W i l l B a rr o w
B i l l y C u rri n g t o n
Riffs on The Rascals Official Journal of AFM Local 257 January– March 2014
On Life, Love, and the Power of a Song
January–March 2014 1
Join us for our
Nashville Musicians Association Life Member Party Thursday, Feb. 13 from 4– 6 p.m. 11 Music Circle North
Respond to Rachel Mowl at email@example.com or (615)244-9514 2 THE NASHVILLE MUSICIAN
content Official Journal of the Nashville Musicians Association, AFM Local 257 | January—March 2014
Details on the next membership meeting scheduled for Monday, Feb. 24, which will include a vote on two bylaw proposals; plus minutes of past meetings.
State of the Local
President Dave Pomeroy talks about positive changes in Local 257 and the AFM, and the importance of working on the card.
Secretary-Treasurer Craig Krampf discusses the history of the AFM and Local 257.
Reports on the ACA, CMA and AMA awards, Country Music Hall of Fame inductions, and more.
Local 257 Recording Director Steve Tveit talks about getting paid direct.
Ike Harris and Andre Reiss pick at the 111th anniversary party
Heard on the Grapevine
The notable comings and goings of Nashville Musicians Association members.
Member milestones, Local 257 events, and more.
Cover story: Loretta Lynn
Warren Denney talks to our life member Loretta Lynn about her iconic career.
Feature Interview: Felix Cavaliere
The leader of The Rascals grooves on the legendary band’s past, present, and future.
Record reviews for Garth Brooks, Will Barrow, Gordon Mote, and Billy Currington.
Jazz & Blues
February is guitar month as Shawn Purcell, Pat Metheny and Peter Bernstein all perform in Music City.
Symphony librarians make sure to keep the music playing.
14 Felix Cavaliere
We bid farewell to Leon Ashley, Nelson Larkin, Richard Jack “Turtle” Ross, Cal Smith, Robert Thames and Tommy Wells.
Do Not Work For list
Cover Photo by Russ Harrington
Photo by Joe Russo www.therascalsarchives.com January–March 2014 3
Announcements Next General Membership Meeting Monday, Feb. 24, 2014
O f f i c i a l Q u a rt e r l y j o u r n a l o f t h e n a s h v i l l e M u s i c i a n s A s s o c i at i o n AF M L o c a l 2 5 7
Publisher EDITOR managing editor ASSISTANT EDITORS
Dave Pomeroy Craig Krampf Kathy Osborne Leslie Barr Kent Burnside
CONTRIBUTING WRITERS Austin Bealmear Zach Casecolt Warren Denney John Lomax III Roy Montana Laura Ross Steve Tveit CONTRIBUTING PHOTOGRAPHERS Donn Jones Craig Krampf Micky Dobó Dave Pomeroy ART DIRECTION Lisa Dunn Design WEB ADMINISTRATOR Kathy Osborne Ad Sales Anita Winstead 615-244-9514 Local 257 Officers President Dave Pomeroy Secretary-treasurer Craig Krampf executive board Jimmy Capps Duncan Mullins Andy Reiss Laura Ross Tim Smith Tom Wild Jonathan Yudkin hearing board Michelle Voan Capps Tiger Fitzhugh Teresa Hargrove Bruce Radek Kathy Shepard John Terrence Ray Von Rotz Trustees Ron Keller Biff Watson
The next General Membership meeting will be Monday, Feb. 24, 2014 at 6 p.m. On the agenda are two bylaw proposals, printed below. There will be discussion on a number of important issues, including officer salaries. Please make plans to attend and get involved in the business of your local. Doors open at 5:30 p.m.
BYLAW PROPOSAL 1 – CHANGE IN PER DIEM FORMULA AND LANGUAGE Whereas, Delegates to the 2013 AFM Convention approved a bylaw change that more accurately reflects the cost of meals and incidentals when traveling outside Nashville; and Whereas, AFM per diem rates will automatically follow the established IRS rate; and Whereas, Local 257 normally treats per diem in the same manner as that established for the Federation; therefore, be it Resolved, That Article I: Officers and Committees - Duties of Officers: Compensation and Benefits, Sections 46, 47 and 50 be changed to mirror AFM policy as follows: Section 46. Compensation for the Office of President shall be the salary last determined by the membership. Whenever the interests of the Association demand his/her leaving the immediate jurisdiction (exceeding 90 miles) of the Local, he/she shall receive fifty dollars ($50.00) per diem at the applicable IRS rate and all hotel and travel expenses. Further, he/she shall be reimbursed for all accountable expenses incurred while attending to official business of the Association for which there is no other financial provision. He/She shall be allowed two (2) weeks paid vacation annually. He/She shall be allowed three (3) weeks paid vacation annually after ten (10) years of continuous service. Section 47. Compensation for the Office of Secretary/Treasurer shall be the salary last determined by the membership. Whenever the interests of the Association demand his/ her leaving the immediate jurisdiction (exceeding 90 miles) of the Local, he/she shall receive fifty dollars ($50.00) per diem at the applicable IRS rate and all hotel and travel expenses. Further, he/she shall be reimbursed for all accountable expenses incurred while attending to official business of the Association for which there is no other financial provision. He/She shall be allowed two (2) weeks paid vacation annually. He/She shall be allowed three (3) weeks paid vacation annually after ten (10) years of continuous service. Section 50. Elected Convention Delegates who are not full-time employees of the Local shall receive a salary of fifty dollars ($50.00) per day. They shall receive fifty dollars ($50.00) per diem at the applicable IRS rate and all travel expenses not allowed by the Federation. Submitted by Laura Ross – Executive Board Recommendation - Favorable
SErgeant-At-Arms Chuck Bradley Nashville Symphony steward Laura Ross Office Manager Anita Winstead Electronic Media Services Director assistant data entry Recording Dept. Assistant
Steve Tveit Teri Barnett Rachel Smith Lydia Patritto
director, live/Touring Dept. Leslie Barr and Pension Administrator Membership Coordinator & Rachel Mowl Live Engagement/MPF Coordinator Member Services/Reception Laura Birdwell @ 2013 Nashville Musicians Association P.O. Box 120399, Nashville TN 37212 All rights reserved.
nashvillemusicians.org 4 THE NASHVILLE MUSICIAN
BYLAW PROPOSAL 2 - NEW MEMBERSHIP CATEGORY - DISABLED MEMBERS Whereas, some of our AFM brothers and sisters have or will become disabled and are no longer able to work as a professional musician, and; Whereas, a disabled member may be unable to pay full Local Regular dues but may still want to remain a member of the AFM, be it Resolved, that Article II, Section 1, be amended to include as follows: NEW SUBSECTION Article II, Section 1E: “Disabled Membership”: Members in good standing in Local 257 for more than five years who are disabled and no longer able to work as a professional musician, can, with proper documentation of their medical diagnosis and yearly approval by the Local 257 Executive Board, pay Local dues at 33 percent of Regular Member rate. All other yearly assessments and per capita dues will remain at the regular rate. Submitted by Dave Pomeroy and Craig Krampf - Board Recommendation: Favorable
Announcements Minutes of the Executive Board Meeting, Monday, Sep. 10, 2013 Attending: President Dave Pomeroy, Secretary-Treasurer Craig Krampf, Jonathan Yudkin (JY), Laura Ross (LR), Jimmy Capps (JC), Tom Wild and Duncan Mullins (DM). Absent with excuse: Tim Smith and Andy Reiss. Pomeroy called the meeting to order at 9:11 a.m. Secretary’s Report MSC to approve the minutes of Aug. 12, 2013: TW and LR. Treasurer’s Report Krampf distributed the updated six-month financial comparison. Discussion followed. Krampf led the Board through the remainder of the financial report. MSC to accept the report: JY and DM.
President’s Report Pomeroy reported on the following: 1. AFM film negotiations: Pomeroy just returned from round number four of negotiations. The AFM and film industry are getting closer, but are still without a deal. Round five of talks will resume in October. 2. TNN: Negotiations are continuing and we appear to be getting closer to an agreement. 3. General Jackson: Negotiations will begin shortly. 4. Music City Roots: Pomeroy has been in discussion with them for some time attempting to arrive at an equitable method of payment distribution for musicians. 5. Musicians recorded parts being used on stage: It appears more of
Minutes of the Executive Board Special Meeting Monday, Sept. 24, 2013 Attending: President Dave Pomeroy, Secretary-Treasurer Craig Krampf, Jonathan Yudkin (JY), Tom Wild (TW), Duncan Mullins (DM), Andre Reiss (AR) and Tim Smith (TS). Absent with excuse: Laura Ross and Jimmy Capps. Pomeroy called the meeting to order at 9:03 a.m. Pomeroy explained that this was a special meeting called to approve the 2014 dues structure, therefore, there will be no president and treasurer reports. Proposed dues structure for 2014: A number of various dues scenarios were presented and discussed. MSC the following 2014 dues: AR and TS. Unanimously approved. 2014 Dues Breakdown $138.00.......Local Dues (Life member Local dues $34.50) *66.00........AFM Per Capita (Life member per cap $50.00) 15.00........Funeral Benefit Fund 27.00........Funeral Benefit Assessment 3.00........Emergency Relief Fund 3.00........Emergency Relief Fund (voluntary) 2.00........AFM Tempo Fund (voluntary) $254.00........Total 2014 Dues Regular Members (including $5 voluntary) $134.50........Total 2014 Dues Life Members (including $5 voluntary) * Note: A $10 increase in AFM per capita dues was approved at the AFM Convention. Reading of the minutes MSC to approve the minutes of Sept. 10, 2013 as amended: TW and DM. Unanimously approved. MSC to approve new members: AR and JY. MSC to adjourn: TW and DM. Meeting adjourned at 9:47 a.m.
this is taking place. We have recently worked out payment for this type of use with several acts. It is based on the AFM Pamphlet B touring scale. TW reported on his first AFM National Convention. He said it was an incredible experience to witness the unified and positive spirit of the AFM in action. MSC to approve new members: JC and TW. MSC to adjourn: LR and TW Meeting adjourned at 10:21 a.m.
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Respectfully submitted by Craig Krampf January–March 2014 5
State of the Local By Dave Pomeroy
“The encouragement and positive feedback we get from you let us know we are moving in the right direction, and we hope you will always remember that we work for you, not the other way around. We take that mission very seriously.”
It’s hard to believe it’s been five years since I was elected president of Local 257. Much has happened in that time, and I am very proud of what we have accomplished to make the Nashville Musicians Association more responsive and responsible to our members. It has been a huge growth experience for me on many levels, and I am grateful to everyone who has helped me along the way. The team we now have in place at the Nashville Musicians Association is the best we have ever had, and all the staff understands our main focus is to provide support and promote respect for musicians and the work they create. Your involvement and belief in our efforts gives it all context and meaning, and is greatly appreciated.
Unity brings change and a new direction The American Federation of Musicians is also very different today than it was in 2009. It is gratifying to see that the changes we brought to Local 257 helped pave the way for a major shift in attitude and direction on a national level in 2010. Being elected to the AFM International Executive Board has allowed me to help move the AFM’s focus away from the wasted energy of political infighting and back to our core mission — taking care of our members. AFM President Ray Hair and the IEB understand the importance of our work at this critical time in the music industry. There’s a new and im6 THE NASHVILLE MUSICIAN
proved sense of community in our joint efforts to solve problems, and with the increased funding voted in at the 2013 convention, we now have the resources to take things to a new level. It has been very rewarding to be a part of building a new synergy between working musicians and union leadership. Being an AFM member is something to be proud of, and we recognize the positive impact that the work of AFM members has on the world. With new business models sprouting like weeds, it is our responsibility to adjust and react to each new development with the best interests of all musicians always at the forefront. Our trip to Beijing in 2012 put the AFM at the cutting edge of intellectual property issues, and the new FAA regulations allowing musicians to carry their instruments onboard have been implemented and are making a difference in the lives of traveling musicians. This is the power of working together. We will always be stronger as a group than as individuals, but that doesn’t mean that you don’t have a voice. Your input is valuable and essential to keeping our mission on track.
Taking care of business In Nashville, we have had a long history of people doing the right thing and employing musicians under an AFM contract. This has not happened by accident. The main reason is that for many years, Nashville players have understood the value of working on the card, and have insisted on it. Most producers and employers with any history of working in Nashville get it too. Unfortunately, there are still plenty of people who don’t get it, and make promises
they have no intention of keeping. This is where proactive players make a difference. It is always best to take care of business on the front end, by making sure that the AFM signatory paperwork is in place. It’s not complicated and we can help you with it. Otherwise, all your work can be for nothing — literally. It’s not even like going the extra mile, it’s more like walking across the street to keep from getting hit by a car!
The Power of Music Music crosses boundaries, brings people together and changes lives. The work of countless Local 257 members has contributed greatly to the astounding growth of today’s Nashville. A prime example are the musicians of the Nashville Symphony, who have given greatly to our community for many years in so many ways. It has never been more important as it is now for all of us to support them as the NSO goes through a challenging period financially. Taylor Swift’s donation of $100,000 to the symphony in December speaks volumes about her belief in their importance to our community, and we all thank her for her generous gift. I urge all of you to support the symphony in every way you can. The encouragement and positive feedback we get from you let us know we are moving in the right direction, and we hope you will always remember that we work for you, not the other way around, and we take that mission very seriously. It is an honor to represent all of you. Until next time, keep the faith and let us know how we can TNM help you accomplish your goals.
New Grooves By Craig Krampf shall be considered a professional musician.” Within its first ten years, the AFM expands to serve the U.S. and Canada, organize 424 locals, and represent 45,000 musicians throughout North America. Owen Miller, the first president of the AFM, said in 1896: “The only object of the AFM is to bring order out chaos and to harmonize and bring together all the professional musicians of the country into one united progressive body.” Greetings, brother and sister musicians. During the past holiday season, it was almost impossible not to read articles, see shows on TV and postings in social media reflecting on 2013, and resolutions for the new year. It appears most of us have a natural tendency to reflect and resolve, so I thought it might be interesting to look back on the history of our union.
Timeline for the founding of the American Federation of Musicians (AFM)* An early attempt at organizing started with the New York City-based Musical Mutual Protective Union in 1878, which took the first steps to create and fix union scales for different types of music. 1886: Delegates from 15 protective unions form the National League of Musicians (NLM) to address issues of common concern to musicians. 1887: The American Federation of Labor (AFL) and the Knights of Labor begin inviting the NLM to affiliate with the Labor Movement, and are continually refused. The situation sparks a long and heated debate between different factions of musicians, namely the “silk hats” who preferred to be known exclusively as an artists’ organization, and the “stove polishers,” who believed that union affiliation was the next logical step in advancing the cause of working musicians. 1896: Pro-union forces within the NLM break ranks and request a charter from AFL President Samuel Gompers. At Gompers’ invitation, 31 delegates representing 21 locals, together with a representative of the NLM, meet in Indianapolis, Ind. A majority vote to form the American Federation of Musicians (AFM), representing 3,000 musicians nationally. They resolve its first Standing Resolution: “That any musician, who receives pay for his musical services,
A brief history of Local 257 Our local received its charter from the AFM Dec. 11, 1902. Eight Nashville musicians got together and decided the time was right to become affiliated with the AFM. Our original charter is framed and hangs in our boardroom, and if you would like to see it, simply ask. I didn’t know until I became an elected officer why our local was number 257. That number denotes our chronological place in joining the AFM. Cincinnati, by the way, is Local 1. Today we have approximately 2,400 members and are the third largest AFM local in the United States, after Local 802 in New York City, NY., and Local 47 in Los Angeles, Calif. Our members work in every creative aspect of music, from recording sessions, to live work in clubs, concert and festival venues, and symphonic halls locally and around the world. They are professors at universities and colleges, and also secondary educators. Our members teach private lessons, donate time to non-profit organizations, write music, produce, and some even work as elected officers of our local. We truly believe that our members are “The Finest Musicians In The World.”
Technology — past and present If you think about it, the mission of the AFM today remains essentially the same as when it began, though it has evolved over time and been transformed by various advancements in technology. For example, in 1927 the AFM had its first encounter with mass unemployment brought about with the release of the first talkie, The Jazz Singer. Eventually, some of these lost jobs were recovered when music soundtracks recorded under union contracts began in earnest during the 1930s. In 1937 AFM President Weber took
a strong stand against the recorded music displacing live musicians on radio and threatened a nationwide radio strike. He eventually negotiated a deal with radio network affiliates that required the networks to spend an additional $2 million on staff musicians. In 1944, as part of an agreement to end a temporary ban on recording, Presidents Petrillo’s efforts led to the AFM and the recording companies agreeing to create the Recording and Transcription Funds, now called the Music Performance Trust Fund. Advancements in technology are cyclical and can threaten jobs. We and the AFM must continue to adapt and search for positive resolution. In the last decade or so, we have had to come to terms with the Internet, music file-swapping, streaming audio, “virtual” orchestras, and more. Through efforts made by President Dave Pomeroy, there is now a scale for recording via the Internet, called the Single Song Overdub Scale; this scale has been adopted for use throughout the AFM. The AFM and Local 257 continue the fight to make sure musicians are paid whether in a virtual or offline setting, and continue to lobby for expansion of performance rights and piracy protection for musicians.
Epilogue Beyond technological strategies, our AFM leadership strives to continue to serve the membership by increasing efficiency, organizing new work, and staying available and focused on the needs of locals across the federation. It is Dave’s and my belief, and that of countless other union officers and members, that the AFM is stronger and more unified than ever. This attitude is also at the forefront at Local 257. We are here to help. Whatever you need or whatever problem you may be facing as a union musician, you can be assured that we will do all we can to help find a resolution. Together, we can achieve positive change for the betterment of all. We need to stick together, be pro-active union members, and live in the present, but prepare for the future head-on. *Courtesy of International Musician, Centennial Issue, October, 1996, American Federation of Musicians; The Performer and the American Federation of Musicians, George Seltzer, The Scarecrow Press, Inc., 1989; International Musician, July 2001; Professional Musicians Association Local 47 website. TNM January–March 2014 7
Local 257 Members Cowboy Jack clement and Bobby Bare inducted
Nashville Musicians Association life member Bobby Bare (left) was inducted to the Country Music Hall of Fame in October along with Kenny Rogers.
Local 257 members Bobby Bare and Cowboy Jack Clement were inducted into the Country Music Hall of Fame Oct. 27 in Nashville, along with singer Kenny Rogers. Bare and the late Clement, who died Aug. 8, were honored during a star-studded Medallion Ceremony with testimonials and performances. Some of those paying tribute included Rodney Crowell, Tom T. Hall, Kris Kristofferson, Buddy Miller, John Prine, Marty Stuart and Garth Brooks. Museum director Kyle Young said Tennessee native Clement “earned respect, admiration and affection as one of the most accomplished producers, songwriters, and entrepreneurs in the history of country music.” Prine recalled his visits to Clement’s Cowboy Arms Hotel & Recording Spa: “No matter how I was feeling when I went in there, I always walked out feeling like I was nine years old,” Prine said. Clement’s daughter Allison accepted the award, and spoke of the difficulty of giving a speech for a man with a thousand personas. She said the answer to this problem came to her in a dream, in which Clement told her he was right, there was music in heaven. Clement’s daughter concluded with one of his PHOTO: DONN JONES most well-known sayings about work8 THE NASHVILLE MUSICIAN
ing in the music business: “If you’re not having fun, you’re not doing your job.” In introducing Bare, Young said that the artist’s talents once led his former manager, Bill Graham, to describe Bare as the “Springsteen of country music.” Performances that honored Bare included Crowell singing “Detroit City,” and Kristofferson with “Come Sundown.” Tom T. Hall, who inducted Bobby Bare, recalled their meeting over fifty years ago, and the lifelong friendship
that resulted. He shared some tales of their exploits with the audience, and noting that he was 77 and Bare was now 78, said “It’s beginning to look like we’re going to get away with it.” Bare said of his honor, “This is a big, big deal. This is as far as you can go and as high as you can go.” Bare cited many who played roles in his success, and said “You can’t make it without them. It’s a combination of all the very talented people I have come in contact with and learned from. I’ve been blessed. The gods have smiled on me. I’m just a singer, that’s all I am. But ain’t I something?” The all-star house band included drummer Eddie Bayers, electric guitarist J.T. Corenflos, Mike Johnson on steel guitar, bassist Michael Rhodes, Deanie Richardson on fiddle and mandolin, and Biff Watson on acoustic guitar. The night concluded with Hall of Fame members and the evening’s performers singing “Will the Circle Be Unbroken?” Considered country music’s most prestigious event, the Medallion Ceremony represents the official induction of new Hall of Fame members. The private celebration was the first held at the expanded facility’s CMA Theater.
Allison Clement, Cowboy Jack Clement’s daughter, spoke at his CMHOF induction.
AWARDS Shows Blake Shelton
Blake Shelton on a ROll Taylor Swift
Taylor Swift AMA Honoree, Gives Back Local 257 member Taylor Swift who made the news in December with her $100,000 donation to the Nashville Sympony, scored four awards at the 2013 American Music Awards, held last November in Los Angeles. In addition to the night’s top honor, Artist of the Year, Swift won Favorite Album for RED, Favorite Female Artist, Country, and Favorite Female Artist Pop/Rock.
Nashville Musicians Association member Blake Shelton continued his awards streak for 2013 with multiple wins at the American Country Awards, held in Las Vegas in December. Shelton was honored with Album of the Year for Based On A True Story… and Single of the Year, Music Video of the Year, and Music Video of the Year — Male, for “Sure Be Cool If You Did.” Other AFM Local 257 members who were honored include Taylor Swift and Keith Urban along with Tim McGraw for the collaboration “Highway Don’t Care” which won for Single of the Year: Vocal Collaboration, and Music Video of the Year: Group Collaboration. Finally, Swift was presented with the first-ever Worldwide Artist Award, which recognizes a country artist who has achieved global success.
Mac McAnally awarded CMA Musician of the Year, his sixth consecutive win in that category Local 257 member Blake Shelton made history at the 47th Annual CMA Awards, as he and his wife, Miranda Lambert, became the first married couple to win top honors as CMA Male and Female Vocalist of the Year four years in a row. Shelton was also awarded Album of the Year along with producer Scott Hendricks for Based on a True Story. Other local members who were awarded include guitarist Mac McAnally as Musician of the Year, his sixth consecutive win in that category; as well as Taylor Swift and Keith Urban for their work with Tim McGraw for the video “Highway Don’t Care,” which was awarded as Musical Event and Music Video of the Year. TNM Mac McAnnally January–March 2014 9
recording By Steve TVEIT
Getting Paid Direct When we look over our 2013 records for unpaid or late contracts we find the main offenders are once again independent artists and companies. Interestingly, most have well-established relationships with musicians over the last few years. If they don’t have the money available the day of the session — chances are good they may have a problem later as well. When pressed for payment a variety of excuses are usually given: n n n n n
The financial backer pulled out The producer is in the hospital The artist is in the hospital The artist’s cat is in the hospital The players are friends of mine and I have paid them so much in the past, I’m sure they won’t mind if I’m late n We are waiting for a label to pick up the project and pay everyone Okay — all but one of these excuses we have actually heard. We strongly encourage you to request getting paid direct for independent projects whenever you can. If TNM after any session you have concerns, give us a call immediately.
For more information on being paid direct, please contact Steve Tveit at 244-9514, ext. 238, or email him at email@example.com
Remembering Ray Price By Zach Casebolt People — particularly fellow Nashville musicians — always ask me what it is like to be a Cherokee Cowboy with Ray Price. I could never appropriately answer that question for fear of being misunderstood, but the real answer is it was hard on you. A lot of things were frustrating. A lot of times things were hilarious. A lot of times you felt like the city you loved and the music you loved had turned its back on you. Sometimes not everyone made it home. One thing that always stuck out in my mind is that every audience member I talked to had the same thing to say about the shows. They were the greatest concerts they had witnessed — ever. The dichotomy between my experience in the band and the public’s experience is beginning to make a great deal of sense as I reflect on the death of Ray Price. I am now an artist. Ray Price taught me what that means. Without telling us what he was doing, he gave us Cherokee Cowboys the greatest lesson in music and made damn sure we understood it. When the first chunk of “Crazy Arms” rang out in the arena or the concert hall or the dirtiest of honky tonks, people weren’t hearing a great shuffle or amazing fiddle playing or even the best voice in the busi10 THE NASHVILLE MUSICIAN
ness; they were hearing loneliness. When they heard “The Other Woman” they heard the indiscretions in their own lives. And, when they heard “For The Good Times” they heard redemption. I believe Ray was a great and beautiful mirror into the hearts and souls of all who would listen. Each of us was entrusted every night with helping Ray convey those things to an audience. In so doing it was essential we speak from a place of honesty. The years I spent with Ray Price were some of the most raw and stormy and fateful years of my life. I think he saw that in a musician. We all entered this band a little lost. We were the outcasts, the smart mouths, the badasses,
the kid geniuses, the hurting alcoholics, the forgotten. We were also the best. Period. Regardless of the clothes we wear, what our bodies look like or if we even have hair, we were chosen to tell the great American tale. In so doing we became artists. This music became transcendent. We could see these songs in our lives, as could you. We could share those experiences and relate to an audience on a level for which the English language has no word. I worked for the chief of country music for a little over 2000 days. Not once did I hear him talk of trucks or tequila shots or tailgating or ice cold beer. He spoke of love and life and people and family and the significance of being a good person and an honest person and — what struck me most — the importance of saying something that matters to people with these musical gifts. I don’t know where my road leads to now. But I know that because of the lessons Ray Price and The Cherokee Cowboys taught me I know how to play music. Thank you Ray Price.
Heard on the Grapevine Annual Room In the Inn Christmas Fundraiser Dave Pomeroy’s 14th annual Nashville Unlimited Christmas fundraiser for the Room In the Inn homeless program at Christ Church Cathedral was the most successful ever, raising more than $30,000. The concert finale featured the Nashville Mandolin Ensemble, led by Matt Combs (far left) and guests including (l – r) Richard Smith, Pat Bergeson, Pomeroy, Paris DeLane, John Cowan, Eli Bishop, Kathy Mattea, Annie Sellick, Chip Esten, David Spicher, Pete Huttlinger and Bill Cooley performing “Silent Night.”
Cash Album to be released in March A newly uncovered album from the late Johnny Cash will be released in March. The Local 257 life member recorded Out Among the Stars in the early ‘80s with producer Billy Sherrill. The album was never released and then disappeared when Columbia Records dropped Cash in 1986. Fortunately, Cash had stashed the tapes, which were discovered last year. The 12-track album includes a duet with Waylon Jennings and two with Cash’s wife, June Carter Cash. Several well-known Local 257 musicians played on the project, including Marty Stuart on guitar and mandolin, Jerry Kennedy on guitar, Pete Drake on steel guitar, Hargus “Pig” Robbins on piano, and on bass, Henry Strzelecki. The recordings on Out Among The Stars first surfaced when John Carter Cash was cataloging his father and mother’s exhaustive archives in Hendersonville, Tenn., and at the Sony Music Archives. “When my parents passed away, it became necessary to go through this material,” he says. “We found these recordings that were produced by Billy Sherrill in the early 1980s…they were beautiful.” Cash, along with co-producer and archivist Steve Berkowitz, enlisted several musicians, including Marty Stuart, and Buddy Miller to collaborate in restoring the record. Johnny Cash died in 2003 at the age of 73.
John Prine Special spotlight exhibit at CMHOF Iconic singer/songwriter John Prine will be the subject of a special spotlight exhibit at the Country Music Hall of Fame. John Prine: It Took Me Years to Get These Souvenirs, will incorporate instruments, manuscripts and other relics spanning
Heard on the Grapevine Prine’s four-decade career. The exhibit will trace Prine’s life from his early musical influences to events of his acclaimed career. Prine, a native of Illinois, began playing guitar at age 14, and after a stint in the U.S. Army, started writing songs while working as a postman. In 1971, Kris Kristofferson heard him perform and helped Prine land his first record deal. That debut self-titled album included “Hello In There,” “Paradise,” and “Angel From Montgomery,” songs which all became beloved classics, and which were also recorded by Bette Midler, the Everly Brothers, and Bonnie Raitt, respectively. The album also included “Sam Stone,” whicn critic Roger Ebert called “one of the great songs of the century.” In 1980 Prine moved to Nashville, and in 1991 The Missing Years earned Prine his first Grammy for Best Contemporary Folk Album. Another Grammy followed in 2005 for Fair & Square. Some of the items in the exhibit are Prine’s first guitar — a 1960 Silvertone Kentucky Blue archtop — handwritten lyrics, doodles, awards, and concert posters. The exhibit opened Nov. 15 and will run through May 2014.
Oates and Tallent to be inducted into the Rock and Roll Hall of Fame
Local 257 members John Oates and Garry Tallent will be inducted into the Rock and Roll Hall of Fame. Oates will be recognized along with his partner Darryl Hall for his work in Hall & Oates, and Tallent as part of the E Street Band will receive the Hall of Fame’s Musical Excellence award. The ceremony is scheduled for April 2014 at the Hall of Fame in Cleveland, Ohio. Photos by (l) Juan Patino (r) Bob Delevante TNM January–March 2014 11
Tradition, Education, And Celebration at local 257 1. Dan Huff brings his son, drummer Elliott to join Local 257, which makes three generations of members in the family, including Danâ€™s father Ron, an arranger.
2. Multi-instrumentalist Paul Kramer receives his Local 257 25-year pin.
3. Local 257 members volunteer for the Metro Schools Career Fair. L-R Tiger Fitzhugh, Ray Von Rotz, Jenee Fleenor, Tim Smith and Shannon Williford. 4. Bluegrass team Eddie and Martha Adcock receive 25-year member pins at the 111th anniversary party.
5. Longtime friends guitarist-fiddler Tom Campbell and drummer Mike Streeter, receive their life member pins together.
4. 12 THE NASHVILLE MUSICIAN
Gallery 1. Andy and Rachel Leftwich relax before Three Ring Circle’s performance at the Local 257 111th Anniversary party.
2. Save The Music America (STMA) Day was proclaimed by Nashville Mayor Karl Dean and Governor Bill Haslam on Dec. 5. STMA’s mission is to educate the public about music piracy. (L-R) STMA Executive Director Mark Dreyer, Craig Krampf, NSAI Executive Director Bart Herbison and STMA board member Barry Shrum.
3. Drummer Ken Sanders receives his Local 257 life member pin and congratulations from fellow drummer Craig Krampf.
Congratulations to local 257 Life Memebers
4. Bassist-arranger Sam McClung celebrates his AFM life membership with Dave Pomeroy.
5. After receiving his life member pin, William Buck serenaded the local with holiday songs.
January–March 2014 13
the path with heart by Warren Denney
Photo by Russ Harrington 14 14 THE THE NASHVILLE NASHVILLE MUSICIAN MUSICIAN
When Loretta Lynn was awarded the Presidential Medal of Freedom this past November in a ceremony held in Washington, D.C. at the White House, President Barack Obama was confirming what the country singer’s fans around the world already know — that she is an American original who has made her home a better, stronger place to live. The award is the nation’s highest civilian honor, reserved for those who have done just that, either through contributions made to the country’s national interests, to world peace, or through significant cultural endeavors. In reality, Lynn qualifies on all fronts. She took her place onstage among luminaries such as former president Bill Clinton, jazz musician and composer Arturo Sandoval, women’s rights activist Gloria Steinem, tastemaker Oprah Winfrey, former Chicago Cubs great Ernie Banks, and the late astronaut Sally Ride, among others. Sixteen civilians were so honored, and all have their own unique story, but few can rival the one lived by Butcher Holler’s own. “That’s quite a deal, wasn’t it?” Lynn said recently, from her home near Nashville, referring to the award. “I couldn’t have dreamed something like that — I could have never dreamed I could have [even] been a singer, you know.” Strange words, you might think, from the woman who was named the CMA’s Female Vocalist of the Year in 1967, 1972, and 1973, and who, in 1972, became the first woman to win the CMA’s Entertainer of the Year. Additionally, she and Conway Twitty were the CMA’s Vocal Duo of the Year in an amazing run continued on page 17
A shoestring and sheer will brought her to Nashville. That, and the heart of a song.
continued on page 16 Januaryâ€“March 2014 15
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from 1972 through 1975. Lynn, a Nashville Musicians Association life member who joined the local in 1962, was elected to the Country Music Hall of Fame in 1988, and received a Recording Academy Lifetime Achievement Award in 2010. But her words are not so strange when you consider the journey. Though the life of this Kentucky girl — this “Coal Miner’s Daughter” — is well-chronicled through her best-selling autobiography, hit song and album, and the acclaimed film, all of the same name, it remains a story that, frankly, might never have been told, the odds were so great against it. It is the quintessential story of the American dream, and dreams were not necessarily the currency of the working poor in the mountains of Eastern Kentucky. She was born Loretta Webb, one of eight children, in a simple cabin in those hills, after all. “I never dreamed of ever singing [for a living],” Lynn said. “I’d sing at home, rocking these babies, rocking my brothers and sisters to sleep. I would sing and sing, and one day Daddy came out onto the porch and said ‘Lorrie will you hush that big mouth? People all over this holler can hear you!’ “I said ‘Daddy – who cares? They’re all my cousins.’” Laughter all around. Her humor, along with an honest, unassuming manner, is a Loretta Lynn trademark, of course. But, so is a toughness, grit and determination that is beyond compare, one that springs from a life lived openly and unadorned — and on the edge. It is Appalachian. It is country. It is Nashville. And, it is a life that literally bridges this town’s Golden Age to present day. In 2003, Lynn received the distinguished Kennedy Center Honors for her lifetime contributions to the arts, and her 2004 release on Interscope, Van Lear Rose, produced by Jack White, was named the Americana Music Association’s Album of the Year, and earned her the association’s Artist of the Year, as well. Today, the timeless Lynn is still working hard, performing, recording some new material (including a new religious album soon to be released), and writing. She has also revisited her legacy. For the past four years, she has been rerecording her hits with John Carter Cash producing. 16 THE NASHVILLE MUSICIAN
“I’ve got 90-something things cut,” Lynn said. “I’ve got all the No. 1’s cut and the Top Fives. I’ve cut all them over, and then I’ve added some new stuff. “I have heard something different in there when I hear them again. I like to get that old banjo sound and that fiddle sound – that folk sound as you call it. But, it’s nothing but country.” As a young girl, Lynn had played around with writing songs, but had no outlet, and her life was cut to fit the pattern of those around her. Life in the mines drove the region, and to get married and have children was a way of survival, for women and their families. “I never had relatives that played [music],” Lynn recalled. “We sang in Sunday school. We went to Sunday school in a little one-room schoolhouse, you know. It wasn’t no big deal. I married so young. I never was thinking past that [being a wife and mother], and by never thinking past that, that I would be anything else.” But, after her marriage to Doolittle “Mooney” Lynn in 1948, she received encouragement, albeit intertwined with life’s hard knocks. “I tried to write songs when I was 13 or 14 years old,” Lynn said. “I would put verses together, you know, and try to write songs. I never got serious about it until Doo figured out I could sing. That’s how I started writing.” To improve his prospects, Mooney moved with his young wife to the Pacific Northwest, settling into Custer, Wash., just south of the Canadian border, for millwork. There, Lynn worked hard to manage her struggling household, and had four children by the time she was 21. “And Doo come in and catch me rocking the babies to sleep. So he thought I could sing,” she said, laughing. “I lived out there [a long time] before I ever started singing. Doo got me, for one of my birthdays, one of these little old 19-dollar guitars. Well, you couldn’t keep it in tune and it started bowing up, you know, and I learned to play on that thing. “That’s how it started and we went to a dance one Saturday night and it was really different for me because I never got to really go anywhere, you know. There was a four-piece band there and he told
them that ‘next to Kitty Wells, she’s the best.’ They let me sing and, of course, he pushed me out on the stage and the band was trying to keep from having to work behind me. It was a very embarrassing situation for me. So I tried to sing ‘Tennessee Waltz.’ I got about four or five lines out and I couldn’t remember the song!” What had proven embarrassing for Lynn was actually the birth of one of country music’s most celebrated careers. Soon, she was performing with local bands and formed one of her own. She caught the attention of Zero Records in Vancouver, Canada, and the label sent her to Los Angeles to record four songs. “Doo thinks I can do it, so I’m going to show him I can,” Lynn said. And, with the opportunity, she began to test herself as a songwriter. “That was the way I felt, and I started writing my own songs. When I was on Zero, the little label that recorded me on the west coast, I wrote the whole album.” She and Mooney took those records and mailed many of them out before hitting the road to Nashville with a load of them in their car. “Well I wrote my first [hit], “I’m a ‘Honky Tonk Girl’” on Zero Records,” she said. “Zero didn’t know how to get them out to the people, and I didn’t know either. I took about 400 or 500 of them in my trunk, and we was going around to the radio stations and that was all we had. The record. The disc jockeys really played the devil out of it.” Through those efforts, “I’m A Honky Tonk Girl” hit No. 14 on the country charts. The scenario represents a foreign landscape to labels and artists today, with corporate walls surrounding radio, and with star-building machinery often pumping close to a million dollars into a chosen performer before even hitting the ground. But, it was that hit, earned with her real sweat, that landed her first Grand Ole Opry appearance in 1960. A shoestring and sheer will had brought her to Nashville. That, and the heart of a song. Today, when Lynn reflects on her artistry and her career, she considers the lifeblood of a song as the holy grail. And the woman who penned such potent classics as “You
Ain’t Woman Enough,” “Don’t Come Home a-Drinkin’ (With Lovin’ On Your Mind),” “Fist City,” and of course “Coal Miner’s Daughter,” is still drawn to the flame today. “If you’re good enough and you can write a hit song, and somebody hears it — I think the song is over half the deal,” Lynn said. “You’ve got to have a song. I’ve been working so doggone much I’ve laid off the writing, but I miss it. I’d rather write than sing. “So, I really think the writing is more important than the singer. That’s where it’s at. How you feel and how you come across with a song. And I think if you write it, you feel it. When you sing it you feel like you’ve lived it. I think this is where it’s at.” Shortly after arriving in Nashville, Lynn met the Wilburn Brothers, Teddy and Doyle; they made her a part of their touring show, and she became a regular on their television series. Doyle Wilburn secured her release from Zero, and convinced the legendary Owen Bradley and Decca Records to sign the raw and burgeoning star. Under Bradley’s guidance, in the fabled Quonset Hut, the two began to craft her true stardom. Owen’s brother Harold, a Country Music Hall of Fame member himself, played a Danelectro six-string electric bass as part of Nashville’s legendary A-Team on all of her hits. He remembers Lynn’s arrival on the scene very clearly. “I met her at the first session she recorded for Decca,” Bradley said recently, from his home. He served as president of AFM Local 257 here for 18 years, and as the AFM’s international vice president for 10 years. “I remember that I was impressed very strongly with how honest and how sincere she was. So after the session I went into the control room, and I told Owen ‘I don’t know what it is about that woman but whatever it is that’s in her heart comes out of her mouth.’ “And Owen said ‘That’s why I signed her, because I thought she was sincere.’ “She is absolutely guileless, everything was so straight ahead with her. No deception. She is what she is. She’s a wonderful person.” continued on page 18
Medal of Freedom Ceremony
So, I really think the writing is more important than the singer. That’s where it’s at. How you feel and how you come across with a song. And I think if you write it, you feel it.
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Lynn placed herself in Owen Bradley’s hands, and within a couple of years had found some success on the charts, but it wasn’t until 1966 with the No. 2 hit “You Ain’t Woman Enough,” and in 1967 with the No.1 “Don’t Come Home a-Drinkin’ (With Lovin’ On Your Mind), that her career soared. Also, she had her twins during this time, and somehow managed to raise the six children with Mooney, even as she found herself as an artist. “I thought he [Owen] was the greatest producer that ever lived,” she said. “He would bring me into the control room and tell me that I needed to sing certain lines the way he thought best. Owen Bradley was like my father. I admired him so much. “I trusted Owen. I didn’t even think about it. Who could I turn my career over to that was better?” According to Harold, his brother had great faith in Loretta, and a great love for her artistry. “I kind of realized after that first session that she had something,” he said. “And when she started having hits you realized the artist was there. She just got more confident as we went along because Owen was like that, and he really loved his artists and she really admired him because he always told her the truth — and sometime truth hurts. He did that with all the artists. He would always tell the artist what was happening, the truth about a song or what needed to happen, you know. “My brother, I never heard him tell anyone how to sing. He was willing to let the artist perform and take whatever it was that they were bringing to the table. What Loretta brought was a real, sincere, honest sound. Delivering the song. Very 18 THE NASHVILLE MUSICIAN
believable. Really, it’s what a song is. It’s storytelling. She really had a great way of making you listen and she wrote some really great songs … she had 10 or 12 verses to ‘Coal Miners Daughter’ and it broke her heart to take any of them out. It was her life. She just puts her heart and soul into every song — it’s just all out, you know.” What followed was a career that included 16 No. 1 hits, and 51 Top Ten hits, the stuff of legend. Over a course that has touched six different decades, Loretta Lynn has forced us to look at ourselves in a way that only true artists can. And, her influence on performers who followed cannot be overstated. Her long shot life meant hope for thousands of dreamers. Larry Cordle, best known for the hit songs “Murder On Music Row” (CMA 2001 Song of the Year) and “Highway 40 Blues” (a No. 1 hit for Ricky Skaggs), grew up in Eastern Kentucky, 25 miles from Loretta Lynn’s home, and just a mile down the road from Skaggs. Lynn recorded the song “Country In My Genes,” which Cordle wrote with Betty Key and Larry Shell, released on her 2000 album Still Country. Cordle shakes his head when he considers her career. “People like Loretta … had a big impact on me because even though they were a generation before me, I knew how they were raised,” Cordle said recently. “If you go to Appalachia, it don’t change like here does. I knew Loretta was raised harder than me, she had it far worse than me, and she got there somehow. “I’m not sure you could do what she did now. By sheer grit and determination. They weren’t going to take ‘no’ for an answer. Now, you know, you kind of walk in there with a bankroll.” Cordle, of course, is lamenting the present day that has little room on the big stage for those who would follow in Loretta’s footsteps. “Loretta is such an original,” he said. “She’s a legend, man. I don’t think you can do what she did. I don’t know one soul. She came out of a generation where it was ‘Hey man, it’s just about the music, and that’s what it was all about.’” Lynn knew somehow that if the life she led, and the lives of those around her, was expressed honestly in song, it would resonate with country music fans.
The courage to express herself came naturally, and she didn’t waiver once she set her course. She either literally was — or could become so through her writing — the characters in her songs. “I never did doubt myself,” she said. “I never doubted myself. I just jumped into writing. I think that’s it. I didn’t look at it that way [needing confidence]. I just did it. When I wrote “I’m a Honky Tonk Girl,” I’d never been out of the house you know. I had four kids by the time I was 21, so naturally I was tied down at home. So when I wrote “Honky Tonk Girl,” I talked to a girl I was picking strawberries with. I’d take all the kids out to the strawberry fields and I’d pick strawberries. She was telling me that her husband had left her, and she had nine kids. She had turned into a pretty loose woman, and I didn’t know what a honky tonk girl was hardly, so I had to figure it out myself. “That was the hardest thing for me to do then, was to figure out what a honky tonk girl was, and to be that girl until I got through with that song.” This, then, is the heart of the matter. Loretta Lynn has always been able to become who we all are. Good, bad, or ugly. And, through those songs, has made us confront ourselves, and our private lives. Rich or poor doesn’t matter. And, country or not, you have a life behind closed doors. “Well you have to live that song while you’re writing it,” Lynn said. “You’ve got to set your mind, and be that person until you get through that song. That’s the way I did it. And even the songs I didn’t have my name on, I worked them where it was gonna sound like me. That’s what you have to do. “I do it today. When I get ready to write, I lock myself into a room. I don’t want nobody bothering me. I don’t want nobody knocking on the door. I want to be left alone until I get through. It’s life, it’s everyday living. That’s all it is. That’s what country music is all about.” And, it’s about one woman knocking down doors herself, and beating the odds. It’s about becoming someone important enough to American music that she would receive the nation’s highest civilian honor. It’s about Loretta Lynn. TNM
Rascals 2012 at Capitol theater Photo courtesy Joe Russo www.therascalsarchives.com
the leader of The Rascals, originally known as The Young Rascals, Felix Cavaliere is responsible for some of the most memorable music in pop history. His soulful vocals and keyboards were the driving force behind timeless hits like “Lonely Too Long” “Beautiful Morning,” and “Groovin,’” that are still played on the radio today. Cavaliere guided the Rascal’s evolution into the FM radio and album era with groundbreaking albums like See and Peaceful World/Island of Real that stretched the boundaries of pop, rock, soul, and jazz. In 2013, The Rascals reunited for the first time in decades with a hit Broadway show Once Upon A Dream. and subsequent tour. A longtime Nashville resident, Cavaliere continues to write and record, and tours with a band that includes Local 257 members Mike Severs on guitar, drummer/vocalist Vinnie Santoro and bassist Mark Prentice, who also served as MD for The Rascals reunion show. Dave Pomeroy and Craig Krampf talked to Cavaliere for the Nashville Musician recently, just after the conclusion of The Rascals reunion tour.
(L-R) Eddie Brigati, Gene Cornish, Dino Danelli, and Felix Cavaliere continued on page 20 January–March 2014 19 January–March 2014 19
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“I can remember hearing piano players like Ray Charles, Fats Domino and Jerry Lee Lewis for the first time, and thinking ‘What Rascals 1968 receiving gold record with Felix's father Photo courtesy Joe Russo www.therascalsarchives.com
NM: Did you grow up in a musical family? FC: There were no musicians in my immediate family, they were mostly medical people, and my mom was a pharmacist. She recognized something in me and enrolled me in a serious music school when I was five. It was three days a week for eight years, and I really got trained. Everything I did, I was being corrected by somebody! One of the reasons it didn’t sit that well with me was that I couldn’t create, I could only play what was written on the page. NM: What happened to change your direction? FC: In 7th grade, when someone asked me, “Do you like rock & roll?” I didn’t even know what he was talking about! I only knew standards and classical music, and at a school like that, they kind of kept you away from other kinds of music. It was an epiphany! I can remember hearing piano players like Ray Charles, Fats Domino and Jerry Lee Lewis for the first time, and thinking “What is that!” I had never heard anything like it. I had an uncle who showed me this progression on the piano that we would call boogie-woogie and I discovered I could play any melody with this boogie-woogie background. After a while some high school guys heard me and asked me to join their show band. They had horns, charts and fake books, and after a while they started featuring me in the middle of the show doing a rock & roll segment, which we ended up becoming best known for! It was pretty cool, and I’m still in touch with some of those guys. 20 THE NASHVILLE MUSICIAN
is that!’ I had never heard anything like it.” NM: When did you discover the Hammond organ and bass pedals? FC: A friend took me to an R&B club called the Three Fourths to see a band called The Mighty Cravers. The organ player was kicking bass pedals and singing, with a sax player and a drummer. Man, it was the coolest thing I’d ever heard in my life, and I went on a quest to find a Hammond organ. The only place you could get one was Macy’s, so I schlepped to New York City, and they had a whole room dedicated to Hammond organs. The salesman was Mr. Silverstein. He knew I couldn’t afford an organ, or even the pedals, but he let me go in and play. He really inspired me instead of kicking me out, and I’ll never forget that. It was like a shrine, the benches and the big brown Leslie box that I didn’t even know how to turn on. Every couple of weeks I would go in and play and check them out. Years later, he came to see me play with the Rascals. That was cool. NM: What happened next? FC: My mom had passed, and the heat was off for me to be a classical musician. I was at Syracuse University and I put together a house band that played all summer in the Catskills, doing a lot of different kinds of music, and we had a ball. I really got the bug. Then I went to Europe with Joey Dee and the Starliters, and we worked with the Beatles. They opened up for us in some places and headlined in others, and I remember thinking, “this isn’t that hard, I can do that!” So when I got home I put together the band that became the Young Rascals. I had met Eddie Brigati through his brother Da-
vid who was with Joey Dee, and Gene Cornish was trying to make it down in New York City, and my ex-wife introduced me to Dino Danelli, and I said “Hey let’s give it a shot!” NM: What was the musicial concept behind The Rascals? FC: I had a simple idea for a sound, starting with having a great drummer rocking the place to smithereens, with great vocals and great music. At that time there wasn’t a bass player around who seemed to fit, so I started using the bass pedals. We got a house band gig at The Barge in the Hamptons, and people started to come hear us, like Phil Spector and all these folks from different record labels. We got a deal with Atlantic within six months of starting the band, and convinced them to let us produce ourselves. NM: Wow, that’s incredible, especially for a new band at that time in the music business. FC: We just said, “If you like how we sound, let us do it ourselves.” To this day, we still have autonomy with whatever happens with our product. We had the most amazing team to work with in the studio – Tom Dowd and Arif Mardin. Good luck or whatever you want to call it, from the first day, it was like I passed away and went to heaven. I knew Tom Dowd from all the Atlantic records he had engineered. Arif was a find and a half. He knew everything about every genre of music you can think of. You could throw anything at him, and he knew it already and he had an enthusiasm you just can’t buy. We covered obscure R&B songs that
“For me, it’s been an amazing life. I’m doing what I always wanted to do, and I’m the happiest guy in the world. I just want to keep making music. This isn’t work, this is joy!” Felix 2013 at organ Photo by Joe Russo www.therascalsarchives.com
no one had heard of. Arif and I would work on the arrangements together. It took a long time for Atlantic to realize how special he was. NM: What role did the AFM play in your career? FC: It was important to me from the beginning to be a union member. In New York City, you’re not working if you’re not in the union. It ain’t gonna happen. You want to work in a club, you join the union. Period. Walking through the halls of the Local 802, you would run into people who were your musical heroes all the time. Not just players, real musical giants who you respected. I figured if it was good enough for them, it was sure good enough for me. It’s like this — if you want to cross the bridge you gotta pay the toll! NM: Eventually you started using additional musicians on the records, what was behind that move? FC: The sound of the records began to change, and Gene had actually played bass on some of the early stuff. Atlantic gave us unlimited studio time, and suggested that some of the guys from the label in the King Curtis band would like to do some session work with us. So here’s Chuck Rainey coming in to play bass. He was amazing, not only was he a gentleman from head to toe, he played stuff we could never do with bass pedals. We brought in a few so-
loists like Hubert Laws and King Curtis to play on some songs and they were incredible, too — true genuises. I was honored to have them on our records and it exposed them to a new audience. Atlantic was like a family, not a corporate entity. NM: How did the increased social awareness of the late ‘60s inform your musical direction in songs like “People Got To Be Free”? FC: It was a time of changing consciousness and civil rights, and we were able to make a difference. Because we were having crossover hits on black and white stations, we could do what we wanted to some degree. We were in a position to insist that if you wanted to book The Rascals, you had to book a black opening act. Music is still the universal language and always will be. We can still play these songs anywhere and people relate to our music. NM: What brought you to Nashville? FC: Music and all the music people down here. I came down here to check it out, and I kept running into people I knew — John Kay, and others — and they all said this is the place, and I moved here in 1988. I wanted to be a part of the songwriting community, and not have to be on the road forever. This is still the best place in the United States to make music. I’ve made a couple records with Steve
Cropper, and love working with all the great musicians down here. NM: How did the reunion tour come about and will the Rascals make any new music? FC: In 2010, Steven Van Zandt, longtime guitarist for the E Street Band, called me and asked the original Rascals to do a benefit show in New York. We hadn’t played together since 1997 at the Rock and Roll Hall of Fame induction. The benefit went well and so Steven worked really hard to put the whole production together with great sound, a 50-foot screen and lights. We took the show to Broadway, then on the road and back to Broadway. After 70 shows, Dino was playing like he was 16 again! It was a great show, we all worked really hard, and I was proud to be part of it, As for new music, I would love to write with Eddie, if he was up for it — why not? NM: Any final thoughts? FC: Kids today are sharp and are learning a lot about music and the music business, but there’s a big B in [business]. I go out and speak to them, because it’s important for young musicians to understand what they’re getting into. Not everybody gets it. For me, it’s been an amazing life. I’m doing what I always wanted to do, and I’m the happiest guy in the world. I just want to keep making music. This isn’t work, this is joy! TNM January–March 2014 21
Garth Brooks has kissed retirement goodbye and launched the next phase
Blame It All on My Roots – Five Decades of Influences Pearl Records, 6 CD, 2DVD (Wal-Mart exclusive until Jan. 15) *Country Classics *Classic Rock *Blue-Eyed Soul *Melting Pot Not reviewed: The Ultimate Hits 2 CD/DVD reissue and his Live at the Wynn Las Vegas solo show package also features a gorgeous, lavishly illustrated 64 page booklet.
Garth has returned in a gargantuan way with this set of 44 multi-genre cover songs, his first batch of new recordings in twelve years and the first release to emerge from his Allentown Studios, now equipped with a Neve 88R analog console. These recordings are a triumph on several levels. In addition to the superb versions of iconic songs – cut in an impressive nine month span last year – this set shows the world that Nashville’s musicians can play the fire out of rock, soul, R&B, pop, country-rock and folk music in addition to being globally acknowledged for their mastery of country, bluegrass and gospel forms.
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in his musical voyage. Does Brooks pull it off? Yes, spectacularly, sounding similar to the original artist but embellishing each song with some outrageous vocal licks. The tracks sizzle, soothe, sparkle and snap: Whether you feel they do justice to the originals is immaterial, Garth’s remakes occupy a compelling, separate reality of their own as brilliant sonic sculptures. The tracks are also an extraordinarily auspicious production step out for Mark Miller, engineer-mixer on previous Garth Brooks releases, all produced by Allen Reynolds, who is now retired. Matthew “Buster” Allen moves seamlessly into Miller’s engineer-mixer chair.
The Nashville Musician Reviews
The tracks sizzle, soothe, sparkle and snap: Whether you feel they do justice to the originals is immaterial, Garth’s remakes occupy a compelling, separate reality of their own as brilliant sonic sculptures. I suggest that you experience the tracks without reading the selections, just pop them in, even better if you’ve got a multidisc player. See how long it takes you to identify the song so each cut is a surprise and a revelation. Two of the biggest surprises are Billy Joel’s powerful anti-war epic, “Goodnight Saigon” and Queen’s plea for “Somebody to Love.” Miller mentioned reading that Queen took three months to do just the background vocals for the song. Brooks, he, and the backing vocalists – Chris Rodriguez, Gordon Kennedy and Wayne Kirkpatrick accomplished this in just two (very long) days with breathtaking results. I won’t ruin all the surprises that await, but here’s some teasers: The two above are from the rock disc. The country platter includes “White Lightnin’,” the Blue Eyed Soul disc presents “Stand By Me” while “Wild World” is a standout of the Melting Pot set. The musical magic is provided by a varied cast with each player richly deserving praise, led — in my view — by Chris Leuzinger, whose six-string work adorns each disc and who is the ONLY guitarist on the eleven rock tracks. Tom Bukovac and Mark Casstevens play on two of the four discs while Steve Gibson, Billy Panda, Bryan Sutton and Reggie Young appear on one. Michael Rhodes and Mike Chapman provide the bottom throughout with Glenn Worf in on two discs and the late Bob Babbitt plays on the only track predating 2013. Sam Bacco handles percussion on all while Eddie Bayers and Milton Sledge
man the cans for three and Chad Cromwell lays down the beat on two. John Hobbs and Bobby Wood tickle the ivories on all discs with John Jarvis and Blair Masters contributing on one, as does Bayers. Arrangers Bergen White and Dennis Burnside also earn a share of the spotlight, along with background vocals starring Trisha Yearwood, Bob Bailey and Vicki Hampton. Scoffers may find a song or two they feel does not measure up to its source, a subjective judgment to be sure, but an argument with some merit considering the magnitude of the songs Brooks presents. But Garth wasn’t out to top the performances of such legends as Ray Charles, Levon Helm, Merle Haggard, Free or Stevie Wonder, but instead to pay homage to his most cherished influences by singing their songs. In so doing, he has presented us with 44 of the most beloved pieces of music many of us grew up hearing and placed
them all in vibrant, fresh musical settings. Where else can you hear all these treasures? And who else in all of music would have created a project of this scope? It’s great to hear the Isley Brothers “Shout,” or Creedence’s “Who’ll Stop the Rain or the chompin’ ‘gators in Jerry Reed’s “Amos Moses,” all forsaken in today’s shrunken radio landscape. The luminous new versions of enduring classics, each created by Brooks, Miller and gifted Nashville musicians, will be the first versions heard by thousands, perhaps millions of young music lovers. The recordings are not available online, only as physical discs. The public responded swiftly, buying a half million copies in three weeks without the benefit of radio exposure. Yes indeed, Garth Brooks has kissed retirement goodbye and launched the next phase in his musical voyage. —John Lomax III reviews continued on page 24
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The Nashville Musician Reviews continued from page 23
WILL BARROW State of Grace willbarrowmusic.com Keyboardist/singer/songwriter Will Barrow stakes a claim as an artist as well as an in-demand sideman. The album, dedicated to and inspired by his wife and two young sons, covers a wide range of styles and sounds, but is tied together by Barrow’s unpretentious, friendly voice, thoughtful songwriting and melodic, expressive piano playing. The title track opens the record in a James Taylor meets Bruce Hornsby vibe with tasty piano and Barrow’s laconic vocal telling a tale of living for the moment despite life’s challenges, a theme that surfaces throughout the album. The boogie shuffle “Brown Liquor” tells a tale of a barroom piano player’s personal preferences. “Singin’ Your Song” brings an old school R&B groove into the present tense with atypical chord changes and sweet string pads accenting the bittersweet vocals. “Peace and Love” (Paz y Amor) the albums’s most ambitious piece, has a piano driven Cuban rhythm and a tasty arrangement that features Kenny Anderson on flute, trombonist Barry Green playing multiple parts arranged by Kevin Madill, and backup vocals and percussion lending a global flavor. “The Rain” and “The Flood” tell the story of the 2010 Nashville f lood, musically and lyrically, in an atmospheric arrangement led by electric piano, spotlighting Barrow’s poignant vocal and complemented by Jerry McPherson’s slide guitar. “Stay” brings it back to New Orleans with funky drums by Bryan Owings and greasy guitar by Pat Bergeson 24 THE NASHVILLE MUSICIAN
adding to the Big Easy vibe. “Awakening,” like “The Rain,” demonstrates Barrow’s fluid solo piano style, and serves as a nice setup for the final track, “Can You Hear Me.” Drummer Pete Abbott and bassist Michael Rhodes shine on this track, which features sophisticated chord changes reminiscent of Steely Dan, combined with an earnest vocal performance by Barrow that brings home the overall emotional message of the record: We are all journeying through life together. —Roy Montana Gordon Mote All Things New New Haven Records
Gordon Mote’s credits as a sideman read like a Who’s Who of contemporary country and contemporary Christian music (CCM), and include The Oak Ridge Boys, Lionel Richie, Alan Jackson, Kenny Rogers, Brad Paisley and Hank Williams, Jr. All Things New is Mote’s ninth release as a leader and his second for Nashville-based New Haven Records. At first listening the title track (one of four songs co-written by Mote) could easily pass for a contemporary country single, opening with acoustic guitar, piano and vocal before building
steadily to the chorus. Dan Dugmore’s pedal steel fills complement the track nicely; one doesn’t hear much of that instrument on CCM records, but it really works here. Joeie Canaday’s bass playing keeps this track moving forward in all the right ways. “Ain’t It Just Like The Lord” features a greasy New Orleans groove, with Mote throwing down his best Dr. Longhairapproved piano licks; tough to sit still when this one comes on. Then comes an abrupt shift to the meditative opening of “Meanwhile Back At The Cross,” followed in turn by “The Main Event,” which features some quirky banjo parts courtesy of Bryan Sutton — at the risk of pointing out the obvious, banjos also aren’t especially common on contemporary Christian albums. The lyric highlights how frequently our human nature allows us to overlook what really matters in both small and great events. “Broken Open,” another Mote co-write, describes the process through which adversity brings us to an emotionally better place: “What I thought was the ending / Was just the beginning / Yeah, when my heart was broken / It was broken open.” This one also has a very modern country sound, reflecting the influence of co-producer Frank Rogers.
“Gordon Mote’s credits as a sideman read like a Who’s Who of contemporary country and contemporary Christian music (CCM), and include The Oak Ridge Boys, Lionel Richie, Alan Jackson, Kenny Rogers, Brad Paisley and Hank Williams, Jr.”
The Nashville Musician Reviews
You want gospel? How about the Gaither Vocal Band and Trace Adkins on background vocals? That would be “Down By The River,” from Al Anderson and Mac McAnally. Brothers and sisters, if every church in America had piano playing like Mote’s on this track, we’d have some serious revival. Staying in that Southern vein, “Do You Believe In Love” brings together Matthew West, Darius Rucker, Scotty McCreary, Sheryl Crow and Josh Turner on vocals. “When I Rise” closes the album on a contemplative note. The band lays out and leaves Mote supported by strings and orchestra, yielding the album’s most emotionally compelling vocal performance. —Kent Burnside Billy Currington We Are Tonight Mercury Records
Billy Currington doesn’t exactly mess with success on We Are Tonight, his fifth Mercury recording. He does tweak it a bit, however, while still offering up plenty of what got him to this point in his career. Currington has been successfully walking a curious artistic line for over a decade now, alternating between relatively straight country songs and more R&B-influenced material; his 2005 hits “Good Directions” and “Must Be Doin’ Something Right”
highlight this variety of song selection. Now with his latest release he adds some new influences to the mix. Three of the tracks on We Are Tonight were produced by Local 257’s Dann Huff, including the “bro country” single “Hey Girl,” and “Wingman,” a comically sad tale of the best friend who leaves with the hot girl instead of bringing her together with the singer. Huff also produced the anthemic “We Are Tonight,” the album’s second single and a surefire concert favorite. Carson Chamberlain produced six of the seven remaining tracks, and it’s here that Currington’s stylistic diversity begins to expand in the direction of what might be labeled a suburban hippie surfer dude — yes, as far as I know I coined this term. Willie Nelson drops in for a duet, “Hard To Be A Hippie,” in which both singers lament the fact that “It hurts more now waking up on the floor / And it’s still free, but it ain’t easy like before.” Nelson wryly adds that “Now the only thing I’m tripping on is my own two feet, trying to keep up with the times.” Brent Mason and JT Corenflos provide some great harmony electric guitar parts. “Closer Tonight” brings Currington’s country and R&B sides together, with the rhythm section of Paul Leim (drums) and David Smith (bass) laying down just the right amount of groove. This one simply feels too good to fade out; Chamberlain rolls tape until the band finally stops— much too soon--at the five-minute mark. Some listeners are bound to love the cover of Jack Johnson’s “Banana Pancakes.” Others, not so much. Thankfully it’s followed by a stronger closing track, “Hallelujah,” written by Brad Warren, Brett Warren and Shy Carter (and produced by Carter). Who’d have imagined, in years past, that one day a major label country album would contain this couplet: “God is great, man is not / Man made whiskey, God made pot”? Maybe it’s not so hard to be a hippie after all. TNM —Kent Burnside
“Three of the tracks on We Are Tonight were produced by Local 257’s Dann Huff, including the ‘bro country’ single ‘Hey Girl,’ and ‘Wingman,’ a comically sad tale of the best friend who leaves with the hot girl instead of bringing her together with the singer. Huff also produced the anthemic ‘We Are Tonight,’ the album’s second single and a surefire concert favorite.”
January–March 2014 25
Jazz & Blues Beat By Austin Bealmear
World class guitar performances in February Shawn Purcell at MTSU Concert No. 2 in the 15th edition of the Jazz Artist Series sponsored by the School of Music at Middle Tennessee State University is the MTSU Jazz Alumni Concert. The date is Feb. 13 at 7:30 p.m., the location is Hinton Hall in the Wright Music Building, and the featured artists are guitarist Shawn Purcell and drummer Jim White. Both artists will perform big band music with the MTSU Jazz Ensemble 1, and also with a small faculty group including bassist Jonathan Wires, saxist Don Aliquo, and trumpeter Jamey Simmons. Shawn Purcell is a guitarist, bandleader, arranger, composer and educator. Before coming to MTSU for his master degree, he spent eight years touring the world with the USAF Airmen of Note, one of the best big bands in jazz. After a year as an adjunct faculty member, he went on to teaching positions in other major schools and workshops — composing for ensembles around the country, writing magazine columns, playing clubs, and recording numerous CDs. Since 2011 he has been the guitarist with the U.S. Naval Academy Band, and his latest CD is Let’s Dance by the Airmen of Note. Before coming to MTSU, Jim White played and recorded with Maynard Ferguson. His time here included working with major artists from country to jazz. He is currently associate professor of jazz studies at the University of Northern Colorado, and leads several area bands, including The Vanguard Combo, selected as Best College Small Jazz Group by Downbeat magazine in 2010 and 2011. Jim’s latest CD is Back When It Was Fun by the group 7 on 7. For more information go to mtsu.edu/ music/jazzseries.php
Pat Metheny at the Ryman Pat Metheny, a 20-time Grammy Award winner, with his Unity Group featuring Chris Potter (sax), Antonio Sanchez (drums), Ben Williams (bass), and Giulio Carmassi (voice and miscellaneous 26 THE NASHVILLE MUSICIAN
instruments) will make their debut appearance at Ryman Auditorium on Feb. 16 at 8 p.m. The band will perform music from their new recording, which Metheny said “encompasses the entire range of things that I have done over the years, from Bright Size Life to Secret Story and from my group projects to the Orchestrion. With this incredible group of musicians, just about anything is possible!” Metheny has been at the top of the jazz and guitar world since 1979, and should need no introduction to a readership of professional musicians. More on the concert at ryman.com
Peter Bernstein at NJW The Nashville Jazz Workshop will present guitarist Peter Bernstein in a special weekend of performance and education Feb. 21 and 22. Bernstein records and performs extensively as a bandleader, teaches students worldwide in clinics and workshops, and works as a sideman for an impressive list of jazz greats. Bernstein is a creative improviser with a unique voice and style, known for his clean, warm guitar tone and his lyrical melodic lines. Based in New York, he maintains a busy schedule as a leader and sideman, performing in the New York clubs and at concerts and festivals around the world. After studying and playing with guitar legend Jim Hall, Peter was “discovered” by soul jazz great Lou Donaldson and made several albums with him. Throughout the 1990s, Bernstein was at the forefront of contemporary jazz; he played with Joshua Redman, Melvin Rhyne, Diana Krall, Larry Goldings, Bill Stewart, Jimmy Cobb, Lee Konitz, Roy Hargrove, Tom Harrell, Joe Lovano, Jack McDuff, Lonnie Smith, Eric Alexander, Brad Mehldau, Christian McBride, Mike LeDonne and many more. As an educator, he is a frequent guest at college campuses, jazz camps and workshops worldwide. He is sought out as a private teacher by
guitarists from all over, including many top professionals. Among his many albums are Live at Small’s (2010), Monk (2009), Strangers in Paradise (2004), Momentum with Joshua Redmon in 2005, and Moonbird with Larry Goldings in 1999. If memory serves, he has been to Nashville three times; with organist Dr. Lonnie Smith, an all-star band called the Blue Note 7, and last year with Sonny Rollins. You can check his work on YouTube; for example look for a tune called “DragonFly” with Larry Goldings and Bill Stewart. Peter Bernstein’s concerts in the Jazz Cave at the NJW will consist of a program of solo guitar and duo performances with special guests on Feb. 21, and a performance with the Lori Mechem Trio Feb. 22. Also on Saturday morning from 10 a.m. to 12 p.m., Bernstein will lead a master class for high school students. The class will take place at Hume Fogg High School in downtown Nashville, is free of charge, and open to high school students from all over the area. The weekend events are made possible under a grant from South Arts in cooperation with the National Endowment for the Arts. For more information, visit the Nashville Jazz Workshop website, nashvillejazz.org or call 615-242-5299. And on the blues side, in January, the Nashville Blues Society sent the two winners of their local competition — Matt Tedder, and the Jackie Wilson Band — to Beale Street in Memphis for the 30th Annual International Blues Challenge. Winners should be announced by our publication date. TNM
Symphony Notes By Laura Ross
Unsung heroes of the Nashville Symphony Behind the scenes, Principal Librarian D. Wilson Ochoa and Librarian Jennifer Goldberg work to assemble the music we play each week. If you are a member of the audience, you may see them as they distribute or pick up folders before and after concerts, or between works when they replace a score on the conductor’s music stand. A librarian’s goal is to make the musicians’ job easier so they have no distractions or complications once they begin to prepare for the next concert; and the musicians and conductor can make effective use of the time they have at rehearsal. It may sound easy but it requires following specific timelines for folder preparation, keeping an eye on the repertoire budget, and being an effective crisis manager. Ochoa, a French horn player, joined the Nashville Symphony as librarian in 2002, as the only full-time librarian covered by the union contract. He was only the second librarian to be covered under the NSO collective bargaining agreement (CBA). After graduating from San Diego State University, Ochoa received his Masters degree from the University of Memphis while also performing as third horn with the Memphis Symphony. He played in several professional orchestras, ending up in the Charleston Symphony horn section for seven years, until health issues forced him to quit playing, midseason. For the rest of that season he assisted in the office and helped out in the library. When Charleston’s librarian resigned, Ochoa was offered the job and following a two-week crash course, he became the orchestra’s librarian. Music publishers were not yet on the Internet to facilitate communication or to ask for advice or assistance — he learned on the job — but owning multiple recordings, the study of scores of works he had
performed, plus being an accomplished arranger helped him succeed. And since the NSO began recording, his experience has been a huge asset. Goldberg, a flute player, attended Case Western Reserve University and Skidmore College with a major in music performance and a minor in the classical languages. She completed coursework for a Masters in Arts Administration at Boston University, while working in administration for the Boston Philharmonic. While in college, she worked at the music store at Tanglewood (summer home of the Boston Symphony.) During her fifth and final summer at the music store, Goldberg worked in a self-directed fellowship program at Tanglewood Music Center. From 1998 to 2000 she was a New World Symphony fellow, after which she joined the Richmond Symphony as sole librarian. Goldberg joined the Nashville Symphony as the Schermerhorn Symphony Center opened in 2006. During CBA negotiations in 2007, her position was added to the bargaining unit; Ochoa’s position had been upgraded to principal a couple seasons earlier. Both trained in small orchestras and agree it is here where a good librarian will “make it or break it.”
A day in the life The NSO library contains more than 2,300 titles, most of which were written before 1923, and includes music in current use as well as previous versions that have been repaired or replaced. Older music, some belonging to former conductors, is stored in the off-site Ellis Archives. The
NSO performs an unusual amount of contemporary repertoire, which means 50 to 60 percent of the music for classical concerts and 60 to 70 percent of pops material is rental only, so they must check on music availability, instrumentation and rental costs from publishers. For each piece we perform, Ochoa and Goldberg must work with the music director or conductor to see which publisher and/or version of a piece is being used so the appropriate parts can be obtained in the library, rental or purchase. Sometimes a conductor provides their own parts because they are marked to that conductor’s specific requirements. If the parts don’t match the score, our librarians mark the parts to match the conductor’s markings so rehearsals will run smoothly and everyone can start playing in the same place. If there are cuts or changes the conductor wishes to make, or if the music has known inaccuracies (errata), these too must be fixed before music is distributed to the orchestra. The string bowings timeline is also spelled out in our agreement: string principals receive the music six weeks prior to the first rehearsal. Bowings must be completed within three weeks and returned to the library so they can be transferred to the rest of the string parts. This is a time-consuming task – one Mahler Symphony No. 7 first violin part, which is 43 pages, took 70 minutes to mark! When the music is distributed, two weeks prior to the first rehearsal, it also includes photocopied practice parts for the inside string players. continued on page 28
NSO librarians D. Wilson Ochoa & Jennifer Goldberg January–March 2014 27
Symphony Notes continued from page 27
Librarians deal with legibility and size of the music, and try to anticipate problems like bad page turns before they occur. They deal with visiting pop artists to determine how much prep work will be required, but in many instances the music books travel with the artist and only appear the day of the first show. Ochoa and Goldberg spend a lot of time educating artist managers about timeline requirements; Goldberg says they “do a lot of nagging.” The NSO has also assisted a number of Nashville artists assembling “symphony show” books to take on the road; our librarians offer guidance and advice. Sometimes when new parts arrive too late the two librarians have been known to put in a bowing or two. Ochoa said in Charleston, “I received a computer-engraved part the day before the first rehearsal. I did the bowings myself and never heard any complaints; afterward I was told they were fine. The music was sent back to the rental company and sometime later I read on the MOLA list that someone was asking for bowings and I’m pretty sure those recommended were mine!” Then too, there are operas and ballets that not only require cutting and pasting, but the transposition of parts into another key for singers. Ballets can be even more time-consuming because they reorganize the music to their liking, and take portions of music from any source, whether in that score or from something else. Librarians spend time checking with their colleagues in other orchestras about quality of parts, instrumentation, score reductions, and a multitude of other issues. Our orchestra adds another aspect to the job description because we perform and record our concerts, which adds another layer of royalty and licensing issues with which to deal, especially when Goldberg assembles the budget. There are performance royalties, mechanical licensing for recordings, and grant rights — adding an element to a performance such as displaying paintings during performance of Pictures at an Exhibition — all of which require specific information reporting to publishers, especially for rental parts requiring royalty payments for 28 THE NASHVILLE MUSICIAN
works under copyright protection. Thankfully, the Major Orchestra Librarians Association (MOLA), an International association of 240 member orchestras formed in 1983, has been collecting information from its member orchestras, cataloging it, and making it available on the MOLA website since the late 1990s. A MOLA email listserve allows members to ask questions about various works, which has greatly helped the entire orchestral field. With few colleges offering degree programs as an orchestra librarian, MOLA is an indispensible resource.
Auditioning a librarian In late October Ochoa auditioned for and was offered the position of Principal Librarian of the Boston Symphony Orchestra – he begins sometime in June 2014. While he plans to take a year’s leave of absence, we know he will thrive in Boston, and he will be difficult to replace. Ochoa is the first and only librarian to audition for the NSO –
Goldberg did not because her position was not covered by the CBA at that time – so we have begun discussing what the audition process will involve. Librarian auditions include examining resumes and conducting phone interviews until all but the most qualified are eliminated. That handful of candidates will be invited to Nashville. In Boston, Ochoa was one of 10 candidates; in Nashville, he was one of three. Candidates may come all at once or more likely, one at a time. They will likely be tested on musical terms, music history and mistakes in orchestra parts, be asked to demonstrate transposing skills, to fix a bad page turn, insert extra measures in a piece, do string bowings, and use manuscript software such as Finale or Sibelius. Candidates will meet with an audition committee, with management representatives, and with the Music Director before a final choice is made. Discussions have begun. We are thankful for Goldberg’s experience. Ochoa’s skills and friendship will be TNM greatly missed when he departs.
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“He was one of those drummers who always made everyone else sound better without making a big deal about it. That was his job, and while he always took it very seriously, he also knew how to, as he would say, ‘Have fun with it.’” —Dave Pomeroy
Tommy Wells 1951–2013
Tommy Wells, 62, died Sep. 25, 2013. Wells, a highly respected percussionist, joined the Nashville Musicians Association in 1978. Wells grew up in Michigan, and began playing drums at age 11. He attended the Berklee College of Music before returning to Detroit, where he performed with Dust and First Gear, and also played sessions at Funk Factory, MoTown, United, and GM Recording among other studios.
In 1977 he moved to Nashville, where he worked with Gene Cotton, American Ace, and also R.E.M. His versatility led him to work in many different genres in Nashville, where he played with artists as varied as bluesrocker Jimmy Hall, western swing singer Carolyn Martin, and on recordings for Charley Price, Ricky Van Shelton, Roy Clark, Foster & Lloyd, Porter Wagoner, Charlie Daniels and many more.
Wells had a passion for hockey, which he played all his life. He also enjoyed cheering on his son Dylan, who was a goalie at the University of Southern Maine. Dave Pomeroy, President of Local 257, spoke at Wells’ memorial service. “He was one of those drummers who always made everyone else sound better without making a big deal about it. That was his job, and while he always took it very seriously, he also knew how to, as he would say, ‘Have fun with it.’ Tommy spent his life doing exactly what he wanted to do: playing the drums, making music with his friends, swinging a hockey stick and spending quality time with Carolyn and Dylan. We can all learn something from the way he lived his life,” Pomeroy said. Survivors include Wells’ wife Carolyn and his son Dylan. Funeral services were private. A public memorial service was held Oct. 3 at Jay’s Place Recording Studio on Music Row in Nashville. continued on page 30 January–March 2014 29
final notes continued from page 29
Leon Ashley 1936–2013
Cal Smith 1932–2013 Grant Calvin Shofner, known professionally as Cal Smith, died Oct. 10, 2013, in Branson, Mo., at 81. Smith, a singer and guitarist, was a life member of the Nashville Musicians Association and joined the AFM in 1963. Born April 7, 1932 in Gans, Okla., he grew up in the San Jose, Calif., area and was first a disc jockey before he joined Ernest Tubb’s Texas Troubadours as rhythm guitarist in 1962. In 1968 he began performing as a solo act, and in 1972 recorded Bill Anderson’s “The Lord Knows I’m Drinking,” which became a No. 1 hit for Decca Records. In 1974 Smith released “Country Bumpkin” which became the CMA Song and Single of the Year, as well as the ACM Song of the Year. Other successes followed with “It’s Time to Pay the Fiddler,” “She Talked A Lot About Texas,” and “I Just Came Home to Count the Memories.” Smith’s survivors include his wife, Darlene; five children, and 15 great-grandchildren.
“In 1974 Smith released ‘Country Bumpkin’ which became the CMA Song and Single of the Year, as well as the ACM Song of the Year.” 30 THE NASHVILLE MUSICIAN
Local 257 life member Leon Walton, known professionally as Leon Ashley, died in Hendersonville, Tenn., Oct. 20 at age 77. The singer-songwriter joined the Nashville Musicians Association May 23, 1967. He was a guitarist, and is known both for his 1967 No. 1 single “Laura (What’s He Got That I Ain’t Got)” as well as for making history by being the first artist with a chart-topping single that he wrote, published and sang on his own record label. Born May 18, 1936 in Covington, Ga., he first performed at the age of nine on a local radio show. In 1960 he released his first single on Goldband Records. In 1967 Ashley founded Ashley Records, with which he had his first No. 1 record, “Laura.” The album reached No. 10 and more hit singles followed, including duets “Hangin’ On” and “You’ll Never Be Lonely Again” with his wife, Margie Singleton. Over the years “Laura” was covered by several other artists, including Claude King, Frankie Lane, Marty Robbins and Kenny Rogers. Ashley continued to record into the ‘80s. Survivors include his wife Margie; two sons, Leon Walton Jr. and Tommy Walton: two stepsons, Stephen and Sidney Singleton; 10 grandchildren and six great-grandchildren. Funeral services were private, and in lieu of flowers, the family requests that donations be made to MusiCares.
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Nelson Larkin 1943-2013 Nelson Larkin, 70, a life member of AFM Local 257, died Nov. 18, in Brentwood, Tenn. Nelson was born in Huntland, Tenn., and joined Local 257 in 1978. He moved to Nashville in 1972, where he began what was to be a 40-year career in the music business. He was a producer, songwriter, publisher, independent label owner, and guitarist. Among his many career highlights, in the ‘80s Nelson produced several Earl Thomas Conley albums, including Fire And Smoke, Somewhere Between Right and Wrong, and Treadin’ Water. He also produced projects for Toby Keith, Billy Joe Royal, Billy “Crash” Craddock, George Jones, Lynn Anderson and Tracy Lawrence. Larkin was the first producer in any genre to earn four No. 1 singles from one album. His songwriting credits include cowrites on hits for Billy Joe Royal — “I’ll Pin a Note on Your Pillow” — and Toby Keith’s “Life’s A Play (The World’s a Stage)” He also cowrote Lawrence’s Top 10 record “Somebody Paints The Wall.” Nelson founded Sunbird Records,
(615) 823-5010 served as president of GRT Records, and worked at Atlantic Records, helping to build the company’s Nashville operation. He also directed Famous Music Publishing’s Nashville division. Nelson was a member of Johnson’s Chapel United Methodist Church, a board member for the EAR Foundation and St. Jude’s Children’s Hospital. He supported the Pancreatic Cancer Action Network, and enjoyed golf and following the Tennessee Volunteers. Larkin was preceded in death by his father, Lemuel Augustus Larkin, and his mother, Ruth Hall Larkin. Survivors include his wife Mary; two daughters, Tiffany Coleman and Stacey Bright; three brothers, Billy, John, and Ronnie Larkin; one sister, Betty Larkin Wood; and three granddaughters. A celebration of life was held Nov. 21 at Brentwood United Methodist Church. In lieu of flowers, the family asks that donations be made to Pearlpoint Cancer Support, or the Pancreatic Cancer Action Network. continued on page 32
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final notes continued from page 29
Robert Thames 1949-2013 Robert Thames, 64, died Oct. 5, 2013. Thames, a guitarist, joined the Nashville Musicians Association in 1992. He played with many artists, including Donna Fargo, Slim Whitman, and Terri Gibbs. A memorial service will be held at a later date.
Richard Jack “Turtle” Ross 1941–2013 Local 257 life member Richard Jack “Turtle” Ross, 72, of Foley, Ala., died Nov. 2, 2013. Ross was a bass player, and joined the Nashville Musicians Association in 1972. Ross, a studio musician during his career in Nashville, was in later years an active member of Gulf Shores United Methodist Church, where he continued to pursue his passion for music by serving the past 13 years as a Stephen Minister. Survivors include his wife Annette Harris; one daughter, Michelle Lynn Ross Roatch; and one brother, Mark Ross. A memorial service was held at Gulf Shores United Methodist Church Nov. 10. In lieu of flowers, the family asks that donations be made to the American Heart Association or to Gulf Shores United Methodist Church in Gulf Shores, Ala. TNM
In Memoriam The officers, staff and members of Local 257 extend our deepest sympathies to the families and friends of our members who have recently passed away. You are in our thoughts, hearts and prayers. Name
Richard Jack Ross
Grant C Shofner
John Neil Sibert
AFM Local 257 Holiday Closings President’s Day Monday, Feb. 17, 2014 Good Friday April 18, 2014
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32 THE NASHVILLE MUSICIAN
Next Membership Meeting Monday, Feb. 24, 2014 George Cooper Rehearsal Hall Doors open at 5:30 p.m. Meeting starts at 6:00 p.m.
Member Status New members Rebecca Rose Baumbach VLN MDN PIA GTR 2311 Selma Dr Nashville, TN 37214 Cell (615)-584-6288
Joseph Allan Howe GTR 1976 Neafus Rd Morgantown, KY 42261 Cell (270) 392-1789 Hm (270) 999-9202
Kevin Dale Collier BAS GTR MDN 905 Hospital Drive Madison, TN 37115-5011 Cell (615)-708-8916
Elliott Huff DRM 337 White Swans Crossing Brentwood, TN 37027 Cell (615)-818-5220 Hm (615)-373-9958
Jasen Lee Cordiero (Twitch) GTR VOC BAS DRM CEL 705 Drexel St Nashville, TN 37203 Cell (323) 661-4004 Hm (714) 350-4440 Christopher B Deaton DRM GTR 205 Cheltenham Ave Franklin, TN 37064 Cell (615) 927-1388 Timothy A Dishman (Tim Dishman) BAS GTR 1236 Jacksons Hill Rd Hermitage, TN 37076 Hm (615) 391-4882 Robert Patrick Hamrick (Bobby Hamrick) GTR PRG BAS 2600 Hillsboro Pk #135 Nashville, TN 37212 Cell (706) 817-9845 Alexander Hargreaves (Alex Hargreaves) VLN MDN GTR 3620 NW Elmwood Dr Corvalis, OR 97330 Cell (541) 740-7910 Marcus Hill DRM KEY PIA ORG 2722 Dracut Lane Nashville, TN 37211 Cell (615) 934-5523
Noah Joseph Hungate DRM PRC 911 West Main St Murfreesboro, TN 37129 Cell (615) 828-0295 Sarah E Jarosz MDN GTR BJO PIA 900 Division St Nashville, TN 37203 Cell (512) 940-4106 Edwin Hamilton Josey GTR PO Box 68153 Nashville, TN 37206 Cell (931) 787-5144 Emily A Kohavi VLA VLN VOC PIA 132 Heritage Trace Dr Madison, TN 37115 Cell (217) 502-9478 Kevin Andrew Lennon DRM 624 Fatherland St Nashville, TN 37206 Cell (615) 522-9213 Manuel D Medina (Manny Medina) BAS GTR 375 Monroe St Nashville, TN 37208 Cell (323) 251-7545
David Nels Nelson DRM PRC BAS PIA GTR 305 Tamworth Drive Nashville, TN 37214 Hm 440-0658 Emily Rose Nelson CEL 1802 Sweetbriar Ave Nashville, TN 37212 Cell (208) 596-5829 Paul C Nelson CEL COP ARR KEY 5015 Meta Dr Nashville, TN 37211 Cell-(615)-969-0033 Shane Ryan Raymer GTR BAS BJO PIA MDN 4725 Rabbit Flat Rd Caneyville, KY 42721 Cell (270) 287-7584 Hm (270) 879-8955 John Richards (John Richards Adcock) GTR VOC 1505 Berry St Old Hickory, TN 37138 Hm (615) 587-3604 Jerry Roe Rorick (Jerry Roe) DRM BAS GTR 729 Braidwood Drive Nashville, TN 37214 Cell (615) 424-5999 Erin Slaver VLN FDL VOC MDN GTR 1055 Pine St Apt 547 Nashville, TN 37203 Cell (845) 796-8670 Nathaniel Thomas Smith (Nathaniel Smith) CEL 576 Bethel Road Brandon, MS 39402 Cell (601) 405-6243
Paula Van Goes (Paula Van Rengenmorter-Goes) SAX FLT CLA 1704 Arbor Ridge Dr Antioch, TN 37013 Cell (985) 413-1438 Nolan Mitchell Verner BAS 7009 Lennox Village Dr E302 Nashville, TN 37211 Cell (615) 295-9918 Joshua Williams (Josh Williams) GTR MDN BJO FDL BAS 571 State Route 1949 Symsonia, KY 42082 Cell (615) 438-6097 Hm (270) 049-3094 Reinstated Justin Bertoldie Thornton Douglas Cline Adam Ollendroff Peter Michealson Pisarczyk Dana Robbins Cameron Lee Roberts Resigned J. Chad Carlson Mark David Elting Lee W Garner Rodney L Hill Michael Patrick Holland Jamison Daniel Hunt Jennifer Diane Hunt Jessica Dawn Hunt Jonathan David Hunt Jordan Wayne Hunt Joshua Clinton Hunt Justin John-Michael Hunt Carrel Todd Liles Monty Powell Ray Vaughn Reed, Jr Carolyn Marie Treybig Jett Williams
Januaryâ€“March 2014 33
Do not work for The “Do Not Work For” list exists to warn our members, other musicians and the general public about employers who, according to our records, owe players money and/or pension, have failed to sign the appropriate AFM signatory documents required to make the appropriate pension contribution, or are soliciting union members to do non-union work. TOP OFFENDERS LIST RecordingMusicians.com - Alan and Cathy Umstead are continuing to solicit non-union recording work through this website and elsewhere. Do not work for them under any circumstances without an AFM contract. TNN/Jim Owens Entertainment - The “new” TNN has been exhibiting old Nashville Network programs recorded under the AFM/TNN Agreement, including Music City Tonight, and other shows. We have been negotiating for more than a year to rectify this situation, but as of Jan. 17, this material continues to be exhibited without payment to musicians. These are employers who owe musicians large amounts of money and have thus far refused to fulfill their contractual obligations to Local 257 musicians. HonkyTone Records/Debbie Randle/Elbert West Positive Movement/Tommy Sims (multiple unpaid contracts – 2007 CeCe Winans project/Making Payments) Terry K. Johnson/ 1720 Entertainment (unpaid contracts/unauthorized sales - Jamie O’Neal project) Beautiful Monkey/JAB Country/Josh Gracin Eric Legg & Tracey Legg (multiple unpaid contracts) Ray Vega/Casa Vega Quarterback/G Force/Doug Anderson Rust Records/Ken Cooper (unpaid contracts and pension) Revelator/Gregg Brown (multiple bounced checks/ unpaid contracts) UNPAID CONTRACTS AND PENSION Accurate Strategies, Inc. Adagio Music/Sam Ocampo Wayd Battle/Shear Luck Beautiful Monkey/JAB Country Bottled Lightning/Woody Bradshaw Bull Rush, Inc/Cowboy Troy (unpaid demo upgrade – making payments) Cat Creek Publishing Chez Musical/Sanchez Harley Compass Productions - Alan Phillips and David Schneiderman Daddio Prod./Jim Pierce (making payments) Summer Dunaway Field Entertainment Group/Joe Field Goldenvine Prod./Harrison Freeman Golden Vine/Darrell Freeman Greg Holland Home Records/David Vowell Hot Skillet/Lee Gibson (unpaid contract/limited pressing signature) Mark Hybner Kyle Jacobs Katana Productions/Duwayne “Dada” Mills King Craft, Inc./Michael King Ginger Lewis Line Drive Music 34 THE NASHVILLE MUSICIAN
Lyrically Correct Music Group/Jeff Vice MCK Publishing/Rusty Tabor MPCA Recordings/John Titta Mark McGuinn Marty McIntosh Miss Ivy Records/Bekka Bramlett (unpaid upgrades) MS Entertainment/Michael Scott Multi-Media Steve Nickell One Shot Management Anthony paul Company Quarterback/G Force Music/Doug Anderson RLS Records-Nashville/Ronald Stone Region One Records RichDor Music/Keith Brown River County Band/SVC Entertainment (unpaid demo conversion/pension) Robbins Nashville Round Robin/Jim Pierce (unpaid contract – making payments) Shauna Lynn Shear Luck Productions/Wayd Battle Shy Blakeman Singing Honey Tree Sleepy Town/David Lowe Sound Resources Prod./Zach Runquist Mark Spiro Spangle 3/Brien Fisher Sterling Production Mgmt/Traci Sterling Bishir Tough Records/Greg Pearce (making payments) Adam D. Tucker Eddie Wenrick UNPAID PENSION ONLY Audio RX Jimmy Collins Comsource Media/Tommy Holland Conchita Leeflang/Chris Sevier Ricky D. Cook Coyote Ugly/Jeff Myers Data Aquisition Corp./Eric Prestidge Derrin Heroldt FJH Enterprises First Tribe Media Matthew Flinchum dba Resilient Jimmy Fohn Music Rebecca Frederick Goofy Footed Gospocentric Tony Graham Jeffrey Green/Cahernzcole House Randy Hatchett Highland Music Publishing Honey Tree Prod. Engelbert Humperdinck In Light Records/Rick Lloyd Little Red Hen Records/Arjana Olson Malaco Pete Martinez Maverick Management Group Mike Ward Music (pension/demo signature) Joseph McClelland Tim McDonald Joe Meyers Missionary Music Jason Morales (pension/demo signature) O Street Mansion
OTB Publishing (pension/demo signature) Tebey Ottoh Reach Ministries Ride N High Records Ronnie Palmer Barry Preston Smith Jason Sturgeon Music Nathan Thompson Veritas Music/Jody Spence Roy Webb Michael Whalen AFM NON-SIGNATORY PHONO LIST We do not have signatory paperwork (Limited Pressing Agreement, Sound Recording Labor Agreement or a Special Project Short Form) from the following employers — pension cannot be credited to the proper musicians without a signatory agreement in place, even though the pension has been paid. If you can provide us with current contact info for these people, we will make sure you get your proper pension contribution for your work. 604 Records Chris Lindsey Heaven Productions Stonebridge Station Entertainment Straight Shooter Music Revolution Pictures Barrow Productions Blue Bolt Records Breezewood Productions Cody Johnson Music Collin Raye Inc. Elizabeth Eckert FJM Productions GSO Haber Corporation Hallur Joensen Hampton Advisors House of Fame LLC HTV Music Innovative Management Consulting JA Music Marketing Jeff Jones Jesse Lee Jones Karen L. Smith Liz Rose Music LLC Mackenzie Porter Momentum Label Group Mood Entertainment Nappy Boy Touring Plus Sign Enterprises Potters House Red Cliffs Press Ryan O’Connor Sensibility Recordings Silver Lining Music LLC Six Mile Artist Management Steerpike Productions Steve Mandile The Sound Kollective The Source Bible Church Track 9 Media Trifectone Music Group Vanguard records West Lake Music Ltd.
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MUSICIANS AFM LOCAL 257 We put the music in Music City Next General Membership Meeting Monday, February 24, 2014 36 THE NASHVILLE MUSICIAN
Quarterly publication of the Nashville Musicians Association, AFM Local 257. This issue includes interviews with Loretta Lynn and Felix Cava...
Published on Feb 4, 2014
Quarterly publication of the Nashville Musicians Association, AFM Local 257. This issue includes interviews with Loretta Lynn and Felix Cava...