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R E V I E W S : L O R E T TA LY N N • K I N G S O F L E O N • S T E V E WA R I N E R • N A S H V I L L E S O N G B O O K L I V E


LEON RUSSELL Into the Light


Pr ot ec to r st r ti A e Th

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CONTENTS Official Journal of the Nashville Musicians Association, AFM Local 257 | JANUARY – MARCH 2017

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ANNOUNCEMENTS Details on the next membership meeting scheduled for Tuesday, Feb. 28. Meeting minutes and AFM-Employers’ Pension Fund information. STATE OF THE LOCAL President Dave Pomeroy fills in the details on the latest AFM successful negotiations which concluded in January. Plus, some great points about why your friends who may not have joined AFM Local 257 should take advantage of our membership drive going on through March. NEW GROOVES Secretary-Treasurer Vince Santoro walks down memory lane and recalls his interesting journey to becoming a touring musician. HEARD ON THE GRAPEVINE The notable comings and goings of Nashville Musicians Association members.


Ricky Skaggs, Steve Wariner, Gordon Kennedy and Scat Springs (r-l) work up a part at soundcheck for the 2016 Musicians Hall of Fame and Museum induction.

NEWS The Musicians Hall of Fame and Museum inducts a host of great musicians, producers and engineers; not to be outdone, the Country Music Hall of Fame and Museum honors three of our longtime members with induction as well. GALLERY Once more, Local 257 musicians go to the Metro Schools Career Fair, and run away with Most Popular Booth award, plus members celebrate milestones, honor veterans, and more. COVER STORY: LEON RUSSELL Warren Denney talked to some of the many Local 257 members close to the iconic piano player (and AFM life member) who lived and worked here for decades.

22 REVIEWS We listened to CDs from the legendary Loretta

Lynn, also local rockers Kings of Leon, and C.G.P. Steve Wariner. Plus a live review of the “Nashville Songbook” show with Mandy Barnett that featured some of Music City’s most respected musicians.



25 SYMPHONY NOTES Laura Ross discusses contractual

updates for some prominent symphonies, as well as what’s on the books for our own NSO.

26 JAZZ & BLUES A roundup of shows, festivals, and other happenings in the jazz and blues community.

28 FINAL NOTES We bid farewell to Kacey Jones, Jerry Vinett, Bennie Beach Sr., Hubert “Hoot” Hester, Vic Jordan, Dale Sledd, Edward Knob, Sam Oliva, and Floyd Ray Young.



Circa ‘60s Loretta Lynn in the studio with Ernest Tubb and Owen Bradley

Cover photo courtesy of Bob Stinson JANUARY–MARCH 2017 3




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

CONTRIBUTING PHOTOGRAPHERS Royce Degrie/Musicians Hall of Fame and Museum Rick Diamond Tripp Dockerson Donn Jones Dave Pomeroy Laura Ross Anthony Scarlati 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 Jimmy Capps Beth Gottlieb Mark Johnson 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 ELECTRONIC MEDIA SERVICES DIRECTOR ASSISTANT DATA ENTRY RECORDING DEPT. ASSISTANT

Steve Tveit Teri Barnett Christina Mitchell Paige Conners


The next Local 257 General Membership meeting will be Tuesday, Feb. 28. Doors will open at 1:30 p.m. and the meeting will start promptly at 2 p.m. There will be president and secretary-treasurer reports, and discussion of other important issues. Please make plans to attend and take part in the business of your union.

Nashville Musicians Association AFM Local 257, AFL-CIO Minutes of the Special Membership Meeting July 8, 2016 PRESENT: Paul Ross, Daniel Johnson, Nicholas Gold, Evan Hutchings, Vince Barranco,

Greer Thomason, Jefferson Jarvis, Jeff Taylor, Devin Malone, Amy Helman, Jeff Steinberg, Matt Davich, Bill Wiggins, Gary Miller, Steve Patrick, Jeff Lisenby, Vincent Ciesielski, Justin Ostrander, Diane Davich Craig, Joshua Zarbo, Phil Arnold, Denis Solee, Billy West, Larry Crew, Dave Cohen, Buddy Skipper, Don Aliquo, Jerry Kimbrough, Patricia Simeral, Andrew Sovine, John England, Jason Howard, Michael Bovio, John Mattick, Mark Winchester, Tom Shed, Jay Patten, Linda Davis, Sharon Kane, John Ownby, Martin Crum, Doug Moffet, Michael Rinne. HEARING BOARD PRESENT: Tiger Fitzhugh, Teresa Hargrove, Kent Goodson. EXECUTIVE BOARD PRESENT: Laura Ross, Jonathan Yudkin. OFFICERS PRESENT: Vince Santoro, Dave Pomeroy, Steve Tveit, Ron Keller. MEETING WAS CALLED TO ORDER AT 10:17 A.M. MINUTES: No minutes AGENDA: Pomeroy read through the proposed Miscellaneous Wage Scale rate changes section by section with discussion on several items. Minor adjustments were made to some numbers and a decision was made to remove contractor guidelines from the document and treat that as a separate document.

MSC (Andrew Sovine, Laura Ross) to vote to approve appendix as amended. MSC (Dave Cohen, Jo Lynn Burks) to vote to approve Misc. Scales, etc. as amended. MSC to adjourn. Justin Ostrander, Paul Ross. Meeting adjourned 11:11 a.m.

Nashville Musicians Association AFM Local 257, AFL-CIO Minutes of the Membership Meeting Aug. 22, 2016 Present: Bobby Lewis, Jim Buchanan, Stephen Shepherd, Jim Mundy, Patrick McGuffey,

Gene Bush, Bill Poe, Sam McClung, Mel Deal, Jim Horn, Jeff Steinberg, Greg Morrow, Larry Crew, Thomas Potter, Suzanne Potter, Mark Winchester, Rich Eckhardt, Dan Schafer, Michael Severs, John Weaver, Henry Sinks, Rita Sinks, Jay Patten, Wilma Zonn, Robby Shankle, Jeff Taylor, Jeff Lisenby, Chris Nole, Bill Wence, David Balph, Mark Allen, Carl Thomason, Bill Walker, Buddy Skipper, Michael Doster, Ralph Land, Jerry Kimbrough, Matt McKenzie, Andrew Witherington, Charlie Morgan, Penn Pennington, Steve Mauldin, Denis Solee, Gary Miller, Greg Nelson, Terry Dunn, Billy Linneman, Michael Webber, Bob Eggers, Steve Nathan, Jamie Brantley, Steve Ebe, Charlie McCoy, Don Kerce, Lonnie Wilson, Maya Stone.

MPTF COORDINATOR/RECEPTION Sarah Bartolino @ 2017 Nashville Musicians Association P.O. Box 120399, Nashville TN 37212 All rights reserved. nashvillemusicians.org


HEARING BOARD PRESENT: Kathy Shepard, Tiger Fitzhugh, Kent Goodson. EXECUTIVE BOARD PRESENT: Andre Reiss, Tom Wild, Jim Brown, Beth Gottlieb.


Keller, Bruce Radek (trustee).

MINUTES: Minutes from Aug. 15, 2016 were distributed. MSC to approve. TW, LR.


PRESIDENT’S REPORT: The following issues were discussed:

OFFICERS PRESENT: Vince Santoro, Dave Pomeroy, Steve Tveit, Ron

1. Approval of dues amounts for 2017. 2. Life member dues amounts to discuss. 3. Bi-Annual Payment Plan convenience fee. 4. Contribution to Musicians Hall of Fame. 5. Contribution to Jazzmania.

MINUTES: MSC to approve minutes from July 8 Special Meeting not


1. Jason Fitz has withdrawn the charges he filed against Local 257. 2. Distributed checks for Patsy Cline new use on Mazda ad. 3. Advance payment for Statler Brothers. 4. Opry negotiations continue with Federation involvement regarding digital rights. 5. Phono negotiations slow but moving forward.

TREASURER’S REPORT: Santoro distributed financial reports and fund balances. He reported the following:

1. Changes to the Funeral Benefit Fund do not take effect until 2017. 2. Empire Roofing has bid on a complete install of new skylight system.



1. Empire Roofing is giving us a quote for replacement of skylight array. 2. HVAC system is nearing the end of its useful life. MSC to approve Sec-Treas report. Jim Buchanan, Mark Allen.

1. The local’s contributions to Musicians Hall of Fame ($500) and Jazzmania ($600) were approved online. 2. Annual dues amounts, life member amounts and payment plan issues discussed.

AGENDA : Proposed changes to bylaw regarding Funeral Benefit.

MSC to vote on all three changes. TW, CB.

Nashville Musicians Association AFM Local 257, AFL-CIO Minutes of the Executive Board Meeting Oct. 3, 2016 PRESENT: Vince Santoro (VS), Dave Pomeroy (DP), Tom Wild (TW),

Beth Gottlieb (BG), Jonathan Yudkin (JY), Jerry Tachoir (JT alt.), Laura Ross (LR), Jimmy Capps (JC), Chuck Bradley (CB alt.).

MSC to approve Sec-Treas report. BG, JC. MSC to accept new member applications. TW, BG. Motion to adjourn. JT, BG. Meeting adjourned at 3:16 p.m.


Amendment proposed for language in Section 2A of proposed bylaw change regarding Funeral Benefit. MSC to approve amendment. Ralph Land, Rich Eckhardt. MSC to call the question to vote. Andre Reiss, Matt McKenzie. Defeated. MSC to discuss amendment to Proposal No.1 to add 5th category for over 50 years membership. Kathy Shepard, Sam McClung. Call the question. Tom Wild, Andre Reiss. Unanimously approved. MSC to amend numbers in tiers of proposal No.1. Greg Morrow, Ralph Land. MSC to approve new numbers in proposal No.1 and accept proposal No.2. Sam McClung, Ralph Land. MSC to approve amendments to proposal as amended. Unanimously approved. Secret ballot to approve amended proposal. Tom Wild counted ballots. 50 yea, 2 no. Proposal passed as amended. MSC to adjourn. Robby Lewis, Beth Gottlieb. Meeting adjourned at 4:54 p.m.

ABSENT: Andre Reiss (AR), Jim Brown (JB), Mark Johnson (MJ alt.).

President Pomeroy called the meeting to order at 1:25 p.m.

Pension Fund On Jan. 4, 2017, participants receiving contributions to the American Federation of Musicians & Employers’ Pension Fund (AFM-EPF) began receiving a letter regarding the status of the Fund. This letter was sent by the AFM-EPF Trustees in response to inquiries regarding funding notices and recent legislative action. A copy of the letter can be found on the home page for the Fund at afm-epf. org under the heading “December 2016 – IMPORTANT INFORMATION.” The AFM-EPF site also includes a list of frequently asked questions and responses at afm-epf.org/mailingfaq. If you have additional questions, contact the Fund at (212) 284-1200. TNM JANUARY–MARCH 2017 5




“The industry is ready to rip you off if you allow them to, and we are your first — and often only — line of defense. I urge you to reach out to those with whom you work who are not AFM members, and talk to them in a respectful and positive way about joining Local 257.”

I begin my ninth year as president of Local 257, it is a good time to reflect on the positive changes we have made in our union, and look at the path ahead of us. Founded in 1902, the Nashville Musicians Association is the first and ONLY organization looking out for the players that gave Music City its name. People like Owen Bradley and Chet Atkins made sure that Nashville musicians were paid fairly and treated with respect. I am very proud to carry on that tradition, but ultimately, it’s not about me, it’s about you — all of you — and what we can accomplish through unity and solidarity. We have made many proactive changes to the way we do business, and despite the economic challenges of the modern music industry, we have maintained scale wage payouts of more than $11 million per year. We represent ALL Nashville musicians, from symphony players to touring sidemen, session musicians, club bands, and singer/ songwriters. With the continued influx of people moving to Nashville, many of whom are hoping to enter the music business, it is definitely time to kick it up a notch.

Help us grow during our 2017 Local 257 Membership drive

To that end, we are now running a membership drive through March 31, 2017, and are waiving all initiation and reinstatement fees for new members, expelled members and AFM members transferring from another local. We are asking for your help in identifying potential new members and reaching out to them to explain the many benefits of AFM membership. Urge them to join our team. As they say, if you are not part of the solution then you are part of the problem. You may be surprised to find out that some people you work with on a daily basis are not AFM members. Because Tennessee 6 THE NASHVILLE MUSICIAN

is a “right to work” state, many musicians choose to enjoy the benefits we provide without paying for them. It may be legal to do so, but that doesn’t make it right. We all like free stuff, but when a non-member uses our services for free, Local 257 members are picking up the tab for them. Perhaps no one has taken the time to explain to these people what the AFM does for its members, and we hope you will help us do so. There is still a lot of confusion and wrong information out there about us, but we remain ready to inform, enlighten, and facilitate teamwork among all professional musicians. Local 257 operates on the honor system, and we don’t fit the “union thug” cliché. We don’t hassle people, or run from studio to studio and jump on tour buses to check union cards. We don’t intimidate potential members, we encourage people to ask questions and find out what we do. Without the AFM the standards of pay, working conditions, New Uses, residuals, and royalties we spent 115 years building would be destroyed. The industry is ready to rip you off if you allow them to, and we are your first — and often only — line of defense. I urge you to reach out to those with whom you work who are not AFM members, and talk to them in a respectful and positive way about joining Local 257. This is the most powerful thing you can do to ensure that you will have a voice and a viable income in the music business of the future.

Working for you is what we do

For example, I just returned from the final round of 18 months of AFM negotiations with the major record labels. By working as a team, sticking to our principles and demanding transparency and accountability, we were able to finally strike a deal that will greatly benefit all recording musicians. We strengthened the AFM Pension Fund, brought streaming revenue into the Spe-

cial Payments Fund for the first time, and achieved improvements in wages, cartage, pension, and H&W. We also created a discount for larger ensembles to help compete with overseas and domestic non-union orchestral sessions, which remain a problem that only the players themselves can truly solve — by standing together against exploitation by people who try to take advantage of musicians. For less than $25 a month, Local 257 members enjoy a long list of benefits and services. These include a fully equipped rehearsal hall that is free to members, numerous discounts on insurance, phone service, and more, plus a free health care consultant. The protection of the AFM contracts we negotiate creates standards of pay, pension contributions for your retirement, New Use payments if your work is used for TV, film, or commercials and new revenue streams such as the AFM/SAG-AFTRA Intellectual Property Fund, which paid $51 million to backup musicians and singers this year. These benefits are real, but they will only continue to exist if we are united and work together towards our common goals. Nashville is a unique creative community that has survived many decades in a rapidly changing industry because of the mutual respect between musicians and their employers. Local 257 has played a huge role in preserving this delicate balance that is the envy of other music centers around the world. Let’s all work together to keep moving forward in new and innovative ways. We stand ready to take this journey TNM with you. All aboard!

Next general membership meeting Tuesday, Feb. 28, 2017


“The real constant [with gigs] is jumping on that first opening, whatever it is, and doing the best you can.” BY VINCE SANTORO


hen the new year arrives I always like to take a brief look back and consider the path traveled to reach the point where I am now. Being secretary-treasurer at AFM Local 257 brings me lots of gratification working for and with our membership, but I’d like to give a short rundown of how I got to this juncture of my career. It may not be your path but you may find yourself experiencing these same sorts of events.

Back in the day

Many of us start our personal journeys following a job opportunity or by simply wanting to “check out the scene,” which is how my wife Barbara and I found ourselves here beginning in 1992. I don’t — and probably won’t ever — consider my journey over by any means, since living in Nashville I can never run out of musical challenges, and the music community has traditionally supported that diversity — a tradition that needs to be continually nurtured. Barbara and I lived in Alexandria, Va., prior to our move to Music City and I had my first taste of being a sideman in 1985 when my friend, bass player Carey Ziegler and I auditioned for Edgar Winter, who had been off the road for a while and was putting together a new band. Carey had seen me play in Washington, D.C., clubs and he got the call from Edgar’s manager. We had simply hung out together and sometimes that’s all it takes for an opportunity like this to occur. All musicians don’t sing but if one can simply add a well-pitched harmony — when needed — it can help a live performance immensely. Thankfully, Carey and I were able to help out as we’d always been game to sing back-ups and the once-in-a-while lead to help create a full vocal sound and even give the main singer a welcomed rest. Edgar was happy to know the vocals would be strong! Our band traveled the U.S. and Canada

and my entrée to sideman-ia had begun! Edgar was probably the most talented artist I have ever played with and all I wanted was to make him feel like we were doing his music justice. Since then, I’ve kept that as my goal because I still feel that as long as the artist is the priority, things will work out.

Networking always pays off

Obviously, getting that first gig was just a start, but from that association it was just a stone’s throw to the next gig by virtue of Edgar’s manager also handling Roy Buchanan, who also needed a bassist and drummer for his road shows. Carey and I sashayed between the two acts for a while, playing rock & roll, then switching to the blues with Roy, and back again. In retrospect, I can see that the time I spent in the D.C. clubs witlessly networking was — in effect — paying off, by my name coming up when friends had been approached to form touring bands. I can’t say that I had done anything other than be “on” when it counted. During my time playing in those D.C. nightclubs many friends would drop in and catch my band and I would reciprocate, educating myself as to what the local scene had to offer and having fun at the same time. One fellow D.C. player who used to frequent clubs like The Bayou on K Street when my band was there was Steuart Smith, who recently was with The Eagles and became Don Henley’s right-hand man. Circa 1986, he wanted to audition for Rodney Crowell’s band in Nashville and Rodney mentioned that he also was looking for a drummer. Once again, being out in the public eye and networking without knowing it, Steuart asked if I wanted to go along and see what happens. We both were brought on board with Rodney, then Rosanne Cash and from that family of artists I went on to play with Carlene Carter. There was actually a period

of about a year in which I was doing gigs with Edgar, Roy and Rodney at the same time! It got hectic, but eventually Rodney’s career took priority.

Keep on keeping on

A lot of players in Nashville will be familiar with this scenario: You get in with a group of people doing demos or what-have-you and one of them is asked to form a band for an artist. If you’ve been doing a good job, chances are your name gets thrown in the hat. This very thing happened at Moondog Studio circa 1999. Steel guitarist and fellow AFM Local 257 member Robby Turner was asked by The Highwaymen to help put together a road band, and I got the honor of playing with them and getting to know Johnny Cash and June Carter, not to mention Kris Kristofferson, Waylon Jennings and Willie Nelson. This same process led to my landing the drum position with other artists from Mary Chapin Carpenter to my current gig playing with Felix Cavaliere. They all came via an association with someone who knew me previously. Now, if doing road gigs isn’t your cup of tea, for whatever reason, remember that the real constant is jumping on that first opening, whatever it is, and doing the best you can and keeping tabs on people, places and things, because something will call out to you that can not only lead you on your path, but it may have a slew of offshoot opportunities associated with it as well! Let’s admit it, fellow musicians, being busy playing music ain’t a bad way to bide your time waiting for just the right situation to pop up — I can think of hundreds of other mind-numbing jobs that just don’t measure up to paying your dues in the proving grounds of this business we call music. TNM



Brad Paisley


Kelly Clarkson continued her new holiday tradition with a return of the “Miracle On Broadway” concert Dec. 16 at Bridgestone Arena in Nashville. Clarkson, The SteelDrivers, Hunter Hayes, Kelsea Ballerini, Steve Wariner and many other artists performed at the event, which benefited four organizations: W.O. Smith Music School, Abe’s Garden, Nashville Public Library and Second Harvest Food Bank. “I’ve been here for 10 years — it’s a great community of people. A lot of it is because it’s a very progressive, artsy, city, which I love…It’s important for us to support each other, and I think that’s more relevant now than ever,” Clarkson said. The inaugural concert was held in 2014, and raised $500,000.


The career of three-time Grammy winner Brad Paisley is the subject of a new exhibit at the Country Music Hall of Fame and Museum. Paisley and his family visited the museum Nov. 19, the opening day of Diary of a Player. The exhibition includes clothing, manuscripts, photographs, and childhood mementos. Highlight pieces include the 8 THE NASHVILLE MUSICIAN

musician’s first axe, a Sears Silvertone guitar he received when he was 8 years old. Paisley, a West Virginia native, first performed as a 13-year-old on the WWVA Jamboree held in Wheeling, W.Va. and soon became a popular entertainer around his state. While still in high school Paisley was opening for artists like Chet Atkins, Charlie Daniels, Vince Gill, George Jones, Loretta Lynn and Ricky Skaggs. Paisley received a scholarship from ASCAP to Belmont College, and moved to Nashville. His first record garnered two No. 1 hits; his first five albums went platinum. Paisley is also a songwriter who has written 20 of his 23 No. 1 hits, including “I’m Gonna Miss Her,” “The World,” “She’s Everything,” and “Letter to Me,” among others. During his tour of the exhibit, Paisley noted that one of the biggest benefits in his career has been the chance to not only meet, but to collaborate with some of his musical heroes. “I hope some kid walks through this display and thinks to themselves, ‘I can do that,’ Paisley said. The exhibit will run through May 14, 2017.


Dolly Parton has always been known for her great generosity, funding popular programs like the Imagination Library — which provides free books for children — for decades. But after wildfires ravaged Parton’s East Tennessee neighbors in the Gatlinburg area, she went above and beyond to help. Within 24 hours of the tragedy which took 14 lives and left over 1300 displaced, Parton established the Dollywood Foundation My People Fund to provide $1000 each month for six months to every family who lost their primary residence.

“She went above and beyond to help.”


And Dec. 13 Parton hosted a telethon — “Smoky Mountains Rise” — which has raised nearly $9 million so far. Performers flocked to the event, which aired on GAC, AXS-TV, RFD and The Heartland Network. Local 257 members who appeared and also donated include Taylor Swift, Kenny Chesney, Chris Stapleton, and Dierks Bentley. Several other Local 257 members were among the many artists who performed, answered telethon phone calls, and donated, including Becky Hobbs, Lee Greenwood, Larry Gatlin, Tim Rushlow and Kristian Bush. “I am overwhelmed by the generosity of the people who have donated from all over the country and to my friends who donated their time, talent and money,” Parton said. Local 257 member Mike Waldron and his wife Marcia Ramirez lost their cabin during the fire, and Marcia’s son Derek Wells (also a member) narrowly escaped the fire. Wells and his new wife had been at the family cabin for their honeymoon when the fires started. Our thoughts go out to all who have been affected by the disaster.

Tax-deductible donations can still be made to the My People Fund at dollywoodfoundation.org.


Bassist and producer Dave Martin was inducted into the Western Swing Society Hall of Fame Oct. 2, 2016. Martin and his wife, singer Carolyn Martin, have won many accolades over the years for their recordings, and he has toured regularly with the Carolyn Martin Swing Band as well as other groups. Martin is the owner of the recently closed Java Jive Studio, and now works for Sweetwater Studios in Fort Wayne, Ind.


Life member Ray Stevens began airing a weekly program on public television in January. Ray Stevens Nashville was originally on RFD-TV, but has been expanded and will be retitled Ray Stevens CabaRay Nashville. The show features singers and songwriters, as well as Stevens and his house band performing his classic hits such as “The Streak,” “Everything is Beautiful,” and “Mississippi Squirrel Revival.” Stevens also recently broke ground on a 27,000 square-foot music venue which is expected to open in 2017. Ray Stevens

Carolyn and Dave Martin

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Steve Wariner and Don Felder at the show sound check. Photo: Royce Degrie/MHFM



Ricky Skaggs, the late Jerry Reed, Allen Reynolds, Mark Miller, and Garth Brooks’ G-Men — the studio band that played on all the multi-platinum artist’s records — have joined the elite group of Local 257 musicians inducted into the Musicians Hall of Fame. The 2016 class was celebrated by 2 a full house in a spectacular evening of tributes at the event held Oct. 26 at Nashville Municipal Auditorium, and hosted by Kenny G. Famed producer Allen Reynolds is responsible for a multitude of hits like “Talking in Your Sleep” and “Don’t It Make 5 My Brown Eyes Blue” by Crystal Gayle, and “18 Wheels And A Dozen Roses” by Kathy Mattea — not to mention Garth 3 Brooks’ iconic records including “Friends in Low Places and “The Dance.” Reynolds “Past The Point Of Rescue” and “Mama also wrote the hit single “Five O’Clock World” Knows The Highway” with Hal Ketchum. He while with rock band The Vogues in 1965. also engineered all of Garth Brooks’ records “Guitar Man” Jerry Reed, so nickincluding iconic hits such as “Friends in Low named after his 1967 hit single, gained Places” and “The Thunder Rolls.” recognition not only for a successful solo Bluegrass mainstay Ricky Skaggs career, but also as an actor and ace sesstarted professionally at the top in a sense, sion player. Success came in the early when he was invited to join the band of blue1970s with “Amos Moses,” “When You’re grass patriarch Ralph Stanley. He moved into Hot, You’re Hot” and “Lord, Mr Ford.” His country music in the ‘70s, first as a member session work can also be heard on albums of Emmylou Harris’ Hot Band and later as by artists such as Chet Atkins, Waylon a solo recording artist. In the ‘80s Skaggs Jennings, Bobby Bare, and Dolly Parton, reached the top of the country charts a among others. Reed was only one of five dozen times, and in 1982 he became the guitarists knighted as a C.G.P. – Certified youngest artist to become a member of the Guitar Player – by Atkins. Grand Ole Opry. The 14-time Grammy win Mark Miller — a highly successful ner recently toured with Sharon White and Nashville engineer — has worked on many Ry Cooder and also toured with Bruce Hornhit records over the course of his career. sby, cementing his well-known ability to disSongs include “18 Wheels And A Dozen solve genre boundaries, and thrive doing so. Roses,” “Walk The Way The Wind Blows,” Garth Brooks is the No. 1 solo artist and “Love At The Five And Dime” with Kathy in U.S. history with over 137 million albums Mattea, and “Small Town Saturday Night,” sold. With him the full length of his storied 10 THE NASHVILLE MUSICIAN


1. (l-r)Rob Hajacos, Bruce Bouton, Chris Leuzinger, Allen Reynolds, Garth Brooks, Bobby Wood, Mark Casstevens,and Milton Sledge 2. MHOF engineer and producer inductees including (from right) Allen Reynolds and Mark Miller 3. Ricky Skaggs 4. Joe Chambers and Garth Brooks hold up a “Chapman” jacket in honor of the late G-Man bassist Mike Chapman 5. 2016 inductees and Musicians Hall of Fame and Museum staff

career have been the G-Men, who played on every record. They are Bruce Bouton (steel guitar), Mark Casstevens (rhythm guitar), the late Mike Chapman (bass), Rob Hajacos (fiddle), Chris Leuzinger (lead guitar), Milton Sledge (drums), and Bobby Wood (keyboards). In addition to Garth Brooks, other musicians and engineers inducted included guitarist Don Felder, the Sigma Sound Ryhthm Section; and engineers Lou Bradley, Ron “Snake” Reynolds and Joe Tarsia.



Charlie Daniels, Randy Travis, and Fred Foster — three illustrious members of Local 257 — were inducted into the Country Music Hall of Fame Oct. 16 at the Medallion Ceremony held in Nashville, Tenn. Among many memorable moments, Travis, who suffered a debilitating stroke in 2013, sang “Amazing Grace” for the emotional crowd. Dolly Parton introduced Fred Foster, who was inducted in the Non-Performer category. Foster produced Parton’s first hit, “Dumb Blonde,” which she performed in his honor. Foster started Monument Records and the publishing company Combine Music in 1958. He signed Roy Orbison, whose iconic hits included “Pretty Woman” and “Only the Lonely.” Another of Foster’s signed artists, Kris Kristofferson, appeared with Charlie McCoy during the ceremony to perform “Me and Bobby McGee.” Vince Gill inducted Foster into the Hall of Fame. “He’s been a champion (for singers and musicians) all these years,” Gill said. After his induction Foster said “I want to thank the musicians, songwriters, and engineers that made me look like a producer,” Foster said. When growing up in Wilmington, N.C., Charlie Daniels was inspired by church music, local bluegrass, and Nashville radio. He was one of the famed studio players called “Nashville Cats,” and in 1971 transitioned from sessions to becoming a solo artist. Trace Adkins and violinist Andrea Zonn teamed up to perform Daniels’ hit “The Devil Down to Georgia,” and Trisha Yearwood sang “It Hurts Me,” a Daniels composition that Elvis Presley recorded in 1964. Daniels was inducted in the Veterans Era Artist category by Brenda Lee, who said “The thing I love about Charlie

Daniels is that he loves you back. He loves the people that work with him, not for him.” Daniels said “It’s been a great ride, gang. We’re still in the saddle, and it ain’t over by a long shot. Long live country music.” Randy Travis, the Modern Era category recipient, was celebrated last. His cowriter Alan Jackson sang “On The Other Hand,” and Brad Paisley performed an acoustic version of “Forever And Ever Amen.” The multiple-CMA Song of the Year winner was inducted by Garth Brooks, who sang Travis’ hit “Three Wooden Crosses.” Travis stood beside his wife Mary at the podium as she told the house the story of his rise to stardom in the 1980s. After Travis’ performance, The Oak Ridge Boys led the crowd in a sing-along version of “Will The Circle Be Unbroken,” a portion of the ceremony which has become something of a recent tradition in the past few years. The moment is a tacit nod to all members of the Country Music Hall of Fame, and the connection between past and future artists. After the event Daniels reflected on entering a Hall where his heroes Roy Acuff and Ernest Tubb were members. “Many of the faces on the wall laid the foundation for TNM all of us,” Daniels said.

Country Music Hall of Fame 2016 inductees Fred Foster, Charlie Daniels, and Randy Travis


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Grand Finale with inductees and The Oak Ridge Boys



Ralph Land The local Vietnam Veterans of America chapter 953, commanded by Local 257 life member Ralph Land, marched proudly in the Nov. 11 Veteran's Day Parade in Nashville.

1. 1. Happy bassist BRIAN ZONN

digs his new AFM 25-year pin.


2. DAVE ROE receives his life

member pin from fellow bassist Dave Pomeroy. 3. Saxophonist DENIS SOLEE

points out his new 50-year pin. 4. Drummer PAT MCINERNEY

celebrates receiving his AFM 257 life member pin. 3. 4. 12 THE NASHVILLE MUSICIAN

GALLERY < The late Mike Chapman was remembered at a benefit which raised over $5,000 for Local 257’s Emergency Relief Fund. (l-r) G-men Bobby Wood, Chris Leuzinger, Milton Sledge, Bruce Bouton and Mark Miller present event organizer Jeff Jenkins (center) with a plaque of appreciation.

Corey Congilio, Shannon Williford, Vince Santoro, Dave Pomeroy, Evan Cobb and John Mattick were jacked up about playing music for Metro Schools’ Career Day!


Mike Chapman

continued on page 14

NEW LOCATION 2616 Grandv iew Avenue Nashville, TN 37211 615.750.5726

a m p r e p a i r. c o m


GALLERY continued from page 13

1. Local 257 staff 2. BECKY HOBBS fellowships with Santa. 3. STEVE HINSON details his wish list to

Kris Kringle in red. 4. ANDREA ZONN’S son Leonard comes to

an understanding with the Jolly Old Elf. 1.

2. 3.



The Tyler Summers Woodwind Quintet (Summers, Miguel Alvarado, Evan Cobb, Doug Moffet, and Chris West) perform as special guests at Lipscomb University’s Jazz and Improvisation Workshop student concert, part of a great educational program run by Charlie Peacock and Marcus Finnie. (not pictured) TNM


Photo: Bob Seaman


Advertise with the Nashville Musician and grow your business. Advertising in The Nashville Musician is a costâ&#x20AC;&#x201C;effective way to reach professional musicians, high-profile artists and music business executives.

JANUARYâ&#x20AC;&#x201C;MARCH 2017 15



by warren denney

Rock star. In the American dream state, the term conjures the sorcerer, a modern mystic who can lead everyone to the land of the endless show. The endless party. The rock star is not bound to the earth like mortal men. Few wear the title well, and in today’s diminished environment, even fewer have done the hard work on the ground to earn it. Those few are not marketing creations, they are … well, true rock stars. Bob Dylan. The Stones. Bowie. Prince. Their music is so undeniable, their talent so separate, they themselves cannot be denied.

Photo: Anthony Scarlati

LEON RUSSELL The world lost one such singular figure in November this past year — Leon Russell, at age 74 — whose career spanned seven decades. The loss hits especially close to home, as he has lived in the Nashville area since 1980. Born Claude Russell Bridges in Lawton, Okla., Leon Russell earned global fame as musical director for Joe Cocker’s Mad Dogs and Englishmen tour in 1970, and as a prominent star in George Harrison’s Concert for Bangladesh in 1971. He would emerge from those two experiences on a track to become the world’s biggest box office attraction. A piano player, songwriter, and hitmaker possessed of an otherworldly talent, Russell was always considered a musician’s musician. The fact cannot be overstated. He shared the stage with giants such as Dylan, Harrison and the Beatles, the Rolling Stones, Ray Charles, Jerry Lee Lewis, Willie Nelson, Otis Redding, Traffic, Delaney & Bonnie and Friends — an incomparable, eternal parade. He produced and played on records for Ike & Tina Turner, for God’s sake, and was inducted into the Rock and Roll Hall of Fame in 2011. The talent emanated from humble beginnings. In an effort to rehabilitate a degree of paralysis in his right hand due to an injury at birth, Russell’s mother arranged for him to take classical piano lessons at four. But, as a child in Oklahoma, he was exposed to everything from gospel and honky-tonk country, to blues, jazz, and rock & roll. “The way he plays, and the way he thinks in

HE WANTED TO WRITE SONGS THAT WOULD LAST FOREVER. terms of intervals, and the way he thinks in terms of piano accompaniment — its almost classical, though he wasn’t classically trained,” Nashville guitarist and songwriter Pat Flynn said. Flynn played and recorded with Russell, as recently as 2013, as did several other members of New Grass Revival throughout the 1970s and beyond. Claude Bridges did work hard to become Leon Russell. By the age of 14, he was playing clubs around Tulsa with his band the Starlighters, which included a young J.J. Cale. He moved to Los Angeles in 1958 where he became a member of the Wrecking Crew, the legendary coalition of the city’s top-tier session musicians. And, while Russell’s destiny laid in the stars, his experience as a studio player afforded a foundation like no other. He continued on page 20


JANUARYâ&#x20AC;&#x201C;MARCH 2017 17

Bob Dylan bucked executives at his record label and surprised his fans when he came to Nashville in 1966 to record his classic album Blonde on Blonde. Using some of the city’s incredible studio musicians, Dylan’s embrace of Nashville inspired many other artists to follow him to Music City. By 1969, Johnny Cash was recruiting folk and rock musicians—including Dylan—to appear on his groundbreaking network television show, The Johnny Cash Show, shot at the Ryman Auditorium. Dylan, Cash, and the Nashville Cats: A New Music City, which has been extended through 2017, looks at the Nashville music scene in the late1960s and early 1970s, a time of great cultural vitality for Music City.

@CountryMusicHOF • #DylanCashExhibit Downtown Nashville



Visit CountryMusicHallofFame.org

JANUARYâ&#x20AC;&#x201C;MARCH 2017 19

continued from page 17

played on many hit records of the 1960s, including work with the Beach Boys, the Byrds, the Rolling Stones, Frank Sinatra, Sam Cooke, Aretha Franklin, the Ventures, the Monkees, the Ronettes, Gary Lewis and the Playboys, Herb Alpert — another endless list. His piano was present on many Phil Spector productions, and he was part of the 1964 T.A.M.I. Show and a member of the house band on the popular Shindig! network television show. Russell was building the Leon the world would come to know. He held forth with the Los Angeles sessions and worked on his craft as a writer. “When he was a kid in Tulsa, he would do the nightclubs at night, and church in the morning,” Flynn said. “He was legitimately a bad cat in the nightclubs and a legitimately wonderful player in gospel and the church. He told me once he wanted to be Ray Charles, and that he wanted to be Hank Williams. In L.A., he was playing blues in some of the black bands, in South Central, and then he’d go play The Palomino and play country with Delaney Bramlett. He always said he could arrive somewhere with those two things intact.” “It kind of makes sense. He was a wild man when he emerged onto the scene as Leon Russell. That’s when circumstances gave him opportunity. He jumped into the limelight behind Cocker and put the band together. When he emerged as Leon Russell, with the wild hair and the hat and the sunglasses, he took everyone by surprise — but if you listen to it without all the showbiz stuff, it’s hardcore blues and hardcore country. It’s right there, right in the heart and soul of it.” To complete the picture, Russell would grow into one of the greatest popular songwriters of his generation. His songs produced hits covered by a broad range of artists, including Ray Charles, Bonnie Raitt, Whitney Houston, Bobbie Gentry, the Carpenters, George Benson, and many others. He released his first solo album in 1970 — self-titled — which contained “A Song for You” and “Delta Lady,” both written for singer Rita Coolidge, and broke out in 1971 with Leon Russell and the Shelter People, released the same year he performed in Harrison’s Concert for Bangladesh. In 1972 he released Carney, his highest charting album, as it rose to No. 2 on Billboard. That record contained “Tight Rope” and “This Masquerade,” two signature hits. Those three albums appeared on Shelter Records, the label he and producer Denny Cordell had established in 1969. Russell’s star shone brightly and burned intensely for much of the 1970s. But, even as he would release dozens of studio and live albums during his career, no Leon Russell record would again reach such heights until that of The Union, a celebrated collaboration with Elton John in 2010. Many critics hailed the record, and John’s efforts on


“HE WAS A GENTLE SOUL, REALLY. AND, HE HAD A GREAT SENSE OF HUMOR.” Russell’s behalf, as factors in restoring him to his rightful place among the greats. The fact is, he had never vacated that standing. “He wanted to write songs that would last forever,” Nashville singer John Cowan said. Cowan played bass and sang with Russell, also as a part of the New Grass Revival connection in the late-1970s. “He did it by design. He was such a smart guy. Leon operated at a level above everyone, and it was very pure.” Of course, by the end of that decade, his extreme popularity had peaked and Russell began what could be termed as a long journey home. Guitarist Bob Britt played in his band for almost 10 years, as did his brother Tom for three. “Leon was a huge influence on me,” Bob Britt said. “I was so young. I lived with him and traveled with him all that time. I wound up really coming to know him through the relationship of chords and bass. He taught me so much. That relationship and what it does to chords. “He affected me. As young as I was, I tried to absorb his style. He was almost like a second father to me. He was a gentle soul, really. And, he had a great sense of humor. “I remember one time onstage and this monitor guy — we didn’t have our own monitor guy at one point — so it was a house guy. And, it was a nightmare. The feedback. Then all feedback was gone. So, in the middle of a song Leon got up, and went over to the guy and had a few dollars in his pocket, and he gave it to him and said ‘Why don’t you go get a couple of hot dogs …’” Brother Tom recounted another Russell story which had its roots in the Tulsa area he loved. At the height of his success, Russell had returned to the area to live, in 1972, building a compound of sorts on 7.5 acres of secluded property on Grand Lake, which became the home of Shelter Records. It was

also known to the locals as “the hippie place.” “One of my favorite stories — he had the property on Grand Lake in Oklahoma, and Dylan came to visit him,” Britt said, laughing. “They went fishing one day, and didn’t have any bait, so they pulled into this little Mom and Pop bait shop. Leon said that the lady that worked there called Dylan over and said, ‘Do you know who you’re with?’ … Leon thought that was pretty good.”’ It was not long after, in 1973, that Russell first utilized the country persona Hank Wilson for his foray into a distant past, and secured the little-known New Grass Revival to open for him. “At the time, Leon was the No. 1 box office attraction in the world,” said acclaimed mandolin player Sam Bush in an earlier interview with The Nashville Musician. “Billboardcertified 25,000 a night. It was insane. “We had the same booking agency as John Hartford … and we were doing a small tour with John. We were thrilled. We had just returned from three weeks with him. We walk into our pad in Louisville at 4:30 in the morning and [banjo player] Butch [Robins] called, saying that Leon Russell wanted us to back him. I about fell over! … AFM life member Leon Russell, 74, died Nov. 13, 2016. The renowned artist played keyboards, guitar, bass, and trumpet. He was born Claude Russell Bridges April 2, 1942 in Lawton, Okla. Prior to his membership in the Nashville Musicians Association, he joined AFM Local 47 in Los Angeles, Calif., in 1963. Survivors include his wife Janet Constantine Bridges. Public memorial services were held Nov. 18 in Mt. Juliet, Tenn., and Nov. 20 in Tulsa, Okla. Honorary pallbearers included Elton John, John Cowan, Sam Bush, Jim Halsey, Bruce Hornsby, Bob Britt, Tom Britt, Willie Nelson, Bob Stinson, Jimmy Karstein, Bernie Taupin, and Cameron Crowe, among several others. In lieu of flowers, donations may be made to the Partnership with Native Americans, MusiCares, or the American Society for the Prevention of Cruelty to Animals.


“[But], he didn’t want to stand there with an acoustic guitar. So, Leon asked us to open the tour. For 2-1/2 months we were on his private plane, [we were] where they stayed, rock & roll hysteria — it was amazing.” To some, the sudden turn to country was hard to take. Russell would often address the crowds to explain who the band was and why he had enlisted them. For him, it was the natural course of his life. “In reality I think his L.A. days were sort of ‘zippity-do-da’ to him,” Tom Britt said. “I think he knew what he wanted to do all along, and once he found a way to do it, you know, it was all over. And he was an Okie again. Black and white roots music was what he loved. Leon had to be a piano player, and he figured out a way of incorporating it correctly.” In the late-1970s, the variants of New Grass Revival served essentially as Russell’s backing band. But, that loose traveling show could swell to a 14-piece outfit, featuring Shelter People, horn players, Nigerian percussionists, and backup singers, as it bounced between Los Angeles and Nashville. The relationship produced The Live Album on Paradise in 1981, and Rhythm & Bluegrass: Hank Wilson Vol. 4, released in 2001 by Russell after years in the vault. Cowan, and the others, expressed awestruck feelings about Russell’s playing, and his aura. “[Russell’s musicianship] was totally staggering,” Cowan said. “He had such breadth. Later, I had a radio show on WSM, and I talked to him a lot about being a kid and growing up in Oklahoma. [He told me] the first song he really heard was the old gospel song ‘Are You Washed in the Blood?’ He remembered his grandmother singing it to him. And, of course, we all know why he took those piano lessons. “His piano style [came] through serendipity, or spirituality and therapy. Because of the way his hands work. There aren’t too many people who can play New Orleans piano in the stride style accurately — in that James Booker and Dr. John style. Leon could, and he arrived there through gospel music. His music, to me, is Pentecostal rock & roll with non-gospel lyric. My job [back then] because we didn’t have a drummer so to speak — the Nigerian players were playing gourds like high hats. No kick drum. My job was to copy Leon’s left hand and I did it very faithfully. Whatever he did, I did the same exact thing. “His left hand is like spirit.” Russell’s death punctuated a year in which the world lost other legendary artists, including Bowie, Prince, Merle Haggard, and Leonard Cohen. All are musicians, songwriters, and performers who helped shape the cultural narrative of the last 50 years, and are not just irreplaceable, but have left a void not yet fully realized. And, Russell reflects that rarest case of an artist who rose to superstardom within a naked artistry, unvarnished. He has drawn the unexpected line from “Are You Washed in the Blood?” to rock star. “You know, the common man, and even the people that tend to give out awards — I don’t think they even realize what he did,” Tom Britt said. “That’s my personal opinion. His songwriting, his lyrics — I think he should have been treated as a Woody Guthrie kind of character. If you listen to the lyrics, you know, those songs are just perfect. I don’t think you can pigeonhole TNM him. It’s a one-of-a-kind thing that will never happen again. So enjoy.” JANUARY–MARCH 2017 21


full circle S O N Y/LEG AC Y

FULL CIRCLE is Loretta Lynn’s first album since 2004, and is definitely worth the wait. Working with her daughter Patsy Lynn Russell and John Carter Cash as producers, this album more than lives up to its title, as it not only revisits Lynn’s roots, but also resets the bar for what pure country music can still sound like. This album seamlessly brings together the acoustic sounds of bluegrass with traditional country instrumentation, and the focus is clearly on Lynn’s emotional vocal performances. The album opens with “Whispering Sea,” the first song Lynn ever wrote, preceded by a brief informal chat with Cash about how she came to write 12 songs for her debut album in two days. The rest of the material ranges from traditional tunes of long ago to remakes of a few of her biggest hits, and a diverse set of cover tunes by other artists. Lynn’s voice sounds strong and clear throughout, and her trademark Kentucky drawl is as distinctive as ever. The production is excellent, leaving plenty of space for Lynn’s voice. The album’s mix is warm and inviting; the playing is stellar throughout. Highlights include a remake of the Doris Day chestnut “Secret Love,” “Everything It Takes,” co-written by Lynn and Todd Snider, with a harmony vocal by Elvis Costello, and 22 THE NASHVILLE MUSICIAN

the beautiful “Lay Me Down,” a duet with Willie Nelson that closes the record. Especially powerful and moving is her version of T. Graham Brown’s “Wine Into Water,” which gives this great song a new life. All of the players do a great job of channeling classic country styles and licks without making it feel like a throwback or nostalgia trip. Local 257 musicians featured on the album include Randy Scruggs on acoustic guitar, Dennis Crouch on upright bass, Ronnie McCoury and Sam Bush on mandolin, Robby Turner on steel, Jamie Hartford on electric guitar, Tony Harrell on piano, Shawn Camp on acoustic guitar and mandolin, and Laura Weber Cash on acoustic guitar and fiddle — including a beautiful string trio on “Secret Love.” Special mention

goes to drummer Rick Lonow, whose sensitivity, taste and laid-back feel lets the songs breathe in a natural way. Loretta Lynn is one of the most awarded female artists in the history of music, and her re-emergence on the recording scene comes at a time when timeless country music performed with true emotion and without smoke and mirrors is in short supply. Producers John Carter Cash and Patsy Lynn Russell have done a great job of enhancing Loretta’s unparalleled musical legacy. Many thanks to Loretta Lynn for all she has already given us, and for showing us that she still has more surprises in store. — Roy Montana


Kings of Leon Walls RCA Records

I must confess that I was clearly late to the party. Of course I’ve been aware of the megasuccessful KOL band and have celebrated them as more evidence of the cool big-tent Nashville music scene. However, I had yet to really drill down into their deeper tracks. So, my first listen to their October 2016 release, Walls, found me trying to pigeonhole their sound. What other groups did they bring to mind? But once I was drawn into the lyrics and landscape of the production, the band took hold of my interest in their own definitive way. I loved reaching the chorus in “Waste A Moment” as the words stretch and breathe across time. This lets the listener relax and absorb the message. Grooves are hip and mesmerizing, and vocals cover a lot of ground stylistically. Bright, jangling guitars headline the powerful rhythm section which make this collection a perfect party disc — just to get things started the right way! Then when the party melts down to a few couples with the lights down, “Conversation Piece” should be filling the darkened room. Gotta set the mood, man! The Kings of Leon switch moods enough to suit just about any setting and they do it deftly without losing any momentum. I am sure their fans welcome the broad scope that is evident on the disc. These fellas are all AFM Local 257 members and since their 1999 formation in Nashville they have built a tremendous following and don’t look to slow down any time soon. – Hank Moka

“I was drawn into the lyrics and landscape of the production; the band took hold of my interest in their own definitive way.”

Steve Wariner

All Over The Map SelecTone Records The multifaceted talents of Steve Wariner are in full force on every aspect of his latest project, All Over The Map. Wariner has long been respected as one of Nashville’s finest musicians and recording artists, and a humble sincere person as well, but he may have outdone himself this time. He produced, wrote or cowrote all but two songs, sings, and plays multiple guitars, steel, lap steel, bass and drums, and even painted the cover art! This record reflects diverse musical influences that from his dad, Roy, to Chet Atkins and more. He sounds confident and comfortable in a wide variety of musical settings. Wariner effortlessly shifts from rockin’ blues to gentle country balladry, evocative instrumental music, swinging hillbilly tunes, and a beautiful classical guitar piece, “St. Augustine’s Dream,” that closes the record. Highlights include brilliant guitar interactions with a bevy of guest axemen including Eric Johnson on “Meanwhile Back In Austin,” Jack Pearson on “Drop Top,” and the inimitable Duane Eddy, who cowrote the slinky “Nashville Spy-Line,” with Wariner. “The Last Word” was written by and features Steve’s son Ryan Wariner, who can hold his own in any company. It is a moody and melodic instrumental tune played with taste and tone by father and son. “Down Sawmill Road” features longtime Wariner pal Ricky

Skaggs on mandolin and the interaction of their acoustic instruments feels like a conversation between two old friends. “CGP” is a joyous romp which celebrates the timeless wonder of Mr. Guitar, Chet Atkins, and is played with his fellow Certified Guitar Pickers — a moniker Chet bestowed on very few — Tommy Emmanuel and John Knowles. Wariner’s singing, writing, arranging and performing skills have never sounded better. Mention must be made of the excellent sidemen on this record, including Local 257 members Matt Rollings (keyboards), Willie Weeks and Michael Rhodes (bass), Lynn Williams and Greg Morrow (drums), and Rob McNelley on guitar. This is an album made for those ready to go on a musical journey with an artist who has a lot to say, and a lot of music left to play. continued on page 24 – Roy Montana

“This is an album made for those ready to go on a musical journey with an artist who has a lot to say, and a lot of music left to play.”



continued from page 23

Brad Albin, Duane Eddy, Harold Bradley, Mandy Barnett, Andy Reiss, Jim Gray, Bob Mater, Jimmy Capps, Mike "Cookie" Jones, Tony Migliore

The Nashville Songbook Live review

Schermerhorn Symphony Center was the scene for the debut of “The Nashville Songbook,” a retrospective of timeless Nashville music performed by Mandy Barnett with an all-star band and the Nashville Symphony.

The concept for the show was created by Barnett and Harold Bradley, and brought to fruition by arranger/conductor Jim Gray. The SSC was packed for three nights in November with a diverse crowd that enthusiastically responded to this special musical event. Longtime Local 257 member Gray rose to the challenge of integrating a full


THE RITE OF SPRING February 23 to 25


RAVEL’S BOLÉRO & Edgar Meyer World Premiere March 16 to 18




Mention promo code AFM for 10% off Aegis Sciences Classical Series tickets!

615.687.6400 • NashvilleSymphony.org 24 THE NASHVILLE MUSICIAN

country band with a full orchestra, and his enthusiastic demeanor on the podium was effective and engaging. The arrangements were written in tandem by Gray, Mike Rinne, and Tony Migliore, and struck a fine balance between familiar and new. The excellent band consisted of Migliore on piano, Bob Mater (drums), Brad Albin (bass), Mike Jones (steel guitar) and an incredible guitar section of Jimmy Capps, Andy Reiss, and the legendary Harold Bradley himself, who received a warm round of applause from the crowd after his introduction. Guitar hero Duane Eddy joined Barnett for a version of Marty Robbins’ “Don’t Worry ‘Bout Me,” recreating the Grady Martin guitar part considered the birth of the fuzztone. Vocalist Mandy Barnett has become a Nashville icon over the years, and while she may best be known for her performances in “Always Patsy Cline,” she has a wide stylistic and emotional range far beyond one artist. The 32 songs performed by Barnett all were No. 1 hits that were either recorded or written in Nashville. While the song list leaned towards the classic “Nashville Sound” era, the show also had some newer material, including a somewhat tongue in cheek version of “All About That Bass” that gave Albin and the NSO bassists a rare feature. This repertoire, which ranged from Elvis to Eddy Arnold, Roy Orbison and Johnny Cash, along with Tammy Wynette, Brenda Lee and Loretta Lynn, showcased her voice to great effect. The Nashville Symphony demonstrated once again that not only can they play top-drawer classical music, but they also understand how to phrase as an ensemble to a degree that few orchestras can equal. The NSO musicians are accomplished in a variety of genres and disciplines, and their contribution to the show was absolutely essential on every level. Excellent work by all concerned, and here’s hoping “The Nashville Songbook” will have a chance to go on the road and remind the world that there is no other place like Music City. Few other song lists can appeal to such a broad audience as these do. Well done! TNM – Roy Montana


PINES OF ROME February 10 & 11

“The SSC was packed for three nights with a diverse crowd who enthusiastically responded to this special musical event.”


SYMPHONY NOTES his fall three ICSOM orchestras were on strike, but thankfully all have settled.

While the Philadelphia Orchestra walked out during their gala celebration, the strike only lasted two days. The Fort Worth Symphony bargained for more than a year and went on strike at the beginning of September. They recently settled a new four-year agreement that includes a wage freeze — but no cuts — with the assistance of the director of the Federal Mediation and Conciliation Services. Pittsburgh Symphony musicians called for an eight-week strike because management refused to improve their draconian proposal to cut salaries and the size of the orchestra. Their five-year agreement includes multi-year cuts but restores the salary to pre-cut levels in the final year of the contract; they also maintained the current orchestra size. It has been inspiring to see these three groups of musicians stand together. It has been equally impressive to see the ICSOM community rally to help orchestras that were forced into extended work stoppages. Since ICSOM’s Calls to Action began, nearly $2 million has been contributed by ICSOM orchestras, by individuals, and by members of ROPA, OCSM (Canadian Orchestras), RMA, TMA, and some AFM locals. The generosity extended to musicians by musicians has been nothing short of extraordinary.

It has been a busy fall

Since the Nashville Symphony returned to work on Sept. 6 we will have performed 23 different types of programs by the time Christmas vacation began December 19. Five of these 15 weeks included two differ-

ent performances per week and two weeks contain three different programs (both while the orchestra is split into two different orchestras to perform The Nutcracker while the other orchestra plays The Messiah and other holiday pops.) That translates into 58 concerts — plus two recording patch sessions — or, to take it even another step further: two ballets, eight classical (including Young Person Concerts), two mixed-genre, nine pops and two movies performed as concerts. And of course, that doesn’t include rehearsals and hours of practicing at home before and during scheduled rehearsals before these concerts. We’ve performed Mahler to Brahms to Prokofiev to rarely played works by Tchaikovsky and Rachmaninoff, and we’ve woodshedded and recorded new works by Leshnoff and Kernis. We have worked with gifted classical soloists, and with royalty artists such as Mandy Barnett, Michael W. Smith, Jennifer Nettles, Peter Cetera, and the wonderful Ben Folds. The Nashville Symphony Chorus joined us for Mahler and The Messiah and provided a small chorus for one of the two movies we performed this fall — Home Alone.

About these movies…

I am a huge fan of movie soundtracks, and especially those by John Williams. However, knowing my career path was to be a symphony musician, I never expected to perform these wonderful scores except as a brief arrangement or suite. If I remember correctly, our first film concert was a pops concert replete with various movie scores. We were told that much of the music had been reconstructed because the original parts were “buried in a landfill in LA.”

Three months of movies to prepare (plus dozens of other NSO concerts): November Jurassic Park, December Home Alone and January Harry Potter

BY LAURA ROSS Around the same time we also performed Prokofiev’s Alexander Nevsky on a classical series. Then came Bugs Bunny, Looney Toons and other cartoons utilizing classical music followed by single exhibitions of The Wizard of Oz and Casablanca; and now we present a series of movies every summer. Orchestras around the country are now performing an expanding catalog of movies, but we are playing them under far different conditions than when they were initially recorded. It might take weeks or months to record a film soundtrack, while we perform them in the span of the movie itself, without retakes. And playing those soaring melodies and big action and battle scenes is extremely demanding on an orchestra. I don’t usually get to see what it’s like to experience watching a movie while the music is performed live, but years ago, I was in symphonic recording negotiations and observed a New York Philharmonic benefit concert rehearsal of Spielberg film clips conducted by John Williams. I sat in that balcony watching Indiana Jones outrun the giant boulder and heard concertmaster Glenn Dicterow perform a selection from Schindler’s List — it was magical. I never imagined experiencing the same wonder as Sam Neill and Laura Dern when they saw the dinosaurs for the first time in Jurassic Park, but there we were in November playing that majestic and glorious theme when I glanced up at the screen and felt I had joined them onscreen! That feeling of joy and wonder is a tiny piece of the gift we give — and receive — when we perform music. Sometimes, when playing seems more like work, this is what we need to remember: every day is a gift. And for me in 2017, I’ll be thrilling to every scene in Harry Potter (parts 1 & 2 this season) and E.T., and I’ll remember the John Williams soundtracks we performed in 2016 – Raiders of the Lost Ark, Jurassic Park and TNM Home Alone. JANUARY–MARCH 2017 25




hatever your politics, I think it’s safe to say that during the next four years we probably will not see a lot of enthusiasm for public funding of the arts. With a sluggish economy and arguments over priorities, artists will be pushed farther and farther to the back of the line. Marginalizing cultures is another danger. Art needs diversity to feed its creative expansion. Without diversity, American musicians would still be playing “Yankee Doodle.” In an environment where cultural diversity is threatened, art is threatened. Artists supporting other artists is one way to fight back. So, whatever it is — jazz, blues, salsa or something that doesn’t have a name yet — buy a ticket and go.

Rich Perry featured at MTSU Jazz Festival

The Jazz Artist Series at Middle Tennessee State University concludes its current season March 25 with the MTSU Illinois Jacquet Jazz Festival, honoring that tenor sax legend of American jazz. A full day of big bands and combos will conclude with special guest tenor saxophonist Rich Perry at 7:30 p.m. in the Wright Music Building. Perry deserves to be as well known by jazz fans as he is by musicians. In 1977 he joined the Thad Jones/Mel Lewis Orchestra, touring the U.S. and Europe. After Jones left the band, Perry continued playing with the Mel Lewis version, recording three LPs with him. The band, with Perry as a key member, is now known as The Vanguard Jazz Orchestra. Three of their recent CDs have been nominated for Grammy awards. Perry also tours the world as a charter member of the orchestra led by Grammy award-winning composer and arranger Maria Schneider, and is featured on all of her CDs. Besides recording numerous CDs of his own, 26 THE NASHVILLE MUSICIAN

he is involved with the John Fedchock New York Big Band, pianist Fred Hersch, and is on the faculty of William Paterson University, New York University, and Manhattan School of Music. For more on the festival, go to www.mtsu.edu/music/jazzseries.php

play there, including the MTSU Salsa Band, led by Lalo Davila — which I highly recommend to any fan of Latin jazz. For a schedule, go to www.jazzmatazzlounge.com

WMOT 89.5FM changes to Americana

The W. O. Smith Music School makes affordable, quality music instruction available to children from low-income families. William Oscar Smith’s career took him from jazz bass with Dizzy Gillespie and Charlie Parker to being the first African-American with the Nashville Symphony, to a PhD and the music faculty at Tennessee State University. In 1984 he realized a dream of changing lives with music by starting a nonprofit school in an old house with 45 students. The now modern school serves 650 students annually. Classes and lessons are 50 cents each, with instruments and musical materials provided, and instruction by a faculty of volunteer professionals and college students. The school offers three music camps in the summer, and regular recitals and concerts are open to the public. Go to www.wosmith.org

After three decades as an award-winning jazz station, and a few years combining jazz and classical, 100,000 watt WMOT changed its format to find a wider audience and increased revenue. On Sept. 2, 2016 they became WMOT-FM/Roots Radio 89.5, partnering with the public television program Music City Roots to become the region’s only channel devoted to the amalgam of bluegrass, folk, gospel, soul, country and blues music defined by the music industry as Americana. Located on the campus of Middle Tennessee State University, they still carry the MTSU Blue Raider sports broadcasts, and continue to serve as a training ground for MTSU students who are integrating audio editing and narration skills into their multimedia portfolios. The only good news for jazz and blues fans is that the station is programming 24hour jazz on its digital channel, HD2, and including some syndicated blues programs like Beale Street Caravan, New Orleans Calling, and the long-running Blues Before Sunrise out of Chicago, Ill. Popular programs like Jazz on the Side, and Rhythm Sweet and Hot have been dropped. Longtime program director and DJ Gregg Lee is still on a few hours a week. The same programming can be heard on the internet at WMOT.org, in Murfreesboro at 92.3FM, and sometime soon in Brentwood at 104.9FM.

W. O. Smith Music School in its fourth decade


Fisk University radio station WFSK 88.1FM, still the home of “smooth jazz” also offers some straight-ahead jazz with Rahsaan Barber’s Generations in Jazz Mondays 7-8 p.m., Christian McBride’s syndicated Jazz Night in America Wednesdays 6-7 p.m. and Sundays 2-3 p.m., and Bluestime in the City with Rojene Bailey Sundays 8-10 p.m. TNM

JazzMatazz — New Orleans in Murfreesboro

Located on Old Fort Parkway, JazzMatazz is a large restaurant/lounge featuring a New Orleans style menu, state of the art sound and light system, and muW.O. Smith School sic several nights a week, which ranges from DJs to blues and jazz groups. Sunday brunch is 10 a.m. to 3 p.m. with live music from noon – 2 p.m. Groups from both Nashville and Murfreesboro

Rich Perry

JANUARYâ&#x20AC;&#x201C;MARCH 2017 27


“Don’t be afraid to laugh or cry out loud. Tears can wash away pain. Let it rain, baby.” – Kacey Jones


inger-songwriter Kacey Jones, 66, died Sept. 1, 2016. She was a guitarist who joined Local 257 in 1996, and was known for her humorous and unique tunes. She found success initially as a cowriter on the Mickey Gilley hit “I’m the One Mama Warned You About,” and afterwards was signed with Becki Hunt and Valerie Fogel in the band Ethel & The Shameless Hussies. Born Gail Zeiler in Gilroy, Calif., she won the Northern California Wrangler Country Star Search in 1981 and was signed to a local label. She recorded with an independent label in San Francisco, and afterward moved to Nashville in 1986 after scoring the hit with Gilley. Her songs were recorded by Cledus T. Judd, Ray Stevens, and David Allan Coe among others. The Hussies released Born to Burn in 1988, and charted with a pair of singles — “One Nite Stan” and “It’s Just the Whiskey Talking.” Jones became involved in a number of other projects in the following years. She produced a record of songs by Kinky Friedman called Pearls in the Snow which featured Willie Nelson, Asleep at the Wheel, Lyle Lovett and others. Jones formed the Kinkajou Records label with Friedman, and established her own independent label — IGO (Irritating Gentile 28 THE NASHVILLE MUSICIAN

Kacey Jones Apr. 27, 1950 — Sept. 1, 2016

Optimist). She was also president of two publishing companies — Zamalama and Mamalama Music. Jones signed with Curb in 1997, which led to her first solo album, Men Are Some of My Favorite People. Other releases on IGO followed, including Every Man I Love is Either Married, Gay, or Dead, Never Wear Panties to a Party, The Sweet Potato Queens’ Big-Ass Box of Music, Nipples to the Wind, and the more recent Donald Trump’s Hair. In 2006 she released Kacey Jones Sings Mickey Newbury, a tribute to an artist who influenced her early career. She released her last album in 2014 — Amen for Old Friends. Her good friend and fellow artist Becky Hobbs commented on Jones’ uniqueness as an artist. “Kacey Jones was the consummate entertainer. Even on her death bed she was cracking jokes. She loved to make people laugh. There was no other female out there doing what she was doing.” A celebration of life service was held Oct. 5 at Douglas Corner in Nashville. Performers included Benita Hill who worked with Jones and Hobbs in the trio A Cowgirl, a Diva and a Shameless Hussy; and Joe Collins, who worked with Jones and Richard Fagan in the songwriter/artist trio Phillybilly.

Bennie Proctor Beach, Sr. July 10, 1925— Oct. 13, 2016 Bennie Proctor Beach, Sr., 91, a trumpet player and 66-year member of the Nashville Musicians Association, died Oct. 13, 2016. He was a retired professor emeritus of music at Western Kentucky University and was a 22-year member of the Nashville Symphony Orchestra. Additionally, he toured and performed with Glenn Miller, Count Basie, and his own jazz band. He was also a composer

FINAL NOTES of music for brass and voice — two of his commissioned works debuted at Carnegie Hall in New York. He joined Local 257 in August 1950. The Ethel, Miss., native was a member of the Music Educators National Conference, ASCAP, Phi Mu Alpha music fraternity, and the First Christian Church in Bowling Green, Ky. He was also a veteran of the United States Army Air Corps. Beach was preceded in death by his wife of almost seventy years, Pearl Elizabeth Beach, and by his son Bennie Proctor Beach, Jr. Survivors include one grandchild and one great-granddaughter. Funeral services were held Oct. 18 at First Christian Church in Bowling Green, Ky., with burial in Fairview Cemetery No. 2. Expressions of sympathy can be made in the form of contributions to the Bennie P. Beach Jr. Scholarship Endowment Fund at the College Heights Foundation of Western Kentucky University in Bowling Green, Ky.

Hubert Duane “Hoot” Hester Aug. 13, 1951 — Aug. 30, 2016 Hubert Duane “Hoot” Hester, 65, died Aug. 30, 2016. He was a fiddle player, and a life member of the Nashville Musicians Association who joined the local in 1973. Hester was a longtime member of the Grand Ole Opry staff band, and also worked with Donna Fargo, Mel Tillis and Jerry Reed among others. He was also a founding member of The Time Jumpers — a Western Swing band. Born Aug. 13, 1951 on a small farm near Louisville, Ky., he attended Southern High School in Louisville, and began his

Hoot Hester

professional career as a member of the band Bluegrass Alliance. He moved to Nashville in 1973 after he began receiving job offers — a result of his being heard in a fiddle contest which was judged by Chet Atkins and other prominent industry people. His first gig in Nashville was with The Whites. Over the next 30 years Hester played on the road and in sessions with a variety of artists. He was in the house band for Nashville Now on TNN for over a decade. Hester’s credits include work with Alabama, Randy Travis, Hank Williams, Jr., Earl Scruggs, Manhattan Transfer, Bill Monroe, and Ray Charles. In his later years Hester produced and wrote with his daughter Rachael Hester, who leads The Tennessee Walkers. Chris Scruggs, who often played with Hester, commented on his humor and his chops. “I can’t think of a kinder, gentler soul on this Earth than Hoot. He had the best oneliners for any occasion, and they were always funny no matter how many times you heard them...They say musicians show their personality on their instruments, and he was a master of taste, touch and style,” Scruggs said. Survivors include his wife of 39 years, Lola, one son, Johnathan Hester; two daughters, Becca McBride and Rachael Kingery; and three grandchildren. Funeral services were held Sept. 3 at First Baptist Church in Dickson, Tenn.

Victor “Vic” Jordan Oct. 19, 1938 — Aug. 25, 2016 Nashville Musicians Association life member Victor “Vic” Jordan, 77, died Aug. 25, 2016. The well-known banjo player worked with a host of legendary bluegrass artists including Bill Monroe, Kenny Baker, Lester Flatt, Jim and Jesse McReynolds, Jimmy Martin, and Wilma Lee and Stoney Cooper. With Monroe he recorded banjo breaks for “Gold Rush” and “Kentucky Mandolin.” He also contributed to the classic album Kenny Baker Plays Bill Monroe and Baker’s Portrait of a Bluegrass Fiddler. Jordan released two influential solo projects, Pickaway and Banjo Nashville, which demonstrated his melodic, scalar style of playing. The Washington, D.C., native was the son of the late Larry and Edna Bowman Jordan. He served in the United States Air Force, afterwards moving to Nashville in 1964. Mandolinist Roland White played with Jordan in several different bands, and commented on their time together: “Vic Jordan joined Bill Monroe’s Bluegrass Band in July of 1967, about three months after my joining the band. Bill liked his banjo playing because he could play melodic style like Bill Keith. It was a big and welcomed change to the two previous banjo players. I won’t mention any names. We both left in March 1969, and joined Lester Flatt and The Nashville Grass.” In addition to his touring work, Jordan was an in-demand session player through the ‘80s, and would later work with Wayne Newton in Las Vegas, Nev., and Branson, Mo. He was a member of John B. Garrett and Sam Davis Masonic Lodge, and was continued on page 30 JANUARY–MARCH 2017 29

Robert Finlay Mason continued from page 29

Gerard F. “Jerry” Vinett July 4, 1930 – Sept. 21, 2016

a member of St. Luke Catholic Church in Smyrna, Tenn. Survivors include his wife of 55 years, Jean; one son, David Jordan; four grandchildren; two great-grandchildren; and one sister, Karyn Meeks. A funeral mass was held Aug. 31 at St. Luke Catholic Church.

Edward A. Knob May 26, 1928— Oct. 28, 2016 Bobby Osborne, Sonny Osborne, Dale Sledd

Sledd, known for his fine rhythm guitar work, had the ability to blend his voice with the Osbornes creating aDale tight and seamless Sledd vocal trio. Nashville Musicians Association life member, Edward A. Knob, woodwind player, composer, and teacher, died Oct. 28, 2016 at the age of 88. He joined Local 257 in September 1957. Knob was the collegiate marching band director for Western Kentucky University from 1956 to 1965 in Bowling Green, Ky., and also for the marching band at Austin Peay State University during the ‘70s in Clarksville, Tenn.   Survivors include his son, Steven E. Knob. Plans for a celebration of life in the spring of 2017 in Bowling Green, Ky., have not yet been finalized.

Dale Sledd April 23, 1937 — Aug. 21, 2016 Dale Sledd, who played guitar and sang with the Osborne Brothers for over a decade, died Aug. 21, 2016 at the age of 79. He was a life member of AFM Local 257 who joined in 1965. He also played bass, banjo and dobro. Born April 23, 1937 in Benton County, Mo., he was the son of Luther and Alpha Platter Sledd. He graduated from Warsaw High School in 1955 and moved to Nashville, Tenn., in 1965. From 1966 to 1977 he played with the Osbornes, who recorded 30 THE NASHVILLE MUSICIAN

“Roll Muddy River,” “Rocky Top,” “Ruby” and other hits during that time. Bluegrass Today said Sledd, known for his fine rhythm guitar work, had the ability to blend his voice with the Osbornes creating a “tight and seamless vocal trio.” He wrote the instrumental “Sledd Ridin’” with Sonny Osborne — it was recorded by Sonny, J.D. Crowe, and Jim Mills. Sledd also toured with George Jones and Tammy Wynette, and performed on several syndicated television shows including Hee Haw. He performed with Grandpa and Ramona Jones, and also at the Grandpa Jones Dinner Theater. In 2006 he released a CD, Big Muddy MO. In 1984 he returned home to Missouri, and raised cattle in Warsaw. Survivors include his significant other, Janis Cobb; and one sister, Darlene Hazel. Funeral services were held Aug. 25 at the Reser Funeral Home in Warsaw, Mo. Graveside rites and military rites followed at the Riverside Cemetery. Memorial contributions may be made to the Warsaw R-9 School District Music Program.

Gerard F. “Jerry” Vinett, 86, died Sept. 21, 2016. He was a life member of the Nashville Musicians Association who joined Local 257 in 1978. He was a band leader and clarinetist; he also played saxophone. Vinett was born July 4, 1930 into a musical family. His father Art was an attorney who also played piano, and performed in a “family” orchestra with his brothers. After Vinett graduated from Siena College (Magna Cum Laude) in 1951, he decided to pursue music instead of law school. He joined the Tex Beneke Band, and toured briefly before moving to New York City, where he joined AFM Local 802. He and his wife moved to Nashville in 1967, where he worked for a division of Royal Publishers and as a financial planner. He continued to perform in a variety of venues, and was the founder of the Jerry Vinett Dixieland Jazz Band, a group that played numerous festivals and other live events. Other projects included the Jerry Vinett Big Band, a regular act at the WAMB Big Band Dances at Centennial Park. Vinett also played with the Bill Sleeter Trio, the Moonlighters Big Band, the Swing Street Orchestra, and the Tennessee Valley Winds concert orchestra. He also worked recording sessions, including a Dixieland part on a Hank Williams, Jr. song. He was a devoted Catholic, and was known for his warmth and interest in others, in addition to his musical talent.

Beth and Jerry Vinett

Trumpet player David Balph performed with Vinett frequently. “He was one of the best clarinet and sax players who ever lived in Nashville. I worked many gigs with him over many years and with his amazing dedication to his music he was still playing in his mid-80s. His big band and Dixieland abilities were exceptional. Jerry could do it all in other styles of music too. He is already missed by many, and I’m very appreciative I had the opportunity to perform with him,” Balph said. Survivors include his wife of 62 years, Beth; five sons, Bill, Kevin, Jerry Jr., Arthur, and James Vinett; two daughters, Deidre Vinett and Renee Vinett; 13 grandchildren; and 13 great-grandchildren. A funeral mass was conducted at the Cathedral of the Incarnation Sept. 26, with burial following at Spring Hill Cemetery.

Floyd Ray Young Feb. 2, 1936 – Sept. 22, 2016 Life member Floyd Ray Young, 80, died Sept. 22, 2016. He was a steel guitarist and vocalist who joined the AFM in 1974. Young was also a songwriter; his compositions include “I’ll Have Another Drink,” which he released on Power Records. Details regarding services are not known at this time.

Samuel A. Oliva June 18, 1949 – Sept. 14, 2016 Nashville Musicians Association life member Samuel A. Oliva, 67, died Sept. 14, 2016. He played bass and cello, and joined Local 257 in 1979.


Samuel A. Oliva

Oliva was born in Utica, N.Y., to Sam and Frances Oliva on June 18, 1949. He grew up to lead a life dedicated to music. He was an orchestra instructor at many schools over his career, and was known for building life lessons into the curriculum. He was particularly devoted to helping students get musical scholarships. Bassist Jim Ferguson was one of Oliva’s many friends, and spoke on his passing. “Sam Oliva was known as a fine musician, a skilled pilot, a team player, a devoted and beloved educator, and everyone’s friend. He will be missed but never forgotten. Rest in peace, Sam.” Survivors include his family, faithful friends, and loving students. Oliva requested that his cremated remains be scattered from an airplane. The family has asked that memorials be made to the Sam Oliva Memorial Fund to help underprivileged orchestra students. The memorial can be found at www.gofundme.com/2guzy3f8. TNM

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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. When you work without the protection of an AFM contract, you are being denied all of your intellectual property rights, as well as pension and health care contributions. TOP OFFENDERS LIST RecordingMusicians.com - Alan and Cathy Umstead are soliciting and contracting non-union recording work through this website and elsewhere. Steve Schnur, Worldwide Music Executive for the videogame company Electronic Arts, is commissioning and recording non-union sessions in Nashville for his company’s hugely successful franchises. EA declared $4.3 billion in net revenue in fiscal year 2015. The following are employers who owe musicians large amounts of money and have thus far refused to fulfill their contractual obligations to Local 257 musicians. Positive Movement/Tommy Sims (multiple unpaid contracts – 2007 CeCe Winans project) 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 (unpaid contracts and pension) Quarterback/G Force/Doug Anderson Rust Records/Ken Cooper (unpaid contracts and pension) Revelator/Gregg Brown (multiple bounced checks/unpaid contracts) HonkyTone Records – Debbie Randle (multiple unpaid contracts/pension)


Knight Brothers/Harold, Dean, Danny & Curtis Knight RLS Records-Nashville/Ronald Stone Region One Records RichDor Music/Keith Brown River County Band/SVC Entertainment (unpaid demo conversion/pension) Robbins Nashville


Comsource Media/Tommy Holland Conchita Leeflang/Chris Sevier Ricky D. Cook FJH Enterprises First Tribe Media Matthew Flinchum dba Resilient Jimmy Fohn Music Rebecca Frederick Goofy Footed Gospocentric Tony Graham Jeffrey Green/Cahernzcole House Randy Hatchett Highland Music Publishing In Light Records/Rick Lloyd Little Red Hen Records/Arjana Olson Maverick Management Group Mike Ward Music (pension/demo signature) Joseph McClelland Tim McDonald Joe Meyers Missionary Music Jason Morales (pension/demo signature) OTB Publishing (pension/demo signature) Tebey Ottoh Ride N High Records Ronnie Palmer Barry Preston Smith Jason Sturgeon Music


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 The Collective



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The Nashville Musician - January - March 2017  

The official publication of the Nashville Musicians Association, AFM Local 257. This quarter we feature Leon Russell, Loretta Lynn, Kings of...

The Nashville Musician - January - March 2017  

The official publication of the Nashville Musicians Association, AFM Local 257. This quarter we feature Leon Russell, Loretta Lynn, Kings of...