<br />
At first glance, a smooth jazz guitar tribute<br />
to the Philadelphia rhythm and blues hit<br />
factory created by songwriters like Kenneth<br />
Gamble, Leon A. Huff, and Thom Bell may<br />
seem like just another attempt to sell product,<br />
but this project came about in a much more<br />
intriguing fashion.<br />
First, as AFM 257 member Carlton<br />
described to me in an interview, his own<br />
style on the Gibson ES-335 came from his<br />
interest and participation in many kinds of<br />
music, including jazz, blues, R&B, rock, and<br />
country, in the late ‘60s and ‘70s, the era of<br />
the great Philly soul sound. By the mid-<br />
1980s, he had done over 3000 sessions for all<br />
kinds of music.<br />
About the album, he told JazzTimes,<br />
“Every song was a great pop song, every song<br />
was a hit. They (Gamble & Huff ) had this<br />
unique twist of producing R&B but with<br />
an orchestra. They had great melodies, but<br />
for the day, they had more sophisticated<br />
harmonies, and their use of orchestration to<br />
present these R&B sorts of pop tunes was<br />
very appealing. Their songs were about social<br />
events of the day and they also wrote love<br />
songs.”<br />
Secondly, Carlton’s participation was not<br />
even a thought during the original sessions.<br />
“All of the tracks that were assembled for this<br />
project were completed before I was asked to<br />
be the artist,” he said. “So that was kind of<br />
unique. Actually, the tracks were produced<br />
with a singer in mind, and the singer did not<br />
work out. Those tracks sat for almost a year,<br />
untouched, until producer Billy Terrell said,<br />
The <strong>Nashville</strong> Musician<br />
‘I wonder if Larry Carlton could do those<br />
instrumentally?’<br />
“So he sent me the hard drive. And then<br />
he just left me alone to put guitar on it the<br />
way I wanted to do it. If you take a song like,<br />
‘Could It Be I’m Falling in Love,’ the line<br />
‘could it be…’ on the guitar can all be played<br />
on one string and just be the same sound.<br />
But I spent most of my time in preparation,<br />
just trying to get those lyrics to speak on my<br />
guitar. What string should I play that on?<br />
Is that an upstroke? How do I get as close<br />
as I can to the articulation of the original<br />
version?”<br />
The record, released by Carlton’s own<br />
company, 335 Records, sounds like the<br />
perfect project for the signature vocal-like<br />
guitar lines that made his reputation in the<br />
early ’70s.<br />
Guitar legend Larry Carlton explores the<br />
sounds of Philly R&B on his new recording.<br />
Rahsaan Barber launches new<br />
production and promotion company<br />
Jazz Music City is the brainchild of<br />
saxophonist and 257 member Rahsaan<br />
Barber. The debut production, an October<br />
concert called “Celebrating Our Own” at<br />
the newly refurbished Franklin Theater,<br />
encompassed an impressive lineup of<br />
<strong>Nashville</strong> jazz talent, a dozen artists and<br />
groups. The company’s second effort is the<br />
launch of a new record label, Jazz Music<br />
City Records, with an album called Everyday<br />
Magic, featuring Barber’s new band of the<br />
same name.<br />
The band includes guitarist Adam Agati,<br />
pianist Jody Nardone, bassist Jerry Navarro,<br />
and drummer Nioshi Jackson. Trombonist<br />
Roland Barber, Rahsaan’s twin brother, and<br />
percussionist Giovanni Rodriguez guest on<br />
two tracks. The music, all Barber originals,<br />
Sax man Rahsaan Barber (right) has a<br />
new company and a new album.<br />
October - December 2011<br />
Jazz & Blues Beat<br />
is wide-ranging: uptempo groovers, gospeltinged<br />
love songs, waltzes, and more<br />
expansive compositions, which he renders on<br />
tenor, alto, soprano and flute.<br />
The philosophy behind the label and the<br />
company is clear when Rahsaan said, “There<br />
are so many different strands of music here in<br />
<strong>Nashville</strong>. There’s a unique opportunity here<br />
to build a sound.” Future projects are planned<br />
for El Movimiento (a Latin-jazz group led<br />
by Rahsaan, Giovanni and trumpeter Imer<br />
Santiago) pianist Bruce Dudley, vocalist<br />
Stephanie Adlington and a hip-hop brass<br />
band called the Megaphones.<br />
28th International Blues Challenge<br />
The International Blues Challenge (IBC),<br />
held every year in Memphis, is a worldwide<br />
search by the Blues Foundation and other<br />
blues societies for blues bands as well as solo<br />
and duo blues acts ready to headline national<br />
and international stages, but needing the<br />
extra break. It is the world’s biggest and most<br />
respected showcase for blues musicians. The<br />
IBC is a judged Battle of the Bands in which<br />
competitors play a short set for a panel of<br />
blues experts. The acts are judged based on<br />
blues content, instrumental talent, vocal<br />
talent, originality, stage presence, and more.<br />
The <strong>Nashville</strong> Blues Society will again<br />
sponsor the local competition this year, open<br />
to any blues band, solo or duo act within<br />
our membership and region. The <strong>Nashville</strong><br />
Blues Challenge preliminary and semi-finals<br />
competitions will take place the week of<br />
Nov. 7, at World Music <strong>Nashville</strong>. The final<br />
competition will be held Nov. 12, at the Hard<br />
Rock Cafe. The winner in each category<br />
will be sent to the 28th International Blues<br />
Challenge scheduled for Jan. 31 through Feb.<br />
4, 2012. For entry forms and instructions, go<br />
to www.<strong>Nashville</strong>BluesSociety.org<br />
Austin Bealmear is a member of AFM 257. He<br />
can be reached at austinbel@earthlink.net.<br />
29
RMA Corner<br />
By Tom Wild<br />
There is no doubt that the process of<br />
creating and distributing music —<br />
and video — has radically changed,<br />
and is no longer the sole domain of a small<br />
creative community. Increased access to<br />
technology has dramatically changed the<br />
market. One could argue that content<br />
creation — music in our case — has become<br />
a toy for the masses. Due to this, there is a<br />
perception in some circles that the talents,<br />
services and products of union professionals<br />
are now devalued. This in turn becomes<br />
a rationale for off-the-card work and the<br />
elimination of back-end payments.<br />
The value of intellectual property is in<br />
freefall and the creative field is crowded with<br />
people willing to give everything away. Still,<br />
economic realities and time constraints come<br />
into play. Cheap or free doesn’t automatically<br />
equal quality. It takes experience to create<br />
content in a timely manner. Professionals are<br />
usually involved and they get paid. Union<br />
agreements are not a thing of the past, nor<br />
are they necessarily prohibitive.<br />
For professionals, this is where solidarity<br />
should come into play. “Undeniable” product<br />
is our domain. Pop culture trends are, by<br />
nature, disposable. Fads can and do fall by<br />
the wayside, but there will always be a need<br />
for professionally created content.<br />
We are currently enjoying the fruits of “race<br />
to the bottom” wages as well as an “everyone<br />
for themselves” mindset, but an interesting<br />
phenomenon is taking place. Local AFM<br />
membership is on the rise. We have seen<br />
an increase in both younger first timers and<br />
returning members. Perhaps an organization<br />
that offers standardized wage scales, benefits<br />
and binding national agreements isn’t such a<br />
bad deal after all. It’s always good to know<br />
that somebody has your back.<br />
In today’s AFM, there is a great<br />
opportunity to influence the policies that<br />
affect our bottom lines. The everyday, realworld<br />
experience of RMA members can<br />
help shape a better union. Current economic<br />
conditions may cause some cornerstones of<br />
the past to fall by the wayside.<br />
Needless to say, we are beyond the<br />
era when protections are considered an<br />
entitlement. We must earn them. However,<br />
new revenue streams will emerge and we<br />
should be positioned to profit from them.<br />
We have energetic, forward thinking<br />
leaders at our local and on the International<br />
Executive Board (IEB). There is no reason<br />
for any AFM or RMA member to feel<br />
excluded from the decision making process.<br />
You cannot assume that somebody else has all<br />
the answers. The job of charting the future is<br />
happening now and your input is essential.<br />
Local 257 elections are just around the<br />
corner, with RMA <strong>Nashville</strong> elections coming<br />
soon as well. Your involvement in your Union<br />
as a dues paying RMA member keeps Local<br />
257 in the loop with our changing reality.<br />
I would urge anyone with an interest in<br />
the inner workings of our union to consider<br />
serving as an officer or board member. There<br />
is a great sense of satisfaction in helping<br />
to look after the interests of your fellow<br />
musicians and helping to shape the future of<br />
Local 257 and the AFM.<br />
In Solidarity.<br />
Tom Wild is treasurer of the <strong>Nashville</strong> chapter<br />
of the RMA. You can reach him at tbwild@<br />
comcast.net.<br />
Calling<br />
for AFM<br />
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30 October - December 2011<br />
The <strong>Nashville</strong> Musician<br />
Jack Barlow<br />
1924-2011<br />
Lifetime Local 257 member Jack<br />
Barlow, born Jack Harold Butcher,<br />
died July 29, 2011 at age 87. The<br />
guitarist and singer was born in 1924 in<br />
Moline, Ill. Following his service in the<br />
Navy during WWII, Barlow returned home<br />
to the family farm and soon after began his<br />
career in radio as a disc jockey on KWPC<br />
in Muscatine, Iowa. In 1950 he was hired by<br />
WQUA Radio in Moline, Ill., and became a<br />
renowned DJ and country music entertainer<br />
in the Midwest.<br />
During the mid-1960s, Barlow’s career<br />
took off as a singer-songwriter and recording<br />
artist when his first hit song, “I Love Country<br />
Music” was released and topped the charts.<br />
He moved to <strong>Nashville</strong> in 1967, where<br />
he continued singing and appeared with<br />
Johnny Cash, George Jones, Lefty Frizzell,<br />
Dottie West, Patsy Cline, Mel Tillis, Porter<br />
Waggoner, Chet Atkins, Boots Randolph,<br />
and many more. He became a member of<br />
AFM Local 257 on July 16, 1969.<br />
Barlow went on to record four albums and<br />
numerous singles including “Catch the Wind,”<br />
which reached the top 10 on Billboard’s<br />
Top 100. He continued entertaining his<br />
fans during many appearances at the Grand<br />
Ole Opry in <strong>Nashville</strong>; the Landmark and<br />
Golden Nugget in Las Vegas; the Montreal<br />
World’s Fair, and other country music venues.<br />
He also appeared in several movies. In 1972,<br />
in addition to his singing career, Barlow<br />
recorded a memorable jingle for Big Red<br />
Chewing Gum. He continued recording<br />
commercials for many years and was the<br />
voice for several national brands including<br />
Busch Beer, Budweiser, Chrysler, Dollar<br />
General, Kraft, Uncle Ben’s Rice, Dodge<br />
Trucks, K-Mart, and Kellogg’s.<br />
The <strong>Nashville</strong> Musician<br />
Billy Grammer<br />
1925-2011<br />
Lifetime AFM Local 257 guitarist,<br />
luthier and Grand Ole Opry member<br />
Billy Grammer passed away Aug. 10,<br />
2011 in his home state of Illinois from natural<br />
causes. Grammer, aged 85, became a member<br />
of Local 257 and the Opry in 1959.<br />
Grammer was one of 13 children, born<br />
Aug. 25, 1925, in a coal mining family. After<br />
high school and service in the U.S. Army,<br />
Grammer heard of a possible opening with<br />
Connie B. Gay, a disc jockey and promoter in<br />
the Washington, D.C. area. He hitchhiked to<br />
Arlington, Va., auditioned, and got the job.<br />
His skills as a musician won him stints<br />
in the bands of artists such as Hawkshaw<br />
Hawkins and Grandpa Jones, as well as<br />
a sideman role on The Jimmy Dean Show.<br />
He then formed his own band and began<br />
performing as a solo artist.<br />
In early 1959, he recorded his memorable<br />
hit “Gotta Travel On.” Its million-selling<br />
success led to Opry membership that same<br />
year. The song was a crossover pop hit adapted<br />
from a then 150-year-old British folk tune,<br />
and was the first hit for Monument Records,<br />
founded by Fred Foster.<br />
Grammer was an in-demand session picker<br />
many major artists, including Eddy Arnold,<br />
Louis Armstrong and Patti Page. “<strong>Musicians</strong><br />
I have talked to through the years have told<br />
me that I have a little extra punch, a little<br />
extra push,” he once said.<br />
In 1965 he founded RG & G Company<br />
with Clyde Reid and J.W. Gower, where he<br />
developed the flat-top Grammer guitar. After<br />
a fire at the factory in downtown <strong>Nashville</strong>,<br />
the company was sold to Ampeg and<br />
renamed Grammer Guitar, Inc. Grammer’s<br />
guitar was produced until 1970. He donated<br />
the original model to the Country Music<br />
Hall of Fame in 1969, and Grammer Guitars<br />
Barlow was preceded in death by his<br />
parents, Harold and Jennie Hyink Butcher<br />
of Fruitland, Iowa; a daughter, Shane<br />
Humphrey of Bettendorf, Iowa and his sister,<br />
Lorraine Hoyt of Muscatine, Iowa. Survivors<br />
include his wife of 24 years, Dianne; brother,<br />
Keith Butcher of Muscatine, Iowa; daughters<br />
Sherry McGuigan and Jacque Mayberry;<br />
sons Kelly, Mike, Beau, and Cole Butcher;<br />
12 grandchildren, and one great-grandchild.<br />
A memorial tribute to Barlow, known as<br />
“the big man with the great big voice,” was<br />
held Aug. 13 at Harpeth Hills in <strong>Nashville</strong>,<br />
Tenn. n<br />
October - December 2011<br />
Final Notes<br />
are still sought after by collectors today.<br />
Grammer was devoutly religious and<br />
delivered the invocation for the Grand Ole<br />
Opry House opening in 1974. He and wife<br />
Ruth celebrated his 50th Opry anniversary<br />
at the show in February 2009. Right up to<br />
the end, his natural charisma and energy<br />
shone through in his final performances on<br />
the Opry. In 1990 he was inducted into the<br />
Illinois Country Music Hall of Fame, along<br />
with Tex Williams, Lulu Belle and Scotty,<br />
and Patsy Montana.<br />
Grammer was preceded in death by his<br />
parents, Archie and Stella Grammer, four<br />
brothers, John, Don, Charles and Carl<br />
Grammer; and one grandson, Jeff Blair.<br />
Survivors include his wife of 66 years,<br />
Ruth Elizabeth Burzynski Grammer, three<br />
children, Donna Blair of <strong>Nashville</strong>, Dianne<br />
Mezger of Dallas, Texas, and Billy Grammer<br />
of Richardson, Texas; four brothers, Lonnie<br />
Grammer of Royalton, Ill., Archie Grammer<br />
of Waterford, Mich., Darrell Grammer of<br />
Eddyville, Ky., Carroll Grammer of Cadiz,<br />
Ky.; and four sisters, Ramona Taskey,<br />
Ruby Talley and Carolyn Williams, all of<br />
Benton, Ill., and Sharon Moser of Pleasant<br />
Prairie, Wis. Other survivors include eight<br />
grandchildren and 11 great-grandchildren.<br />
Funeral services were held Aug. 13 at<br />
Morton & Johnson Funeral Home in<br />
Benton, Ill.n<br />
Terri Lee Cathay<br />
1925-2011<br />
Lifetime member Terri Lee Cathay,<br />
age 85, of Mt. Juliet, died Aug. 12,<br />
2011. Cathay joined Local 257 June<br />
29, 1965, and was a banjo player and singer.<br />
She was preceded in death by her parents,<br />
Robert and Mildred Fletcher and Charles<br />
and Georgia Simrell. Survivors include her<br />
daughter, Victoria Paty; three grandchildren<br />
and nine great-grandchildren. Graveside<br />
services were held Monday, Aug. 15, in<br />
Hermitage Memorial Gardens. n<br />
31
Final Notes<br />
Marshall Grant<br />
1928-2011<br />
Marshall Garnett Grant, bassist and<br />
AFM Local 257 Life member,<br />
died at age 83 on Aug. 7, 2011<br />
in Jonesboro, Ark. Grant was a founding<br />
member of Johnny Cash’s backing band, The<br />
Tennessee Two, and also served as Cash’s<br />
road manager.<br />
Grant fell ill while in Jonesboro for an<br />
event honoring Johnny Cash. The festival<br />
featured George Jones, Kris Kristofferson<br />
and Cash’s children Roseanne and John<br />
Carter Cash, and was a fundraiser to help<br />
restore Cash’s boyhood home and turn it<br />
into a museum. Roseanne Cash later said<br />
on Twitter that Grant was her “back-up<br />
dad,” and that “lots of bass players owe him<br />
a debt.” Local 257 president and bassist<br />
Dave Pomeroy concurred, saying “Marshall<br />
Grant made a huge contribution to the art<br />
of country bass playing on those early Cash<br />
records and the countless live performances<br />
that followed. Grant was propulsive and<br />
solid, but always very musical as well, and<br />
his friendly, wide open personality shone<br />
through in his playing.”<br />
Local 257 member Rick Lonow was at<br />
the gig performing with John Carter Cash,<br />
and said Grant, who was still active in the<br />
music business, brought a new artist he was<br />
working with to the venue to perform “Cry,<br />
Cry, Cry,” during the festival. “Marshall was<br />
Kenneth Baker<br />
1926-2011<br />
Renowned fiddle player Kenneth<br />
“Kenny” Baker, age 85, of<br />
Cottontown, Tenn., died July 8, 2011.<br />
The Life Local 257 member was born to the<br />
late Thaddeus and Myrtle Baker on June 26,<br />
1926 in Burdine, Ky. The son and grandson of<br />
fiddle players, he attended school in Burdine,<br />
but left early to serve in the U.S. Navy during<br />
World War II.<br />
Baker began his musical career by touring<br />
with the USO in the South Pacific. He<br />
later played with several small groups, then<br />
worked with Don Gibson. He went on to<br />
play for Bill Monroe longer than any other<br />
member of the Blue Grass Boys, Monroe’s<br />
with people he had known for many years,<br />
and there was lots of hugging and laughing.<br />
He was among a large gathering that knew<br />
him, loved him, and respected him. Marshall<br />
walked tall all day,” Lonow said.<br />
Grant was born May 5, 1928, and raised<br />
in Bessemer City, N.C. He was one of twelve<br />
children born to Willie Leander and Mary<br />
Elizabeth Simmonds Grant. He married<br />
Etta May Dickerson in 1946, and they<br />
settled in Memphis in 1947.<br />
Grant and Luther Perkins, the other<br />
member of the Tennessee Two, were car<br />
mechanics when they met Johnny Cash<br />
through his older brother, Roy, who was<br />
also a mechanic. After Cash returned from<br />
military service, he began working with<br />
Grant and Perkins, all three playing rhythm<br />
guitar.<br />
A self-taught musician, Grant switched<br />
from guitar to bass when the group decided<br />
Perkins should play lead guitar. Grant<br />
played with Cash from 1954-1980, and was<br />
considered an essential part of his “boomchicka-boom”<br />
trademark sound, which had a<br />
significant impact on country music.<br />
After his time with Cash, Grant managed<br />
The Statler Brothers from 1980 until their<br />
retirement in 2002, and later wrote an<br />
autobiography, I Was There When It Happened:<br />
My Life With Johnny Cash.<br />
In 2007 The Tennessee Two joined the<br />
<strong>Musicians</strong> Hall of Fame in <strong>Nashville</strong>, as<br />
part of its inaugural class of inductees.<br />
Grant played at the induction ceremony in<br />
Schermerhorn Symphony Center, backing<br />
Johnny’s son John Carter Cash.<br />
Grant is survived by Etta May, his wife<br />
of 65 years; one son, Randy Grant, two<br />
grandchildren, three great-grandchildren,<br />
two brothers, and three sisters. Funeral<br />
services were held Aug. 12 at Memorial<br />
Park Funeral Home in Memphis, with burial<br />
following in Memorial Park Cemetery.n<br />
band. Baker was considered one of the most<br />
influential fiddlers in bluegrass music, and<br />
Monroe frequently described Baker as “the<br />
greatest fiddler in bluegrass.”<br />
Many players emulated what was called<br />
Baker’s “long-bow” style of playing. County<br />
Records released a dozen albums of Baker’s<br />
music, recordings that were studied and<br />
learned by fiddlers around the country. “I<br />
have seen and heard fiddlers from New<br />
England to Florida, and from the Virginia<br />
coast to Missouri and the Ozarks playing<br />
Kenny’s tunes,” said David Freeman, owner<br />
of County Records.<br />
An article from the London Guardian,<br />
which lists Baker’s influences as including<br />
jazz artist Stephane Grappelli and western<br />
swing, quote him as saying that bluegrass is<br />
Louis B. Haas<br />
1920-2011<br />
Life Local<br />
257 member<br />
Louis B. Haas,<br />
Sr., 90, of Evansville<br />
died Aug. 24, 2011.<br />
Haas, a pianist, was<br />
born Dec. 18, 1920<br />
to William Cullen<br />
Haas and Jeanette<br />
(Hoeppel) Haas. He was a World War II<br />
veteran of the U.S. Army, where he was a<br />
foot soldier in the 65th Infantry.<br />
Haas devoted his life to music as a<br />
musician and teacher. He retired at the age<br />
of 80 from the Evansville Vanderburgh<br />
School Corporation, as a repairman for<br />
the music department. An accomplished<br />
musician, Haas performed with the<br />
Evansville Philharmonic and managed the<br />
Louis Haas Jazz Band for decades. He was<br />
a member of many organizations, including<br />
The Scottish Rite, No-Ruz-Grotto, Hadi<br />
Shrine, Constellation Lodge, Germania<br />
Maennerchor, and VFW No. 1114, as well<br />
as a longtime member of St. Paul’s United<br />
Church of Christ in Evansville.<br />
Haas was preceded in death by his wife<br />
of 52 years, Barbara Jean Haas; brothers<br />
William C. Haas, Jr., Eugene (Gene) Haas;<br />
grandson Fredrick (Nate) Haas.<br />
He is survived by sons Louis B. Haas, Jr.<br />
of Murfreesboro, Tenn., and Frederick Haas<br />
of Evansville; one daughter, Barbara L. Haas<br />
of Ames, Iowa; five grandchildren, Vickie<br />
Riley, Sara Bailey, Penny Haas, Corissa Sale,<br />
and Isaiah Huber; and great-granddaughter<br />
Kairi Lyric Sale.<br />
Funeral services were held Monday, Aug.<br />
29, at the Ziemer Funeral Home in Evansville,<br />
with the Rev. Jeff Long officiating. Burial<br />
was in Memorial Park Cemetery, where the<br />
Retired Veterans Memorial Club conducted<br />
graveside services.<br />
Condolences may be made to the family<br />
online at www.ziemerfuneralhome.com. n<br />
“nothing but a hillbilly version of jazz.”<br />
Baker received the National Heritage<br />
Fellowship from the National Endowment<br />
For The Arts in 1993 and was named to<br />
the International Bluegrass Music Hall of<br />
Honor in 1999.<br />
Survivors include his wife, Audrey; two<br />
sons, Kenneth Jr. and Johnny Lee Baker;<br />
one brother, Tom; sisters, Gloria and<br />
Margaret; four grandchildren and many<br />
great-grandchildren, and Joan Shagan of<br />
Cottontown.<br />
Services were held July 12, 2011 at the<br />
Burdine Freewill Baptist Church in Burdine,<br />
Ky. n<br />
32 October - December 2011<br />
The <strong>Nashville</strong> Musician<br />
New Members<br />
Shaun Halley-Murphy<br />
Balin<br />
FDL GTR BJO LPS<br />
1215 Joseph Avenue<br />
<strong>Nashville</strong>, TN 37207<br />
Cell-(615)-686-8758<br />
Monty Glenn Bradford<br />
(Monty Bradford)<br />
DRM<br />
1971 Bradbury Road<br />
Adams, TN 37010<br />
Cell-(931)-216-8545<br />
Hm-(931)-358-4896<br />
Genevieve Briggs<br />
FLT PIC ALF<br />
1334 Haines Ave<br />
Columbus, OH 43212<br />
Cell-(205)-613-8160<br />
Robert Edward Brullo<br />
(R.E.B.)<br />
GTR DRM KEY SAX<br />
BAS<br />
1003 San Domingo Road<br />
Orlando, FL 32808<br />
Hm-(407)-592-3927<br />
James Edwin Button<br />
OBO EHN<br />
178 2nd Ave N #303<br />
<strong>Nashville</strong>, TN 37201<br />
Cell-(615)-955-0825<br />
Ernest Stephen Carlson<br />
TBN EUP BR BTB<br />
4100 Meadow View Circle<br />
Pleasant View, TN 37146<br />
Cell-(615)-766-3838<br />
Joshua S Colby<br />
PRC PIA GTR BAS<br />
664 Shadowood Dr<br />
<strong>Nashville</strong>, TN 37205<br />
Cell-(586)-703-5188<br />
Marcus Edward Finnie<br />
(Marcus Stix Finnie)<br />
DRM<br />
758 Vernon Avenue<br />
<strong>Nashville</strong>, TN 37209<br />
Cell-(615)-481-5099<br />
In Memoriam<br />
The officers, staff and members of Local 257 extend our deepest sympathies<br />
to the families and friends of our members who have recently passed away.<br />
You are in our thoughts, hearts and prayers.<br />
Name Born Date Joined Died Life Member<br />
Kenneth Baker 6/26/1926 12/13/1957 7/08/2011 Yes<br />
Jack Barlow 5/18/1924 7/16/1969 7/29/2011 Yes<br />
Terri Lee Cathay 11/19/1925 6/29/1965 8/12/2011 Yes<br />
Wilma Lee Cooper 2/07/1921 3/2/1957 9/13/2011 Yes<br />
Billy W. Grammer 8/24/1925 3/27/1959 8/10/2011 Yes<br />
Marshall Grant 5/5/1928 7/7/1956 8/7/2011 Yes<br />
Louis B. Haas 12/18/1920 9/1/1992 8/24/2011 Yes<br />
Marilyn Ione Johnson 11/29/1931 9/1/1992 9/17/2011<br />
Johnnie R. Wright 5/13/1914 11/20/1947 9/27/2011 Yes<br />
The <strong>Nashville</strong> Musician<br />
Benjamin Matthew Hall<br />
(Ben Hall)<br />
GTR<br />
913 Moleah Court<br />
Hermitage, TN 37076<br />
Hm-(662)-891-5419<br />
Michael R Lancaster<br />
DRM<br />
1989 Nashboro Blvd.<br />
<strong>Nashville</strong>, TN 37217<br />
Cell-(252)-229-5829<br />
Richard Curtis Lane<br />
GTR<br />
517 Ridge Court W<br />
Old Hickory, TN 37138-<br />
1238<br />
Cell-(615)-533-8819<br />
Hm-(615)-754-6065<br />
Lucas Leigh<br />
217 McGavock Pike<br />
<strong>Nashville</strong>, TN 37214<br />
Cell-(901)-848-6347<br />
Frank James Macek<br />
BAS DRM GTR KEY<br />
PRG<br />
9528 West Cherokee<br />
Avenue<br />
Las Vegas, NV 89147<br />
Hm-(615)-834-3751<br />
David Bowen Matthews<br />
(Dave Matthews)<br />
PRC KEY PRG<br />
P.O. Box 331381<br />
<strong>Nashville</strong>, TN 37203<br />
Cell-(615)-479-5466<br />
Thomas Allen Mayes<br />
(Allen Mayes)<br />
PO Box 603<br />
Smyrna, TN 37167<br />
Cell-(706)-244-7762<br />
Samuel W McClung<br />
(Sam McClung)<br />
FLH TPT GTR COM<br />
ARR COP BAS<br />
604 Arbor Creek Way<br />
<strong>Nashville</strong>, TN 37217<br />
Cell-(615)-479-3090<br />
Carl R Melberg<br />
(Carl Roberts)<br />
BAS<br />
916 S High St Apt 3<br />
Columbia, TN 38401<br />
Cell-(615)-638-4404<br />
Kevin Hugh Moore<br />
MDN PIA VLN FDL<br />
GTR BAS DRM<br />
6827 Gamble Rd<br />
Birchwood, TN 37308<br />
Hm-(865)-804-3866<br />
Thurman Royce Morgan, Jr<br />
101 Royce Morgan Drive<br />
Beechmont, KY 42323<br />
Cell-(270)-977-0962<br />
Hm-(270)-476-2417<br />
Paul C Nelson<br />
CEL COP<br />
1060 Ashmore Dr<br />
<strong>Nashville</strong>, TN 37211<br />
Cell-(615)-969-0033<br />
Daniel Joseph<br />
O’Lannerghty<br />
BAS DRM KEY PIA<br />
8382 Collins Rd<br />
<strong>Nashville</strong>, TN 37221<br />
Cell-(615)-300-6533<br />
October - December 2011<br />
Jerry Louis Pentecost<br />
( Jerry Pentecost)<br />
DRM<br />
147 Hillside Drive<br />
Hendersonville, TN 37075<br />
Cell-(615)-838-6144<br />
David Piltch<br />
521 De La Vista Ave<br />
Santa Barbara, CA 93103<br />
Leonard Bruce Round<br />
(Lenny Round)<br />
BAS<br />
229 Vernon Traylor Dr<br />
Smyrna, TN 37167<br />
Hm-(419)-975-9055<br />
Rob E Tyre<br />
(Rob Tyre)<br />
GTR VOC BAS KEY<br />
AAA<br />
1451 Island Drive South<br />
St Petersburg, FL 33707<br />
Cell-(727)-458-6880<br />
Michael Vargo<br />
(Mike Vargo)<br />
VOC BAS GTR<br />
1305 Ardee Ave<br />
<strong>Nashville</strong>, TN 37216<br />
Cell-(216)-406-5098<br />
Nathan L Walters<br />
PIA KEY PRG GTR<br />
2915 Teakwood Drive<br />
<strong>Nashville</strong>, TN 37214<br />
Hm-(615)-491-6748<br />
Leonard S Wolf<br />
(Wolf Music)<br />
KEY PIA SYN<br />
#107<br />
9 Music Square, South<br />
<strong>Nashville</strong>, TN 37203<br />
Hm-(615)-254-4828<br />
Holiday Closings<br />
Member Status<br />
Reinstated<br />
Jeremy Abshire<br />
Stephen H Bassett<br />
Eddie Clayton Bedford<br />
John Douglas Billings<br />
Louis J. Caisse<br />
Michael Brandon<br />
Calderon<br />
Gary Scott Cohen<br />
Darin Lee Favorite<br />
Reeves Gabrels<br />
Sherrie D. Gibson<br />
Daniel Lenwood Groah<br />
Bruce Hayes<br />
Lucas Kieran Kane<br />
Peter Aaron King<br />
Sonny Lemaire<br />
Clifford Edward Long<br />
Robert W Mahon<br />
Jeremy Douglas Medkiff<br />
Bruce T Pearson<br />
Fred Thomas Satterfield<br />
Richard Alan Scruggs<br />
Daryle Bruce Singletary<br />
E Blaine Sprouse<br />
James R Threet<br />
Christopher Walters<br />
Rick W Wright<br />
Application revoked<br />
Jeffrey Allen Edwards<br />
Terry Alford Gage<br />
Mickey Dean Sanker<br />
Resigned<br />
Albert Donald Babyok<br />
John N Balut<br />
Scott Binkley<br />
Stacy B Hogan<br />
Adam Nagel<br />
Ferrell D Stowe<br />
Stephen M Taylor<br />
Tyler Thomas Unger<br />
Erich William Wigdahl<br />
Veteran’s Day: Friday, Nov. 11<br />
Thanksgiving: Wednesday, Nov. 23, noon – Friday, Nov. 25<br />
Christmas: Friday, Dec. 23 – Monday, Jan. 2, 2012<br />
Martin Luther King, Jr. Day: Monday, Jan. 16, 2012<br />
Nomination Meeting<br />
On Nov. 7, a nomination meeting will follow the general membership meeting,<br />
set to begin at 6 p.m. at the local. To be eligible for nomination, a member must<br />
be in good standing and have held full membership in AFM Local 257 for not<br />
less than twelve (12) months prior to the election, and during that said period,<br />
shall not have been found guilty of the violation of any of the Bylaws.<br />
33
Do Not Work For<br />
The “Do Not Work For List” exists to warn<br />
our members and other musicians about<br />
employers who, according to our records,<br />
have not paid musicians who performed<br />
work for them. We are stepping up our<br />
efforts to collect these debts and have a<br />
number of legal actions in progress, with<br />
more to come.<br />
TOP OFFENDERS<br />
These are employers who owe musicians<br />
large amounts of money and have thus<br />
far refused to fulfill their contractual<br />
obligations to the musicians who worked<br />
for them.<br />
Tommy Sims/Positive Movement<br />
Terry K. Johnson/ 1720 Entertainment (unpaid<br />
contracts/unauthorized sales - Jamie O’Neal<br />
project)<br />
Beautiful Monkey/JAB Country/Josh Gracin<br />
Eric Legg<br />
Dean Miller<br />
Casa Vega/Ray Vega<br />
Gregg Brown/Revelator<br />
Earworks Music/Jeff Teague<br />
Quarterback/G Force Music/Doug Anderson<br />
Rust Records/Ken Cooper<br />
Les Rakes/Sindy’s Inc.<br />
UNPAID CONTRACTS AND PENSION<br />
Accurate Strategies, Inc.<br />
Adagio Music/Sam Ocampo Big Three<br />
Entertainment<br />
Shy Blakeman<br />
Bottled Lightning/Woody Bradshaw<br />
Bull Rush Inc/Cowboy Troy<br />
Cat Creek Publishing<br />
Century Music/Art Ward<br />
Compass Productions - Alan Phillips and David<br />
Schneiderman<br />
Daddio Productions/Round Robin Records/Jim<br />
Pierce<br />
Summer Dunaway<br />
Field Entertainment Group/Joe Field<br />
Goldenvine Prod./Harrison & Darrell Freeman<br />
Greg Holland<br />
Home Records/David Vowell<br />
Hot Skillet/Lee Gibson<br />
Mark Hybner<br />
Katana Productions/Duwayne “Dada” Mills<br />
Kenny Lamb<br />
Line Drive Music<br />
Lyrically Correct Music Group/Jeff Vice<br />
MAK Music/Lawrence Mathis<br />
Matchbox Entertainment/Dwight Baker<br />
MCK Publishing/Rusty Tabor<br />
Marty McIntosh<br />
Morris Publishing Group<br />
Multi-Media<br />
On The Green/Kevin Beamish<br />
Anthony Paul Company<br />
RLS Records-<strong>Nashville</strong>/Ronald Stone<br />
Region One Records<br />
Shaunna Songs/Shaunna Bolton<br />
Singing Honey Tree<br />
Sleepy Town/David Lowe<br />
Small Time Productions, Inc./Randy Boudreaux<br />
Sound Resources Prod./Zach Runquist<br />
Spangle 3/Brien Fisher<br />
Sterling Production Mgmt/Traci Sterling Bishir<br />
Adam Tucker<br />
UNPAID — PENSION ONLY<br />
Travis Allen Productions<br />
Ascend Productions<br />
Jason Blaine<br />
Blue Canyon Music/G. Randolph Compton<br />
Jimmy Collins<br />
Conrheita Lee Flang/Chris Sevier<br />
Coyote Ugly/Jeff Myers<br />
Data Aquisition Corp./Eric Prestidge<br />
Derrin Heroldt<br />
Jessy Dixon Ministries<br />
FJH Enterprises<br />
Larry Ferguson/Ferguson Music<br />
First Tribe Media<br />
Jimmy Fohn Music<br />
Rebecca Frederick<br />
Goofy Footed<br />
FUNL Music/Tamara Alan<br />
Gospocentric<br />
Rick Gunn<br />
Heritage Records/Lew Curatolo<br />
Highland Music Publishing<br />
Honey Tree Prod.<br />
Howard Music Group<br />
In Light Records/Rick Lloyd<br />
Integrity Media Group<br />
Don Kreiss DBA Hope Joint Venture<br />
Pete Martinez<br />
Malaco<br />
Joe Meyers<br />
Jason Morales<br />
O Street Mansion<br />
Propel Music<br />
Reach Ministries<br />
Star Path Prod./Wayde Battle<br />
Steal Hearts Music, Inc.<br />
Stonehall Records<br />
Strange Child Records/Susan Toney<br />
Nathan Thompson<br />
Tin Ear<br />
Triumphant Quartet<br />
Roy Webb<br />
Whiskey Row<br />
Write It Lefty/Billy Davis<br />
AFM NON-SIGNATORY LIST<br />
We do not have signatory paperwork from<br />
these employers — pension may have<br />
been paid in some cases, but cannot be<br />
credited to the proper musicians without a<br />
signatory agreement in place. If you worked<br />
for any of these people and can provide us<br />
with current contact info for them, we can<br />
pursue this and make sure that get you<br />
your proper pension contribution for the<br />
work you have already performed.<br />
Allen McKendree (demo signature)<br />
Barry Preston Smith (Demo)<br />
Com Source Media (limited pressing)<br />
Coyote Ugly/Jeff Myers (Demo)<br />
Danielle Lauderdale (Demo)<br />
Elite III Records (demo signature)<br />
FJH Enterprises (phono/limited pressing)<br />
Gene Evaro (demo signature)<br />
Generator Music (demo signature)<br />
Ginger Lewis (demo signature)<br />
Honey Tree Prod. (demo signature)<br />
Hope Productions (demo signature)<br />
Jeffrey Green/Cahernzcole House (limited<br />
pressing)<br />
Jessy Dixon Ministries (phono)<br />
Jimmy Collins (Demo)<br />
Jimmy Fohn Music (demo signature)<br />
Journey Records (limited pressing)<br />
Malaco (demo signature)<br />
Maverick Management Group (phono/demo<br />
signature)<br />
<strong>Nashville</strong> Midnight Oil (demo signature)<br />
Nathan Thompson (limited pressing)<br />
PSM (limited pressing)<br />
Randy Hatchett (demo signature)<br />
Rick Henry (limited pressing)<br />
Robert David Stacy (demo signature)<br />
Ronnie Palmer (demo signature)<br />
Stage 7 Productions/Jerry Medkiff (limited<br />
pressing)<br />
Triumphant Quartet (phono)<br />
Allianz (demo signature)<br />
Blue Desert Music Group (phono)<br />
Caribbean Country Management (demo<br />
signature)<br />
Chariscourt, Ltd. (phono)<br />
Conrheita Lee Flang/Chris Sevier (demo<br />
signature)<br />
Data Acquisition Corp./Eric Prestidge (demo<br />
signature)<br />
Double J Productions/Tony Ramey (demo<br />
signature)<br />
Engelbert Humperdinck (demo signature)<br />
First Tribe Media (phono)<br />
Heritage Records/Lew Curatolo (demo<br />
signature)<br />
Joe Meyers (phono)<br />
KJ Entertainment (limited pressing)<br />
Labeless Records/Coy Ray/RPB Prod. (phono)<br />
MS Entertainment/Michael Scott (limited<br />
pressing)<br />
Matachack James (limited pressing)<br />
Peter Good (demo signature)<br />
Pitchmaster/Carroll Posey (demo signature)<br />
Quarterback/G Force Music/Doug Anderton<br />
(phono)<br />
Region One Records (limited pressing)<br />
Shy Blakeman (limited pressing)<br />
Starpath Prod./Wayde Battle (demo signature)<br />
The Pitchmaster (demo signature)<br />
Title tunes (demo signature)<br />
Travis Allen Productions (limited pressing)<br />
Domination Records LLC (Limited Pressing)<br />
Kurt A. Koble (Limited Pressing)<br />
Point To Point LLC (limited pressing)<br />
Sammy Harp Productions (limited pressing)<br />
Wade Spencer Ministries, Inc. (phono)<br />
Wowboy Music Group (demo signature)<br />
YTG 40/Lawrence B. Gottliebs (demo signature)<br />
Christopher Mortland (limited pressing)<br />
Cottageworks/Betsy Foster (limited pressing)<br />
44 West/Mike Welch (limited pressing)<br />
Francis X. Sullivan<br />
Jason Kerr Ministries - Don Goodman<br />
J. Carlos (limited pressing)<br />
Lance Productions (limited pressing)<br />
One G Productions (limited pressing)<br />
Roxanne Entertainment<br />
Taylor Productions (limited pressing)<br />
TBN, Paul Crouch (phono/video)<br />
34 October - December 2011<br />
The <strong>Nashville</strong> Musician
New This Fall<br />
Celebrating 25 Years of Service to the <strong>Nashville</strong> Music Community<br />
Apple Computers - Recording Software and Peripherals<br />
Seale Keyworks is now an Apple Value Added Reseller, specializing in computer music systems for<br />
Prosumers and Professionals<br />
Hosting Logic, Pro Tools, Sibelius and Finale User Groups - Call for Dates and Times<br />
Available Now<br />
Climate Controlled<br />
Rehearsal Space<br />
Instrument & Set Cart Storage<br />
Coming Soon<br />
Harpeth Mill<br />
Soundstages<br />
Audio and Video Production Facility<br />
Tour Support and Music Retail Center<br />
Seale Keyworks, Inc. 1121 & 1117 Harpeth Ind. Ct. Franklin, TN 37064<br />
615-370-8800 sealekeyworks.com sealekeyworks@comcast.net<br />
Providing Creative Solutions for the Williamson County Music Community