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Dr. Seuss and the Grinch win Christmas OFFICIAL JOURNAL OF AFM LOCAL 257 JANUARY– MARCH 2016


feet on the ground, head in the clouds





CONTENTS Official Journal of the Nashville Musicians Association, AFM Local 257 | JANUARY—MARCH 2016



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ANNOUNCEMENTS Details on the next membership meeting scheduled for Monday, Feb. 22, 2016, which will include reports from the president and secretary-treasurer and other important discussions.



STATE OF THE LOCAL President Dave Pomeroy on the importance of solidarity and what musicians stand to lose by not standing together. NEW GROOVES Secretary-Treasurer Vince Santoro discusses touring versus studio work. HEARD ON THE GRAPEVINE The notable comings and goings of Nashville Musicians Association members. NEWS Lower Broadway landscape changes, phono negotiations begin, and more. GALLERY Member milestones, gigs and events. BULLETIN BOARD Important information for members.



COVER STORY: KELSEA BALLERINI Kelsea Ballerini takes country music by storm, and Warren Denney gives the long range forecast for one of Local 257’s rising stars.


CDs from Mac McAnally, JT Corenflos, Andrea Zonn, and Barbara Santoro, plus a review of Dr. Seuss’ How The Grinch Stole Christmas!


A roundup of cool shows, festivals, and other happenings in the jazz and blues community.


Laura Ross discusses upcoming auditions and other symphony news.



We bid farewell to Jeff Walker, William Buck, Jr., Ramona Jones, Roy Neill Acuff, Owens Boomer Castleman, Theodore Clifford ‘Ted” Harris, Kenneth Krause, Tom McBryde, and Johnny T. Montgomery.






Dave Pomeroy Vince Santoro Kathy Osborne Leslie Barr Austin Bealmear Roy Vogt Warren Denney Roy Montana Roy Agee Kathy Osborne Laura Ross

CONTRIBUTING PHOTOGRAPHERS Tripp Ellis Donn Jones Dave Pomeroy Laura Ross Vince Santoro ART DIRECTION Lisa Dunn Design WEB ADMINISTRATOR Kathy Osborne AD SALES Leslie Barr 615-244-9514

LOCAL 257 OFFICERS PRESIDENT Dave Pomeroy SECRETARY-TREASURER Vince Santoro EXECUTIVE BOARD Jim Brown Jimmy Capps Beth Gottlieb Andy Reiss Laura Ross Tom Wild Jonathan Yudkin HEARING BOARD Michelle Voan Capps Tiger Fitzhugh Teresa Hargrove Kent Goodson Dave Moody Kathy Shepard John Terrence TRUSTEES Bruce Radek Biff Watson SERGEANT-AT-ARMS Steve Tveit NASHVILLE SYMPHONY STEWARD Laura Ross OFFICE MANAGER Anita Winstead


The next Local 257 General Membership meeting will be Monday, Feb. 22, 2016 at 6 p.m. Doors will open at 5:30 p.m. There are no Bylaw amendments on the agenda this time, but there will be officer reports and important discussion on a variety of topics. Please plan to attend and get involved in the business of YOUR local.

Minutes of the Executive Board Meeting Nov. 6, 2015

PRESENT: Mark Johnson(alt. MJ), Jonathan Yudkin(JY), Vince Santoro(VS), Dave

Pomeroy(DP), Tom Wild(TW), Jim Brown(JB), Jimmy Capps(JC). ABSENT: Laura Ross(LR), Beth Gottlieb(BG), Andre Reiss(AR). MINUTES: Minutes from Sep. 21, 2015 were distributed. MSC to approve. JY, JB. Unanimously approved as amended.

President Pomeroy called the meeting to order at 8:46 a.m. PRESIDENT’S REPORT: The following issues were discussed:

1. The 2016 projected budget 2. Incentives for overdue work dues payment. The honor system doesn’t always work. 3. Considering members carrying overdue work dues above $250 will not have checks mailed. 4. Prohibit rehearsal hall use if overdue work dues above $250. 5. Publish names of those brought before Local 257 Hearing Board in The Nashville Musician. 6. Positive messages for good behavior. TREASURER’S REPORT: Santoro distributed financial reports and 2016 projected budget. 1. We have opted to award Sound Healthcare — represented by RJ Stillwell — broker authorization to bid out the office health care policy. 2. Annual dues increase of $6 was passed by secret ballot at the Nov. 3, 2015 membership meeting. 3. According to Local 257 bylaws governing the funding of our Funeral Benefit Fund, an assessment of $46 for all members has been set.

MSC to approve Secretary-Treasurer report. TW, JB. Unanimously approved as amended. MSC to approve new member applications. JC, JY. Unanimously approved. Motion to adjourn. MJ, JB. Meeting adjourned at 9:22 a.m.

Minutes of the Membership Meeting Aug. 24, 2015

PRESENT: Vail Johnson, Ward Stout, Kent Goodson, Jeffrey Lyle, Ronnie Brooks, Gordon Steve Tveit Teri Barnett Robert Sieben Ashley Worley

DIRECTOR, LIVE/TOURING DEPT. Leslie Barr AND PENSION ADMINISTRATOR MEMBERSHIP COORDINATOR & Rachel Mowl LIVE ENGAGEMENT/MPTF COORDINATOR MEMBER SERVICES/RECEPTION Laura Birdwell @ 2016 Nashville Musicians Association P.O. Box 120399, Nashville TN 37212 All rights reserved.


Lee Worden, Ty Campbell, Karl “Fats” Kaplin, Jim Horn, Vince Barranco, Greer Thomison, Tiger Fitzhugh, Dillard Montgomery, Gary Miller, David Labruyere, John Terrence, Sam McClung, Bill Poe, Joshua Zarbo, Phil Arnold, Beth Gottlieb, Billy West, Andre Reiss, Tisha Simeral, Jonathan Yudkin, Dave Martin, Carol Garner, Roland Barber, John Mattick, Jason Howard, Robert L. Stevens, Maya Stone, Chuck Bradley, Richard Carter, Tom Wild. OFFICERS PRESENT: Vince Santoro, Dave Pomeroy, Steve Tveit.

Meeting was called to order at 6:17 p.m. MINUTES: Minutes from May 18, 2015 membership meeting were distributed and unani-

mously approved.

ANNOUNCEMENTS PRESIDENT’S REPORT: Pomeroy reported on the following issues: 1. Artists using tracks on tour. We’ve been successful in collecting money from some artists to compensate musicians on their records. 2. The lawsuit against Jim Owens has been delayed due to his serious health issues. We are awaiting news on his recovery. 3. Tommy Sims owes musicians over $350K, has paid only $23K. His wages from Michael McDonald’s tour have been garnished a total of $4K, and we’ve been informed that he is no longer touring with Michael McDonald, presumably to avoid garnishment. 4. Pomeroy met with Steve Schnur from Electronic Arts, and AFM President Ray Hair, which was productive. Dialogue is continuing. 5. Jack White still has not finalized his agreements to distribute the pension monies that he’s already paid. Pension Fund has issued a deadline. TREASURER’S REPORT: Santoro distributed copies of membership changes since the membership meeting of May 18, 2015, which included fund balances as of Aug. 24, 2015. He spoke to membership on some of the issues the union building has, due to its construction and age, such as high humidity in the rehearsal hall, old A/C units, roof issues, and more.

MSC to approve Secretary-Treasurer report. Andre Reiss, Tom Wild. Unanimously approved. AGENDA: Pomeroy read the proposed language of the Funeral

Benefit threshold for assessment. Discussion was held. MSC to vote on bylaw amendment. John Terrence, Dave Martin. Secret ballot voting was conducted. Ballots were counted by Beth Gottlieb and Tom Wild. Bylaw language amendment passed, 33 yea, to 3 no. MSC to adjourn. Andre Reiss, Dave Martin. Meeting adjourned 7:27 p.m.

Zach Casebolt is an award-winning violinist and string arranger. As a sought-after studio musician the recordings he has worked on for both major label and independent artists have sold over 2 million units and have been nominated for four Grammy awards. His string work has been featured in numerous major motion pictures. Casebolt was a member of Ray Price’s band “The Cherokee Cowboys” until Price’s death in 2013. In addition to his work with Price he has enjoyed performing and recording with a wide variety of artists including Kasey Musgraves, Kelly Clarkson, Martina McBride, Ashley Monroe, Brendan Benson, Jars of Clay, The Lost Brothers, 50 Cent, Steve Cropper, Third Day, Mandisa, James Otto, Nicole C Mullen, Joy Williams and John Paul White, among others. He’s been a Local 257 member since 2013.

New Policies at Local 257 PLEASE NOTE THE FOLLOWING:

1. After Feb. 15, 2016, no late fees for payments towards overdue work dues will be waived. 2. After Jan. 1, 2016, members who owe more than $250 in overdue work dues will have to pick up their checks in person, and will be required to pay any new charges in full, unless other arrangements have been made. 3. After Jan. 1, 2016, members who owe more than $250 in overdue work dues will not be allowed to book the rehearsal hall. 4. We will provide information on members with large overdue work dues balances to the Local 257 Hearing Board, who will consider bringing charges against those members, which could result in additional fines and penalties. In addition, the names of those who are brought before the hearing board will be published in The Nashville Musician quarterly magazine. 5. Non-members who owe administration fees of $250 or more will no longer have their checks mailed to them. 6. Members may book the rehearsal hall no more than two times per week, no more than five hours each session, other than by special permission. TNM

HOLIDAY CLOSINGS President’s Day Monday, Feb. 15

Good Friday Friday, March 25

Fellow musicians — particularly younger ones — often ask me “Why did you join the union?” I suppose there are a number of reasons — from Zach Casebolt wanting to experience “backend payments” to beginning to think about my career as a lifetime endeavor with a tangible opportunity for financial stability, prosperity, and maybe even a family and a dog someday. I must say, though, that the underlying reasons I joined the AFM were because I recognized its illustrious history as something I could be a part of, and because I could see that that history was in jeopardy. There are many things that being a part of the union can do for you – be it a pension, legal protection, representation to the media conglomerates we all end up working for in some capacity, etc; however, the biggest of them all for me isn’t what the union can do now, it is what our union can do in the future if —and only if — we build it. Together as young musicians – as the future of Nashville – we can determine what the union is, what it can do, what it can represent, and what role it can play in our future. I suppose ultimately I’m TNM a member because I want to take part in that. JANUARY–MARCH 2016 5




he official name of our organization is the Nashville Musicians Association, American Federation of Musicians local 257. The individual names of other AFM locals around the country have variations on this theme, including Musicians Protective Association, Musical Society, and others, but in the end, the majority of our members and the people we do business with simply refer to us as “The Union.” That is exactly what we are, more than any other description, and the defining characteristic of the word “union” is in its root word, unity.

How did we get here?

Local 257 was founded in 1902, and was among the first AFM locals to recognize the need to accept new members regardless of whether they could pass a music reading test. The Grand Ole Opry radio show brought more attention to Nashville and attracted countless of musicians to come here and try their luck. The rise of the Nashville recording scene in the ‘50s and ‘60s was not an accident. Major labels saw the revenue potential of country music and expanded their operations to Nashville. Musicians such as Chet Atkins and Owen Bradley became record producers and label executives, and along with longtime Local 257 President George Cooper, they made sure from the beginning that Nashville studio musicians were properly compensated under AFM contracts. That is the system that turned Nashville into Music City, and players have been coming to Nashville ever since. As Chet told me once, “The Nashville Sound was the sound of musicians getting paid!” Much has changed over the ensuing decades, but many essential realities of the music business remain, including the fact that there will always be those who will try to take advantage of others for their own gain. However, we are not powerless, and 6 THE NASHVILLE MUSICIAN

“Do you want to help create a future where your children can still afford to be full-time musicians? Or do you want to be responsible for giving the next generation a future where musicians are no longer respected, and no longer have a union to fight for them? The choice is yours.” our unity gives us the strength to change things for the better. In the ‘90s when the Christian labels refused to work under AFM contracts, musicians stood together and refused to work for them, and many of them became signatory. Low Budget Master scale was developed to solve the issue of those labels and other employers who had limited budgets compared to major labels, and has captured a lot of work we would have lost. A few years later, when Curb Records didn’t want to become an AFM signatory, artists and musicians stood together to bring Curb on board.

Where are we now?

Compared to other cities that are music centers, the culture of Nashville is unique because collectively we have created a community that respects musicians and the work they create, and pays them accordingly. We have positive relationships with the vast majority of our employers. Just one example is the music publishing industry. For decades, players have learned how to record in the studio in this valuable training ground for session musicians, songwriters, and producers. Our recording musician community is second to none. They are versatile, know how to play in tune and in the pocket, and are very time-efficient. This is why artists and employers in all genres have been coming here to record for decades and our market share continues to grow. When you add in the “Nashville” TV series, CMA specials and other awards shows, and an increase in jingle and New Use payments, it’s clear that our system of respect still works. We should not forget that we got to this point because AFM 257 and its members have learned how to organize work and keep it on the card, despite Tennessee’s anti-union “Right to Work” law. Today, Nashville is in the midst of a period of unprecedented economic growth and Local 257 processed more than $11 million in scale wages last year, not including

overscale, Health and Welfare and Pension payments. Yet, there are people who have lived and worked here for years who refuse to give those they employ on non-union “scab” sessions the same protections and benefits they still enjoy when they work under AFM contracts. In partnership with a local music business college, they are promoting Nashville as the new alternative to Eastern Europe, where orchestral musicians are routinely ripped off. They are working hard to convince the rest of the world that there’s no need to go to Prague anymore, they can take advantage of studio musicians right here in Music City. Huge multi-media companies with annual profits in the BILLIONS are now coming here to scam our session players, and claiming to be “putting Nashville’s middle class musicians back to work” while publicly whining about “back end” videogame residuals that they know DON”T EXIST and never did. We understand that everyone wants to work, but how are any of these things okay?

Where are we going?

The only way this will change is for musicians to unite and take a stand against those who not only are lining their pockets at players’ expense, but are tearing down the system that created Music City. I have been working behind the scenes in every way possible to address this problem, but ultimately, this is not MY problem, it’s OUR problem. If we are going to fix it, we have to do it together, as one, united against those who are more than happy to destroy the culture of respect that made this incredible city and creative community what it is today. We can stand together to do the right thing or stand by and watch while others tear down what we have created. Do you want to help create a future where your children can still afford to be full-time musicians? Or do you want to be responsible for giving the next generation a future where musicians are no longer respected, and no longer have a union to TNM fight for them? The choice is yours.


“In recent years, the shifting music industry landscape has altered enough to make this dual approach more common. In many cases, players actually find that doing both sessions and live gigs not only earns more money, but also brings more musical enrichment.”


ocal 257 has approximately 2200 members who make their living in a wide variety of ways. At one end of the spectrum are those who fill their calendar with studio work. At the other end are folks who pack their bags to travel the world playing live shows with one artist or another. Of course, symphonic, theater, club and casual players, teachers, and other music lifestyles exist in between, but I’ll center on these two bookends for this column.

From session cats to road dogs

Many of us do sessions and road work. There are plenty of reasons players do both but it all boils down to a need for multiple income streams. In recent years, the shifting music industry landscape has altered enough to make this dual approach more common. In many cases, players actually find that doing both sessions and live gigs not only earns more money, but also brings more musical enrichment. I have often felt that the very elements I miss in the studio can be provided by a few weekends on the road. This town does seem to go through cycles during which more opportunities exist for one type of musician than another. However, I’d bet that most of our members simply follow the unspoken rule: When the phone rings, take the gig and sort it out later! We inevitably find a way to make it work. This mentality is empowering in that we never get too complacent or bored by doing the same thing over and over. Stretching our comfort zone forces us to be better communicators, musically and otherwise. Once we’ve experienced a double-booking calamity, we quickly learn to avoid these uncomfortable and unprofessional train wrecks in our scheduling. We also learn the ropes that only experi-

ence can afford us. Whenever I go on a diatribe toward my 20-year-old son about some issue or another, he invariably says, “I know, Dad!” like a lot of 20-year-old kids do. This response is a good illustration of the concept that knowledge is not the same as experience. Even though a person can intellectually understand a process, actually going through that process is what builds confidence in one’s career and life in general.

Cutting the tracks


already been acknowledged. We prepare by knowing what the artist wants from us, both as a player and singer, because anything we can provide that puts the artist in the best light will raise our “team” profile that much more in the artist’s eyes. Signature passages in the music — whether a guitar riff or a drum fill — are our keys. If we don’t honor these focal points no amount of talent will make up for it. We are also thrust into travel circumstances that can tax relationships, so we maintain an upbeat attitude at all times. Our social skills are at a premium and sometimes laughing at jokes is just as important as telling them. We learn really fast that when we back an artist, it’s not about us! This fact actually applies to both

Once we begin doing sessions, we incorporate the kinds of practices that keep the producers booking us again and again. We keep our gear in top shape. We bring alternate instruments to the date. We sharpen our ability to read number charts. “Stretching our comfort zone forces We’re always punctual us to be better communicators, so no one has to wait on us. We are enthusimusically and otherwise.” astic about each track. We listen to the ideas ends of the spectrum. It’s our job to bring others have, and try to be open to suggesthe magic and make the artist happy, in tions so the tracks please the artist, the the studio AND on the road. producer and ourselves. We try as often Local 257 supports all our members’ as possible to be available. endeavors and that goes for both session This is where the push and pull of road work and road work. A ‘heads up’ for vs. studio can get tough because if we those who are on the road is to not leave take a road gig we may not be able to take money on the table. If someone wants to the session that pops up out of the blue. video or record your show in any way, it Prompt, crisp communication — and havshould always be on an AFM contract and ing a willing, capable substitute — are be paid above and beyond what you retools we use to navigate these challenges. ceive for the show itself. You can always Although I’ve heard it said that in this town call Dave or myself if this happens. you’re either a road dog or a session cat, Some players only want session many of us simply reply “Oh yeah, watch work. Many others are content to play this!” — and juggle both worlds. in front of new crowds every night. But I see more and more of our members are Hitting the highway happy to find not only multiple income That first road gig can easily be our last if streams but a fuller musical experience we don’t bring certain intangibles to the TNM by doing both. It’s all good. table. We’ve been hired, so our talent has JANUARY–MARCH 2016 7



grapevine ON THE


Brad Paisley got the 2016 Grand Ole Opry season started with a surprise tribute to Local 257 life member Little Jimmy Dickens. Paisley was known for having a close friendship with the late Dickens, who passed away one year before the Jan. 2 performance. After the Opry statesman’s death, Paisley described him as his hero in a statement on social media. “Much will be said and written about his incredible and unique place in country music history…but that isn’t how I’ll remember him. I will remember the human being that best check-marked all the boxes of a complete and wonderful life. My hero,” Paisley said. Dickens was the longest serving member of the Opry when he died at 94. He was inducted in 1948, and joined Local 257 in 1949.

Little Jimmy Dickens and Brad Paisley


Kenny Chesney, known for his sellout tours, long list of chart-topping singles and his business acumen, has added something else to his achievements. During his 2015 The Big Revival tour he partnered with the Love Hope Strength Foundation’s Get on the List Campaign to help find bone marrow matches. He said the idea came from a tour promoter. “When Kate McMahon explained it to me, it seemed not only so simple, but the kind of thing No Shoes Nation (as Chesney’s fans are known) is all about,” he said. The organization set up mobile locations on-site at concert venues, so fans could volunteer to have a cheek swab, which was then entered into a national bone marrow donor bank and cross-referenced against people fighting bone and blood cancers. Of those who suffer from diseases requiring marrow donations, only about 30 percent receive them in time. “I learned how small things can sometimes make a major difference. I know my fans will pitch in and help people in need. I’m thrilled to hear 25 matches have already been found,” Chesney said. For more information on drives and donor screening, go to 8 THE NASHVILLE MUSICIAN

Kenny Chesney

Keith Urban


Keith Urban So Far is a career-spanning exhibition now on display at the Country Music Hall of Fame and Museum through May 2016. It will follow Urban’s path from his native Australia to Nashville and stardom, where he has become known as one of country music’s best-loved ambassadors. The multiple-Grammy award winner said he has loved country music all his life. “I recall seeing artists like Johnny Cash on stage and thinking ‘that’s what I want to

do,’” Urban said. “It’s truly amazing to have my life’s journey on display at the Country Music Hall of Fame and Museum.” The exhibit will include a wide array of memorabilia including early childhood photos and documents, handwritten song manuscripts, and some of Urban’s most cherished guitars, including his 1989 Fender Custom Shop 40th Anniversary Telecaster “Clarence,” his primary guitar for many years.



Taylor Swift has achieved another milestone in a career already highly decorated with accomplishments: Her 2015 1989 tour is the biggest North American tour ever, grossing $199.4 million, according to PollstarPro. Worldwide the tour generated $250 million in primary ticket sales, which made Swift the top-grossing touring artist of 2015. The stats do not include merchandise sales.


The Country Music Hall of Fame and Museum’s first new exhibit of 2016 is American Sound and Beauty: Guitars from the Bachman-Gretsch Collection, which opened Jan. 15 and is scheduled to run through July 31, 2016. In conjunction with this exhibit, the museum saluted twangy guitar great Duane Eddy Jan. 23 as part of its “Nashville Cats” series. Eddy is a Local 257 life member, and is also a member of both the Musicians Hall of Fame and Rock and Roll Hall of Fame. He began his career in the 1950s; recordings such as “Rebel Rouser,” “(Dance with the) Guitar Man,” “Cannonball” and the “Peter Gunn” theme song, as well as his collaborations with a number of artists, including Waylon Jennings, Willie Nelson, Paul McCartney and George Harrison, earned him a well-deserved place in music’s pantheon.

Taylor Swift and Mick Jagger in Nashville TNM





The landscape of Lower Broadway changed again in late 2015 when the city widened the sidewalks and installed pedestrian barricades for increased safety. The middle traffic lane was eliminated in order to expand loading zones from 1st to 5th Avenues. The measures have met with mixed results, due to taxis blocking the Broadway loading zones to wait for fares instead of using the new designated taxi stands on the cross streets. Dave Pomeroy has been working with downtown players to foster better communication between musicians and the Police, Public Works and Taxi Commission, and urging Metro to enforce the new regulations by controlling the taxis.


Former Alabama governor Jim Folsom, Jr., met with Dave Pomeroy in December to express his willingness to lend support for legislative issues that affect working musicians. Folsom also met with other Music Row leaders to gather information and start a dialog that would bring him up to speed on intellectual property issues and other AFM priorities.

Mayor Megan Barry


Despite a flurry of premature local media coverage, no action has yet been initiated by new mayor Megan Barry to address the illegal status of recording studios as home businesses. As a council member, Barry brought a proposal forward in 2012, but it was tabled due to a lack of consensus at the time.


The AFM met in New York City in January to finalize a new National Public Television agreement and continue bargaining the Sound Recording Labor Agreement with record labels. Dave Pomeroy said SRLA negotiations will be continuing throughout 2016.


Next General Membership Meeting Monday, Feb. 22, 2016

Morgane and Chris Stapleton, Dave Cobb

NEWS At the ASCAP Awards held Nov. 2 during CMA week, Trisha Yearwood was honored with the Voice of Music Award. Top songwriters including Dierks Bentley and Michael Carter won awards for writing top-performing hit songs in the past year. Over at BMI hit songwriters including artists Keith Urban and Eric Church were honored with Top 50 Songs awards.

Local 257 was well-represented at the 49th annual CMA Awards, with Chris Stapleton taking New Artist, Male Vocalist and Album of the Year (Traveller), produced by Stapleton and fellow 257 member Dave Cobb. Little Big Town won Single and Song of the Year for “Girl Crush.” Keith Urban and Eric Church were awarded for Vocal Event of the Year (“Raise ‘Em Up”). And for the umpteenth (actually 8th) year in a row, Mac McAnally won Musician of the Year.

Loretta Lynn received the Billboard Legend award at the publication’s Women In Music event held in New York City Dec. 11. The show honored a host of artists, including Lady Gaga, who won Woman of the Year. The Country Radio Seminar will recognize Keith Urban in February at its annual event in Nashville. Urban will receive the group’s 2016 Artist Humanitarian Award for his many charitable endeavors, including fundraisers for the Country Music Hall of Fame and Museum, Make-A-Wish Foundation and St. Jude Children’s Research Hospital. TNM



1. SHANNON WILLIFORD, COREY CONGILIO, VINCE SANTORO, DAVE POMEROY, MICHAEL WEBB and MARK ALLEN performed at Metro Public Schools’ “Career Day,” with special guest Gnash. 2. Bassist BOB WRAY received his life member pin from Secretary-Treasurer VINCE SANTORO, who along with Wray, toured with The Highwaymen. 3. Keyboardist BILL SLEETER (William Schlueter) displays his new AFM life member pin. 4. Violist LINDA SUE DAVIS shows off her new life member pin. 5. Keyboardist BILLY LIVSEY rocks his Local 257 25-year pin in the rehearsal hall. 6. Local 257 member LARRY BARNES shows off his life member pin and his vintage Kubicki bass to fellow bassist DAVE POMEROY.


7. Bassist MIKE BUB receives his 25-year pin during Santa’s visit to Local 257.






5. 1.


1. Local 257’s RALPH LAND (center) leads the troops at the Veterans Day Parade. 2. Bassist/guitarist/producer JACK JEZZRO’S son Luke meets Santa and shares his Christmas list in great detail with the attentive Mr. Claus. 3. JERRY MCPHERSON lists his Christmas requests. 4. Three Ring Circle (ANDY LEFTWICH, DAVE POMEROY and ROB ICKES) perform with guitarist and vocalist TREY HENSLEY at the 16th annual Nashville Unlimited Christmas concert at Christ Church Cathedral, organized and hosted by Pomeroy. This year’s show raised more than $28,500 for the Room In The Inn homeless program. 5. AFM life member GENE “PAPPY” MERRITT’S 87th birthday was celebrated at the Nashville Palace Jan. 14. (pictured in photo JOHN ENGLAND and Merritts) TNM

Big Band to Bluegrass

all true, all real



www.tom JANUARY–MARCH 2016 13


Can we reach you?

Do we have your current phone, email, and address? Make sure we can reach you. Let the front desk know when your info changes.

RAISE YOUR PROFILE Max imize your employment pot ent ial by creating a public profile on our website, . Employe rs often check here when look ing to hire musicians and bands for live and stud io wor k. Log in to build your profile. Eac h profile page can list musical skills, plus link s to your website, photos, audio clips and more. Member s can also create an “Artist Page” for band or solo side project s, which will greatly increase you r chances of get ting a gig through our new AFM 257 Entertainment booking agency .


Session leader s, it’s YOUR responsib ilit y to mak e sure time ca rds are turned in wi thin THREE DAYS of th e recording sess io n! Ev en when checks are wr itten at the se ss io n to the player s, if the time card an d AFM Pension paymen t are late, it can re sult in penalties for the employer and prob lems for you. You can ta ke a pict ure of th e time card and email to cont ract s@afm25 7.o rg to speed things up , bu t be sure to br in g the hard copy to us AS AP.



Did yo u s i g n t k no w t h a t he ap i f you pr r emp men t lo for yo opr iate A F M s i g n yer does n ur s es men t ’t a t or y sion, w ill no you ag t a cco u nt? In be credi te r pension reed to y s t ead p a ypensio our , it n sure y ’s gener al w ill simpl y indi v idual fu o g A FM a ur employe nd and no o into t he t t o yo g r eem r sig n u! M a s t he I t is M en t a t ke ap UC t fac t , s H more co he t ime of propr iate t he s e mplic o do y at ssion o t o t he . s e de u r s el f a f a ed t o f i x a f t er t h vor an t ails! e d pay a t t en t ion



ficiary ecked your bene If you haven’t ch so. do ld ou ly, you sh in format ion late lly ca di rio pe to rget Many members fo l ra ne fu e th at th re check to mak e su is e fil on ion we have bene fit in format an th e rs wo nothing correct . There is the wr ite a check to to le ab g NOT bein eone m ficiary when so appropriate bene at ion rm fo in cause the passes, simpl y be lf se ur yo Do dated. we have wasn’t up e ak m d an r vo fa es a and your loved on . sure it is correct

Many projects start out as demos, but the quality of Nashville demos is legendary and many of them become records eventually. When you record under a demo contract, your work is protected, and we have a variety of ways to upgrade demos into masters that are fair and affordable for all concerned. We also do many “cleanups” on demos and album projects that were recorded without an AFM contract, so if it falls through the cracks, there are still ways to retroactively fix things, so that you and your work can be protected. Better late than never, but it is always better to get it right upfront, so you get what’s owed to you.


Health and financial peace of mind means more time for the music.

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Photo: Brad Lovell


say hello to the year of girl power

COUNTRY GIRL. CITY GIRL. SONGWRITER. SINGER. STAR. If you knew nothing else of Kelsea Ballerini, those few words describe the life and the trajectory of a glittering career in waiting. You may have seen or heard her, even if you’re not familiar with her. Not yet. Maybe at the White House for the National Christmas Tree Lighting. Or, in Nashville for her debut Grand Ole Opry appearance early last year, or at the Jack Daniels Bash on Broadway, New Year’s Eve. Or, maybe as a Radio Disney featured artist, named — you guessed it— the Next Big Thing. 2015 was a good year for Ballerini. 16 THE NASHVILLE MUSICIAN


Photo: Brad Lovell “The year was intense,” Ballerini said recently, from the offices of Black River Entertainment. “I really wanted to lay a solid foundation. I was very busy with the radio tour and all. It’s been so interesting, and inspiring, because everything’s going so well.” ‘Going well’ is an understatement. The Local 257 member’s debut single “Love Me Like You Mean It” from the album The First Time hit No. 1 on the Billboard Country airplay chart, making her the first solo female artist to do so since Carrie Underwood in 2006. Billboard named her the 2015 Top New Country Artist in December. Ballerini has chops, with a voice both musical and personal, and she is comfortable within it. It’s confident Southern pop with an edge. She is who she is. The 22-year-old first moved to Nashville from eastern Tennessee seven years ago with her mother, on a wing and a prayer. Her parents had divorced — a life-changing event — and that upheaval had not only triggered a depression for a young girl, but had put into motion the very thing that would see her through. Songwriting. She described it then as something falling into her lap. “I’d say it a little differently now,” Ballerini said. “My parents were splitting up and I come from a very intertwined, tight-knit family. It had a huge ripple effect on my life at a time when I was already very shaky. I say that because I think that’s already a time in your life where you pick a path. You kind of pick who you’re going to be — the bad kid or the good kid. I very easily could have picked a different path at that point in my life. “I just remember one day being very down and this thing just kind

Photo: John Shearer/Getty Images of happened. I started writing songs and that’s what I meant — by kind of falling in my lap. It was this gift, this outlet in my life that really saved me at that point.” Growing up, she understood the power of the music, if not the artistry. Her father worked at country radio station WIVK in Knoxville, and though his daughter was exposed to that airplay then, she was not a fan. Her tendencies leaned more to pop at that age — tendencies that still inform her music today. “My dad worked at the station, and I don’t know if it was because it was his job or what, but I, like, boycotted it,” Ballerini said. “I never listened to country music. But, that being said, I grew up on a farm in east Tennessee. It’s not a huge farm — three cows and a goat. I didn’t do real farm work, but my lifestyle was extremely country even though I didn’t know country music yet. My first concert was Britney Spears, and I grew up on pop while living this extremely southern lifestyle. So, when I started writing songs they were coming out country — I just didn’t know country yet. “It was a weird thing. I remember certain songs — ‘Make the World Go Away’ is my favorite country song of all time. My dad would play the Martina McBride version at the house, but more than country classics it was Aretha Franklin, Tony Bennett, and Frank Sinatra classics that were in our household all the time.” This is the thing in a nutshell. Many of today’s country artists — and fans — are not country in the traditional sense. This is not a criticism, but continued on page 18 JANUARY–MARCH 2016 17

KELSEA BALLERINI continued from page 17

rather a statement of the environment and of fact — a fact that Music Row embraces, because if nothing else, Nashville is a town that survives. And, it has never survived so well. From Hank Williams forward, the idea of claiming popular ground in the nation’s consciousness has driven the scene, one that moves to stay alive. It is unavoidable evolution, and today, Kelsea Ballerini is at the fore. She is very much cut in this new mold. But, what makes her real — what makes her ‘country’ — is a personal warmth and grounded approach to her life. She believes it is something that is discernible and is today’s true definition of the genre. More so than steel guitars or fiddles. It’s warm country beats. “I hear, especially in ‘Love Me Like You Mean It,’ a girl who listens to everything,” Ballerini said. “But, the thing I’m drawn to about country music is the truth — and not only the truth in the songs, but the truth in the artist. For me, the truth is I grew up on a farm in east Tennessee and I listened to Britney Spears. Mix for me. My roots are in country and southern, but I’m definitely influenced by — and I love — all music. I feel like it’s my job as a new country artist to be open about that. “Taylor Swift has always been my biggest inspiration and role model as to what I wanted to be. For a long time, I was afraid to admit she was such a huge influence for me. I was told early on that Nashville had a Taylor Swift. But, I think she’s the biggest inspiration. When I first started writing songs at 12 or 13, her first record had just come out. So she was there at the beginning for me — the young singer-songwriter in country music to look up to.” Feeding on that type of inspiration, the teenaged Ballerini went to work. She approached songwriting with a commitment that would eventually lead her to a publishing deal, a record deal, and now to the cusp of real stardom. “I just started writing,” she said. “I didn’t pick up an instrument, but I just started writing. I was always big into storytelling, and I wrote poems and rhymes, and music — but all separately —and one day I tried putting everything together. I would write out a song, make up the melody, and sing it into Garageband on my computer. I picked up a guitar when I was fourteen. “I had a vocal coach for a year then and she gave me the help I needed the most — putting music to my lyrics. It got me going.” The call became a true personal direction, and she and her mother took the leap of faith when Ballerini was fifteen and moved to Nashville. She worked it very hard and learned quickly how to deal with rejection. “My mother moved to Nashville with me to do this,” Ballerini said. She’s got her feet on the ground, very logical, and I’m the opposite with my head in the clouds. ‘I’m going to be a singer.’ But, she saw it go from a hobby to a passion. When she saw me coming home and doing it every day, all day — looking up producers, looking up managers, she saw that transition and that’s what she believed in. That transition. “I think you have to approach everyone you meet like you’re not going to be accepted. Expect them to think you’re not going to be any good. For me, when I moved to town it seemed every blonde girl in the world was here to make it. Seven years ago. You have to make people believe that you take yourself seriously. I had 200 songs that were — and are — mine. “Once I decided it was what I was going to do, and once I moved, I had no option but to make it work. I’m not allowing myself to fail with it — not like I had to be a big artist, but just to be able to make a living in music. Whether it was as a songwriter — which I would be so happy with —or as a performer. I just knew that when I uprooted my life, and my mom’s life, and moved away from people I loved, it meant that this 18 THE NASHVILLE MUSICIAN

was my life now. I’m going to make this work.” Ballerini took that desire and met with anyone who would listen. She heard the negative, and embraced the positive. She wrote tirelessly, on her own and with others. She was signed to a Black River publishing deal in 2013, and later the same year, to a record deal. All while attending college classes, as her mother had mandated until she could make her living in music. “That year, I dropped out of school and literally wrote all the time,” Ballerini said. “All the time. I still want to be a songwriter, but all along I knew I wanted to be an artist. I just needed to find out what I really wanted to say, and how I was going to say it. “I was just doing a lot of trial and error with people and with sounds, and it was the night we [Forest Glen Whitehead, Josh Kerr, Lance Carpenter] wrote “Love Me,” when it clicked for me. I’m all about female empowerment. Strong. That’s my thing. That’s when it clicked for me.” Ballerini’s self-titled debut EP introduced her and that gold-certified hit single to fans, and was soon followed by The First Time on Black River, produced by Jason Massey. The 12-track album earned her two CMA Award nominations for New Artist and Best Female Vocalist, and an AMA Award nomination for Best Female Country Artist. “There are dreams and there’s hard work,” she said. “There’s not a set path in the music industry — like 1-2-3-4 and you’re in … It’s completely your own story to figure out. Once I learned that, it’s like ‘Well, I’ll do it my own way.’ And, I have.” IN FACT, THE FIRST TIME , REPRESENTED SEVERAL FIRSTS. “We did things differently,” Ballerini said. “My first real show with a full band was New Year’s Eve, 2014. Black River was cool enough to let me write half my record with Forest Glen Whitehead. He’s the person I clicked with the quickest — and Jason Massey, who had never produced a record before. So we got to go in and make the record we wanted to make. “It’s an album that is truly about the songs. The production is different, but I love it. I love performing now. Touring and live shows have always represented the pinnacle for me. My dream has always been to do an arena tour with all the bells and whistles. When I first moved to town, I was laser-focused, so what I would do is buy concert DVDs — like Taylor’s or Flatts, and Lady Antebellum. Justin Bieber. Anyone that came out. I’d watch them over and over. I learned how they put the shows together. When they did certain things — how to move and maneuver, how to interact. I’m new to it still, but studying it that way has allowed me to have my bearings a little bit.” Ballerini is constructing a career for the long haul. She is touring in support of the album, and future singles, and is focused on finding her way. Scott Jones is bandleader and bass player on the road, with Reed Johnson on guitar, and Jacob Simmons on drums. “I want balance,” she said. “I like the road, but want a little bit of balance. I have new stuff that I want to get out, but I’m really proud of the album we made and I want to get as many singles out of it as we can before I put something new out. “I get inspired out living life. This is such a different chapter. I listen to my new stuff, and it’s so different. What I have out is my life up to this point. My life. But, it’s an interesting thing just how much change has already happened. One thing I’m thankful for is that I’m super-naïve. Everything has happened so quickly that I don’t know. I don’t know. I’m just doing it and winging it, and in reality, I think that’s been a huge blessing.” TNM









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222 5th Ave. South • Nashville, TN • 615.416.2001 • JANUARY–MARCH 19 in 1964. The Country Music Hall of Fame® and Museum is operated by the Country Music Foundation, Inc., a Section 501(c)(3) non-profit educational organization chartered by the state 2016 of Tennessee


Mac McAnally ROUNDER Mac McAnally | AKA Nobody | Mailboat Records Mac McAnally has had a long and varied career in a variety of roles over the years – songwriter, artist, sideman, session player and more. Far from being stereotyped or painted in a corner, he has continued his artistic evolution while maintaining constants in his career, such as his long-running gig with Jimmy Buffett, and his numerous CMA Musician of the Year awards. (Eight in a row and counting.) AKA Nobody, McAnally’s latest solo album, is a rewarding journey through his world — embracing folk, country, R&B, gospel, and a wide range of musical influences. His incisive yet lyrical style and unpretentious vocal delivery blend with his intricate guitar and funky keyboard playing to define his artistic persona. Sometimes an observer, sometimes an active participant in the storylines of his songs, McAnally pulls off a wide range of subject and emotions in this collection. The players involved include Michael Rhodes, Jim Mayer and Glenn Worf on bass, Shannon Forrest and Chad Cromwell on drums, Eric Darken on percussion, Jack Pearson on guitar and Paul Franklin on steel guitar. Co-writers include Al Anderson, Kenny Chesney and on the funky “Loser Gumbo,” Sonny Landreth, who adds his distinctive slide guitar as well. “A Little Bit Better,” co-written with Chris Stapleton, opens the album with a pledge to keep trying to move forward despite life’s curveballs, and “Last But Not Least” is a beautifully spun tale of a man pulled in too many directions by the world but who sees the irony in trying to please everyone while trying not to neglect those you are closest to. “Mississippi You’re On My Mind,” written by the late great Jesse Winchester, is a sweet tribute to a state that has given us so many great musicians and artists. “Proud to Be Alive” is a positive, life-affirming tale that melds a Springsteen-esque driving rhythm with mandolin on top, and a rangy, soulful vocal balanced by Pearson’s soaring slide guitar.“Zanzibar” gets exotic with a slinky acoustic guitar riff twinned by Jeff Taylor’s gypsy accordion and a vocal reminiscent of a ‘40s jazz tune. “Coast of Carolina” was co-written with Jimmy Buffett as a sequel to “Come Monday” and has a cool southern rock feel, and ”Someday” brings a ‘Queen meets The Beatles” vibe with killer layered vocals. All 15 tracks are keepers, and “Working Prayer” ends things up with a mellow gospel-folk declaration of the power of keeping things in balance and leaving the world a better place than we found it. McAnally’s liner notes are typically humble and insightful, and shed light on the secret to his long-running success — keeping it real and taking it song by song. Excellent work. – Roy Montana continued on page 22 20 THE NASHVILLE MUSICIAN


REVIEWS continued from page 20

Barbara Santoro

It Could Happen to You Santoro Records The status of Nashville as a “Third Coast” for jazz has been at times a well-kept and poorly-kept secret. Currently, Nashville is experiencing a jazz and especially a jazz vocal renaissance with a large group of very talented singers. Add to their number Barbara Santoro, whose self-released recording It Could Happen to You adds a pleasant, distinct voice to the scene. Pianist Joe Davidian directs a crack band of Nashville jazz veterans and newcomers including Jim Ferguson on bass, Josh Hunt on drums, Matt White, trumpet, Denis Solee, sax, and Pat Bergeson on guitar, through a recording that swings easily, percolates with smooth Latin and Brazilian rhythms and showcases Santoro’s smoky alto vocal most admirably. Standout tracks include intimate readings of “Yesterdays” in a bass/vocal duet, a romp through New Orleans stride piano and trumpet in “I Got a Right to Sing the Blues,” an imaginative torch song intro to “Yardbird Suite” (trust me, it works!) and a breezy Brazilian interpretation of “It Might as Well Be Spring.” Rounding out the inspired session is a swinging aperitif of an instrumental “Call Me Miz” written by Santoro. This is the debut release by Santoro, who took the leap out from behind the comfort of her piano to stand front and center and sing. That’s not a mistake. Santoro has a smooth and rich alto voice and an instinctive sense of phrasing that serves the songs very well, at times reminiscent of such diverse influences as Ella Fitzgerald and Bob Dorough. She avoids vocal histrionics and focuses on smooth, elegantly phrased interpretation. It’s especially poignant that this release is inspired by and dedicated in part to the late great jazz educator and musician Billy Adair. His passing inspired Santoro to take the creative leap into jazz vocalist from pianist. It’s great that Adair’s legacy lives on and inspires 22 THE NASHVILLE MUSICIAN

creativity in Nashville in this way. It Could Happen To You is a very smooth and easy disc that will find its way time and again into rotation in my car and home audio players. Highly recommended. — Roy Vogt

Thank you, again, for this music, Andrea. I have already been lifted by it. Rise. Gotta get it. It’s good for you! —Roy Agee

JT Corenflos

Andrea Zonn

Rise Compass I’ve always thought great musicians have the ability to disappear into the music the same way great actors relinquish themselves to a role. Andrea Zonn’s newest CD Rise is as transparent and real as it gets — a refreshing reminder that music is alive and well. Evocative, comforting and inspiring, it delivers a message from wisdom’s perspective. Like the great actor, these iconic musicians have done what made them so revered — made music. Here are a few moments that resonated with me. “Another Side Of Home” — beautiful textures and masterfully understated rhythm keeps us moving toward a profound notion — that we can find value in the people and places that we love. Life isn’t all about accomplishments. Mac McAnally on guitar lends his magic and it just soars. Throughout the record, the rhythm is inspiring. The Steve Gadd and Keb’ Mo’ interleaved intro to “No Reason To Feel Good” blows me away. It will make you move. Promise ya. The story of the next song is so inspiring to me. “Crazy If You Let It,” acknowledges our pain but also illustrates ownership of our experiences. Zonn’s fiddle is glorious in the texture on this track as well — plus her blend with Vince Gill sends shivers down my spine. I could go on and on with specifics about the music and the message. Well, OK. One more. Two more. “I Can’t Talk About It Now,” around the 1:06 mark. You’re welcome. I love that moment. I first started listening to this CD in my car. When I heard “You Make Me Whole” I maxed out my stereo and felt invincible. Results may vary but probably NOT. It just arrested me. Zonn, James Taylor, BVGs and the rhythm! It is amazing.

Somewhere Under The Radar Nashville is a guitar-centric town, and there’s a lot of competition, but sometimes a player will slowly but surely rise to the top of the heap while staying true to his roots. Guitarist JT Corenflos moved to town in 1982, paid his dues out on the road with Jean Shepard, Joe Stampley, and others. He worked his way up through the studio ladder, working on thousands of demos. He has played on hundreds of hit records with a huge variety of artists including everyone from Dierks Bentley and Eric Church to Kacey Musgraves and Don Henley. Somewhere Under The Radar is Corenflos’ first solo recording project, and showcases his melodic, gritty guitar playing in a wide variety of settings. In keeping with his laid back personality, this instrumental album feels like a band project, with the difference being that his guitar is front and center rather than in the support role he does so well. Lonnie Wilson on drums, Jimmy Carter on bass, and Mike Rojas on keyboards are all along for the ride, and match Corenflos’ energy and taste throughout the CD. Highlights include a smokin’ cover of Simon and Garfunkel’s “Mrs. Robinson,” with Corenflos’ chicken pickin’ perfectly emulating the melody’s inflections and all the little sub-hooks that made the original so special. The original tunes range from the punchy melodic shuffle of “Cruisin’ the Bash” to the heavy guitar bends and funky stomp of the title track, to the surf ‘n twang “Stingray.” Corenflos’ signature Telecaster sound is here along with a bevy of sweet guitar tones, and on this album he nails every note with conviction, taste, and soul. His playing is reminiscent of so many great guitarists, yet he manages to always sound just like himself and not an imitator. Highly recommended listening for any guitar fan. Go to www. for more information. — Roy Montana


LIVE REVIEW Dr. Seuss’ How The Grinch Stole Christmas!

Grinch Band

After 15 years of Christmas shows featuring the Rockettes dancing to taped music, this holiday season the Grand Ole Opry House came alive with the sound of real musicians once again for 58 performances of Dr. Seuss’ How The Grinch Stole Christmas. The iconic story has been adapted into a musical that is truly a show for all ages, and the stellar 11-piece band made it special from start to finish. The production was top-notch visually and musically, and the actors — especially Stephen Bishop as the Grinch and W. Scott Stewart as Old Max, the narrator of the story — were engaging and funny. The band was an essential part of the Christmas magic throughout the show, matching every twist and turn of the story with spot-on dynamics and tight ensemble performances, at times sounding like a much larger group. Local 257 member Jo Lynn Burks was the orchestra contractor and second

keyboardist for the show. She assembled an excellent band that included Jimmy Bowland, Robby Shankle, and Kelsey Mire on reeds, Steve Patrick and Tyler Mire on trumpets, Barry Green on trombone, and Joe Murphy on bass. The production company is based in New York City, so the band featured three Local 802 (New York City) musicians as well. Musical Director and conductor Alex Harrington, keyboardistassociate conductor Geraldine Anello, and drummer-percussionist Russ Nyberg came along for the ride, and as a whole the band sounded fantastic. The announcer made sure to tell the audience they were hearing a live orchestra, and from the beginning notes of the “Overture,” it was obvious that they were an integral part of the show. There was very little downtime for the band, as one tune quickly runs into another, and the many musical transitions were seamless. As the

Stephen Bishop and Jo Lynn Burks

Opry House does not have a Broadwaystyle orchestra pit, the band was mostly hidden from view. At two different points in the show the curtain was pulled back to briefly reveal the band, much to the delight of those in the house. This production was stellar, and the constantly changing look of the stage — along with a huge cast of dancers and singers — brought the iconic Christmas tale to life in a big way. In particular, the young singers alternating as Cindy-Lou Who sang with a combination of innocence and precision far beyond their years. The characters interacted with the audience in some hilarious exchanges and the audience had a wonderful time getting into the Christmas spirit, as the Grinch — despite his best intentions to wreck the holiday — finally understands the true meaning of Christmas. Here’s hoping the show will return and help TNM keep live music alive in Music City.






hen I was asked to start writing this column, the concept was a forum for news about issues concerning the jazz and blues community, not just another gig calendar. That news has been hard to find, unless I only report on the same few organizations every quarter. Perhaps it’s because the main concern of working jazz and blues musicians is just getting that next gig. Perhaps I haven’t dug deeply enough. You can help me. Anything you are involved in, or have heard about, please let me know. You can contact me at austinbel@

On the concert scene

The School of Music at Middle Tennessee State University completes its Jazz Artist Series with two concerts at the Wright Music Building on the MTSU campus in Murfreesboro Feb. 18 at 7:30 p.m. The MTSU Jazz Faculty will perform the music of Wayne Shorter. The saxophonist’s compositions are as well known as his time with Art Blakey, Miles Davis, and Weather Report. March 19 the school will host an all-day event, the MTSU Illinois Jacquet Jazz Festival. The final performance at 7:30 p.m. will feature Steve Wilson, a major saxophonist on today’s scene with 150 recordings to his credit, including eight solo projects. Schermerhorn Symphony Center hosts vocalist Madeleine Peyroux on March 11 at 8:00 p.m. (without the NSO). Her warm and sultry voice can often be heard on WMOT 89.5 FM doing originals, ingenious covers, and jazz standards. Peyroux got her start singing on the streets of Paris as a teenager. Live at the Ryman presents Chick Corea and Béla Fleck at the Ryman Auditorium April 17 at 7:30 p.m. It’s hard to say anything about these two contemporary legends that hasn’t been said before. 24 THE NASHVILLE MUSICIAN

Béla Fleck The tour is in support of a new CD, a live double-disc set called Two. What could be better than two virtuoso improvisers in the magic atmosphere of the Ryman?

On the local scene

Does jazz combined with an introspective look at the spiritual side of life sound intriguing to you? Try one of these two options: Vespers & All That Jazz is a peaceful worship experience using material from an eclectic variety of sources every Sunday at 6:30 p.m. in Wightman Chapel on the Scarritt Bennett campus. Christ Lutheran Church offers Second Sunday Jazz Vespers with a trio of piano, bass, and horns at 6:00 p.m. Both services are casual and all ages are welcome. The Tennessee Jazz & Blues Society has posted new podcasts on its website from its popular “Sessions at Steinway.” Peripatetic vocalist Annie Sellick can be heard from a Sept. 12, 2015 performance, and Jim Ferguson brought a quartet in on Nov. 7, 2015. Songs and conversation with the audience present an interesting portrait of the artists. Go to and look for the links on the home page. Coal Train Railroad is a group that makes jazz music for young kids. The group is produced by bassist Chris Donohue, and includes vocalist and Belmont graduate Katy Bowser and various players like Jeff Coffin and Rod McGaha. Two CDs and an EP have received excellent reviews at You can check all three out at iTunes.

On the jam scene

The Nashville Jazz Workshop Jam Session is led by saxist Evan Cobb with a house rhythm section and special guest one Sun-

day each month, 4-6:00 p.m. at the NJW Jazz Cave. This is open to all instrumentalists and vocalists. Players are expected to know their tunes — Real Books discouraged — and vocalists are asked to bring charts for the band. The East Nashville Jazz Jam was organized by drummer Nicolas Wiles to provide an atmosphere dedicated to fellowship, networking and music. It’s a relaxed jam for musicians of all ages and skill levels — and Real Books are welcome at the event, held Tuesdays from 7-10:00 p.m. at Fat Bottom Brewery, 900 Main St. Jazz at the Taproom is a live jam every Wednesday, 6-9:00 p.m. at Tennessee Brew Works, 809 Ewing Ave. Tenor sax man David Williford and the house band anchor the sessions, while patrons enjoy two-for-one beer. Come early, the joint closes at 10 p.m. Jazz Jam at Christ Lutheran Church led by vocalist Marci Wilson-Boggs is every Saturday, 2-4:00 p.m. at 299 Haywood Lane. A trio backs up all comers, and refreshments are available. Jay Vern’s Jazz Jam Nite is now every Thursday, 7:30-10:30 p.m. at 404 Bar & Grill, 404 Elysian Fields Rd. Vern is a pianist and producer at Jay’s Place Recording Studio on Music Row. The Night Owl, an eclectic bar and grill at 330 Welch Road, offers up a jazz jam session every Sunday, 8-10:00 p.m. It’s hosted by saxophonist Chris West and the house band. As you can see, there are still many jazz and blues jam sessions around Music City. Complete schedules are available at www., and TNM

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Downtown Nashville


CountryMusicHallofFame.orgJANUARY–MARCH 2016 25


Auditioning a new principal librarian



we enter 2016, the NSO will hold a series of auditions for principal bassoon, section second violin and second trumpet in January, March and May.

Auditions details for 2016

Auditions generally follow a rather standard process: An ad appears in the International Musician, and usually 100-300 musicians fill out an application online. The audition list is sent to potential candidates, and those committing to take the audition send a check to reserve an audition time. Unless the candidate withdraws before the deadline, the check is returned at the time of the audition. Sometimes, depending upon the number of applicants, the audition committee that is chosen by the orchestra committee, along with one or two members chosen by the music director, may review the resumes limiting the number of people invited to the audition. Those who have not been invited may submit a recording with specified excerpts for reconsideration by the committee. Once all the candidates have been invited and paid their audition deposit, they travel to Nashville for two or three days while the audition committee listens to candidates perform the same orchestral excerpts behind a screen for as many as 60-80 times. After each hour the committee votes — by simple majority — which candidates will be advanced to the next round. There are semi-finals, super semi-finals, finals and super finals that finally reduce the numbers to (we hope) the best candidate, who will be offered a position in the orchestra. The committee controls all rounds of the audition until the finals, when the music director takes over and the committee serves at that point in an advisory role. 26 THE NASHVILLE MUSICIAN

The NSO contract covers both librarian positions in addition to the musicians you see onstage during each concert. Interestingly, while our contract has covered both librarians since 2007, a number of orchestras — including 52-week orchestras such as National (Washington D.C.), San Francisco and Dallas — have recently succeeded in covering their librarians for the very first time. This means that librarians must also audition for an open position, but the audition process is far different. Since I’ve had so many raised eyebrows when I speak about our principal librarian audition, which was held Sept. 28-29, 2015, I thought I‘d share some observations from that process. Our principal librarian won the Boston Symphony’s position more than a year ago, so this audition was to fill that position. The committee chosen included a broad cross-section of the orchestra: Jennifer Goldberg is current interim-principal

librarian; concertmaster Jun Iwasaki and principal second violin Carrie Bailey, who work closely with the library to bow string parts; principal percussionist Sam Bacco, who works with the library when deciding how many percussionists are required; principal keyboard Bob Marler, who often obtains copies of his music in advance due to the intricacy and difficulty of certain works; principal trumpet Jeff Bailey, violist Clare Yang, cellist Keith Nicholas, and bass clarinet Dan Lochrie, who also brought personal experience to their roles as committee members. In addition, the music director was consulted about his requirements for the position when the test and interview questions were derived. For this audition, there were 41 applicants. Following the review of candidate applications and resumes, 16 candidates were invited and sent preliminary homework to submit prior to coming to Nashville. Only nine candidates submitted homework but two withdrew prior to the audition leaving

It's beginning to look a lot like Christmas!

Gerald Greer hangs ornaments in the window

Dan Reinker, John Maple, Liz Stewart, Ali Hoffman & Isabel Bartles help decorate

SYMPHONY NOTES us with seven candidates in the preliminary round. Preliminary homework was sent to all candidates at the same time with a deadline of just under four weeks. Candidates were asked to complete various, realworld orchestra library tasks to see how candidates performed when they had time to prepare or fix music. None of the seven candidates who came to the audition had been part of a bargaining unit, but their collective experience included working in smaller regional orchestras, in larger ICSOM orchestras, and in university music libraries. On the day of the audition, each candidate had two hours to complete a written exam, which tested his or her general knowledge about instruments, music, musical terms and specific library issues. Candidates were then tested on their skills, familiarity with the orchestra’s software program, and ability to follow instructions working under pressure to complete three tasks in 30 minutes using all the resources of the library in the Schermerhorn Symphony Center. Finally, the committee questioned each preliminary candidate about what the role of the principal librarian consisted of, to share work styles, and how they had or would handle specific issues that regularly occur in the library. After the homework, tests and skills materials were reviewed the committee compared notes and chose three candidates to move to the semi-finals. That evening the semi-finalists were asked to complete two assignments – tasks that commonly occur with a tight or strict deadline. Interviews by the committee in the second round covered the materials and tests performed by each candidate as well as information garnered from the previous day’s interview. Following this round, the committee voted to forward two candidates to the finals. Maestro Guerrero met with each candidate individually to assess their skills and review the results of their work. Once he concluded his interviews, the committee and Guerrero met and agreed that no candidate displayed the skills and knowledge that Goldberg had already. A few days later a meeting and vote were held to offer the principal librarian position to Goldberg, if she was interested. After careful consideration, she recently turned it down. This May a new principal librarian audition has been added to hire a principal librarian.

Five-year plan

In mid-November management presented the results of their five-year strategic plan. One item was especially interesting — earned income for the organization was in excess of 50 percent, something almost unheard of in our industry. Over the past few seasons our players have expressed concern about the continued expansion of the number of concerts, especially popstype concerts, as the orchestra’s work-load continues to increase, including multiple weeks with as many as three different programs performed per week. Pops concerts may bring in new and different audiences but musicians must deal with excessive decibel levels, along with music availability and legibility issues when the large stack of music does finally show up. And if it’s frustrating for our musicians during each of the one or two rehearsals we perform, imagine the headaches the library has had to deal with before they even came to town. Our musicians and library are responsible for performing more than 78 different programs this season and more than 500 different works. A

single concert could include a single work of up to 50 pages of music or 10-20 works. The NSO’s work schedule is only a few weeks less than that of a 52-week orchestra but we perform many more programs than any of them, which becomes a real concern when dealing with work-related injuries, illness and stress.

Happy holidays!

This year a group of musicians decided to decorate the backstage area of the Schermerhorn Symphony Center, photos can be found on the musicians’ website www.musiciansofthenashvillesymphony. org. In addition, due to a sudden family issue, our associate conductor had to be replaced at the last minute. My thanks and congratulations to Chris Norton, who conducted Smokey Robinson, the Symphony Ball with Miranda Lambert and the Pied Piper concerts, rather than perform as originally contracted. So bring on 2016, the auditions, and a wage reopener in the spring. I wish you all a TNM happy and prosperous new year!


Perfect Together


& Beethoven’s Fourth Piano Concerto February 18 to 20 with added Friday-morning concert


& Mozart's Piano Concerto No. 15 April 7 to 9

BEETHOVEN’S EMPEROR CONCERTO WITH GARRICK OHLSSON & Shostakovich’s Symphony No. 11 April 29 & 30

TCHAIKOVSKY’S VIOLIN CONCERTO WITH GIL SHAHAM & Dvorák’s Seventh Symphony May 5 to 7 with added Friday-morning concert

STRAUSS’ DON QUIXOTE & Brahms’ Third Symphony March 4 & 5

MOZART & RAVEL & live Jennifer Higdon recording March 25 & 26



Mention promo code AFM for 10% off Aegis Sciences Classical Series tickets! JANUARY–MARCH 2016 27




Kenneth Charles Krause

Johnny T. Montgomery 1928 – 2015

Bass player Johnny T. Montgomery, 87, died Sept. 4, 2015 in Watertown, Tenn. Montgomery was a life member of the Nashville Musicians Association who joined Local 257 in 1962. He was born July 22, 1928, to the late Herschel and Bessie Lee Vaughn Montgomery, and was the eldest of 16 children. Montgomery formed the bluegrass band The Boys from Shiloh. He also toured with Bill Monroe, Lester Flatt, Cumberland Mountain Boys, Marty Stuart and George Jones, among many others. In addition to playing upright bass, Montgomery also played guitar, sang baritone, and was a songwriter. Some of his compositions include “The Fall,” “Lonely Waters,” and “Foolish Dear to Love You.” He also appeared in movies with Arnold Schwarzenegger and Sally Field. In addition to his parents he was preceded in death by his wife of 68 years, Wilma; four sisters, Leota Wrye, Elizabeth “Ogeal” Carpenter, Christine Napier, and Erlene Hardin; two brothers, Billy and Joe Montgomery; and one great-grandchild. Survivors include two sons, Eddie and Mike Montgomery; one daughter, Jenny Baines; five sisters, Mabel Stephens, Betty Ricketts, Wilma Jones, Sheila Edwards and Doris Smith; three brothers, Charles, Neal and Grady Montgomery; seven grandchildren; 18 great-grandchildren; six greatgreat-grandchildren; and numerous nieces 28 THE NASHVILLE MUSICIAN

Roy Neill Acuff and nephews. Funeral services were held Sept. 7 in the chapel of Sellars Funeral Home in Lebanon, Tenn., and were followed by interment in Wilson County Memorial.

Roy Neill Acuff 1943 – 2015

Roy Neill “CatDaddy” “Pops” “PeaPop” Acuff, 72, died Nov. 5, 2015. He was born in Nashville July 25, 1943 to the late legendary bluegrass singer and fiddler Roy Claxton Acuff, and Mildred Douglas Acuff. He was a 50-year member of AFM Local 257; he joined in 1965. Initially working at Acuff-Rose Music, the renowned publishing company founded by his father, Acuff began playing guitar in the early ‘60s. He recorded for Columbia Records in 1965, and his father introduced him on the Grand Ole Opry. During his career he played around the U.S. and toured military bases in Germany. He wrote and recorded several of his own songs, includ-

ing “Back Down to Atlanta,” and “Street Singer.” He occasionally performed with his father, and worked on some of his records as a background singer, but by the mid ‘70s he had returned to work as an executive at Acuff-Rose. Acuff enjoyed playing guitar, writing, painting, sculpting, collecting books and reading The New York Times. He often acknowledged the late Nellie Foster Byers as another “Mama” in his life. “If it hadn’t been for her, no telling where I’d be,” Acuff said. Survivors include his wife of 38 years, Susan Marie Haynes Acuff; two sons, Roy Neill Acuff, Jr. and Alex Wolfgang “Coop” Acuff; and two granddaughters, Mollie M. and Abigail Acuff. A memorial gathering was held Nov. 8 at Spring Hill Funeral Home followed by an inurnment ceremony Nov. 13 in the Morning Hillcrest Garden in Nashville.

Kenneth Charles Krause 1929 – 2015

Kenneth Charles Krause, 86, died Nov. 19, 2015. He was a 20-year percussionist for the Nashville Symphony and a life member of the Nashville Musicians Association, as well as a composer, arranger and conductor. Always active in the community, after retirement he helped form the Williamson County Community Band, with whom he worked as band director for 15 years; he conducted the final show of the 2015 season Nov. 1.


Krause was born to Aurelia and Elmer George Krause April 17, 1929 in Belleville, Ill. He received bachelor and master degrees in music from Northwestern University. Early in his career he was a band director in Atlanta area high schools. He also served as a faculty member at the University of Georgia. In the 1960s he played with the Atlanta Symphony, served as assistant conductor and arranger for the Atlanta Pops, and toured with Henry Mancini and Tom Jones. Two of his arrangements for Atlanta Pops albums received Grammy nominations. In 1971 he and his family moved to Brentwood, Tenn. and Krause joined the NSO as percussionist, occasional arranger, and marimba soloist. He also taught parttime at Belmont and Trevecca Universities. Krause and his wife Jean attended the First Baptist Church of Nashville. Bill Wiggins, retired principal timpanist for the Nashville Symphony, commented on playing with Krause: ‘I worked with Ken a great deal in the NSO and in other situations. Ken was a talented and energetic musician with a unique perspective. The years which we spent performing in the Symphony were always entertaining and enlightening.” He was preceded in death by his wife, Jean. Survivors include his son Phil Krause; one daughter, Joan Krause Lehning; six grandchildren; and two greatgrandchildren. Funeral services were held Nov. 24 at Williamson Memorial Funeral Home. Memorials may be made to the Williamson County Community Band at Williamson County Parks and Recreation, 1120 Hillsboro Rd., Franklin, TN., 37064, Att: Community Band.

William Matthew Buck, Jr. 1935 – 2015

Saxophonist William Matthew “Sonny” Buck, Jr., 80, died Aug. 7, 2015. Buck was a life member of the AFM who joined Local 257 in 1978. Born in Tuskegee, Ala., Aug. 7, 1935, he was first a member of Local 479-718 and attended the Tuskegee Institute School of Music before moving to Nashville. Although retired from full-time playing, Buck continued to give back throughout his later life, performing regularly at local nursing homes for residents. He also serenaded

“[Buck] was a sweet soul who loved to play the saxophone, which he did very well. His Christmas visit to the local was something we all remember fondly.” Dave Pomeroy

William Matthew Buck, Jr. Local 257 staff one year with carols during the Christmas season. Dave Pomeroy, president of Local 257, said Buck was “a sweet soul who loved to play the saxophone, which he did very well. His Christmas visit to the local was something we all remember fondly.” A funeral mass was held Aug. 10, at St. Ann Catholic Church in Nashville with burial in Calvary Cemetery.

Theodore Clifford “Ted” Harris 1937 – 2015

Life member Theodore Clifford “Ted” Harris, 78, died Nov. 22 in Lewisburg, Tenn. He was the most awarded country songwriter in the history of SESAC, a member of the Nashville Songwriters Hall of Fame, and a guitarist — he joined Local 257 in 1958. He was born in Lakeland, Fla., to the late Thomas Carl and Rhoda Sutton Harris, and grew up in a musical family. By the age of 12 he had written his first song. At age 20 he moved to Nashville, where he met country artist Ted Daffan, who became his mentor. Harris had his first big hit with “Crystal Chandelier” in 1965, which was recorded by Charley Pride, Mac Wiseman, and many others. His successes over the years include Dottie West’s “Paper Mansions,” Glen Campbell and Steve Wariner’s “The Hand That Rocks the Cradle,” and Pride’s “The Happiness of Havin’ You.” His songs were also recorded by Loretta Lynn, Conway Twitty, Jack Greene,

Ted Harris Ferlin Husky, Jeannie Seely and Roy Drusky, among many others. Harris was known for writing alone, and had accumulated 87 SESAC awards by the end of the ‘70s, as well as several NSAI Outstanding Achievement Awards and 120 cuts by major artists. In 1990 he was inducted into the Nashville Songwriters Hall of Fame, which he called a “mountain-top experience.” In 2001 Harris retired and sold his publishing company to Sony/ATV Music Publishing. Harris was preceded in death by his parents; and two brothers, Tommy and Terry Harris. Survivors include his wife, Jackie Thompson Harris; two sons, Bradley and Joshua Harris; and three grandchildren. Funeral services were conducted by Rev. James Hickey and Rev. Cliff Vines Nov. 25 at East Commerce Baptist Church, where Harris had been a member and deacon for many years. In lieu of flowers, donations may be made to The Gideons International, P.O. Box 1664, Lewisburg, TN., 37091. continued on page 30 JANUARY–MARCH 2016 29

FINAL NOTES continued from page 29

Thomas McBryde 1949 – 2015

Keyboardist, songwriter, and arranger Thomas McBryde, a life member of the Nashville Musicians Association, died Oct. 13, 2015. He joined Local 257 in 1974. For the last two decades he has been the music director for Dollywood Theme Park in Pigeon Forge, Tenn. He was born July 26, 1949 in Oak Ridge, Tenn., to William and Fran McBryde, and taught himself to play piano at the age of 13. He formed a local band in his hometown, Clinton, Tenn., and began to play professionally for events and shows, including a TV program in Knoxville. In 1974 McBryde moved to Nashville, where he worked at Opryland, then in the ‘80s wrote and produced jingles and corporate music. He also recorded solo albums, and wrote and performed in a variety of shows for the Nashville Shakespeare Festival. McBryde also toured with a variety of artists including Garth Brooks, Dobie Gray, Brenda Lee and Tennessee Ernie Ford. He worked as a session musician, and wrote children’s music for Brentwood Music, LifeWay Publishing, and United Methodist Publishing, in addition to his own publishing company, Waterwheel. He was a member of Crievewood United Methodist Church for 28 years, where he also served as musical director. He was preceded in death by his mother. Survivors include his wife, Ann McBryde; one son, Josh McBryde; his father; one sister Martha Borthen; and three brothers, John, Bob, and Kelly McBryde; plus many cousins, nephews and nieces. A celebration of life was held Oct. 25 at Crievewood United Methodist Church in Nashville. In lieu of flowers, memorials may be made to the Autonomic Diseases Gift Fund, c/o Vanderbilt University Gift Processing, PMB 407727, Nashville, TN., 37240-7727. Please make payable to Vanderbilt Medical Center. 30 THE NASHVILLE MUSICIAN

Owens Boomer Castleman

Owens Boomer Castleman 1945 – 2015

Life member Owens Boomer Castleman, singer-songwriter and inventor of the “palm pedal,” died Sept. 1 at the age of 70. He played guitar, bass, and banjo, and joined Local 257 in September 1977. Castleman was born July 18, 1945 in Los Angeles, Calif., but grew up in Dallas, Texas. He started playing at 13 as physical therapy after an accident that severed tendons in his left arm. His doctor told him that regular exercise such as guitar playing would keep the limb strong. He moved to Los Angeles after graduation, where he met Michael Nesmith, with whom he formed a band — The Survivors. After Nesmith became part of The Monkees, Castleman and Michael Martin Murphey worked as a folk duo — Lewis & Clarke Expedition — and signed to the Monkees’ label. The two had success with a song they cowrote, “I Feel Good (I Feel Bad)” in 1967. Another song by Castleman and Murphey was recorded by The Monkees, “(What Am I Doin’) Hangin’ Round.” In 1968 Castleman invented the palm pedal, which allowed guitarists to bend notes like a steel guitar. In a 2011 interview,

Castleman talked about the invention. “The first palm pedal was made from a razor blade and a coat hanger that were screwed into my guitar. It operates the guitar like the foot pedals on a steel guitar, bending the strings to quickly switch back and forth to predefined chords.” In 1970 Castleman moved to Nashville, where he became busy in the studio and on the road; he played sessions and performed with a host of artists including Linda Ronstadt, Kenny Rogers, David Alan Coe, Tammy Wynette, George Jones, Tom Jones, and George Hamilton. He worked as a producer for several artists including Ronnie Prophet, and also founded BNA Records, which he sold to BMG/RCA in 1993. He was preceded in death by his parents, William P. Castleman, Jr., and Barbara Boomer Castleman McCombs. Survivors include two daughters, Anne Marie Castleman Middleton and Breck Castleman; four sisters, Barbara Whipple, Jane McNairy, Cathy Greene and Sally Marston; one brother, Bill Castleman; and his loyal friend, Lois Hess. A memorial service was held Sept. 4 at the Grand Ole RV Resort in Goodlettsville, Tenn. Memorials may be made to Gift Processing Vanderbilt University in Nashville, Tenn., or to the charity of choice.


William Jeffrie Walker 1949 – 2015

William Jeffrie “Jeff” Walker, 65, CEO and President of the AristoMedia Group/Marco Music Group, died Aug. 24, 2015. Walker was known as an important advocate for the marketing of country music through his work in many areas of the business, including expanding the genre’s international reach. Walker was also a percussionist, and a life member of the Nashville Musicians Association who joined the local in 1979. Born in Australia, he was the son of Bill Walker, who was the musical director for The Johnny Cash Show, and an arranger for a multitude of country acts over several decades. After graduating from Sydney University with a degree in Economics, he moved to Nashville in 1974, where he worked for Price Waterhouse and later worked with his father at Con Brio Records. He formed Aristo in 1980, one of the first independent publicity firms to operate in Nashville. The company grew over the years to include web development, radio and video promotion, and label/division services. Local 257 President Dave Pomeroy said “Jeff Walker was a dynamo of energy, and his efforts to promote country music and Nashville around the world had a huge impact on our community. Like his father Bill Walker, Jeff’s passion, humor, and enthusiasm were contagious, and much appreciated by all who knew him.” Walker organized the CMA Fest Global Artist Showcase for a dozen years, and was honored with the Country Music Association’s Jo Walker-Meador International Award, as well as a Lifetime Achievement Award from the Australian Country Music Association. He was treasurer for the Country Radio Seminar trade group, where he served as

“Jeff Walker was a dynamo of energy, and his efforts to promote country music and Nashville around the world had a huge impact on our community. Like his father Bill Walker, Jeff’s passion, humor, and enthusiasm were contagious, and much appreciated by all who knew him.” Dave Pomeroy a board member for 35 years and was also honored with the CRS President’s Award this year. He was also awarded the CMA President’s Award, and was recognized by music organizations in Canada and the United Kingdom. Walker was a 1992 graduate of Leadership Music, and co-chaired the organization’s 25-year anniversary gala in 2014. Survivors include his wife, Terri; one son, Jon Walker; one daughter, Christy Walker-Watkins; his father Bill Walker, and stepmother, Jeanine; and two granddaughters. Funeral services were held Aug. 28 at First Baptist Church in Nashville, followed by private interment. continued on page 32

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FINAL NOTES continued from page 31

LOCAL 257 MEMBERS: Please check to see that your

FUNERAL FUND BENEFICIARY is listed correctly, and up to date. We can't stress the importance of this enough. Your loved ones are counting on you.

Ramona Jones 1924 – 2015

Local 257 life member Ramona Jones, 91, died Nov. 17, 2015 in Goodlettsville, Tenn. The widow of fellow Hee Haw star Louis Marshall “Grandpa” Jones, she played mandolin and fiddle, and joined Local 257 in 1952. Born Ramona Riggins Jan. 28, 1924 to Homer and Myrtle Riggins in Raglesville, Ind., she was a first generation member of the Grand Ole Opry. She met Grandpa Jones when the two performed together on radio shows. After they married in 1946, they continued to tour and play together; she often played “straight man” to her husband’s jokes on stage. In 1969 the couple signed on as cast

members in the CBS show Hee Haw, and often sang duets on the program. Over the years they continued to perform on the Grand Ole Opry, and after Grandpa Jones’ death, Ramona and her family continued to perform at the Museum of Appalachia in Clinton, Tenn., until several months ago. In addition to her parents, she was preceded in death by her husband of 52 years, Grandpa Jones; two brothers, Cletus Riggins and Chris Riggins; and one stepdaughter, Marsha Marie Jones. Survivors include her husband, Reverend W. Eugene Gober; one son, Mark Alan Jones; two daughters, Eloise Jones Hawkins and Alisa Jones Wall; two grandchildren; and four step-grandchildren. A celebration of life was held Nov. 21 at Lutons United Methodist Church in Goodlettsville, Tenn. Burial followed at Lutons Cemetery. Donations can be made to the Opry Trust Fund at 2804 Opryland Drive, TNM Nashville, Tenn., 37214.

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.

Take a moment and ask the front desk to verify your funeral benefit beneficiary information. Please also check to see that we have your correct email address. 32 THE NASHVILLE MUSICIAN





Life Member

Roy Neill Acuff





Theodore Clifford Harris





Ramona Jones





Kenneth C Krause





James Howard Maynard





Thomas R McBryde





Jimmy A Palmer





MEMBER STATUS NEW MEMBERS Kevin Bate CEL 2227 Winder Cir Franklin, TN 37064 Cell (812) 391-2869 Andrew James Bentley BAS VOC 2522 Edge O Lake Dr Nashville, TN 37217 Cell (615) 585-5472 Ray Allen Cardwell BAS VOC 126 Port Dr Madison, TN 37115 Cell (573) 690-8053 Keith Carlock DRM 416 Wild Elm St Franklin, TN 37064 Cell (646) 523-0090 Sean M Connor VLN PIA GTR MDN 1309 Woodland St Nashville, TN 37206 Cell (404) 454-5820 Hm (615) 997-3667 James Terry Crisp (Terry Crisp) BAS BJO DBR STL LPS 124 Pennsylvania Ave Lebanon, TN 37087 Cell (615) 578-8550 Joseph Carl Demko FHN 3201 Priest Woods Dr Nashville, TN 37214 Cell (617) 970-9132 Nathaniel Stewart Dickson VLN FDL VLA MDN 60 Chestnut Ct Champaign, IL 61822 Cell (217) 819-7322 Hm (217) 607-1024 Nicholas Dimaria GTR BJO MDN BAS 201 Seneca Ct Franklin, TN 37067 Cell (408) 660-0817

Michael Gene Duncan DRM 1755 Potters Court Murfreesboro, TN 37128 Cell (615) 491-6562 Andrew Carl Ellison (Andy Ellison) PST BJO DBR LPS RG 994 Glastonbury Rd Nashville, TN 37217 Cell (484) 639-1576 Edward H Friedland (Ed Friedland) BAS GTR 4534 Scenic View Dr Pegram, TN 37143 Hm (512) 663-9336 Vincent L Heckard CGA CJN DJE DRM PRC TAM BNG TMB BER SUR PDR DAR WSB 1915 Avalon Dr Nashville, TN 37216 Cell (323) 791-6489 Edward Heinzelman GTR VOC MDN 2000 Lexington Farms Lane Spring Hill, TN 37174 Cell (615) 418-1387 Hm (615) 302-0402 Elliott McClain PIA KEY 4507 Guy Ct Old Hickory, TN 37138 Cell (615) 477-9041 John Michael McCormick (Mike McCormick) BAS DRM GTR 147 Temple Ford Rd Shelbyville, TN 37160 Cell (931) 735-0734 Justin Eric Ostrander GTR BJO MDN 208 Wellington Drive Madison, TN 37115 Cell (785) 317-0671 Andrew Powell Peebles DRM PIA PRC 1017 15th Ave S Nashville, TN 37212 Cell (617) 981-0699

Quenton Scott Pulliam (Sweepy Walker) HRM GTR PRC PIA 715 Northview Circle Lebanon, TN 37087 Hm (615) 207-2086 Matthew T Ramsey GTR C/O Young and Associates 49 Music Square West Ste 205 Nashville, TN 37203 Cell (615) 300-0140 Trevor J. Rosen GTR KEY VOC C/O Young and Associates 49 Music Square West Ste 205 Nashville, TN 37203 Cell (734) 658-6012 William Whitfield Sellers (Whit Sellers) DRM C/O Young and Associates 49 Music Square West Ste 205 Nashville, TN 37203 Cell (615) 478-1588 Phillip J Smith (Phil Smith) DRM PRC PIA GTR 5222 Anchorage Dr Nashville, TN 37220 Cell (615) 593-0797 Jeffrey Michael Spirko VLN GTR MDN PIA VOC BJO UKE BAS 1309 Woodland St Nashville, TN 37206 Cell (315) 382-7007 Joe Turley, III ARR GTR HRM KEY PIA SAX 641 Truxton Court Nashville, TN 37214-3409 Cell (615) 804-5921 Brad Tursi GTR VOC PIA BAS C/O Young and Associates 49 Music Square West Ste 205 Nashville, TN 37203 Cell (203) 858-3238 Eric Tuttobene BA VO 707 Brushy Ridge Dr La Vergne, TN 37086 Cell (615) 427-8780

Craig Ryan Watson BTB TBN 2015 Carolyn Ct Murfeesboro, TN 37130 Cell (931) 260-0631 Marie A Winget VLA VLN 409 Bushnell St Nashville, TN 37206 Cell (704) 577-3902 Joe Wolfsberg (Frank Henkel) GTR BAS Am Dorftor 20 Erturt, Germany 99097 Joon Wolfsberg (Johanna Sophia Wukasch) GTR VOC Am Dorftor 20 Erfurt, Germany 99097 REINSTATED Alice Rothenbusch Lloyd Guthrie Trapp Erich William Wigdahl RESIGNED Joseph Glen Caploe Terry Ray Ishmael Robert C Kelly

NEXT LOCAL 257 MEMBERSHIP MEETING Monday, Feb. 22, 2016 George Cooper Rehearsal Hall Doors open at 5:30 p.m. Meeting starts at 6:00 p.m.


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. Alan Umstead/Nashville Music - This former Local 257 member is soliciting and contracting non-union orchestral scoring recording sessions at Ocean Way and denying musicians the protections of AFM contracts, including Pension, H&W and New Use payments. Do not work for them under any circumstances without an AFM contract. TOP OFFENDERS LIST Positive Movement/Tommy Sims (multiple unpaid contracts – 2007 CeCe Winans CD) We have a legal judgement against him for $354K but he has thus far only paid $23K of what he owes to musicians. 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 Beautiful Monkey/JAB Country Bull Rush, Inc/Cowboy Troy (unpaid demo upgrade – making payments) Goldenvine Prod./Harrison Freeman/Darrell Freeman HonkyTone Records – Debbie Randal Knight Brothers/Harold, Dean, Danny & Curtis Knight Katana Productions/Duwayne “Dada” Mills Steve Nickell 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 Shauna Lynn Shy Blakeman Singing Honey Tree Sleepy Town/David Lowe Tough Records/Greg Pearce (making payments) Adam D. Tucker UNPAID PENSION ONLY Conchita Leeflang/Chris Sevier Ricky D. Cook Joseph McClelland FJH Enterprises Tim McDonald First Tribe Media Joe Meyers Matthew Flinchum dba Resilient Missionary Music Jimmy Fohn Music Jason Morales (pension/demo signature) Rebecca Frederick O Street Mansion Goofy Footed OTB Publishing (pension/demo signature) Gospocentric Tebey Ottoh Tony Graham Ride N High Records Jeffrey Green/Cahernzcole House Ronnie Palmer Randy Hatchett Barry Preston Smith Highland Music Publishing Jason Sturgeon Music In Light Records/Rick Lloyd Little Red Hen Records/Arjana Olson Maverick Management Group Mike Ward Music (pension/demo signature) 34 THE NASHVILLE MUSICIAN

AFM NON-SIGNATORY PHONO LIST We do not have signatory paperwork from the following employers — pension may have been paid in some cases, but cannot be credited to the proper musicians without a signatory agreement in place. 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 Heaven Productions Stonebridge Station Entertainment Straight Shooter Music Ryder Media Donica Knight Trent Wilmon The Collective

We’re Sorry! Musical


ide Care Gu

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Profile for Kathy Osborne

The Nashville Musician - January - March 2016  

The official journal of the Nashville Musicians Association, AFM Local 257. Featuring Kelsea Ballerini, Mac McAnally, JT Corenflos, Andrea Z...

The Nashville Musician - January - March 2016  

The official journal of the Nashville Musicians Association, AFM Local 257. Featuring Kelsea Ballerini, Mac McAnally, JT Corenflos, Andrea Z...