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Official Journal of AFM Local 257 April– June 2014

Road to success

Paved with hard work and a vision

Musicians Hall of Fame 2014 Induction Ceremony

Carry-on Instrument Update lowdown on signatories April–June 2014 1

contents Official Journal of the Nashville Musicians Association, AFM Local 257 | April—June 2014


Announcements Details on the next membership meeting, scheduled for Monday, May 19, 2014. Local 257 Financials; plus minutes of past meetings.

10 State of the Local President Dave Pomeroy discusses the preponderance of new television shows filming in Nashville, Local 257 legal actions, and member perks for the Musicians Hall of Fame and Summer NAMM.


As parents to one of the most successful Grammy Award Winning Bands from here, we know how confusing it can be. We are a local


agency here in Nashville and are happy to share our knowledge with

■ ■

anyone who may be in need of our services. Our goal is to make sure

Group Health Disability Income


you, your hard work and your assets are protected whether you are just

■ ■ ■ ■

starting out on this great adventure of writing, singing or playing, or if

Homes Autos Boats Motorcycles

you are a seasoned artist. Being in the business for over twenty years


Life Insurance Retirement Planning Investments Financial Planning Annuities with Guarantees

we have worked with all types of artists, including models, actors and professional athletes and musicians in every genre of music.

We look forward to working with as many of you as we can. —Tom & BettyAnn Murphy

12 News

The notable comings and goings of Nashville Musicians Association members.


Keith Urban

14 Gallery Member milestones and events, including our annual life member party.

16 Cover story: Keith Urban Warren Denney talks to Keith Urban about what it takes to make a dream reality.

21 Feature Interview:

2014 Musicians Hall of Fame Induction A sweet housewarming at the newly re-opened Musicians Hall of Fame, as a new crop of legendary side men and session players are honored.

24 Reviews Record reviews for Robben Ford, Gail Davies and Eric Church.

WAMB changes formats and a new big band show premiers, F. Scott’s shuts its doors, and more.


Dave Pomeroy & Jimmy Capps

27 Recording Local 257 Recording Director Steve Tveit riffs on signatories.


28 Symphony Notes

We work with all types of artists: • Models • Actors • Professional Athletes • All Music Genres

A tough year for the NSO, but the band plays on — and brings bright new musical offerings as well as more educational service to the community.

30 Final Notes We bid farewell to Billy Adair, Frances Lyell Blanchette and John Sibert.

BettyAnn Murphy 615-871-4767 Insurance Group

13 Heard on the Grapevine

26 Jazz & Blues



Secretary-Treasurer Craig Krampf talks about the 2013 Local 257 financial statement, and our diverse membership.

Reports on the Grammy Awards, and an important update on the status of the musician instrument carry-on law.


11 New Grooves |

32 Member Status 34 Do Not Work For list


Robben Ford and Band

April–June 2014 3


Announcements Minutes of the Membership Meeting Nov. 5, 2012 continued

Next General Membership Meeting Monday, May 19, 2014

O ff i c i al Q u a r t e r l y jo u r nal of t h e na s h v i ll e M u s i c i an s A s s o c i a t i on A F M L o c al 2 5 7


Dave Pomeroy Craig Krampf Kathy Osborne Leslie Barr Austin Bealmear Kent Burnside Warren Denney Roy Montana Laura Ross Steve Tveit

CONTRIBUTING PHOTOGRAPHERS Tripp Ellis Donn Jones Robby Klein Craig Krampf Micky Dobó Dave Pomeroy Laura Ross ART DIRECTION Lisa Dunn Design WEB ADMINISTRATOR Kathy Osborne Ad Sales Leslie Barr 615-244-9514 Local 257 Officers President Dave Pomeroy Secretary-treasurer Craig Krampf executive board Jimmy Capps Duncan Mullins Andy Reiss Laura Ross Tim Smith Tom Wild Jonathan Yudkin hearing board Michelle Voan Capps Tiger Fitzhugh Teresa Hargrove Bruce Radek Kathy Shepard John Terrence Ray Von Rotz Trustees Ron Keller Biff Watson SErgeant-At-Arms Chuck Bradley Nashville Symphony steward Laura Ross Office Manager Anita Winstead Electronic Media Services Director assistant data entry Recording Dept. Assistant

Steve Tveit Teri Barnett Lydia Patritto Rachel Smith

director, live/Touring Dept. Leslie Barr and Pension Administrator Membership Coordinator & Rachel Mowl Live Engagement/MPF Coordinator Member Services/Reception Laura Birdwell @ 2013 Nashville Musicians Association P.O. Box 120399, Nashville TN 37212 All rights reserved. 4 THE NASHVILLE MUSICIAN

The next General Membership meeting will be Monday, May 19, 2014. Doors will open at 5:30 p.m. and the meeting will start promptly at 6 p.m. There will be president and secretary-treasurer reports, and discussion on a number of important issues. Please make plans to attend and take part in the business of your union.

Minutes of the Membership Meeting Nov. 5, 2012 Attending: Vince Barranco, Michael Thomas, C.J. Kowall, Kent Burnside, Ron Keller, Jonathan Yudkin, Sam McClung, Jim Corrigan, John Terrence, Don Pickert, Kent Goodson, Craig Krampf, Laura Ross, Steven Sheehan, Phil Roselle, Lance Martin, Andre Reiss, Ed Cook Jr., Gary Miller, Vince Santoro, Mark Johnson, Duncan Mullins, Dave Pomeroy, Jan Folsom, Linda Davis, Beth Gottlieb, Clifford Lory, Howard Duck, Teresa Hargrove, Rick Lonow, Sam Bacco, Jim Brown.

Local Dues for 2013 Pomeroy read the local dues structure for 2013: $138.00.... Local Dues (Life Member local dues $34.50) $56.00..... AFM Per Capita (Life Member per cap $40.00) $15.00...... Funeral Benefit Fund Fee $27.00...... Funeral Benefit Fund Assessment $3.00....... Emergency Relief Fund $2.00....... AFM Tempo Fund (voluntary for Legislative Action) $3.00....... ERF Contribution (voluntary) $244.00... Total Dues Regular Members with $5.00 voluntary $124.50.... Total Dues Life Members with $5.00 voluntary

Meeting called to order: 6:14 p.m.

Krampf explained the various categories. There were no questions. Motion to accept: Don Pickert and Jim Brown. Ballots were distributed. Vote tally indicated the dues for 2013 were approved unanimously.

Roll call of officers:

Treasurer’s Report

Dave Pomeroy, President, Craig Krampf, Secretary-Treasurer. Executive Board: Duncan Mullins, Laura Ross, Andre Reiss, Jonathan Yudkin. Hearing Board: Teresa Hargrove and John Terrence. Parliamentarian: Ron Keller.

Copies of the financial report were distributed; Krampf led the group through the various categories. MCS to accept the financial report: Laura Ross and Lance Martin.

Reading of the Minutes: Minutes of the Membership Meeting of March 12, 2012 were distributed. There were no objections or corrections. MSC: to approve the minutes: Lance Martin and John Terrence. These minutes will appear in the next issue of our magazine.

New Business President Pomeroy read the Funeral Benefit Bylaw Proposal: Whereas, the Local 257 Funeral Benefit is governed by the fiduciaries of the Funeral Fund, and Section XII of the Local 257 bylaws that outline how the fund is to be distributed and funded, and; Whereas, Article XII, Section 8, defines a formula designed to replenish the fund through an annual assessment to all members, based on the total amount over $100,000 paid out by the Fund in the previous calendar year to beneficiaries of the Fund, and; Whereas, in recent years, this annual assessment has significantly increased Local 257’s annual dues, causing a hardship for the membership, and will continue to do so under this formula, and; Whereas, as of July 1, 2010, the Funeral Fund has been reconfigured as a term life insurance policy, and is now funded in such a way that the members of Local 257 need not bear as much of the burden for replenishing the Fund on an annual basis as in the past, Therefore; Be it resolved, that Article XII, Section 8, be amended as follows; (New language in bold) Section 8. If during any calendar year Funeral Benefit Fund payments exceed $100,000, $200,000, the local Fiduciary Trustees shall levy an additional Funeral Benefit Fund assessment upon each member, in an a minimum amount equal to of fifty cents ($.50) for each additional $1,000 in benefits paid. The exact amount of the assessment will be determined annually by the fiduciaries of the Funeral Fund, with the approval of the Local 257 Executive Board. Submitted by the Funeral Benefit Fund fiduciaries: Dave Pomeroy, Craig Krampf, and Bobby Ogdin, and the Local 257 Executive Board. Board Recommendation: Favorable Krampf and Pomeroy explained the reasoning behind this proposal. There were no questions. Motion to accept: Andre Reiss and John Terrence. Ballots were distributed. Vote tally indicated the proposal passed unanimously.

President’s Report Pomeroy reported on the following items: 1. The AFM and the major TV networks are close to reaching an agreement. The last agreement was concluded 10 years ago. 2. AFM-Motion Picture negotiations will resume in Los Angeles this Wednesday. The AFM has proposed “dual oversight” of the Film Musicians Secondary Markets Fund to the film industry, like the Phono Special Payments Fund. Pomeroy reminded members that if soundtrack work is done with a signatory film company you will be paid residuals annually as long as the movie continues to make money. The importance of doing work under an AFM contract means that if a piece of music was recorded for an album and is used in a film, you will get a new use payment and if the soundtrack has AFM original scoring, you will also share in the FMSMF residuals in perpetuity. 3. Non-union video games sessions continue to occasionally be done here. Meetings continue to discuss this matter with our members, employers and third parties who are involved. John Terrence asked a question about programs now being aired on TNN. Pomeroy responded: 4. TNN has not been paying on the shows “Music City Tonight” and “Nashville Now” that they have been recently airing. These shows were recorded under an AFM Agreement and we have made it very clear that the contract must be honored and musicians must be paid.



5. RFD: the network has yet to pay for on any shows that they aired in 2011 and 2012. These shows include: “Pop Goes the Country”, “The Porter Wagner Show” and “The Wilburn Brothers.” Pomeroy has reached out to the head of the network and discussions are continuing. We expect RFD to make these payments in the near future. 6. The “Single Song Overdub Scale”: there is a simple explanation of how to use this scale in the latest edition of our magazine. Pomeroy urged members to read it and to take advantage of using this scale which allows you to pay into your own pension fund. 7. The AFM has a new video game agreement. Pomeroy explained the main misnomer: there is no “back end” payment on video games. Several top video game companies are “coming to the table” to have discussions with the AFM. Pomeroy said he recently saw former Secretary-Treasurer Billy Linneman. Billy is doing well and recovering from his medical issues. There was no correspondence. MSC to adjourn: Laura Ross and Jonathan Yudkin. Meeting adjourned at 7:34 p.m. Respectfully submitted, Craig Krampf, Secretary-Treasurer


Drums ♬ Percussion ♬ Programming ♬ Electronic Percussion


AFM 257 Member

April–June 2014 5



Minutes of the Executive Board Meeting Monday, Dec. 17, 2013 Attending: President Dave Pomeroy, Secretary-Treasurer Craig Krampf, Jonathan Yudkin (JY), Tom Wild (TW), Duncan Mullins (DM), Andre Reiss (AR) and Tim Smith(TS); Laura Ross (LR) joined via conference call. Pomeroy called the meeting to order at 8:25 a.m. Pomeroy and Krampf led the Board through the financial charts that showed the impact of staff member raises. Discussion followed. MSC to approve raises: AR and TW. Approved. LR abstained. Christmas bonuses were discussed. MSC to approve Christmas bonuses: AR and TW. Approved. LR abstained. President’s Report Pomeroy reported on the following: 1. Negotiations are continuing with TNN. 2. Negotiations for a new contract for the General Jackson are in progress. 3. AFM Jingle negotiations are scheduled to begin in January in New York. 4. Clarifying when a demo can be filed directly as a jingle or other use without needing to upgraded to full master.

Section 47. Compensation for the Office of Secretary/Treasurer shall be the salary last determined by the membership. Whenever the interests of the Association demand his/her leaving the immediate jurisdiction (exceeding 90 miles) of the Local, he/she shall receive fifty dollars ($50.00) per diem at the applicable IRS rate and all hotel and travel expenses. Further, he/she shall be reimbursed for all accountable expenses incurred while attending to official business of the Association for which there is no other financial provision. He/She shall be allowed two (2) weeks paid vacation annually. He/She shall be allowed three (3) weeks paid vacation annually after ten (10) years of continuous service. Section 50. Elected Convention Delegates who are not full-time employees of the Local shall receive a salary of fifty dollars ($50.00) per day. They shall receive fifty dollars ($50.00) per diem at the applicable IRS rate and all travel expenses not allowed by the Federation. Submitted by Laura Ross – Executive Board Recommendation - Favorable Pomeroy and Krampf presented the proposed bylaw that pertains to a new membership category for disabled members:

LR presented the proposed bylaw change pertaining to the new rate for per diem which was approved at the AFM National Convention:

BYLAW PROPOSAL – NEW MEMBERSHIP CATEGORY – DISABLED MEMBERS Whereas, some of our AFM brothers and sisters have or will become disabled and are no longer able to work as a professional musician, and;


Whereas, a disabled member may be unable to pay full Local Regular dues but may still want to remain a member of the AFM, be it

Whereas, Delegates to the 2013 AFM Convention approved a bylaw change that more accurately reflects the cost of meals and incidentals when traveling outside Nashville; and

Resolved, that Article II, Section 1, be amended to include as follows:

Whereas, AFM per diem rates will automatically follow the established IRS rate; and Whereas, Local 257 normally treats per diem in the same manner as that established for the Federation; therefore, be it Resolved, That Article I: Officers and Committees - Duties of Officers: Compensation and Benefits, Sections 46, 47 and 50 be changed to mirror AFM policy as follows: Section 46. Compensation for the Office of President shall be the salary last determined by the membership. Whenever the interests of the Association demand his/her leaving the immediate jurisdiction (exceeding 90 miles) of the Local, he/she shall receive fifty dollars ($50.00) per diem at the applicable IRS rate and all hotel and travel expenses. Further, he/she shall be reimbursed for all accountable expenses incurred while attending to official business of the Association for which there is no other financial provision. He/She shall be allowed two (2) weeks paid vacation annually. He/She shall be allowed three (3) weeks paid vacation annually after ten (10) years of continuous service.


NEW SUBSECTION Article II, Section 1E: “Disabled Membership”: Members in good standing in Local 257 for more than five years who are disabled and no longer able to work as a professional musician, can, with proper documentation of their medical diagnosis and yearly approval by the Local 257 Executive Board, pay Local dues at 33 percent of Regular Member rate. All other yearly assessments and per capita dues will remain at the regular rate. Submitted by Dave Pomeroy and Craig Krampf - Board Recommendation: Favorable

Minutes of the Executive Board Meeting Feb. 24, 2014

President Pomeroy called the meeting to order at 9:10 a.m. Secretary’s Report MSC to approve the minutes of Dec. 17, 2013: AR and LR. President’s Report Pomeroy reported on the following items: 1. A new General Jackson contract with Matt Davenport Productions has been ratified. 2. The new improved website is getting close to being launched. 3. The rehearsal hall has a new PA system thanks to the SAE (School of Audio Engineering) Institute, our next door neighbors. Through a generous donation from Auralex, acoustic treatment (deadening) panels will soon be installed. 4. We have hired two part-time employees, Jason Smart and Mark Allen. 5. Dick Gabriel, the head of the AFM EMSD (Electronic Media Service Division) has retired. Bill Thomas has been appointed as the new EMSD Director. 6. The lawsuit against Jim Owens Entertainment for unpaid wages totaling more than $1 million will be filed very soon. 7. We continue to work on getting the three new Nashville Reality TV shows covered by a union contract. 8. The CMA (Country Music Association) has new leadership. A few issues still exist from previous shows and Pomeroy will be reaching out in an attempt to resolve them. 9. Some progress collecting past-due money from employers has been completed. 10. The first round of AFM Jingle negotiations has been completed. The second round will begin in June. In the meantime, the contract has been extended. 11. Downtown musicians are still experiencing some problems with taxis and others blocking the musician loading zones. Pomeroy has been working with the downtown Police Commander and the city to resolve these issues. Pomeroy has also been working on a way to create discounted parking for musicians. Treasurer’s Report MSC to approve: TW and JY.

MSC to approve new members: AR and JC.

MSC that a $500 donation be made to The Billy Adair Fund for Jazz at the Blair School of Music in honor of the late Billy Adair: LR and AR.

Respectfully submitted, Craig Krampf

all true, all real

Attending: President Dave Pomeroy, Secretary-Treasurer Craig Krampf, Laura Ross (LR), Jimmy Capps (JC), Jonathan Yudkin (JY), Tim Smith (TS), Duncan Mullins (DM), Andre Reiss (AR) and Tom Wild (TW).

Reading of the Minutes MSC to approve the minutes of Sep. 24, 2013 as amended: TS and JC. Unanimously approved.

MSC to adjourn: TW and DM. Meeting adjourned at 9:15 a.m.

Big Band to Bluegrass

MSC to approve new members: LR and TW.

MSC to adjourn: AR and TS. Meeting adjourned at 10:15 a.m. Respectfully submitted by Craig Krampf, Secretary-Treasurer

www.tom 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. 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.

April–June 2014 7


nashville 2.0


BUILD your relationships SEE new products SHARPEN your skills

Local 257 members in good standing are eligible for FREE admission to Summer NAMM! email to request your pass



TOTAL REVENUES 1044701 224277 398829 15757 1683563 EXPENSES SALARIES & PAYROLL TAXES 427969 427969 OFFICER’S EXPENSES 18164 18164 OFFICE EXPENSES 137363 66 137429 OTHER EXPENSES 59988 250 60238 BUILDING & EQUIPMENT MAINTENANCE 67529 67529 PER CAPITA TAX 120086 120086 DEPRECIATION 24044 24044 FEDERATION INITIATION FEES 2340 2340 AFM-EP FUND 46801 46801 AFM WORK DUES 147010 147010 CANDY & SNACK PURCHASES 374 374 ADVERTISING 725 725 ARTISTS & OTHERS 205796 205796 COMMISSIONS 392 392 SERVICE CHARGE 4778 4778 MUSICIANS PAYROLL TAXES 13208 13208 BANK CHARGES 9971 15 9986 BENEFITS 189500 18770 208270 INSURANCE PREMIUMS EXPENSE 108297 108297 RETURNED CHECKS -83 -83 ERF CONTRIBUTIONS (local matching funds) 6470 6470 PROFESSIONAL FEES 4500 4500 TOTAL EXPENSES 1069144 223848 302312 19020 1614324 OPERATING PROFIT (LOSS) -24443 429 96516 -3263 69239 minus depreciation 24044 ACTUAL CASH PROFIT/LOSS -399 429 96516 -3263 93283 * Note: 2014 property tax bill paid in 2013 normally paid in 2014 13916 * Note: IRS 2013 tax credit owed 5876 ACTUAL CASH PROFIT/LOSS WITH * FROM ABOVE FIGURED IN 19393 429 96516 -3263 113075


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NASHVILLE Musicians Association STATEMENT OF ASSETS, LIABILITIES AND FUND BALANCES DDECEMBER 31, 2013 FUNERAL REGULAR SPECIAL BENEFIT EMERGENCY FUND FUND FUND RELIEF FUND TOTAL Local 257 sends important ASSETS: Cash & Checking Accounts 233499 19029 303126 7287 562941 advisories to members by Investments 24181 ______ 188026 ______ 212207


Totals 257680 19029 91152 7287 775148 Due to/from Funds -221237 0 218852 2385 0 Property & Equipment Land 125000 125000 Building 457995 457995 Building Renovation 410741 410741 Furnishings & Equipment 405180 405180 Less: Accumulated Depreciation -866142 ______ ______ ______ -866142 Total Property & Equipment 532774 0 0 0 532774 TOTAL 569217 19029 710004 9672 1307922 LIABILITIES Escrow and Advance Payments 13510 11731 8000 33241 Payroll taxes withheld 372 0 0 372 Total Liabilities 13882 11731 8000 33613 FUND BALANCES 555335 7298 702004 9672 1274309 TOTAL






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April–June 2014 9

State of the Local

New Grooves

By Dave Pomeroy

By Craig Krampf

“We encourage you to share your ideas, talent and experiences with us. This will create new concepts and changes that can be beneficial to us, the whole of society and even the world.”

“There is always a delicate balance between honoring the traditions that created Music City, and looking ahead to find proactive solutions to the new challenges that arise. Your involvement and willingness to stand up for what’s right gives us the strength to make a difference for musicians everywhere.”

As Nashville continues its run as the new “It City,” it is getting hard to keep up with it all. The effects of this rapid growth are everywhere, from traffic jams, condos and office buildings springing up like weeds, to the “knock down a cottage and build a McMansion” syndrome. While there are many tangible benefits to progress and development, it is hard not to wonder whether we risk losing the essence of Nashville in the rush to attract more businesses and increase the population density of our neighborhoods. We face similar challenges in the continuing evolution of the Nashville Musicians Association. We have had an amazing influx of new members and musicians moving from other cities and transferring their membership to Local 257. Our goal is to continue to increase our level of service to existing and new members and be responsive to their changing needs. There will always be new issues and problems to deal with, and we need to communicate and work together to solve them

Reality Check The influx of new reality shows about Nashville and the music business is a great example of how differently people treat musicians, depending on their ethics and level of understanding of how our business works. Some musicians have been convinced to sign away their rights for no payment whatsoever, and spend hours and even days with cameras tracking their every move in 10 THE NASHVILLE MUSICIAN

exchange for some “exposure.” As we often joke, “people in the frozen north DIE of exposure!” However, it’s not so funny when you wake up and realize that you gave away something of value so that others can make money from it. My conversations with the producers of these shows have ranged from friendly and respectful to contentious and insulting. However, if they are willing to listen, many times they change their tune and understand that if you want the best musicians Music City has to offer, you have to pay them fairly. We pride ourselves on our positive attitude, but it can really be a challenge when you deal with people who are unwilling to listen to reason or respect those whose work they want to exploit.

than $1 million in rerun payments for Music City Tonight. I did everything I could to work this out, but after endless delays, excuses and broken promises, I came to the sad but inevitable conclusion that he does not care about any of these musicians and is only in it for his own personal gain. We feel we have a very strong case, and look forward to the chance to bring his irresponsible behavior to the light and make sure he can never do this again. We will continue to do all we can to protect the intellectual property rights of our legacy musicians as well as our current members from all those who try to take advantage of them.

Jim Owens/TNN

On a positive note, it is exciting to see the Musicians Hall of Fame back up and running. Museum founder Joe Chambers has extended a very generous offer to AFM members and their guests: with a valid AFM membership card, admission to the museum for you and your guests is only $10 apiece, a 45 percent reduction of the regular price. The expanded museum is a visual and sonic treat for musicians and music fans of all ages. I hope you will take advantage of this offer and support the Hall. We are also excited to welcome Summer NAMM to Nashville in July and extend our thanks to our friends at NAMM and all the exhibitors and guests who will be coming in. As in years past, all Local 257 members in good standing can get a free pass by sending an email to by June 30. TNM Enjoy the show!

To add insult to injury, there are also some people who have been in Nashville for decades who apparently still don’t “get it.” Some time ago, TV producer Jim Owens acquired The Nashville Network’s trademark that had been allowed to expire. He struck a deal with Luken Communications, and received a huge amount of money for the use of the TNN name and for programming Owens provided to them, including shows recorded for the original TNN. The “new” TNN launched in November 2012, but Owens has yet to pay one penny to any of the hundreds of musicians who worked on those shows. After more than 16 months of frustrating and fruitless negotiations with Owens over payment to the musicians who worked on shows recorded for TNN, we have now sued him for more

Musicians Hall of Fame and Summer NAMM

received in 2013. While these figures will actually be accounted for in 2014 (and help our bottom-line), they are being figured in on the last line item in order to compare “apples to apples” with the previous years.


Greetings brother and sister musicians. I hope by the time this issue reaches you it has finally turned into spring. This has been a long difficult winter for many, but if the weather has been our only challenge during this time, I think we’re doing all right.

Finances Please take the time to look over the financial reports on pages 8–9 that were prepared by our CPA Ron Stewart. All in all, 2013 was a pretty good year. Work dues, which reflect the amount of union contract work, again continued their upward trend from the low point of 2011. We were up $11,422.60 from 2012 and $39,600.31 from 2011. 2013 was our best year for wages since 2008. On the expense side of the ledger, professional fees were up over $15,600 from 2012 — this expense was for legal fees. We became involved in several legal disputes in 2013. After many attempts on our part to reach solutions with the individual parties, legal action had to be taken. We can no longer tolerate long-term disregard for our members and their work. There are two asterisked notes towards the bottom of the Revenue and Expense report. Through an action that was well-intentioned, but an oversight, $13,916 for our 2014 property tax was paid in 2013. This bill is usually paid in January of the given year, so it should have been paid in 2014. Also, a check from the IRS is due for approximately $5,876 for a tax credit. This check should have been

Reflecting on the membership of our local, one can’t help but think of the diversity that exists within our ranks. Within our approximately 2,400 members, are virtually every kind of musician, from our varied backgrounds to the type of work we do and style of music we play. We not only represent players, but also singers, arrangers, contractors, copyists, music librarians, and more. In this age of multi-tasking, many of our members are also producers, engineers and/or teachers. .Professor Felix Adler said: “People may be said to resemble not the bricks of which a house is built, but the pieces of a picture puzzle, each differing in shape, but matching the rest, and thus bringing out the picture.” When we took office, we added the word “Diversity” to the Local 257 AFM motto: “Unity, Harmony and Artistry.” We felt it was important to let musicians of all styles and backgrounds understand that we welcome them and their uniqueness and inspirational perspectives. We encourage you to share your ideas, talent and experiences with us. This will create new concepts and changes that can be beneficial to us, the whole of society and even the world.

A few interesting statistics I learned through a recent study conducted at Local 257: Our members live in 44 different states, Tennessee, of course, is number one with 1,971 followed by Kentucky, Florida, Texas and California. We also have members who live in the United Kingdom, Switzerland and Austria. These stats are impressive

and show our geographic diversity. 11.86 percent of our members are female. Going into this research, I guessed that number would have been higher. We are so proud of all our female members whose wide range of diversity encompasses incredible symphony musicians, jazz musicians, studio musicians, major stars and young hopefuls. We hope that our members will take the opportunity to reach out to more women and help close what we feel is a gender gap. We have 928 members who are guitarists, followed by 506 bass players (I have heard many bassists say to guitar players, “You can’t claim it if you don’t own the instrument!”), 357 pianists, 283 drummers and a category which follows after that slightly surprised me — 203 mandolin players. The bottom end of this survey: One zither player, one musician plays concertina, one plays Bodran drum, and I am not ashamed that I hadn’t heard of this instrument until taking office — the ophicleide is played by one member. As far as we know, no one in our local plays sitar and believe it or not, we have had two recent requests for people who play that instrument.

Epilogue It is our belief that our diversity brings strength to our local and boosts our marketing abilities in the vast music marketplace. Emerging global trends are driving the growing economic power of a diverse workforce. Recognizing and valuing the many differences that make us who we are is so important, because these differences bring a depth and an array of ideas to our union. They are the keys to finding new solutions to business challenges and new opportunities to the ever-changing music industry. We are proud to serve each of our unique members — happy spring to all. TNM April–June 2014 11

NEWs Traveling Musicians: Read this before you fly

In 2012, the president signed off on new legislation to assist traveling musicians by allowing them to stow instruments in the overhead compartments of airplanes. The legislation was set for full implementation this past Feb. 14, 2014. However, the FAA has not yet finished its rulemaking process, citing difficulties created by budget reductions, and the need for an increase in funding in order to complete the process. Although some airlines have voluntarily complied with the new rules, please be advised that if you fly with an instrument you may still run into difficulty. At AFM Local 257, we have put together an electronic packet for those who will be traveling with an instrument. For more information, call us at 615-244-9514. In the meantime, U.S. Rep. Jim Cooper and U.S. Sen. Lamar Alexander led members of Tennessee’s congressional delegation in demanding action that would protect musicians and their property in

“We don’t expect our airlines to carry a tune, but we do expect them to carry our precious instruments safely.” — U.S. Rep. Jim Cooper flight. In a letter to U.S. Transportation Secretary Anthony Foxx, the delegation said they understood the FAA’s challenges, but urged the agency to do more with less. “We don’t expect our airlines to carry a tune, but we do expect them to carry our precious instruments safely,” Rep. Cooper said. The issues traveling musicians deal with concerning the safe transport of instruments is one with which the AFM and Local 257 have long been involved. In March, AFM President Ray Hair and AFM Legislative Director Alfonso Pollard held meetings with Department of Transportation Acting General Counsel Kathryn Thomson and Secretary Foxx. Hair made it clear, “The AFM sees this as a major priority for musicians everywhere. The union

will continue to work closely with the DOT providing every resource at its disposal to accomplish this important rule, and move this process to a meaningful conclusion.” AFM Local 257 President Dave Pomeroy stressed the importance of the new law to every traveling musician. “I have personally dealt with issues regarding traveling with my own basses, and the problems of many other musicians over the past few years. Many of our members’ very livelihood depends on the safety of their instruments. You can all be assured we won’t let up until this law is fully implemented,” Pomeroy said. Touring musicians should also be aware that the U.S. has joined a global ban on ivory importation that requires much more detailed documentation for instruments containing ivory that come through customs. We ask that every AFM member log onto and go to the Elephant Ivory Link. Please take the survey which covers elements of both the African ivory and carry-on issues. There is also a petition on we encourage you to sign. Your participation will help immensely.

Local 257 Members Honored for work at 2014 Grammys

BRIAN ARROWOOD Nashville based Fiddle Player

• Fiddle for studio recordings • Fiddle for live performances • Fiddle for workshops, clinics, and conventions Have something missing from this list? Give me a call and we’ll figure it out! 615-613-1121 12 THE NASHVILLE MUSICIAN

Several Local 257 members were honored for their work at the 2014 Grammys, held in Los Angeles on Jan. 26. Old Yellow Moon won Best Americana Album, a duet record with Rodney Crowell along with Emmylou Harris; Guy Clark won Best Folk Album for My Favorite Picture of You; and Best Bluegrass Album went to the Del McCoury Band for The Streets of Baltimore. The Grammy Awards are presented annually by The Recording Academy and voted by its membership to honor excellence in the recording arts and sciences. Grammys are awarded by and to artists and technical professionals for artistic or technical achievement, not sales or chart positions. TNM

Heard on the Grapevine

Heard on the Grapevine

Fred Foster produces final Ray Price album Beauty Is

Kirk Whalum Launches iLembe Festival In Africa AFM Local 257 member Kirk Whalum, Grammy-winning jazz sax player, was in KwaZulu-Natal in April to help launch the Awesome iLembe Festival – aimed at bringing the arts to rural communities. Whalum, who has had a long career in the music business as both session player for artists like Al Jarreau, Luther Vandross, Whitney Houston and Quincy Jones, and as an award-winning artist for his own works, is also known for his generous service to charities around the world. Whalum, who holds a master’s degree in religion, commented on his work in communities in the US and other parts of the world. “Whoever we are, whatever station we happen to be … that doesn’t negate our responsibility to serve and specifically to serve the marginalized, those who have not been given the same opportunity, and to provide an environment where there are more choices for the next generation … They say character is who you are when no one’s watching. So the idea that we should constantly be trusting in God for wisdom, for insight … that’s important,” Whalum said.

Father/Son Producers Have No. 1 and No. 2 Songs Nashville Musicians Association members Jeff Stevens and his son Jody Stevens hit an incredible milestone mid-February. The two producers had the No. 1 and No. 2 songs on the Mediabase chart in the same week. Luke Bryan’s No. 1 “Drink a Beer,” was produced by the elder Stevens, and his son produced Cole Swindell’s “Chillin’ It” — No. 2 the same week — and later also going on to achieve No. 1 status. Both have had numerous successes in the music business. Jeff has written hits for many artists including George Strait and Tim McGraw, and his son Jody, a member of the duo Fast Ryde with James Harrison, has had writing success with Swindell and Bryan. “Chillin’ It,” written by Swindell and Shane Minor, was actually a demo that Jody Stevens created with Swindell singing and Stevens playing the instruments. According to the producer, radio began airing it while it was still in demo form, and the mastering came later. The idea that father and son could appear together this closely on the charts was not a complete surprise to Jeff Stevens. “We entertained that this might happen a few weeks ago, ‘Wouldn’t it be something if we were one and two on the charts…’ It really is an exciting time.”

AFM Local 257 life member Fred Foster served as producer of the final Ray Price album Beauty Is, released on AmeriMonte Records Apr. 15. On his collaboration with the late Country Music Hall of Famer Price, he said, “In 2012, Ray had just been diagnosed with pancreatic cancer and he told me that he wanted to do one last album, and he wanted me to produce it. He told me he had only one request, to have strings on the album, and that I promised him. I thought he did really well and he never complained one time. He never said he felt bad and he never asked for a break. He was a real pro.” Beauty Is features Price’s classic sound in the form of duets with fellow country stars like Vince Gill and Martina McBride, with strings arranged and conducted by Bergen White and recorded live in the studio with the rhythm section. The album also features tunes by country music songwriting icons, Cindy Walker’s “Until Then,” and Willie Nelson’s “It Will Always Be.” The founder of Monument Records, Foster signed and produced many iconic artists such as Dolly Parton and Kris Kristofferson. Foster’s legendary producer credits include Willie Nelson, Larry Gatlin, Ray Stevens, Tony Joe White and Roy Orbison. “Roy Orbison was a champion and one- of-akind. He was really easy to work with, TNM just like Ray Price,” said Foster. April–June 2014 13



Third Annual Life Member Party

1. Songwriter and guitarist Bob Regan gets his 25 year pin from 257 Secretary-Treasurer Craig Krampf.

2. Funky keyboard man Clayton Ivey shows off his AFM life member pin.

3. Fred “Too Slim” LaBour from Riders In The Sky ecstatically receives his AFM life member pin from Local 257.

4. Mark Brine presents his AFM life member pin after performing at the 257 life member party.

5. The always enthusiastic C. Michael Spriggs


with one of his many guitars, his life member pin and AFM card.




The house was packed for our life member gala, held Feb. 13. Thanks to all who were able to attend. 1. Wade Jackson, who has entertained



many U.S. troops around the world, gives Craig Krampf a demonstration of his inimitable performing style.

2. Singer, songwriter and guitarist Bruce Channel, pictured with his wife Christine, proudly wears his new life member pin.

3. Guitarist Chip Young and his wife Diane 4.

3. 2.


enjoy a relaxing moment with friends.


4. Betty Amos, Jim Ed Brown and Judy

1. An audience member is invited to conduct a song at the “Nashville Symphony plays Led Zeppelin” concert at the Schermerhorn.



5. Life members David Hungate and Reggie Young, and Reggie’s wife Jennifer Lynn Young, who is also a member, celebrate in the lobby of the union hall.

2. Drummer Pat McInerney, longtime Local 257 member, is congratulated on his U.S. citizenship by President Dave Pomeroy.

6. Saxophonist Roger “Rock” Williams and drummer/NM columnist Austin Bealmear enjoy the refreshments.

3. Members of Trace Adkins’ road band 3.


rehearse at the union hall for upcoming tour dates. (L-R) Jon Coleman, Johnny Richardson, Tommy McDonald, Bella, Mark Gillespie, Brian Wooten, Wayne Addleman.



7. Duke Dumas, Marsha and Stu Basore and Bob Browning pose for a picture in Cooper Hall before the jam session.

8. Country singer and guitarist Vernon Oxford and his wife Loretta enjoy some

4. Drummer Chuck Bradley, along with Deuce Bennett, guitarist from AFM

punch and conversation.

Local 433 in Austin, perform with the cast of the traveling theater production Smokey Joe’s Cafe.


Lee take some time to catch up.

9. Fellowship, refreshments and music were plentiful at our wing-ding.


5. Scott Vestal, Dierks Bentley, Sam Bush, Mike Bub, Jon Randall Stewart, and guest Suzi Ragsdale perform “Bad Angel” at Bentley’s special acoustic show at the Station Inn.


April–June 2014 15

And The american dream


When television audiences tune in to Fox’s American Idol, they see the star who has sold millions of records, and sold out countless arenas. They see the phenomenal guitar player who is married to an Academy Award-winning actress. They don’t see the nine-year-old boy in a talent contest at a shopping center in Australia, a whole world away. They don’t see the tireless seeker who came to Nashville on a sheer belief in himself. Urban built on that belief early on. “Compared to what was happening in my little neighborhood and my little world, I was probably above average — slightly — in the talent department,” Urban said recently, from Los Angeles, referring to his childhood. “It certainly was enough to keep me motivated. I guess more than anything though, music was just such a natural thing for me. “I never made that decision to play music for life — I mean when do we decide we’re gonna start walking? It comes on as naturally as walking does for people. Music was exactly like that for me. It was something that I just started doing, and I just kept doing it and I never questioned the role, or what I was doing with my life.” His father had been a musician, and a folk and country music fan. Urban was born in New Zealand and grew up in Caboolture, Queensland, Australia. There, he was exposed to live music, and to his parents’ record collection. “My dad was a drummer most of his teenage years and on into his early twenties,” Urban said. “He played in a band in New Zealand. He didn’t keep it up, unfortunately. He’d play a little bit every now and then, and he’s certainly a natural rhythmic musician. His father

was a piano teacher his whole life, and my dad and his three brothers played music. I certainly get that thing from that side of the family. “My mom and dad — they grew up in the 1950s, and somewhere in the 1960s guys who were playing music either went toward rock & roll, or they went toward folk and country. My dad went more in the folk and country direction. Oddly enough, he really liked a group, the Pozo Seco Singers — Don Williams was a member — and that’s really how my dad ended up loving country music.” Urban’s parents joined a country music club, instilling in him that same love. Not coincidentally, Urban has always cited Williams as a major influence, and was featured on the song “Imagine That” on the legendary Texas singer’s 2012 release And So It Goes on Sugar Hill. As a kid, Urban began cutting his teeth by competing in talent contests. “I was competing in talent quests at about nine years of age at different shopping centers,” he said. “My parents joined a country music club when I was about eight. They’d have gatherings about twice a month where people would get together and anyone could get up and sing and play. There were clubs like that all around Australia. “Once a year, a designated city in Australia would be chosen, and all the clubs would travel there and compete over a long weekend for all kinds of trophies. The great thing was they had a sub-junior section, for boys my age, and in all kinds of categories. That’s really the first part of a musical foundation where I was singing and playing and working onstage.” continued on page 18

by warren denney

this town of hard

ment. It wasn’t a snap, even for Hank.

ance and belief in self, you have to



For every star that is made, for every

listen. Keith Urban has a story to tell,

are the currency

near-miss, and for everyone who

one that proves there is no blueprint. It

of the musician’s

has struggled, there is the one com-

begins with that talent and desire, and

trade. But, endurance and a second

mon thread. The dream.

is told through hard work and endur-

walking? It comes on as naturally as walking doeS

wind are key. You need the talent,

ance. And, it is proof that authenticity

for people.”

and more — you need encourage-

biggest stars talks about persever-


And, when one of the planet’s

“I never made that decision to play music for life — I mean when do we decide we’re gonna start

can survive the glare of celebrity. April–June April–June2014 2014 17

continued from page 17

“I remember it so vividly,” Urban said. “One night I was at 12th & Porter, and he came over to me and said ‘you’re really unique, and it’s going to be your biggest curse, but it’s your greatest blessing ...


rban began to sense a way of life. He had been riding the thing that felt natural, but by the time he was in his teens, he had begun to dream. He never thought of anything else, and in a world where anything is possible, he made a bold move. “The trajectory for me was kind of — you know — playing in talent quests, from nine or ten-years-old onward, and at about 15 I left school,” Urban said. “I started playing five nights a week in a cover band, and that was it. I was done with school at 15, and I was really fortunate to have parents who supported that. The next thing was playing four hours a night, five nights a week in a cover band in Sydney. I did it for several years, and somewhere along the way I became a guitar player in a really popular cover band.” He could have remained there, in that life, but when he was 20, or 21, he picked up a pen. There was no question Urban could play a guitar and sing, but 18 THE NASHVILLE MUSICIAN

until then he had never written, and he knew that to succeed he would have to become a storyteller. And, he was good. Though he was very much immersed in the rock club scene in Sydney, he was drawn to country music all the while. And, he knew where he wanted to be. “Somewhere in there I started writing songs,” Urban said. “Before I knew it, I ended up with a publishing deal and the main thing I wanted was to get a way over to Nashville.” Urban had experienced some limited success on EMI Australia, and released a successful self-titled album there in 1991. “I ended up in Nashville for the first time in 1989,” he said. “I didn’t know anybody. I took my demo tape all around to the different labels, and kept at it. Through the publishing deal, I was coming here off and on for a few years. My move here happened slowly by making writing trips, and every time I would travel, I’d leave more clothes behind. So I was slowly moving in until

about 1992. That’s the year I felt like I was officially living in Nashville.” The kid from Caboolture had finally arrived. “I remember in 1989 when I was walking around town, around Music Row, it felt like I was in the Wizard of Oz,” Urban said. “It was so surreal. I stayed at the Shoney’s there on Demonbreun, and I just remember that whole feeling being intensely magical at that time. You know, all the country artists had their own gift shops on Demonbreun — Randy Travis, Conway Twitty, Barbara Mandrell — it seemed everyone had their own gift shop there. I was a kid from Australia walking around in the mecca of country music.” But, for all of his talent, Urban had landed here when the musical landscape was changing drastically, and he began to experience real setbacks — both with his career and in his personal life. “The next six or seven years in Nashville were really tough,” he said. “No matter what I did I just couldn’t find

a way musically to fit in without compromising who I was or what I did.” But, there were people who recognized the light inside, and it was the small victories that allowed him to persevere. “The thing about it was in 1989 — I got one letter back,” he said. “It was from Mary Martin, the head of A&R at RCA Records. She sent me a letter and said she had been listening to my demo, but, unfortunately at the time, country was enjoying a traditional period, of which my music didn’t really suit. But, instead of leaving it at that, she said she hoped I could find a good home here. It was such a perfect letter to read.” Even in rejection, Urban had been given hope, and as any artist fighting to find a way, hope can be tangible — the things that make a difference. But, Martin was right about the time period. “Clint Black’s record Killin’ Time was No. 1 then,” Urban said. “I felt completely out of place at the time. I’d grown up with contemporary country — Ronnie Milsap, Alabama, Eddie Rabcontinued on page 20 April–June April–June2014 2014 19

bit — and between those kind of country artists, and playing in cover bands in Australia, in a sort of club rock environment, my take on country was just really out of whack. “So I really loved getting that letter because it gave me a lot of confidence. It’s gonna take awhile, so dig in and get to work, you know.” And Urban did get to work, joining AFM Local 257 in 1994. “I always knew where I was gonna be for years,” he said. “Joining was a way for me to solidify [what I do]. In a couple of years, I will have lived in Nashville longer than I lived in Australia.” Still, Urban found many obstacles, some placed there by his own hand. He would later characterize his first several years in America as years of increasing drug use. But he never lost hope, and his music reflected his life along the way. There has always been something intensely personal about Urban’s songs. And, his guitar work is infused with emotion and grit, capable of capturing the funk, or lifting a song into the stratosphere — a gift that he credits to his years in the clubs, and to his father’s musical background. “I always go back to the fact that I come from a drumming father,” Urban said. “My foundation has a strong sense — a rhythmic sensibility about it. I can play drums a little bit too. I spent a lot of years playing in bands where I was the rhythm player and the lead player. Particularly with The Ranch, I was leaning into the rhythm side of things. And then, just the 20 THE NASHVILLE MUSICIAN

fact that I spent a lot of years before I came to Nashville playing solo gigs too.” Urban had formed The Ranch with Jerry Flowers and Peter Clarke, and the local Nashville outfit had a brief run on Warner Bros., and Capitol Records, issuing one record on Capitol. And, along with the dissolution of that band, Urban found himself staring at rehab by 1998. He would eventually check into Cumberland Heights for treatment, the first of three rehab stints in the following eight years. But, even in the midst of that turmoil, he had found another bit of inspiration. It had come from Cliff Audretch, who worked at Sony, and who was one of The Ranch’s biggest champions. “I remember it so vividly,” Urban said. “One night I was at 12th & Porter, and he came over to me and said ‘You’re really unique, and it’s going to be your biggest curse, but it’s your greatest blessing.’ And I remember they were the most powerful words from above I could have ever heard at the time. To this day, that one little thing, he said to me, helped me to stay true to myself — and to get back in the trenches and to stick with it.” He made his solo debut record Keith Urban in 1999, tempered by his early trials, also on Capitol. “Eventually, I did that first solo album, and the timing was right,” he said. “The songs worked, the record worked, and I was very fortunate to have a label who believed in what I was doing and got behind it.” It was the tipping point. There have now been nine records, not counting compilations, and all have appeared on Capitol, including last year’s release of Fuse, which debuted at No. 1 on Billboard’s Top 200. Over the years, Urban has enjoyed nine No.1 singles, garnered four Grammys, all for Best Male Country Performance, and was named the ACM’s Top New Male Vocalist in 2000, and won the CMA’s 2001 Horizon Award. As confirmation that his life was moving in the right direction, he met actress Nicole Kidman at an event in Hollywood in 2005, and the two married in 2006. The couple has two daughters, both born in Nashville. Urban’s band today — his extended family — includes drummer/bandleader/MD Chris McHugh and longtime

bassist Jerry Flowers, multi-instrumentalist Danny Rader, and guitarist Bryan Nutter, all fellow AFM 257 members. “Each of the albums I have done from that first solo album are honest snapshots of where I was at the time in my life,” Urban said. “They’re very real. Each of them defines my place, and where I was musically. [A place] more mental sometimes than literal. I went through my own personal struggles which were kind of evident with some of the dark stuff. “I’ve written a lot of songs about my struggles but none of them ever felt right for where I was at that moment. Some of those songs I feel can come to life now. It’s an interesting thing I think, as I’m getting more comfortable with my life this side of that journey. It’s widening out now, and Fuse is tapped into that. They’re all snapshots — they are who I am.” Fuse is, above all, a clarifying record, full of buoyancy and brightness. It is a record full of stories, viewed through the prism of his own rocking country style, and one which somehow manages to lead the listener back to his roots. His love for country music still springs from the classics — a storyteller’s approach. “That’s from growing up with guys like Glen Campbell, Charley Pride, Merle Haggard — they’re all greats,” Urban said. “Great storytellers. Particularly somebody like Glen Campbell. I guess I learned a lot about interpretation back then. Because even with songs I didn’t write, it was about making memories, and guys like him were really a huge influence in my life when I was finding my career.” And, today, in his high-profile role as a judge on American Idol, he sees himself in so many of the contestants that perform, the present dreamers hoping for that one huge break. “It’s a beautiful thing, really, because I’ve learned so much over the course of my career up to this point,” Urban said. “I think there’s so much guidance we can give a lot of people and I love to be able to share my experience. “But, everybody has to find their own path, and make their own road, and there’s no rules – you just sort of have to make your own way. I’m always willing to share my experience with someone if TNM it can help them find that way.”

The Musicians Hall of Fame Induction Ceremony

Randy Bachman, Will Lee, Billy Gibbons, Kenny Wayne Shepherd and Peter Frampton Jam with the house band on “La grange”


Jan. 28th, 2014 the Musicians Hall of Fame opened its doors at Nashville’s Municipal Auditorium to an enthusiastic

crowd of music lovers for its 4th Induction Ceremony. The new location, which resulted from the city’s purchase of the Hall’s original location to make room for the Music City Center a few years ago, not only has lots of room for its ever growing exhibits, but has 30,000 square feet of event and performance space and a long history. Municipal Auditorium has been the scene of countless Nashville events over the years, from R&B revues to oldies shows, dance contests and wrestling matches, to concerts by Jethro Tull, Eric Clapton, Volunteer Jams, and much, much more. The bigger space has allowed the MHOF to expand its exhibits significantly and the results are spectacular.

continued on page 22 April–June2014 2014 21 April–June

continued from page 21

Velma Smith

Randy Leago, Corki Casey O’Dell, Dave Pomeroy, and Duane Eddy

Barbara Mandrell AFM President Ray Hair and Musicians Hall of Fame founder Joe Chambers.

Peter Frampton and band rock the house

Chris Isaak and Wayne Moss


any people still don’t realize that although there are many inductees from Music City and it is located in Nashville, the Musicians Hall of Fame honors backing musicians and studio players from everywhere. Previous honorees include The Wrecking Crew studio musicians from Los Angeles, the Muscle Shoals Rhythm Section, Jimi Hendrix, Duane Eddy, Dick Dale, Toto, The Memphis Horns, The Crickets, Motown’s Funk Brothers, including the late Bob Babbitt, and many more. Nashville artists and Local 257 members already in the Hall include the A Team, The Tennessee Two, Billy Cox, Fred Foster, Billy Sherrill, Charlie Daniels, and the late Chet Atkins. This year’s class of inductees was typically eclectic and all well-deserved – Will Lee, Randy Bachman, Corki Casey O’Dell, Buddy Guy, and Local 257 members multiinstrumentalist Barbara Mandrell, and guitarists Peter Frampton, Jimmy Capps, and Velma Smith, who was one of the few females to play with the A-Team in the early days of Nashville recording. The late Roy Orbison and Ben Keith, both longtime 257 members, were also honored, as was Stevie Ray Vaughan and Double Trouble, represented by the three surviving members, Chris Layton, Tommy Shannon, and Local 257’s own Reese Wynans. 22 THE NASHVILLE MUSICIAN

Jimmy Capps and The Oak Ridge Roys

The show was hosted by the affable Chip Esten of the TV show Nashville, and the presentations were all heartfelt and moving, especially Neil Young’s tribute to the late Ben Keith and Roy Orbison’s three sons accepting the first ever “Iconic Riff” award for “Pretty Woman.” Orbison’s signature song was performed by Chris Isaak, featuring guitarist Wayne Moss, who played on the original recording along with Jerry Kennedy, who was in the audience. The house band was led by keyboardist Shane Keister, and included Gordon Kennedy and Steve Gibson on guitars, Mike Douchette on steel and slide, Bobby Wood on keys, Randy Leago, Vinnie Ciesielski, Jimmy Bowland, and John Hinchey on horns, MHOF member David Hungate on bass, and Mark Beckett and Craig Krampf on drums and percussion. The ensemble sounded excellent throughout. The Oak Ridge Boys performed with, and inducted session great and Opry guitarist Jimmy Capps, who played on all of their big hits. ZZ Top’s Billy Gibbons inducted bassist/vocalist Will Lee, and they performed a smoking mini-set featuring the R&B classic “Get Out of My Life, Woman.” Barbara Mandrell’s career was profiled in a series of video clips document-

ing her instrumental prowess from a very young age, and her induction by Brenda Lee was a priceless moment. Duane Eddy inducted Corki Casey O’Dell, who played rhythm guitar on his early recordings, and performed a fiery “Rebel Rouser,” with O’Dell playing with her trademark fire and enthusiasm, and Dave Pomeroy sitting in on bass. Nashville icon Velma Smith was all smiles as she was inducted by Steve Wariner, who paid tribute to her importance to Music City’s history. Randy Bachman played a medley of his Guess Who hits, and then rocked out on “Taking Care of Business” with the house band. Peter Frampton brought down the house with “Do You Feel Like I Do,” and then spoke passionately about his parents’ support of his musical career from a very young age. Local 257 President Dave Pomeroy spoke briefly, thanking Joe Chambers, founder of the MHOF, for his tireless work as a great advocate for musicians and his perseverance in keeping the MHOF alive. Pomeroy then introduced AFM President Ray Hair, who spoke with conviction about the importance of solidarity and activism to avoid unfair exploitation of musicians and their work. Hair then inducted Buddy Guy, who was unable to attend but whose award was accepted by MHOF member, Local 257 bassist Billy Cox.

The marathon show ended with an epic jam on ZZ Top’s “La Grange.” It was a great night for musicians everywhere, and the AFM and Local 257 extend our congratulations to all of this year’s inductees. The Musicians Hall of Fame and Museum is back and better than ever, and we urge any and all of you to check out their incredible showcase of musical exhibits the next time you are in downtown Nashville. To top it all off, AFM members can now get admission to the Hall with a valid membership card TNM for ten dollars (regularly priced at $18.99).

Double Trouble - Reese Wynans, Chris Layton and Tommy Shannon, inducted by Kenny Wayne Shepherd

April–June 2014 23

The Nashville Musician Reviews

ROBBEN FORD A Day In Nashville Provogue/Mascot Label Group

photo: Mascha Muenzesheimer

A five-time Grammy nominee, guitarist Robben Ford has had an amazing career thus far. He may be the only musician to have played with Miles Davis, George Harrison, Phil Lesh, and Joni Mitchell. In addition to his versatile sideman work and collaborations with Larry Carlton and others, he has forged his own identity as a blues-based artist with overtones of jazz, funk, and more, in forming his distinctive musical style. Beginning with 1988’s Talk To Your Daughter, a dozen solo albums have reflected his evolution as a soulful singer, strong songwriter and phenomenal guitarist and bandleader. A Day In Nashville finds Ford, a longtime member of AFM Local 47 in Los Angeles, recording in Music City with a top-notch group of Local 257 musicians: Wes Little (drums), Brian Allen (bass), Audley Freed (guitar), and Barry Green (trombone), along with Ricky Peterson on B-3, a member of Twin Cities’ Local 30-73. True to its title, all the tracks on this album were recorded live in one day with only a few overdubs added while mixing. The project covers a lot of musical ground, but is tied together by the immediacy of the performances that only a live band can provide. “Green Grass, Rainwater,” one of seven Ford originals, kicks off the album with Wes Little’s funky fatback groove setting up Ford’s yearning vocal, and when the band kicks in after a few bars, it is immediately obvious that these guys are not messing around. “Midnight Comes Too Soon” is a slinky 6/8 tune with an insistent guitar riff that distills decades of blues guitar tradition to just six notes, contrasting with Ford’s world-weary, gentle vocal. Ford’s solo at the end of this tune is evocative and emotional, demonstrating his mastery of the instrument. “Ain’t Drinkin’ Beer No More” is a lighthearted romp with some clever rhymes detailing the story of someone who is ready for 24 THE NASHVILLE MUSICIAN

a change. Barry Green’s wailing trombone and the group vocal refrain make this track feel like the flip side of Bob Dylan’s “Rainy Day Women #12 and 35,” also recorded in Nashville nearly 50 years ago. “Top Down Blues” is the first of two instrumentals featuring Ford’s guitar and Green’s trombone twinning the melody in unison for a very unique tonality, and Green’s solo is off the hook. Brian Allen’s bass playing is also particularly funky on this track, as is Audley Freed’s rhythm guitar, and the whole tonality is slightly reminiscent of the Crusader’s classic recordings in a very good way. Written with Michael McDonald, “Different People” has an unusual chord progression that reflects the unsettled

emotion of the lyric, and the band rises and falls in perfect sync. The B-3 and trombone lines work together with upright bass to provide an excellent underpinning to Ford’s vocal and guitar. “Cut You Loose” has a great groove, with Freed’s tremelo guitar and Peterson’s B-3 outstanding solo driving the track. Little’s drumming on this track is inventive and sympathetic, bringing a jazz sensibility to the blues groove. Ford’s daredevil solo demonstrates his well-deserved reputation as a player who can incorporate many styles into his own distinctive sound. “Thump and Bump” again features the unique melody combination of guitar/ trombone, and Green’s ability to phrase exactly with Ford is uncanny. The open space that the band leaves allows the track to breathe and everyone plays with the sound of players who know instinctively what to play, and more importantly, what to leave out. The album closes with “Just Another Country Road,” an uptempo shuffle that ties everything together and once again showcases the versatility and tonality of this great ensemble. A killer groove from Little and Allen, with guitar, trombone and B-3 dancing around each other, frames Ford’s sardonic lyric perfectly. This is not just another blues record by any means. Ford’s artistry shines throughout, the sound is excellent, the songs are strong, and the band rises to meet every musical challenge he gives them. This album showcases Music City at its best, and is a perfect example of what we call the Nashville Experience – an artist or producer comes to town and is blown away by the efficiency, versatility, and quality of Local 257 recording musicians. Special credit goes to Ford’s tour manager, engineer and co-producer Rick Wheeler, who lives here and helped put this project together with impressive results. To top it all off, Ford and band played two shows at 3rd & Lindsley recently to celebrate the album’s release. All the musicians on the album played the gig, and it was a special experience to hear these songs played live to a packed house of music lovers, who received the new material as enthusiastically as Ford’s classic tunes from his long and storied career. A Day In Nashville was definitely time very well spent by all concerned. – Roy Montana

GAIL DAVIES Since I Don’t Have You Little Chickadee Records From the opening song, “Love Ain’t Easy,” it’s obvious that Since I Don’t Have You is a departure for Gail Davies, but as the album unfolds, it becomes clear that she knows exactly where she’s going. A confident exploration into jazz, blues and swing, this album showcases a different side of Davies’ artistry and the results are stunning. The guest star on six tracks is her longtime friend, legendary tenor saxophonist Benny Golson. His buttery tone and nimble phrasing are a perfect counterpoint to Davies’ vocals, and their chemistry permeates the whole project. The originals blend well with the jazz standards, and the tastefully varied instrumentation keeps the listener involved. “Here’s That Rainy Day” gets a delicate treatment, with Chris Walters’ piano setting up Davies’ smoky vocal and Golson’s counterpoint, with Bob Mater’s gentle brushwork and Rob Price, who also arranged the strings on this tune, on bass. “Cry On My Shoulder,” one of three songs written by Gail’s late brother, Ron Davies, features Pat Bergeson playing a slippery acoustic solo that captures the open spirit of the lyric, as does Billy Contreras’ swinging fiddle. “The Way It Used To Be” features a gorgeous string arrangement by Conni Ellisor, and “Bring Me Down,” written by Davies’ son Chris Scruggs, frames the ironic lyric in a upbeat groove courtesy of Scruggs’ solid acoustic playing, Bob Mummert on drums, and a gravity-defying electric guitar solo by Bergeson. “You’re Moving On,” one of three Gail Davies compositions, has a New Orleans feel featuring the unexpected tonality of Chris Scruggs’ steel trading licks with Golson’s sweet sax and Will Barrow’s piano. On “Am I Blue,” Davies’ vocal range and phrasing really shine, as does Andy Reiss’ guitar. “Butterfly” is driven by drummer Duane Norman and bassist Mike Rinne with the superb horn section of Steve Patrick, Barry Green, and Mark Douthit. M. Ward’s “Chinese Translation” is given a samba treatment that fits Davies’ musical concept, and shows off her warm lower register. The album as a whole is a great listen and it is a special treat to hear the 85-year-old Golson playing with so much vibrancy and soul. Since I Don’t Have You is an excellent example of an experienced artist, writer, and producer stretching out beyond her comfort zone, and pulling it off – in fine style. –Roy Montana Eric Church The Outsiders EMI Records Nashville Eric Church stretches out a bit on his fourth studio album, employing some cutting-edge sonic textures without straying far from the rock-based country groove he’s known for. Longtime Church compatriot, Local 257 member Jay Joyce occupies the producer’s chair, while Arturo Buenahora Jr. serves as executive producer.

No fewer than five guitarists are credited here, so it’s no surprise that the instrument is more than adequately represented throughout. Electrics are used occasionally in spots where an acoustic would have been the more typical choice; “A Man Who Was Gonna Die Young” is the best example of this. In “Roller Coaster Ride” Church upends the pop music tradition of small verse/big chorus, which nicely draws attention to the melodic strength of the chorus itself. “Give Me Back My Hometown” laments the way in which a failed relationship sours one’s perception of even old and familiar places and events. Every road-weary musician with a partner back home will relate to the sentiment behind “Like A Wrecking Ball,” though the intensity level of the song’s reunion could invite some concerned inquiry from the neighbors: “I wanna rock some sheetrock / Knock some pictures off the wall / Wanna rock you baby like a wrecking ball.” On a related note, has anyone else noticed a recent dramatic increase in the number of songs featuring wrecking balls? The title track starts off with just guitar and vocal before the chorus comes in with a bang. It’s not exactly clear what these outsiders are up to. Are they today’s country artists operating outside the Music Row System? Or merely outsiders in the larger metaphorical sense? Church and co-writer Casey Beathard leave the question unanswered, but “That’s who we are / That’s how we roll.” TNM –Kent Burnside

April–June 2014 25

Jazz & Blues Beat


By Austin Bealmear

WAMB ends big band format, Bob Randall carries on For 45 years, radio station WAMB kept alive the big band music that was a Nashville legacy from the days of hotel ballrooms, the Francis Craig Orchestra, and Dinah Shore. But in January, loyal listeners were surprised to hear the station’s format change to Spanish and English pop music. WAMB was the 1960s brainchild of Nashville broadcaster Bill Barry, who realized the older audience was being ignored in rock & roll’s takeover of pop radio. In 1968, Barry set up a studio in Donelson and licensed WAMB at 1160AM, calling his format “The Music of Your Life.” WAMB’s format was eventually franchised to hundreds of stations throughout North America. Although it was AM, the 50,000 watt signal reached many who still loved the music of the ‘30s, ‘40s, and ‘50s. As that audience aged, the station broadened its playlist into the easy listening range. Sponsorship of the summer big band dances in Centennial Park helped sustain interest, but the audience continued to shrink. In 2005, Barry sold the 1160 frequency to a religious broadcaster, and moved WAMB to 1200AM and 99.3FM with reduced power. The dedicated disc jockeys and staff soldiered on until the death of Bill Barry in late 2013, after which his family decided it was time to change. There is some good news. With his own Internet radio station and a massive record collection, trombone player Bob Randall has become Nashville’s unofficial ambassador for big band music. Randall’s interest began as a kid when his parents would play big band records and dance


By STEVE TVEIT to the music on Saturday nights. Today, Randall hosts “Ballroom Bandstand” on With an obvious love for big band music and a vast knowledge of its history, his mission is to make sure it doesn’t lose its place in our musical heritage. WAMB fans have a new place to go for big bands and beautiful ballads.

End of an era at F. Scott’s Many of us in Local 257 have had the fun of playing F. Scott’s Restaurant & Jazz Bar, probably the longest continually operating venue for jazz in Nashville. Sure, the bar was too small, and sometimes the customers could get noisy. But it had the atmosphere — and the grand piano. It appears that Green Hills is about to lose this popular destination as the restaurant plans to leave the neighborhood after 26 years of business. Last December, Wendy Burch, who has owned the restaurant with Elise Loehr for ten years, announced they will move to the recently opened Homewood Suites on West End Avenue. According to reports, there will be a name change, a bar that may be even smaller, probably a continuation of jazz in the evenings, and a re-opening around October 2014.

Third Man Records reissues classic blues Jack White’s boutique indie label is about to complete two major history projects. One is a two-volume reissue of the complete catalogue of Paramount Records, known for early recordings of legends like Louis Armstrong, Jelly Roll Morton, Charley Patton, Blind Lemon Jefferson, and many others, from 1917 to 1932. Released in

No signature No pension Along with other misunderstood tidbits partnership with John Fahey’s Revenant Records, Volume 1 came out last year, and Volume 2 is due November 2014. This is not your average reissue. The Paramount Records Wonder Cabinet is a large handcrafted oak box containing six 180g vinyl records in a wood-covered album, the label’s complete history and track lists in two large books, including 200 fully restored graphic images from the 1920s, a USB drive with 800 re-mastered tracks by 172 artists, a catalog management app, and more. And that’s only Volume 1! Project two is the chronological reissue of the complete recordings of three early blues legends, Charley Patton, Blind Willie McTell, and The Mississippi Shieks. Jack White told PBS interviewer Charlie Rose that his intention was to finally make the foundations of American music thoroughly accessible to the public. For details, go to

Did you know the following? If the client does not sign the demo timecard, the pension will not be allocated to the session musicians until such signature is acquired. If the client does not sign a signatory agreement - either a limited pressing or a master recording agreement - the pension will not be allocated to the session musicians until we get the correct signatory agreement. As shocking as this all may sound – it’s true. We spend an inordinate amount of time here at your union

chasing down signatures and signatory agreements. Although we really enjoy doing that, we would much rather chase down nefarious characters who somehow forget to pay for the sessions at all. I thought I would take a moment and share some of the better excuses we have heard so far this year: “I know I’m the producer, but I was just hired to do a job. I have no idea who is paying the musicians for the session.” “The producer has been in the hospital since the session, and I don’t think he’s

going to make it.” “I thought I paid for that already.” Here are some other things to think about when filling out the timecards: Please put the full name, address, email and contact number for the employer. If you sign the timecard with a partial social security number, please write your name legibly so we know we have the right person. As always, please feel free to check in with us often about any concerns you may have – we are here to serve you. TNM

On behalf of the jazz and blues community, I’d like to acknowledge the passing of musician, teacher, producer, arranger, director and 257 life member Billy Adair. No one who was the recipient of his talent, humor, and generosity will ever forget him. He will remain an inspiration to all TNM of us who carry on this art form.

April–June 2014 27

Symphony Notes

Symphony Notes

By Laura Ross

“NSO musicians have made profound contributions to the organization this year — it is the musicians who have identified the lion’s share of the education and community engagement services they are performing.”

First, an apology is owed to Nashville Symphony librarian, Jennifer Goldberg. While correctly identified in the photo accompanying my column in the last issue, throughout the article itself she was incorrectly identified as Goldman. I guess that’s what happens when doing too many things at once, which seems to be this season’s theme for me and for my colleagues.

More work, less money It’s been a hard year. At the bargaining table last summer, we encountered misguided claims of inefficiency and failure to perform the maximum amount of services the board and others said our contract required. Let’s be very clear — while the NSO contract says musicians can perform up to a maximum of eight services per work week, we have not been a per service orchestra for decades. Our weekly and annual wages are paid to engage the very best talent available and to assure that the NSO has first call on our services. It is also important to point out that our weekly rehearsals and concerts are but the tip of the iceberg, because there is so much that goes on behind the scenes to prepare for those rehearsals and concerts. Just as adjunct faculty, school teachers, sports professionals and so many others do, we put in hours and hours away from our workplace at the Schermerhorn as we prepare for the one, two or three different concerts we may be performing that week. Even if we have performed something before, we must perfect that piece along with all the rest of the concert repertoire. It’s not about performing eight services each week, it’s about how well we perform each concert, because it’s very likely we spent far more than 20 hours at home learning the music for those concerts and for the next week. 28 THE NASHVILLE MUSICIAN

But I digress. Management has been scheduling more orchestra services to help boost the NSO’s earned income – in other words, increase ticket sales. One of these added shows was an allBeethoven concert with violinist Itzhak Perlman, conducted by our new assistant conductor Vinay Parameswaran, who did a great job with only one rehearsal to prepare. A large number of additions to our schedule are “Specials” that are prepackaged one-night performances, with a rehearsal held earlier the same day. Rather than a classical concert, these generally feature a pops-style artist or band who is traveling around the country performing with symphony orchestras – we are the ultimate back-up bands. Another type of Special is based on a successful big name rock band that features the orchestra and includes “faux” band members. The first of these was a Led Zeppelin concert that was very successful. The conductor/arranger of these concerts, Brent Havens, has put together a variety of orchestra-tribute band programs over the years and two more are scheduled – Pink Floyd in June, and Queen during the 2014-15 season. Another type of orchestra concert

currently sweeping the country is “movie night.” Orchestras perform the movie soundtrack as underscoring while the movie plays above our heads. In October, we performed Casablanca and this summer a three movie series will include Wizard of Oz, Singing in the Rain and Fantasia. Speaking to a Chicago Symphony colleague who had recently performed The Lord of the Rings he remarked that, unlike how movies are actually recorded a segment at a time over a couple of days, we have little rehearsal and perform all the music within a two to three hour period with no retakes. It takes great skill and endurance to pull these off.

Education and community engagement The most significant additions to our schedule have been education and community engagement services. The NSO has performed education services for decades, and began with the orchestra traveling around the community performing concerts in elementary, junior high and high schools. These were in addition to the Young Person’s Concerts (YPCs) we performed throughout the Amy Grant and Vince Gill performing with the Nashville Symphony

season when kids were bused to the concert hall. Following the shutdown, in 1990 we invited the superintendent of schools, Dr. Richard Benjamin, to our negotiating sessions. He was able to secure funding to underwrite these concerts that brought small ensembles to the schools and helped expand the number of kids we served. This funding is now distributed by the Metro Arts Council to numerous arts organizations. The NSO receives a far smaller allocation these days. In 2006, our schedule expanded further so school concerts were removed from the schedule and became opportunities to make additional income. However, the education department’s focus changed and the number of ensemble concerts diminished over time. So, the establishment of these education and community engagement services in the recent negotiation help restore school concerts, expand coaching and side-byside performance opportunities, provide new ways to reach out to our audiences with free concerts in public spaces, and support management’s efforts by performing house concerts for donors and supporters and also performing at functions that bring the orchestra to the attention of the business community. NSO musicians have made profound contributions to the organization this year – it is the musicians who have identified most of the education and community engagement services they are performing this year. The unfortunate consequences are that, having taken a 15 percent cut in pay, we are even busier now but must also replace lost income by regaining some of the work and teaching we gave up to make the NSO our first priority. Some have been more successful than others, but we are all stretched pretty thin.

the country as more of these amplified concerts are added to our schedules; these days it’s like we’re trapped in the movie Groundhog Day, reliving painful sound levels over and over again. Not only will this damage our hearing and affect our careers when we’re unable to hear those soft notes, but we also fear it will do irreparable harm by driving away audiences because it’s too loud. Artists and sound engineers must be more receptive and willing to adjust when their output is louder and more sustained than July 4th fireworks!

Acknowledging generous friends Many thanks to Ben Folds for his highly complementary remarks following performances of his piano concerto that had its world premiere March 13. This wonderful work contains unique effects, including several bars of clicking sounds made by the woodwind players loudly fingering their instruments without blowing, and another that required some coordination as we played various

ringtones on our cell phones. The second was a humorous nod to the fact that, while we announce audiences should turn off cell phones, someone inevitably forgets and their phone rings at an inopportune moment. I once wrote a letter to the editor of the Tennessean when a phone erupted during a performance of Mahler Symphony No. 5 – months later I received an embarrassed apology from the offender who was a friend of mine! We have amazing friends within our musical community who continually demonstrate their devotion to symphonic music and the Nashville Symphony. Amy Grant and Vince Gill generously performed their holiday concert with the orchestra, continuing a relationship that began 20 years ago with the assistance of Ronn Huff. Amy Grant and Ben Folds also serve on the Nashville Symphony board. And one day soon my colleagues and I would like to personally offer our thanks to Taylor Swift for her incredible generosity when she donated $100,000 to the orchestra, even TNM while on her world tour.

Trumpets can’t hear themselves In an effort to protect musicians onstage, we also added a significant working condition that limits decibel levels onstage during amplified services. Laura Turner Hall is incredibly resonant and sensitive – the softest notes can be heard. Yet pop artist sound engineers ignore our staff’s advice. Sound levels concern orchestras around April–June 2014 29

Final Notes

final notes

Every life has a story.

Billy Adair

We showcase each one.


“Billy was a true gentleman, a beautiful soul, a wonderful musician and a supremely dedicated educator. All of us whose lives he touched are richer for having known him. He left the world a better place.” – Denis Solee Nashville Musicians Association life member Billy Adair, age 66, died Feb. 18, 2014 in Nashville, Tenn. Adair, an arranger who played electric and acoustic bass and guitar, was a professor of music at Vanderbilt University’s Blair School. His career in music included work with Chet Atkins, Merle Haggard, Alabama, Willie Nelson, Greg Allman, The Ink Spots, and many more. He was a senior lecturer in jazz and director of the Big Band Program at Blair. Adair was born in Franklin, Tenn., son of William Dawson and Edith Lucile Stephens Adair. He graduated from Vanderbilt’s Peabody College with a degree in history of education and human development. In the 1970s, he recorded and toured with many country and rock acts, and then branched out into composing and arranging for radio, television and commercials. In 1998, Adair became the music director and arranger for The Establishment, a 22-piece non-profit jazz orchestra. In 2002, he began teaching at Blair, where he rose to the department chair of Jazz and Folk Music. Denis Solee, an adjunct instructor in jazz saxophone and friend of Adair’s who played with him often over the years, commented on his passing. “Billy was a true gentleman, a beautiful soul, a wonderful musician and a supremely dedicated educator. All of us whose lives he touched are richer for having known him. He left the world a better place.” Preceded in death by his parents, Adair’s survivors include his wife of 38 years, jazz pianist Beegie Adair, and one brother, Tommy Adair. A visitation for family and friends was attended by over 1,000, and was followed by a private graveside service at Williamson Memorial Gardens. In lieu of flowers, the family requests gifts be made to: The Billy Adair Fund for Jazz at the Blair School of Music, c/o Gift Processing, PMB 407727, 2301 Vanderbilt Place, Nashville, TN, 37240-7727.


Our country music stars have fans visiting from all over the world.

John Sibert 1939–2013 Steel Guitar Hall of Famer John Sibert, a life member of AFM Local 257, died Dec. 21, 2013 in Smyrna, Tenn. Sibert’s legendary tone and playing style were said to be a contributing factor in hits for Carl Smith, Kitty Wells, and Little Jimmy Dickens. He also worked on recordings for Lefty Frizzell, Gene Autry, the Everly Brothers and many others. He joined the Nashville Musicians Association in 1951. In October, 1951, when Sibert was 17, he joined Smith’s band, The Tunesmiths. In a 1998 interview Smith said Sibert “set the style for the music on my records for years and years.” Sibert was known for his expertise in the “no-pedal style,” which he continued to use well after most players began to use knee levers and foot pedals. Born in Indianapolis, Mr. Sibert was raised in Nashville. He said that attending the Grand Ole Opry as a 12-year-old started his interest in country music. He learned to play steel two years later and formed his first band, which led to radio performances that eventually attracted the attention of Smith, who hired him for his band. In the ‘70s, Sibert gave up playing professionally and worked the rest of his career for the Tennessean as a security guard. However, his innovative contributions were not lost to musicians, especially steel players — including those new to the instrument. In 2000 he was sought out by a 17-year-old Chris Scruggs, who credits Sibert with teaching him how to play. Sibert was preceded in death by his parents, Matthew and Sue McDuffe Sibert. Survivors include his son, John Devin Sibert; one brother, Roger Paul Sibert; and one grandchild. Graveside services were held Dec. 30 and followed by burial in Woodlawn Memorial Park.

Reserve your place with the stars Maybelle Carter, Frances Lyell and Helen Carter perform in Centennial Park in the early 60s


(615) 823-5010

Frances Lyell Blanchette 1941–2013 Frances Lyell Blanchette, age 72, of Old Hickory, Tenn., died Dec. 20, 2013. Born Feb. 1, 1941 in Dickson County, Tenn. to the late Lacey and Doris Potts Lyell, she was raised in Hickman County, Tenn. Blanchette was a life member of the Nashville Musicians Association. The multi-instrumentalist and singer joined the local in 1975. Blanchette was a performer on the Grand Ole Opry, and also worked with the Carter Family for several years. In addition to her parents, she was preceded in death by her infant son, Gary Blanchette, Jr., and one sister, Katie Lyell Collins. Survivors include her husband of 44 years, Gary Blanchette, as well as several cousins and many friends. Funeral services were held Dec. 26, 2013 at the Chapel of Spring Hill Funeral Home. Interment was at the Little Rock Cemetery in Lyles, Tenn.


Memory Gardens Funeral Home & Cremation Center

In Memoriam The officers, staff and members of Local 257 extend our deepest sympathies to the families and friends of our members who have recently passed away. You are in our thoughts, hearts and prayers. Name




William D Adair





Robert K Seymour





Gary Miller Williams




Life Member



Memory Gardens & Funeral Home

West HARpetH Funeral Home & Crematory


Funeral Home, Memory Gardens & Cremation

RobeRtson County Memorial Gardens

JoeLton HiLLs Memory Gardens


Memorial Gardens April–June 2014 31

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James R Hall Thomas Jay Hambridge Larry Thomas Harden Dawn Bradley Hartley Levi Clayton Head Erick Thomas Hedrick David G Henry Steve B Herrman Karl T Himmel Daniel Glen Hochhalter Jason Howard Anderson Jonathan Michael Howard Bobby G Huff David L Huff Jedd Michael Hughes William T Hullett James F Hunt, Jr James E Hurst Thomas David Hurst Peter J Huttlinger Jeffery Don Hyde Charles L Jacobs Peter Lynn Jeffrey Larry B Jentry Dirk Johnson Gail Rudisill Johnson Joseph Daniel Justice, III John P Kearns Robert C Kelly Douglas J Kershaw Peter Aaron King Randy Alan Kohrs Keith H Landry Howard Hugh Laravea Tracy Lee Lawrence Randy Paul Leago Boyd Lefan Kenneth Wayne Lewis William Stephen Lewis Benjamin R Lloyd James William Long Timothy W Lorsch Allyn Love Gary Lee Lunn Philip K Madeira Kevin D Madill Raul Malo Barbara Ann Mandrell Robert Dale Marler Kathy Mattea Joe B Mauldin David C McAfee Eric Reid McClure James Matthew McGee Michael H McGuire Patrick Thomas McInerney Mark Andrew Miller Bobby Howard Minner, Jr Steve Edward Misamore James Curtis Mitchell John Joseph Mock Daniel Tag Nadasdi Phillip L Naish David Clark Neal

Chris E Nelsen Jimmy M Nichols Mark Oakley Daniel Joseph O’Lannerghty Adam Ollendroff Eric R Paul John Harold Pennell William Burt Poe, Jr Ronnie Victor Prophet Steve Gayle Purcell William W Pursell Brent Rader Danny L Rader Norman J Rhodes John Mathew Richardson Rich Ripani James Andrew Risinger Mica Roberts James Burnett Rogan Suzanne Rohrer Mitchell Larry H Rolando Jason Lee Roller Tripper Ryder Gary Sadker Mark L Schatz Gene Sisk Erin Slaver Richard Wm Gerrard Smith Jimmie Rodgers Snow Wayne Dee Southards Alan Stoker James Cary Stroud Alan M Suska Larry Taylor Bobby W Terry, Jr Downs B Thompson Mark F Thompson David Thornhill Paul Thurmond Jonathan Marc Trebing William Trimarco John Henry Trinko Samuel C Tritico Jesse Tucker Jerry Tuttle Travis Anderson Vance George Larry Wallace Patrick J Walle Jason Brent Webb Donald Lloyd White James Earl White Jett Williams Lynn Williams Ralph Donald Wilson Xiao-Fan Zhang Resigned J. Chad Carlson Mark David Elting Lee W Garner Rodney L Hill Michael Patrick Holland Jamison Daniel Hunt Jennifer Diane Hunt

Jessica Dawn Hunt Jonathan David Hunt Jordan Wayne Hunt Joshua Clinton Hunt Justin John-Michael Hunt Carrel Todd Liles Monty Powell Ray Vaughn Reed, Jr Carolyn Marie Treybig Jett Williams Michael J Arndt Greg G Danner Robert H Durham Joe Weldon Ferris Adrian Flores Benjamin Matthew Hall Elizabeth Irene Long Audrey Valerie Mezera Christopher Shane Phillips Donald M Poole David Wayne Varnado Mitchell A White EXPELLED Jeremy Abshire Brad C Albin Michael Clayton Ashworth Rachel Darby Baiman Michael David Ball Rahsaan Jelani Barber Ken A Barken Stephen H Bassett David Anton Beigert Brian Richard Bonds Larry L Borden Victoria Rae Brewer Lauren Robin Burnette Justin Butler Shawn P. Byrne Steve Callahan Branden Campbell Christopher Charles Campbell Walter C Carter, Jr Michael Dinan Catalano Ron Chancey Joshua S Colby Christopher Coleman Jason Floyd Coleman Jon E Conley William C Cook, Jr Jasen Lee Cordiero Wendell Terry Cox Jamie Dailey Gregory Scott Daugherty Andrew Deprey Timothy A Dishman Butch Richard Dixon Melvin Clifford Downs, III Tom Sim Drenon, III Troy Anthony Engle Mark Steven Evitts Walter E Ferguson, Jr Patrick H Flynn

Michael Todd Foley Ian William Folsom David Kirby Frank Jeffrey A Garris Sonny F Garrish Elio Paolo Giordano Richard M Glass Kirsten Marie Greer David Alan Grier Daniel Lenwood Groah Mike Guggino Adam Wade Hampton Paul H Henderson Bernie Herms Russell Hicks Andrew Barrett Higley Nick William Hoffman Wohanka Edward Martin Joseph Allan Howe Charles Humphrey, III Noah Joseph Hungate Jimmy Ibbotson Matthew James Izaguirre Stonewall Jackson, Jr Stonewall Jackson Dina M Johnson James Edward Johnson Garry R Jones Michael Aubrey Kennedy Jerry King Tom Kirk Lauren Koch Craig Dwayne Koons Shaunna Larkin Hara Laskaris-Hackett Kevin Ray Lawson George B Lilly Stephen Burke Lindberg Todd Vincent Lombardo Sara Jane Lucas Jason Peter Massey Arthur John Masters Michael E McAdam Nathan Allen McFarland Eamon McLoughlin Michelle Marie Collins William R Middelton Stacy Alan Mitchhart Ashley Lauren Monroe Kevin Hugh Moore Joel Todd Mott Alex Munoz Daniel R Needham Loren L Nelson David A Nuding Bradley Charles Orcutt Daniel Paul Oxley Michael Todd Parks Darren Edward Potuck Andy Peake Joe C Pearl Steve M Peffer Sydni Ragan Perry Matthew Guy Pierson

Marco Pinna Peter Michealson Pisarczyk Woody Platt Christopher Aaron Powell Holly C Rang Fred Eugene Redmon Robert J Regan Cale Martin Richardson John Richards Perry C Richardson Jimmy Ritchey Cameron Lee Roberts Louie E Roberts Matthew C Rollings Charles Lloyd Rose Robert Eddy Ross Curt Ryle Stephen R Schaffer Thomas Justin Schneider Graham Sharp Nathan Wayne Sheppard Herb Shucher Terry Klenner Smith Edward L Smoak, Jr Robert Barker Stamps, Jr Eric Brice Stephens Regi T Stone David Patrick Stroud Jerry Lee Surber Chester Cortez Thompson Timothy J Thompson Louis Toomey, Jr Guthrie Trapp Ben Lake Trechsel Robb L Tripp James Travis Tritt Christopher Tyrrell Paula Van Goes Darrin Lee Vincent Bernard Walker Billy Joe Walker, Jr William James Wallace Art Ward Jay D Weaver Kyle Whalum Byron K Whitman Christopher Kyle Whitaker Lawson Wayne White, Jr Michael Robert Whittaker Justin G Williamson Kevin Brent Williams Terry Wayne Williams Craig E Williams, Jr William Louis Winfield, Jr Luke S Witchger Michael Adam Wolofsky Joseph Allen Wooten Benjamin Woynaroski Justin M York

April–June 2014 33

Do not work for The “Do Not Work For” list exists to warn our members, other musicians and the general public about employers who, according to our records, owe players money and/or pension, have failed to sign the appropriate AFM signatory documents required to make the appropriate pension contribution, or are soliciting union members to do non-union work. TOP OFFENDERS LIST - Alan and Cathy Umstead are soliciting non-union recording work through this website and elsewhere. Do not work for them under any circumstances without an AFM contract in place. 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. Jim Owens/Luken Communications/TNN/ Heartland TV – we have filed suit against Owens for nonpayment of rerun wages for Music City Tonight, recorded under the original Nashville Network agreement and licensed to the “new” TNN, now renamed Heartland TV. Luken, who have severed ties with Owens, is responsible for rerun payments for 30 Nashville Now shows. Positive Movement/Tommy Sims (multiple unpaid contracts and pension from 2007 CeCe Winans project. Sims has made several payments, but still owes a considerable sum under the legal judgment we obtained against him.) Terry K. Johnson/1720 Entertainment (unpaid contracts/unauthorized sales - Jamie O’Neal project. We have a legal judgment against him but he has declared bankruptcy. We continue to monitor his activities.) Honky Tone Records – Debbie Randle/Elbert West – multiple unpaid sessions and pension) Eric Legg & Tracey Legg (multiple unpaid contracts and pension) Ray Vega/Casa Vega Rust Records/Ken Cooper (unpaid contracts and pension) Revelator/Gregg Brown (multiple bounced checks/unpaid contracts) UNPAID CONTRACTS AND PENSION Accurate Strategies, Inc. Adagio Music/Sam Ocampo Wayd Battle/Shear Luck Beautiful Monkey/JAB Country/Josh Gracin Bottled Lightning/Woody Bradshaw Bull Rush, Inc/Cowboy Troy (unpaid demo upgrade – making payments)


Cat Creek Publishing Chez Musical/Sanchez Harley Compass Productions - Alan Phillips and David Schneiderman Daddio Prod./Jim Pierce (making payments) Summer Dunaway Field Entertainment Group/Joe Field Goldenvine Prod./Harrison Freeman Golden Vine/Darrell Freeman Greg Holland Home Records/David Vowell Hot Skillet/Lee Gibson (unpaid contract/limited pressing signature) Mark Hybner Kyle Jacobs Katana Productions/Duwayne “Dada” Mills King Craft, Inc./Michael King Ginger Lewis Line Drive Music Lyrically Correct Music Group/Jeff Vice MCK Publishing/Rusty Tabor MPCA Recordings/John Titta Mark McGuinn Marty McIntosh MS Entertainment/Michael Scott Multi-Media Steve Nickell One Shot Management Anthony Paul Company Quarterback/G Force Music/Doug Anderson RLS Records-Nashville/Ronald Stone Region One Records RichDor Music/Keith Brown River County Band/SVC Entertainment (unpaid demo conversion/pension) Robbins Nashville Round Robin/Jim Pierce (unpaid contract – making payments) Shauna Lynn Shear Luck Productions/Wayd Battle Shy Blakeman Singing Honey Tree Sleepy Town/David Lowe Small Time Productions, Inc./Randy Boudreaux Sound Resources Prod./Zach Runquist Mark Spiro Spangle 3/Brien Fisher Sterling Production Mgmt/Traci Sterling Bishir Tough Records/Greg Pearce (making payments) Adam D. Tucker Eddie Wenrick UNPAID PENSION ONLY Audio RX Jimmy Collins Comsource Media/Tommy Holland Conchita Leeflang/Chris Sevier

Ricky D. Cook Coyote Ugly/Jeff Myers Data Aquisition Corp./Eric Prestidge Derrin Heroldt FJH Enterprises First Tribe Media Matthew Flinchum dba Resilient Jimmy Fohn Music Rebecca Frederick Goofy Footed Gospocentric Tony Graham Jeffrey Green/Cahernzcole House Randy Hatchett Highland Music Publishing Honey Tree Prod. Engelbert Humperdinck In Light Records/Rick Lloyd Little Red Hen Records/Arjana Olson Malaco Pete Martinez Maverick Management Group Mike Ward Music (pension/demo signature) Joseph McClelland Tim McDonald Joe Meyers Missionary Music Jason Morales (pension/demo signature) O Street Mansion OTB Publishing (pension/demo signature) Tebey Ottoh Reach Ministries Ride N High Records Ronnie Palmer Barry Preston Smith Jason Sturgeon Music Nathan Thompson Roy Webb Michael Whalen 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 Chris Lindsey Heaven Productions Stonebridge Station Entertainment Straight Shooter Music

April–June 2014 35

Nashville Musicians Association PO Box 120399 Nashville, TN 37212-0399 —Address Service Requested—

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MUSICIANS AFM LOCAL 257 We put the music in Music City Next General Membership Meeting Monday, May 19, 2014 6:00 p.m. 36 THE NASHVILLE MUSICIAN

Profile for Kathy Osborne

The Nashville Musician - April thru June 2014  

Quarterly publication of the Nashville Musicians Association, AFM Local 257. Featuring Keith Urban, Musicians Hall of Fame, Robben Ford, Eri...

The Nashville Musician - April thru June 2014  

Quarterly publication of the Nashville Musicians Association, AFM Local 257. Featuring Keith Urban, Musicians Hall of Fame, Robben Ford, Eri...