The Nashville Musician - April - June 2016

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CONTENTS Official Journal of the Nashville Musicians Association, AFM Local 257 | APRIL – JUNE 2016



7 8 10

12 16

ANNOUNCEMENTS Details on the next membership meeting scheduled for Monday, May 16, which will include a proposal to change a number of scales in the Miscellaneous Wage and Scale sheet, reports from the president and secretary-treasurer, and a discussion of the finances of the local — including the Funeral Benefit Fund. STATE OF THE LOCAL President Dave Pomeroy gives an update on multiple national and local negotiations, the Tennessee Entertainment Alliance, and how we can help make sure Nashville stays Music City. NEW GROOVES Secretary-Treasurer Vince Santoro on the value of union membership. HEARD ON THE GRAPEVINE The notable comings and goings of Nashville Musicians Association members.



NEWS The Musicians Hall of Fame cuts the ribbon on the Grammy Museum Gallery, Lower Broadway players send an open letter to Metro Nashville government, and Local 257 members score big at an assortment of awards shows. GALLERY There was fellowship galore as we celebrated member milestones and the ever-popular Life Member Party. COVER STORY: VINCE GILL Warren Denney sat down with Gill and the two covered a lot of ground, from his first guitar to his great new record, Down To My Last Bad Habit.

20 REVIEWS We listened to a vinyl release from Russ Pahl,

checked out drummer software by Liz Ficalora and a new amp from Todd Sharp; we also reviewed a book by Pete and Erin Huttlinger, and a live show by the chamber ensemble ALIAS.

22 JAZZ & BLUES BEAT A roundup of cool summer camps,


shows, festivals, and other happenings in the jazz and blues community.

24 SYMPHONY NOTES Laura Ross celebrates the career of her friend and colleague, principal bassoonist Cynthia Estill, who will retire at the end of the season.

26 FINAL NOTES We bid farewell to Sonny James, Pete

Huttlinger, Rick Wright, Jimmy Palmer, Jimmy Maynard, and Stanley Biernat.











Dave Pomeroy Vince Santoro Kathy Osborne Leslie Barr Austin Bealmear Warren Denney Kenny Greenberg Roy Montana John Oates Dave Pomeroy Vince Santoro Laura Ross

CONTRIBUTING PHOTOGRAPHERS Tripp Ellis Donn Jones Dave Pomeroy Laura Ross Vince Santoro ART DIRECTION Lisa Dunn Design WEB ADMINISTRATOR Kathy Osborne AD SALES Leslie Barr 615-244-9514 LOCAL 257 OFFICERS PRESIDENT Dave Pomeroy SECRETARY-TREASURER Vince Santoro EXECUTIVE BOARD Jim Brown Jimmy Capps Beth Gottlieb Andy Reiss Laura Ross Tom Wild Jonathan Yudkin HEARING BOARD Michelle Voan Capps Tiger Fitzhugh Teresa Hargrove Kent Goodson Dave Moody Kathy Shepard John Terrence TRUSTEES Bruce Radek Biff Watson SERGEANT-AT-ARMS Steve Tveit NASHVILLE SYMPHONY STEWARD Laura Ross OFFICE MANAGER Anita Winstead


Steve Tveit Teri Barnett Diedra Williams Ashley Worley


@ 2016 Nashville Musicians Association P.O. Box 120399, Nashville TN 37212 All rights reserved.


The next Local 257 General Membership meeting will be Monday, May 16. 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, a proposal to change scales in the Miscellaneous Wage and Scale Sheet, and discussion of other important issues, including the finances of the local and the Funeral Benefit Fund. Please make plans to attend and take part in the business of your union.

Miscellaneous Wage and Scale Sheet proposal

Whereas, the Local 257 Misc. Wage and Scale sheet contains the current promulgated rates for live musical performances under a number of different scenarios, including Concerts, Musical Theater, Staged Opera and more, and; Whereas, many of these scales have not been raised in some time, and are well below similar rates in other AFM jurisdictions, such as St. Louis, Memphis, and Indianapolis, and; Whereas, in particular the Broadway/Musical Theater rates have remained unchanged since 2007, and other issues such as doubling need to be addressed, and the Concert rates have not been increased since 2012; Therefore Be it resolved, that the following Misc. Wage and Scale sheet rates will be discussed and modified by AFM Local 257 members in attendance at the May 16th meeting. A. CONCERTS: (1) 50 minutes or less: Side-musician.........................................................................$75/86.25 $85/97.75 On Friday, Saturday, Sunday and legal holidays.......................$90/103.50 $100/115 Leader/Contractor...................................................................$150/172.50 $ 170/195.50 On Friday, Saturday, Sunday and legal holidays.......................$180/207 $200/230 (2) Concerts over 50 min. but not more than 2 hrs: Side-musician.........................................................................$100/115 $110/126.50 On Friday, Saturday, Sunday and legal holidays.......................$120/130 $130/149.50 Leader/Contractor...................................................................$200/230 $220/253 On Friday, Saturday, Sunday and legal holidays.......................$240/276 $260/299 (3) Overtime: Each add’l 15 minutes per Side-musician.........................................................................$25/28.75 $30/34.50 or prorate $60/hour Leader/Contractor...................................................................$50/57.50 $60/69 D. MUSICAL THEATER, BROADWAY SHOWS (per show, not to exceed 3 hours): (1) Side-musician.........................................................................$100.00/115.00 Concertmaster*.......................................................................125% Leader/Contractor...................................................................Double scale * Concertmaster: responsible musician designated by contractor (2) Overtime: Straight time-and-a-half (1 1/2) of Side-musician rate computed in 15-minute increments. (3) On Stage - Musicians required to perform on stage, as to be a visual part of the production, shall be paid an additional $25.00/28.75 per performance. (4) Backstage - Musicians required to play backstage as well as in the pit shall be paid an additional $25.00/28.75 per performance. (5) Pension: Nine and twenty-seven one hundredths percent (9.27%) of Scale paid to the AFM-EP Fund in behalf of each musician, which includes the additional 9% as required under the 2010 Rehabilitation Plan. II. REHEARSAL RATES A. BANQUETS, RECEPTIONS, CONVENTIONS, WEDDINGS, STROLLING, MERCANTILE OPENINGS, FASHION SHOWS, DANCES, STAGED SHOWS, CIRCUSES, ICE SHOWS & RODEOS and CONCERTS: (A local contractor must be hired when (3) or more local musicians are used to augment a traveling show performing locally.) Side-musician, per hour (minimum 2 hours).......................$30/34.50 Leader/Contract……………………..Double scale Additional time prorated per 15-minute period(s). C. MUSICAL THEATER, BROADWAY SHOWS (per hour, three-hour minimum): (1) Side-musician....................................................................$30.00 per hr/34.50 Concertmaster*..................................................................125% Leader/Contractor..............................................................Double scale * Concertmaster: responsible musician designated by contractor (2) Overtime: Straight time-and-a-half (1 1/2) of Side-musician rate computed in 15-minute increments. Overtime begins after 3 hours of consecutive rehearsal without a break, or after multiple rehearsals totaling 6 hours in one day. (3) Pension: Nine and twenty-seven one hundredths percent (9.27%) of Scale paid to the AFM-EP Fund in behalf of each musician, which includes the additional 9% as required under the 2010 Rehabilitation Plan. D. REHEARSAL PIANIST: Piano, alone, rehearsing singers and/or dancers for live show: Per hour (minimum 2 hours)....................................................$40/46 V. DOUBLING D. 1st Double....................................................................................Add’l 20% of scale Each add’l Double.......................................................................Add’l 15% of scale E. Keyboards: 1. (a.) Doubling: Each additional acoustic/electronic keyboard . . . . . Additional 20% (b.) Patches: Each family (ww/br/str/perc) of instruments simulated will be paid an additional double per family.


Minutes of the Executive Board Meeting Dec. 7, 2015 PRESENT: Jonathan Yudkin (JY), Vince Santoro (VS), Dave Pomeroy

(DP), Laura Ross (LR), Jim Brown (JB), Jimmy Capps (JC), Mark Johnson (alt. MJ). ABSENT: Tom Wild (TW), Beth Gottlieb (BG), Andre Reiss (AR).

President Dave Pomeroy called the meeting to order at 8:35 a.m. MINUTES: Minutes from Nov. 6, 2015 were distributed. MSC to approve as amended. LR, JB. PRESIDENT’S REPORT: The following issues were discussed:

1. New members who sign up in December get that month free. 2. Nashville Public Television second round negotiations begin Dec. 9, 2015. 3. Ocean Way article in Music Row magazine regarding video game recording. 4. New letter templates for delinquent work dues. 5. Local 257 has engaged attorney Kevin Case to negotiate for Nashville Symphony musicians. 6. Negotiations for SRLA are slow-going. TREASURER’S REPORT: Santoro distributed financial reports and

fund balances and reported the following: 1. We have renewed the Local 257 staff health insurance policy at a 1.5 percent increase in premium. 2. We are shopping for a new printing company to manufacture our membership cards. The current company takes too long and is uncommunicative. MSC to approve secretary-treasurer report. JY, JC. MSC to accept new member applications. MJ, JY. Motion to adjourn. LR, JB. Meeting adjourned at 9:32 a.m.

Rich Redmond is a top-call recording drummer and percussionist who has been based in Nashville since 1997, when he joined the local. Currently touring with Jason Aldean, he has also performed or recorded with Ludacris, Kelly Clarkson, Bryan Adams, Bob Seger, Joe Perry, Jewel, Miranda Lambert, Luke Bryan, Thompson Square, Chris Stapleton, Keith Urban, and many more. As a member of a unique four-man production team called NV (New Voice Entertainment), Redmond has co-produced three No. 1 hits for Thompson Square, and Parmalee. He brings his “CRASH Course For Success” motivational drumming event to drum shops, music stores, high schools, colleges and corporate events across the world.

New Policies at Local 257 PLEASE NOTE THE FOLLOWING:

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

HOLIDAY CLOSINGS Memorial Day Monday, May 30

Independence Day Monday, July 4

The flood of young musicians moving to Nashville are asking me — almost daily — about joining the union. My answer is always “Yes.” Be a part of it! Since the beginning of time, likeminded human beings have sought out each other’s company. As they say, birds of a feather flock together. With union membership, I feel like someone has my back in this “every man for himself” industry. The union offers legal protection. The union chases down money rightfully owed to hardworking performers. It’s great to know that if I “sign the card” and play on a song that ends up on a film soundtrack in China, the union will work hard to get me paid for that use. The union can also help stand tall against the gigantic media conglomerates that easily forget that it is people who create music and art. Oh yeah, don’t forget about that pension plan! It’s a little peace of mind, as most freelance musicians don’t have the benefit of corporate 401k retirement plans. Nashville is home to one of the largest groups of world-class musicians on the planet and must certainly have the highest percentage of truly pro, working musicians. There’s strength in numbers. Be part of the future! TNM APRIL–JUNE 2016 5



“Regardless of your politics, philosophy, or worldview, the AFM exists to serve you. We are an arts union, and our mission is to work for the betterment of members and improve their lives by working together with solidarity and unity of purpose.”


ell, 2016 started out with a bang, and has been a really busy time for everyone here at the office, as well as for me. In addition to the “normal” duties of my job, I have been in negotiation mode all year with quite a ways to go before things settle down.

Local and national negotiations continue

We recently completed AFM contract negotiations with National Public Television and with CMT. Both agreements had been expired for some time. It always feels good to get these things wrapped up, and long overdue increases put in place. We are continuing AFM SRLA (Phono) national negotiations with the major record labels, which are going slow but moving in a positive direction; we also have the first round of TV/Videotape negotiations with the major networks coming up. Locally, we are in the middle of our negotiation process with the Grand Ole Opry and the Nashville Symphony’s financial reopener, as well. With all of the financial streamlining and new revenue coming in for these two important local employers over the past few years, I am optimistic that we will get the kind of improvements our excellent musicians need and deserve in these contracts. One of the best things about the current AFM leadership’s attitude towards negotiations is that AFM President Ray Hair makes sure everyone on our side of the table has a voice, and is free to weigh in with their unique perspective. This gives us an advantage at the bargaining table that is tangible. We have a team mentality that feels like being in a great band, where at any given time different players can lead the band in a certain direction. We apply that same “teamwork” approach to our local negotiations, and when the players in the bargaining unit are fully engaged, it really makes a difference. 6 THE NASHVILLE MUSICIAN

Working with state and local government

As always, there are many other issues that must be dealt with on an ongoing basis. As Nashville grows, much is changing, but our core mission of promoting respect for musicians remains. One good example is the current prohibition on home recording studios as legal home businesses. In a town known as Music City, this is a serious problem, and one that we as a community are uniquely qualified to solve — but only if we can find a way to bring everyone together. I was involved on the last effort to change this statute, and learned a lot about Metro politics along the way. We have let the mayor know that we are ready to help in any way we can, and will keep you in the loop on this critical issue. Together with SAG/AFTRA, and IATSE (International Alliance of Theatrical Stage Employees, informally known as the stagehands union), we have recently formed the Tennessee Entertainment Alliance, to bring more work to our state. We have put together a pitch to the Tennessee legislature asking for an increase of TV and film incentives from $18 million to $30 million. We have convincing evidence that the return on investment for the state is typically 400 to 500 percent. It is good to be part of a coalition that is working for all Tennessee musicians, actors and support crew.

Preserving a Nashville tradition — respect for musicians

There has been a lot of talk about the destruction of buildings on Music Row and how it is endangering the legacy of this important neighborhood that grew organically over decades into one of the world’s major music business hubs. What seems to be getting lost in all the angst is that there is also another kind of demolition going on: the

erosion of the standards of pay and respect for recording musicians and the work they create. Huge media companies are being told by longtime Nashvillians that they can come to Music City and take advantage of Tennessee’s right to work (for less) laws to rob musicians of fair and proper payment. Where does that extra money go? Right into the pockets of the carpetbaggers who could care less about musicians, let alone Music Row. This is just as destructive to our community as the wrecking ball is to historic buildings, and the negative effects will last a long time. Regardless of your politics, philosophy, or worldview, the AFM exists to serve you. We are an arts union, and our mission is to work for the betterment of members and improve their lives by working together with solidarity and unity of purpose. Without the collective bargaining agreements we have crafted and improved upon for decades, you would not be receiving fair wages today, not to mention the additional pension, plus health and welfare payments. Without collective bargaining agreements we would certainly not be able to bill for “New Use” on your behalf for recordings that were made more than 50 years ago, which we just did for a Patsy Cline song used by Mazda. Do you want your work to have lasting value, or do you want to give away all of your rights? A selfish “everyone for themselves,” attitude will hasten the demise of the very system that made Nashville what it is today. I am doing all I can to keep that from happening, but I can’t do it alone. My door is always open if you’d like to be part of the solution. Help me put the brakes on and stop the race to the bottom, because that’s where working without the protection of an AFM contract will lead — and all musicians, union and non-union, will pay the TNM price. The choice is yours.


“Union membership is based on power in numbers. That power results in better value for goods and services that is always helpful, and especially in tough times.”


etting a great deal on something always feels good. I remember when I was eight years old and the new 7-11 around the corner from my house was giving away miniature loaves of Wonder Bread in their colorful plastic wrappers. My friends and I were so giddy over it we kept going back, snatching them up and gorging ourselves on them. Nowadays it’s hard to find things that are actually free, but there are real bargains out there. You just have to look for them.

The value of Local 257 membership

Our union has been in the business of delivering value to our membership for many years. Although it’s true that each member pays annual dues to continue in good standing, all it takes is a bit of curiosity and a shopper’s mindset to unearth valuable deals. Even if you find shopping distasteful, it still feels good when you don’t have to pay retail for goods or services. Most of us are so busy filling our calendars that we want the quickest and easiest route to savings. Local 257 understands this — because we ARE the membership — and we try to help guide you to those values. Our website at is a great place to start for anyone looking into cooperative relationships we’ve established. Click on “Member Services” to get started. Here you will find a variety of businesses that provide values exclusively to union members. For example, instrument insurance with Clarion Associates, Inc. offers discounted coverage that many members use because it gives them breathing room below retail cost. The Union Plus website ( will show you a multitude of discounts in many areas ranging from mortgages and

rental cars to AT&T cellphone service, which I jumped on myself! I printed out the downloadable coupon and dropped by the store. I was stunned to find out I would be able to sign up for a family plan I had no idea was even available at the price I got. They give an across-the-board discount of 15 percent on service plans. Other rebates kick in if you use the Union Plus credit card. Of course, being a member of Local 257 also means that when we work under an AFM contract we’re assured that we’re paid according to union-negotiated rates and the associated pension contributions are carried out appropriately. There’s value in leaving these details to the local and not having to worry about it. Now let’s take a peek at the actual FREE stuff!

Free rehearsal space, NAMM and more


NAMM calls Nashville its summer home and if you’ve never attended this exciting gear exhibition you really should take advantage of our unique ability to once again guide our people to exclusive treatment. It’s hard to touch on all the good values that Local 257 membership brings in this short column, but I would be remiss if I didn’t mention our Vic Willis Emergency Relief Fund (ERF). This benefit gives aid to those of us who run into extenuating circumstances due to injury or health issues. When unexpected and devastating life events occur, this benefit can sometimes be the only ray of hope. The committee that oversees the fund is busy of late and I tip my hat to them for the outstanding work they do in administering it with a caring hand. We encourage you to remember the Emergency Relief Fund if you are in the position to make a donation.

Let’s say you need to rehearse “Our union has been in the your band. Our rehearsal hall is business of delivering value to free to members – even if you are the only Local 257 mem- our membership for many years.” ber in the group. If you’ve ever I was just a kid when the 7-11 was priced rehearsal rooms around town, you handing out free loaves of bread, but even know that a fully equipped hall can run as then I knew a good deal when I saw it. high as $250 for a three-hour rental. The I expect that any kid would. But now, as value is such that your annual dues could grown-ups looking for value, we can get a be considered nil after using our Cooper little jaded in thinking “nothing’s free.” But Hall one and a half times! Although you may union membership is based on power in want to bring your own gear, you could simnumbers. That power results in better valply use our complete backline, including P.A. ue for goods and services that is always system. How’s that for value? helpful, and especially in tough times. If Another fully gratis union benefit that you ever feel like the forces are aligned comes around every year is a pass to the against your ability to make ends meet, NAMM convention. Because of our relationtake a close look at what the union can do ship with those who put on this huge industry to take the edge off. We’ve done a lot of event, we gladly extend one free pass to any the legwork and all you have to do is ask. member in good standing. We are the only TNM As a member, you’re entitled to it! AFM local that has this exclusive benefit. APRIL–JUNE 2016 7



Craig Krampf, AFM life member and former Local 257 secretary-treasurer, was honored with membership in the Wisconsin Area Music Industry (WAMI) Hall of Fame April 19, 2015. He was inducted as a member of the ‘60s pop group The Robbs at a ceremony held in Milwaukee, Wisc. The Robbs were brothers David, Robert and George Donaldson, who formed a band with Krampf, a family friend, in 1965. They were discovered by Dick Clark at an area event and signed to Mercury Records in 1966; they later became the house band for Clark’s music show Where The Action Is. After his time in The Robbs, Krampf went on to become a respected session drummer in Los Angeles, performing on many hit records including the Kim Carnes No. 1 “Bette Davis Eyes.” He also coproduced Melissa Etheridge’s first album, and was a cowriter on the Steve Perry hit “Oh Sherrie,” along with Perry, Bill Cuomo and Randy Goodrum. Krampf played drums in the studio for the country group Alabama, and moved to Nashville in the ‘80s. After two terms as secretarytreasurer for Local 257, he retired and relocated to Phoenix, Ariz.

Craig Krampf

Kelly Clarkson


Kelly Clarkson has teamed up with first lady Michelle Obama and several other artists for the tune “This Is for My Girls,” by hit writer Diane Warren, who called it an “empowerment song for females.” Other contributors include Kelly Rowland, Missy Elliott, Janelle Monae, Zendaya, Lea Michele, Jadagrace and Chloe & Halle. The tune was released preceding SXSW, where Obama gave a keynote speech. Clarkson later tweeted at #ThisIsForMyGirls: “Education is key to opening minds and doors to opportunities that are absolutely possible.”


Award-winning artist Blake Shelton will be the subject of a career-spanning exhibition at the Country Music Hall of Fame and Museum. Blake Shelton: Based on a True Story, will open May 27, 2016 and will explore the life and work of one of country music’s most popular and multi-dimensional artists. 8 THE NASHVILLE MUSICIAN

Blake Shelton

“I came to Nashville in 1994, and I’ve always been fascinated by the Country Music Hall of Fame and Museum,” Shelton said. “I remember the first time I walked in there, I was blown away. To have my own exhibit is more than a dream come true, because I never dreamed it could happen! It’s crazy, is what it is. I couldn’t be more excited or more honored than to be a part of the museum.”

The exhibition will examine the star’s road to success, from his childhood to his move to Nashville as a teen, and his multiplatinum recording breakthrough to becoming a national celebrity on NBC’s The Voice. A range of artifacts including stage wear, instruments, song manuscripts, photos, and personal items will be displayed.


Doug Kershaw

Kris Kristofferson

Photo: Josh Timmermans



The Ragin’ Cajun Doug Kershaw was inducted into the National Fiddler Hall of Fame April 9, during an event held at Memorial Hall in Independence, Kansas. He headlined the gala, which also included the induction of Clarence “Gatemouth” Brown, Stéphane Grappelli, Joe Holley, and Terry Morris. Kershaw is a life member of Local 257 who joined the AFM in 1957. He began playing fiddle when he was eight, and started playing professionally at the age of 13. Over the course of his career he recorded 15 albums and had multiple hits on country charts. His signature song, the autobiographical “Louisiana Man,” became the first song broadcast back to Earth from the Moon by the Apollo 12 astronauts. Some of his other hits included “Diggy Liggy Lo,” and “Hello Woman.” Kershaw was also inducted into the Louisiana Music Hall of Fame in 2009.

Iconic artist and Nashville Musicians Association life member Kris Kristofferson was celebrated during a tribute concert at Bridgestone Arena in Nashville Mar. 16. An all-star cast of performers appeared at the event, including several members of Local 257. Alison Krauss, Buddy Miller, Larry Gatlin, Eric Church, Dierks Bentley, Hank Williams Jr., Jennifer Nettles, and Jack Ingram were all among the artists who came together for “The Life & Songs of Kris Kristofferson,” proceeds of which will benefit the T.J. Martell Foundation and its mission of funding medical research on leukemia, cancer and AIDS.


The life and career of multi-platinum artist Dierks Bentley is explored in the Country Music Hall of Fame and Museum exhibition Dierks Bentley: Every Mile a Memory, which opened in March and runs through Sept. 6, 2016. The exhibition includes stage wear, guitars, song manuscripts, photos and more from Bentley’s personal collection. “It’s crazy to be considered for something like this,” the guitarist said. “The Country Music Hall of Fame and Museum is home to the most revered and influential country artists of all time. Just being in the building as a visitor is humbling, but to actually be featured in one of the museum’s exhibits is something I never would have believed if you’d suggested it back when I started chasing this dream down on Broadway.” TNM

oday! Subscribe T tions, performances... “It has lessons, demonstra so you can see how I ing and I was filmed practic Jack Pearson work on my own playing.” APRIL–JUNE 2016 9



Downtown club musicians took an important step in April, sending a letter to Metro Nashville government to express their concerns about the traffic and taxi situation on Lower Broadway — especially during special events. The letter enumerated various issues and offered some suggestions for helping to get resolution in the future. Local 257 President Dave Pomeroy detailed the specifics of the letter. “We have been working closely with Lower Broadway musicians to define their issues and advocate on their behalf with Metro Nashville government. The “open letter” we created delineates three primary issues for these musicians, who create the tourist demand in downtown Nashville and are collecting signatures to deliver to the Mayor: “First, the letter requests that we receive notification of special events and an alternate loading zone plan when the streets are closed. Secondly, we ask that Metro address a solution to prevent the taxicabs from blocking the loading zone, which impedes musicians’ ability to load their gear in and out of clubs. Last, we request that Metro work with us to create some sort of affordable parking scenario for downtown musicians.” Around 250 players signed the document. “The response from the players has been overwhelmingly positive and Metro is listening,” Pomeroy said. Club musicians have been dealing with parking and loading problems on a daily basis for a long time, but when street closures for special events are added to the equation, their difficult situation becomes nearly impossible. Although Metro has attempted to solve the loading problems by establishing taxi stands on side streets, the cabs are not generally adhering to the new rules, unless police officers are present. 10 THE NASHVILLE MUSICIAN

(l-r) Joe Chambers, Megan Barry, Neil Portnow, Brenda Lee, Peter Frampton and Butch Spryridon at ribbon cutting with Grammy officials


The Musicians Hall of Fame opened its new Grammy Museum Gallery Mar. 29 with a ceremony held in the venue’s downtown location inside Municipal Auditorium. Nashville Mayor Megan Barry did the ribbon-cutting honors, calling the museum and its new gallery “Nashville’s coolest field trip.” The packed event was attended by Grammy officials, several artists including Peter Frampton and Brenda Lee, Hall of Fame founder/CEO Joe Chambers, and a host of industry executives and fans. The interactive facility allows guests to explore the history of the Grammy Awards, as well as giving visitors of all ages the opportunity to be onstage and interact with every aspect of the recording process.

Jenee Fleenor

Meghan Trainor


Taylor Swift took multiple honors at the 2016 Grammys, held Feb. 15 in Los Angeles, Calif. Swift won Album of the Year and Best Pop Vocal Album for 1989. Swift also was awarded Best Music Video for “Bad Blood,” with Kendrick Lamar. Best New Artist went to another Local 257 member, Meghan Trainor, and Chris Stapleton took home awards for Best Country Album for Traveller and also Best Country Solo Performance for the album’s title track. The SteelDrivers album The Muscle Shoals Recordings was awarded Best Bluegrass Album. Little Big Town won Best Country Duo/Group Performance and Best Country Song for “Girl Crush.” Best Folk Album went to Béla Fleck and Abigail Washburn for their self-titled record. The Nashville Symphony and conductor Giancarlo Guerrero were awarded Best

NEWS Classical Compendium for Paulus: Three Places Of Enlightenment; Veil Of Tears & Grand Concerto. At the ACM awards on April 3, Chris Stapleton was the big winner. He took home Male Vocalist of the Year, New Male Vocalist of the Year, Song of the Year for “Nobody To Blame” and Album of the Year, with producer Dave Cobb, for Traveller. Kelsea Ballerini was awarded New Female Vocalist of the Year, Little Big Town won Vocal Group of the Year, and Eric Church was awarded Video of the Year. Old Dominion won New Vocal Duo or Group of the Year, and Dolly Parton was honored with the Tex Ritter Award. Fiddle player-vocalist Jenee Fleenor was named the SRO Touring Musician of the Year, an award presented by the CMA to musicians and other professionals TNM in the touring industry.

Old Dominion l - r Whit Sellers, Trevor Rosen, Matt Ramsey, Geoff Sprung, Brad Tursi


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APRIL–JUNE 2016 11



FEB. 11, 2016

1. Life member REGGIE YOUNG and his wife JENNI. 2. JESSE MCREYNOLDS hangs out with DAVE POMEROY. 3. BILLY LINNEMAN, DEAN SLOCUM, and PHIL ARNOLD catch up with friends. 4. Keyboardists WILLIE RAINSFORD and GENE GOLDEN hobnob. 5. WILMA ZONN enjoys the good vibes. 6. JOHN AND JANET DARNALL visit with JULIE TANNER (center).









1. Saxophonist JOE ADCOCK celebrates receiving his life member pin with his daughter, RHONDA SULLIVAN. 2. Sax man JIM HORN and wife STEPHANIE enjoy the life member party while CLAYTON IVEY photobombs from behind. 3. Bluegrass icon JESSE MCREYNOLDS and his wife JOY.


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restoration and modification

We are moving!

Our new location as of May 1, 2016: 2616 Grandview Avenue Nashville, 37211 APRIL–JUNE 2016 13


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1. Guitarist LOU TOOMEY digs his 25-year pin. 2. Drummer and pianist BOBBY DANIELS displays his new AFM life member pin. 3. TOM MATHIS receives his 25-year pin. 4. Multi-instrumentalist ROY JOHNSON proudly points out his new AFM life member pin. 5. Bassist and drummer KATHY YATES receives her AFM life member pin. 6. STEVE TURNER shows off his AFM life member pin and 50-year pin. 1.

7. Keyboardist STEVE GLASSMEYER relaxes at the piano after receiving his AFM life member pin. TNM






1. 4.


We Buy · VINYL RECORDS~LPs, 45s & 78s · CDs, BLU-RAYS & DVDs · MUSIC MEMORABILIA Photos, Lyric Books & Song Folios, Autographed Items, Stage Costumes & Apparel, etc.

· MUSICAL INSTRUMENTS · STEREO EQUIPMENT NO COLLECTION TOO BIG OR SMALL ~ Top Dollar Paid! CONSIGNMENT FOR AUCTION SERVICES AVAILABLE You may choose to offer higher dollar items (such as musical instruments, stage costumes, etc.) for auction on eBay or other venues. Our experienced internet sales staff has included thousands of consignment items in auctions during the past few years, some of which have garnered returns in five figures. A reasonable fee for this service, based on a percentage of auction returns, is deducted at the time the transaction is completed.

Call (615) 385-2116 or visit our website

WE ALSO BUY ~ Video Games & Systems, Comic Books, new & vintage Toys, vintage Sports Cards (pre 1975), Magic The Gathering, and more! We o f te n tr ave l lo n g d ista n c e s to ac q u ir e la r ge c o lle c t io n s! ABOUT THE GREAT ESCAPE Skyrocketing rental cost forced the relocation of Mid-Town Nashville's legendary record store to West Nashville in 2010. Founded in 1977 by longtime music industry veteran Gary Walker, it quickly became a hangout for local singers, writers and musicians, as well as visiting celebrities in town for record sessions and concerts. In addition to its inventory of musicrelated items, The Great Escape offers a large variety of “toys for the mind”, including video games, comic books, DVDs, toys, stereo equipment and other collectibles.

THE GREAT ESCAPE LOCATIONS 5 4 0 0 Ch a r l o t t e Av e n u e , N a s h v i l l e , T N 3 7 2 0 9 105 North Gallatin Road, Madison, TN 37115 2 9 4 5 S co t t s v i l l e R o a d , Bo w l i n g G r e e n , K Y 4 2 1 0 4 2 4 3 3 Ba r d s t o w n R o a d , L o u i s v i l l e , K Y 4 0 2 0 5

Phone Phone Phone Phone

(615) (615) (270) (502)

385-2116 865-8052 782-8092 456-2116 APRIL–JUNE 2016 15

Vince GILL FOLLOWING THE PATH WITH HEART Vince Gill speaks easily, evoking a familiarity that belies the drive that has made him — those nuts and bolts. The flesh and blood. The music. He is, of course, the legendary guitarist and vocalist beyond compare, one who has translated the intricate skill sets required in bluegrass into the greater world of country and popular music. WORDS WA R R E N D E N N E Y



Gill’s career is storied and transcendent. He has earned eigh “I really had no training. I took a few lessons. I learned teen CMA awards, including two as Entertainer of the Year, songs more than any real technical training. My ears were aland five Male Vocalist awards. Also, he has earned twenty ways good enough to be able to express the difference — the Grammys, more than any other male country artist, and is a way that the music felt and the way it was played. The way that member of the Country Music Hall of Fame. Earlier this year, it swung, or the way that it rocked, or the way that it rolled. Or, in a curious example of the full circle of life, Gill was inducted you know, the way that it drove with bluegrass. That to me was into Guitar Center’s Hollywood Rockwalk by Joe Walsh. the gift of gifts — to hear all the differences. To see the different Gill counts among his early musical influences The things and hear the different things. James Gang, the seminal rock & roll outfit fronted by Walsh. “Definitely, music was the biggest calling. I have a pic “Growing up, there were hundreds of guitarists that ture of me when I couldn’t have been more than two years blew me away,” Gill said recently from his home. “I was old, and I was asleep on the couch, face down and had my really young when the British Invasion hit, so I had heard all arm around a guitar. of them as it kept blowing up. I was into all the Jeff Beck “Unfortunately, in that picture I’m wearing a dress [laughing].” records as I got older. And here, Joe Walsh and the James At 59 years old today, Gill grew up during a time when every Gang were a big influence on me. genre of music was becoming more accessible through radio and “Anyone that could play circles around me was inspiring. television. In fact, those years represent a tectonic shift in accesChet Atkins always killed me — the way he played. I got to sibility, much as the Internet has done for listeners today in its see him when I was a little boy, once or twice. That was a wonder. From Roy Acuff to Otis Redding, Gill was taking it all in. magical experience, and it wound up beautiful to me because And, through his own desire, and coming from within that diverse we became great friends. We spent a lot of time together.” musical environment, he began to carve out his place in the world. Raised in Oklahoma, Gill grew up in a household that There is always a point of no return in a musician’s life — in embraced a diverse array of music. His parents and siban artist’s life in general — and Gill’s came early. He didn’t think lings had broad-ranging tastes, and as the youngest, he twice about moving to Louisville to join the Bluegrass Alliance upon heard it all. That open graduating from high school. sensibility would ul “I don’t think I knew any I wanted to go play music because it speaks to me. Whatever timately allow him to better — going to Kentucky,” happens, it’ll be all right. You know, I could live lean. I flourish. Listening to he said, laughing. “It’s discould live poor. I lived all those ways and it’d be just fine. Gill over the years, one arming in a great way. You can hear nuances of know, I attribute a lot of my That’s the heart of the musician in me. It’s still there. everything — country, personality, my happiness bluegrass, blues, jazz, rock — in a single record. and my easygoing nature to my mother. My parents never said “I think it [the environment] was influential because of ‘You gotta go to college,’ or ‘You’ve gotta get a real job.’ the diversity of the music,” Gill said. “It was influential be “I think they saw all through my high school years how I cause of my siblings and my parents. Before I could ever get was into the music — I was traveling, I was in bands, I was playthe wherewithal to buy my own records, I was at the mercy of ing gigs, I was making records. I was not the typical 15-year-old what they were buying. kid. My family was aware, and that’s why they were never into “And that’s where the diversity came from. My mom and giving me down-the-road for leaving or whatever. My mom aldad loved what they loved. It might have been Ray Charles. ways said, ‘I don’t want a rich kid, I want a happy kid.’ Might have been Eddy Arnold. Might have been Patsy Cline. “She grew up as a farm kid, and you know, she knew hard “My brother was a blues nut. He had all these great work and that’s why I could leave the nest — because of that blues records. My sister was digging whatever was going on environment. You can always go home.” in that era. Maybe the Beatles. She was more into pop and Gill joined the Bluegrass Alliance in 1975, played briefly rock, and folk style. I remember when she got James Taylor’s with Ricky Skaggs’ Boone Creek band, and eventually joined first record. country rockers Pure Prairie League in 1979 after a short tenure “So, I wasn’t drawn to just one thing, and when I got a with Sundance in Los Angeles. It was Pure Prairie League that little older and started to play, I emulated everything from Led gave him national recognition. Until then, he had been content Zeppelin to Chet Atkins.” to be a picker’s picker. Now, he found himself thrust into the In many ways, Gill had the all-American upbringing with limelight as a singer and a songwriter, in addition to his work on a healthy dose of big country work ethic. His father was a guitar, mandolin, banjo, and fiddle for the band. lawyer and a judge, and he credits his mother with instilling “It was weird because I didn’t push hard at songwriting una lot of the confidence that comes through in his personality, til I was in Pure Prairie League,” Gill said. “I’d only written about and his performing. He played some basketball and golf, but seven or eight songs, but they didn’t really have any songwriters music was his greatest obsession. in the band then. They wanted me to contribute with songs. “Man, I was in my room trying to figure all of it out,” he “I had those few, and I was thinking they were terrible, but said. “I was just crazy about all of it. Then I got bit by the they liked them! They were not any good, but away we went. bluegrass bug. I was probably a sophomore in high school And I thought, ‘well I guess I’m a songwriter.’ I wasn’t a good when I got into it, and played it that way for quite some time. continued on page 18 APRIL–JUNE 2016 17 APRIL–JUNE 2016 17

continued from page 17

one yet, but the band gave me a platform to start writing more.” And, again, Gill felt like his timing was great for pursuing that aspect of his career. It was a golden age for those who were tuned in. “What an amazing era to live through,” he said. “I mean, Lennon-McCartney and James Taylor. Bob Dylan and Kristofferson. Willie Nelson. I didn’t run away from it. I just kept at it. I realized the people that I liked the most wrote their own songs. I wanted to be one of those people too. I wanted to be a singersongwriter. If I’m going to sing I want to sing what’s inside of me — more than being an interpreter.” Similarly, on the long and winding road, Gill had blossomed into a singer with that voice. “As a young musician I was too bashful to sing,” he said. “I was scared to sing. I was really a musician at heart but little by little I started pushing toward singing, too. But you know, to me it’s all the same. It really is — whether it’s writing, singing, or playing —it’s all coming from the same place, from the heart. For me I can’t differentiate any of them.” Gill left Pure Prairie League after three records and joined Rodney Crowell’s band The Cherry Bombs in 1981. He moved to Nashville permanently in 1983, and joined the Nashville Musicians Association — he’s a 32-year member, and has been a generous supporter of the local’s Emergency Relief Fund over the years. “Maybe I always knew I was going to wind up here,” he said. “I recorded here with the Bluegrass Alliance when I was 18, and Buddy Emmons played on it. I got to see a real first-class, professional, best of the best in Buddy Emmons, you know. Man, it was life-changing. “And, you know, the musicians never saw this as a countryonly town. The rest of the world did. That has been obliterated. Musicians always knew it and always felt that way. You could take any of those great jazz cats like Joe Pass or Barney Kessel, and they’d come here and hear Hank Garland play and have their minds blown. The musicianship was otherworldly. Always has been.” Gill soon signed with RCA and with the 1984 release of Turn Me Loose, he was off and running. He would break through into the stratosphere with When I Call Your Name in 1989, a doubleplatinum effort on MCA. This year’s release of Down to My Last Bad Habit, also on MCA, marks Gill’s eighteenth studio record. During his career, Gill has sold over 26 million albums. Of course, he has appeared on many other artists’ projects as a featured guest, as well, and has been a member of Western-swing band The Time Jumpers for the past four years. “This [Down to My Last Bad Habit] might be the best singing record I’ve ever recorded,” Gill said. “To my ears. I think my voice has broadened, and in a unique way — and I can still sing about as high as I always have. I know what to do with it better. I know when to quit singing. That’s the key [laughing]. “There’s a whole lot more emotion tied to my singing than there ever has been because of the age I am…there’s an emotional side to this and it’s powerful. It’s a fun ride to get on in a sense. Losing my friend Dawn [Sears of The Time Jumpers and Gill’s road band] a year and a half ago was devastating. You don’t know when it’s going to be taken away from you. I’m telling you man, I’m singing every song like it’s my last.” 18 THE NASHVILLE MUSICIAN

Down to My Last Bad Habit slips easily into the bloodstream, and has a bit of a homecoming feel, with friends old and new — and family, with the appearance of his two daughters, Jenny and Corrina. Friends include Alison Krauss, Sheryl Crow, Bekka Bramlett, guitarist Sonny Landreth, jazz trumpeter Chris Botti, Little Big Town, Charlie Worsham, Ellie Holcomb, and Cam. “These are the songs — this is my heart,” Gill said. “This is how I play. This is how I sing. I’m content with it. As comfortable as Gill has always been in his skin, he’s even more so now. There are people in this world who stay balanced, even in the face of unbridled success. His competitiveness and drive has always been present — but not for fame. The drive is for the life. “That’s what is so beautiful about being musical,” Gill said. “Everybody thinks you did it to become famous. I never did. It wound up that way, but that’s not what I set my sights on. I wanted to go play music because it speaks to me. Whatever happens, it’ll be all right. You know, I could live lean. I could live poor. I lived all those ways and it’d be just fine. That’s the heart of the TNM musician in me. It’s still there.”



Go-to guitar: 1953 Fender Telecaster

Road amps: Little Walter — 3 VG-50s, and one little Walter 22, two 1x12 little Walter speaker cabinets loaded with Celestion G12T-75 speakers, he uses 2 Radial Tonebone Headbone-VT to split the amps.

Pedal board: EBS UniChorus, Boss TR-2 Tremolo, Strymon Flint Tremolo-Reverb, electro-harmonic Deluxe Memory Man Tap Tempo, Hermida Audio Zendrive, Creation Audio Labs MK.4.23 Clean Boost, Boss CS-3 Compression Sustainer, 2 Boss TU-2 tuners (one for electric and one for acoustic), and a Wampler Faux Spring Reverb. A Voodoo Lab Pedal Power 2 powers all of the pedals.




o C n s f s e e re ni

•Cutting-edge seminars, panels and workshops •Focused content tracks for Talent Buyers, Songwriters and CLE Training •Health Fair with FREE vision screenings, dental exams and custom ear plug fittings •Special events, including the Gig Fair (like speed dating for artists and talent buyers), DJ Taping Session, and Song Critique Session

rld! Wo the

Experience Like n c i s u o Ot ss M a r her g in lB ue


AW eek lon g


The IBMA Business Conference is the premier industry event and trade show where top bluegrass professionals come to share and discover the latest tools, strategies, technology and sounds.

•Business-to-Business (B2B) Exhibit Hall •Networking Receptions and Luncheons


APRIL–JUNE 2016 19


Liz Ficalora

Drum Chart Builder

ALIAS Chamber Ensemble Winter Concert - Feb. 10, 2016 Live Review

Nashville has never been about just country music, and it seems we have to constantly point that out to the stereotypers out there. The ALIAS Chamber Ensemble is a perfect example of cutting-edge classical music created right here in Music City. Founded in 2002 by Nashville Symphony musicians Matt Walker (cello) and Zeneba Bowers (violin), ALIAS has been a champion of combining contemporary composers’ work with a high level of performance and interpretation from a rotating cast of great Nashville classical players. Their Winter Concert, held at Blair School of Music’s Turner Recital Hall, was a fundraiser for the Freedom School Partnership, which offers a six-week summer reading and enrichment program primarily targeting African-American, Latino and multiracial children in grades K-8 from economically disadvantaged communities. The music was a retrospective of highlights from ALIAS’ recorded catalog, including works from composers Kenji Bunch, Gabriela Lena Frank and Paul Moravec, whose work is the focus of their latest album, Amorisms: Music of Paul Moravec, which also includes the Portara Ensemble, a 28-piece vocal group, who made a guest appearance at the concert. The first tune, “Drift,” by Bunch, was 20 THE NASHVILLE MUSICIAN

a trio for clarinet, viola, and piano, played by Lee Levine, and NSO members Chris Farrell and Roger Wiesmeyer, stretching out from his “normal” role as English Horn player, respectively. The intimate piece was full of delicate interaction and was beautifully executed by all three. Next up was “Quijotadas,” an intense string quartet piece by Frank, and excellently performed by Farrell, ALIAS founders Zeneba Bowers and Matt Walker, with Alison Gooding Hoffman on violin. The second half of the show was equally engaging, as Bunch’s String Circle featured Louise Morrison and Gooding on violins, Christina McGann and Dan Reinker on violas, and Walker on cello, bringing folk, country and old-time influences to a contemporary setting. The rest of the show featured two Moravec works from the new album, and the addition of the Portara Ensemble’s voices, conducted by Jason Shelton, really took the audience for a thrilling journey in sound and expression. The interaction between the quartet of Levine, Bowers, Morrison, Reinker and Sari DeLeon Reist on cello, and the large vocal ensemble was simply stunning. A great show for a great cause that once again demonstrates the quality and versatility of our classical music community. Well played, indeed. — Dave Pomeroy

I just finished my first attempt at writing a drum chart using Drum Chart Builder, a powerful charting tool that percussionist Liz Ficalora has developed. I should correct that statement since I don’t really have to have “finished.” I can add or edit any time I want, and since I haven’t yet added actual notation, doing so will make the chart even more complete. Drummers and percussionists can take their preparation as far as they want. The program has a convenient feature that allows users to upload an MP3 of the song being charted. They can then play the song and pause to build — bar by bar — what they eventually will read as their chart. If a figure in the song being charted is one that needs to be replicated note for note, the addition of notation is a breeze and very ergonomically pleasing to the eye and cranium. If you’re like me, the act of breaking down a complicated passage in the drum part in order to chart it is what burns it into the grey matter. After I’ve conveyed it to paper, or in this case, an iPad or laptop, I almost don’t even need to look at it again. But with any volume of charts, it can easily get out of hand and you need to be able to refer to reminders. The Drum Chart Builder program allows users to store songs, sets and bands so you can never run out of mental file cabinets. Is this approach better than pencil and paper? I believe so – it’s the future, and the future is here today. Liz Ficalora’s Drum Chart Builder is an easy and fun way to get on board with technology since tempus fugit with or without us. If you’re interested in this software visit to sign up for a free 30-day trial or other subscription options. ­— Vince Santoro

Russ Pahl

Not What I Expected 45 RPM Minnesota native Russ Pahl has been a fixture on the Nashville scene since the mid-1980s, when he toured first with Michael Johnson, then Don Williams, and as a member of the ‘90s country-rock band Great Plains; more recently he has transitioned into a long and successful studio career. Multi-instrumentalist Pahl — perhaps best known for his atmospheric and soulful steel guitar playing — also plays guitar, banjo, mandolin, uke, and whatever it takes to make a recording special. Not What I Expected is Pahl’s debut as an artist, and is a limited-edition vinyl release with four songs that play at 45 RPM on a 12-inch disc. Russ plays all the instruments on this project except for Nir Z’s drums and Jim Hoke’s saxophone. The record opens with the ‘60s country classic “End of the World,” which features Pahl channeling Pete Drake and Skeeter Davis via a synthesized vocoder triggered by the steel guitar. “Johnny Popper” is a laid-back jump blues featuring Pahl’s chunky archtop strumming and Hoke’s baritone sax, evoking a cool roadhouse vibe with rhythmic counterpoint courtesy of a 1942 John Deere tractor — yes, you read that right. Nice touch. The second side brings a more contemporary sound with “From Square One,” an unusual tune with a melody and tone reminiscent of Jeff Beck, as Pahl builds a sonic wall of textures over Nir Z’s cool groove. “Uko Nuko” brings things to a close with a groovy Hawaiian vibe. This EP certainly lives up to its title, and brings one of Nashville’s top sidemen out in front of the band for a change. An excellent change of pace for any listener, and hopefully this is just the beginning of an alternate career for Pahl as an artist in his own right. Look for a digital release in the near future. — Roy Montana


Pete Huttlinger and Erin Morris Huttlinger Joined at the Heart Instar Publisher

Music lovers around the world mourn the recent passing of master guitarist Pete Huttlinger. In addition to his teaching and recording legacy, he leaves behind a powerful and inspirational book that he co-wrote with his constant companion and wife Erin Morris Huttlinger. Joined at the Heart is a well-written, heartfelt chronicle of a beautiful relationship not only between Pete and Erin but also with family, music and life itself. After miraculously surviving a stroke and subsequent heart failure, this book reads as a testament to the will to survive and not only survive but “live well.” With dedicated support from Vanderbilt University Medical Center, Texas Heart Institute, and Stanford University Hospital, Pete continued to defy the medical odds of survival. He never gave up — and surrounded by a loyal support team kept up an active recording and touring schedule until his last day on earth. This is a love story in its purest form. Love between husband and wife, best friends and family, love of music, love of life and ultimately the strength and affirmation of the human spirit. If you ever think you are having a bad day — read this book. — John Oates

Todd Sharp Amplifiers JOAT 20RT

My first impression of the Todd Sharp JOAT 20RT is how versatile it is. It took me a minute to acclimate to the controls. I played it clean, then turned it up a bit. For the hell of it I turned it all the way up with a Strat and it totally blew me away. My friend Rob tried it, and said, “You can’t get a bad sound out of it.” What I look for in an amp, especially for recording, is to not have to think about the amp, but to just play. The less I think while I’m playing, the better I play. The JOAT is a great studio tool. It made my Strat sound full and fat without a boost pedal in line. Todd has come up with a great, intuitive way for some excellent tone shaping and this is what really sets this amp apart. Instead of a conventional tone stack, the “Jack Of All Tone” uses stepped rotary selectors; “LOW CUT” and “HI CUT” along with a “BITE” switch. The EQ and tonal variations change substantially depending on the interaction between these controls. The “ATTITUDE” rotary selector is key to the individuality of the JOAT amp, it’s kind of a gain knob, but there is also EQ involved. Also, the Reverb and Tremolo are freaking killer! I completely fell in love with both. In this age of small pedal boards, this is a big plus. As for playing live, volume is a big concern these days. It’s hard to get away with playing a really loud amp, so having a 20-watt amp on stage is just about right. This amp really has its own sound — it doesn’t really sound like my others amps — and I have a lot of them! For more information, click on TNM — Kenny Greenberg APRIL–JUNE 2016 21




ummer is just around the corner, bringing as usual a host of events, including festivals and music camps. Since the timing of our magazine precludes giving you information on some of these events, we recommend that you check out the variety of local event-focused periodicals and websites for up-to-date listings of all the available offerings.

Jazz and music camps

I’d like to mention two music camps, even though this magazine won’t hit the streets until after their registration deadlines, because musical education is so important. If you’re interested, check the info links, and even if the camps are full for this year, you can get on the mailing list for future events. The Jerry Tachoir Percussion Camp at Nashville Shores Water Park will be held June 13-17. Study mallet percussion (vibes, marimba) with William Moersch and Jerry Tachoir, drums with Chester Thompson, and Latin Percussion with Lalo Davila — veteran virtuosos all. And play in the water during breaks! The minimum age is 14, and there are special prices for locals who commute daily to the park. Sponsored by Innovative Percussion, Ludwig/Musser, Roland, Pearl, Steve Weiss Music, and Avita


Jazz. Get information at or call 615-562-2321. The Fifth Annual Nashville Jazz Workshop Summer Jazz Camp — June 20-24 — will be hosted by Vanderbilt’s Blair School of Music. The camp is for attendees age 13-19, and will combine vocal and instrumental programs featuring ensembles, master classes, ear training, phrasing and expression, lyric interpretation, theory, improvisation, and more. Students will perform at a final Friday night concert. More information is available at

Festival for Jefferson Street and dancing in Centennial Park

Each June, Jefferson Street keeps its music tradition alive with the annual Jefferson Street Jazz & Blues Festival. From the 1940s through the early ‘60s, area clubs hosted jazz, blues, and R&B greats like Little Richard, Jimi Hendrix, Ray Charles, Fats Domino, Memphis Slim and more. This year’s event will feature local jazz, blues, and more on June 18, from 2-11 p.m. at the Bicentennial Capitol Mall Amphitheater. Sponsored by J.U.M.P. (Jefferson Street United Merchants Partnership) and others, the fun starts Friday, June 17, with a Bridging the Gap mixer on the Shelby Street Pedestrian Bridge. For artists, food vendors, and other information, go to Dance your way through June, July, and August at Centennial Park’s Big Band Dances, featuring live dance bands each Saturday from 7:30-10 p.m. This free event is held in the park event shelter near the Parthenon, June 4 through Aug. 27. Bring your own chairs, blankets and picnic supplies. Search “Centennial Park Big Band Dance” on Facebook for weekly bands and more details.

By publication time, the band schedule should also be at

Music City Jazz Festival

At press time, artists for the 2016 Music City Jazz Festival were just announced. This is a packaged two-day smooth jazz festival produced out of Birmingham, Ala., with some major artists featured and an international marketing scheme. The event starts June 2 with a kick-off party at the Bridge Building downtown, then moves to the Carl Black Chevy Woods Amphitheater at the Fontanel Mansion June 3-4 for the performances. Artists include Jonathon Butler, Gerald Albright, Spryo Gyra, Alex Bugnon, Pieces of a Dream, and Boney James. Event activities include food, wine and distilled spirits from local venues, block parties, and a golf tournament. VIP tickets and one and two-day festival passes are available. For tickets, sponsors, a complete line-up of artists, and more information, log onto

Franklin hosts a musical Porchfest

The annual Westhaven Porchfest in Franklin, Tenn., is a quaint throwback to the days of sitting on your porch and rocking in your chair to toe-tapping tunes as the sun goes down. The June 18 event features a diverse lineup of over 100 homegrown musicians playing across 26 porches in the Westhaven neighborhood — on the south side of I-96 just west of downtown Franklin — all culminating in a giant concert off the lake. In addition to the music, popular food trucks make the rounds and area haunts serve ice-cold libations. For info call 615-791-6740 And watch for the Franklin Jazz Festival to return during the fall season this year. TNM

APRIL–JUNE 2016 23




orty-four years ago, Thor Johnson, the music director of the Nashville Symphony, discovered Cynthia Estill was living in Nashville and made the fortuitous decision to ask her to join the orchestra. My colleague and friend Cynthy; who retires as our principal bassoonist, was not born in Nashville. In fact, Mt. Carmel, Ill., the town along the Wabash River where she grew up, was so small that, according to Cynthy, “We didn’t have a hospital so I was born in Indiana. It was great growing up in a small town. We actually went to drive-in movies on ponies! Because my father was a minister, we didn’t have much money. A lot of my clothes were from my cousins, or were bought on sale. But that didn’t bother me.” Many years later, after her family moved to Nashville, Cynthy’s father officiated at the weddings of Local 257 members Mary Kathryn and Gary Van Osdale, Kathryn Plummer to Lee Marsden, and even Cynthy’s marriage to Jack Phelps, a bassist who retired from the Nashville Symphony a number of years ago.

“He loaned me his recording of Bernard Garfield and the Philadelphia Orchestra playing the Mozart Bassoon Concerto — I knew I was in love! I think I wore out the grooves in the record!” Just before her senior year one of those life-changing opportunities occurred. Cynthy was accepted as a student at the Interlochen Arts Academy (IAA) during her final year of high school, and served on the food staff as part of her work study program to help cover her tuition. It was here at the Arts Academy where she first worked with Thor Johnson, who conducted the IAA Orchestra. He also conducted her performance of the Mozart Bassoon Concerto at the IAA graduation concert. When asked how she felt wearing the infamous navy blue corduroy knickers as part of the uniform for which Interlochen was famous, Cynthy said “I knew I was in the right place. In public school there were always those who were concerned with their appearance, but I didn’t care how ugly or outdated the uniforms were. It was about the music. And it was a beautiful campus out in the woods.”

A multitude of connections

In previous columns, as I’ve written about the histories of my retiring colleagues, I have commented on how many of us have overlapping histories and experiences, including attending schools and camps with musicians who later became our NSO compatriots. This time some of that shared experience is mine. As a kid I spent eight summers at Interlochen National Music Camp: In junior high I attended the AllState program, in high school I attended the eight-week summer camp and worked with Thor Johnson the summer before his death, and in my college years I worked on food staff one summer while performing in the University Symphony, and studied with my teacher two summers in university division. My one regret was that — as much as I wanted to — I never got to attend high school at the IAA. As our conversation continued, Cynthy mentioned the opportunity the IAA orchestra had to travel to the University of Michigan to rehearse and perform The Messiah in Hill Auditorium for an entire

Early life and a musical family

Cynthy’s mother was also a musician, and was the practical one in the family. “She made sure I practiced piano from a young age, and it was my mom who chose the bassoon for me, because she knew it could very possibly be the ticket for a free education, if I practiced.” She has two siblings; her sister Ceci was a Nashville Symphony violinist until shoulder problems ended her career with the orchestra, and her brother Tom is retired from the Federal Reserve in San Francisco. The family moved to Elkhart, Ind., when Cynthy was 13. She began taking private lessons; her teacher was a bassoon/saxophone doubler who had toured as a young man with Woody Herman. 24 THE NASHVILLE MUSICIAN

Estill during 1988 shutdown concert at Green Hills Mall

Cynthia Estill posing with NSO musicians on steps of SSC

Estill at NSO Halloween Pied Piper concert

SYMPHONY NOTES week. I remembered visiting my friends who came to Ann Arbor my senior year in high school to perform The Messiah. My freshman year at U of M, the University Choral Society that sponsored the performances, finally wised up to the fact that there was a pretty good music school on campus and from then until today, members of the University Symphony Orchestra serve as the orchestra for these performances; I played The Messiah all six years I attended Michigan. Both Cynthy and I performed The Messiah for the first time in Ann Arbor.

Coming to Nashville

During Cynthy’s senior year at the Academy, her family moved to Nashville so her father could serve as regional minister of Tennessee. Following graduation from the Academy, she was offered a full scholarship to Oberlin. She and former NSO assistant principal cellist, Julia Tanner, who retired just last season, were classmates at Oberlin. In the middle of her junior year, she suddenly quit and went to Bloomington, Ind., to study with Leonard Sharrow, former principal bassoonist of the Chicago Symphony Orchestra, who was on the faculty of Indiana University. ”I stayed with a friend I went to the Academy with, who was going to IU, and I tried to learn to cook!” The next semester, Cynthy transferred to IU and completed her bachelor’s degree in bassoon performance, and then stayed on to begin working on her master’s degree. “My life changed when I was at IU; it was a golden era of incredible teachers and a huge number of great students and faculty. I studied chamber music with Gyorgy Sebok, and the great cellist Janos Starker.” She graduated in 1971 and, following a break up, moved back to Nashville. Thor Johnson asked Cynthy to join the Nashville Symphony in 1972 as third bassoon. “Not long after joining the orchestra, second bassoonist, David Gowans, who taught the current Cincinnati Symphony principal bassoonist, suggested we swap chairs.” She said, “He was very sweet and supportive.” In 1975, not too long after Thor Johnson died, the NSO principal bassoon position became available. “John Nelson, who was our interim music advisor, hired me to play principal.” Nelson was later hired as the Indianapolis

Symphony Orchestra’s music director. And when the teaching and Blair Woodwind Quintet position came open, her high school orchestra and band director from Elkhart called her from his hospital room to encourage her to apply for the job. “He died far too early; he was 51.” Cynthy got the job, and spent the past 40 years performing as a member of the Blair Woodwind Quintet and teaching at Blair.

Career and beyond

Over the past 44 years she has performed and taught at Blair, the Rocky Ridge Music Center and the Aspen Music Festival. She has worked with some of her favorite artists – Emanuel Ax, Janos Starker and Jack Benny – and shared that “musically, the best years were when Kenneth [Schermerhorn] was music director.” She has loved working with her section members – Dawn Hartley, Gil Perel and before Gil, there was Pat Gunter. She added, “It’s been a joy playing with Dawn and Gil. And before Dawn, our second bassoon was Chad Cognata; he left us to become principal bassoon in the Colorado Symphony.

Chad was my student before he was hired as second bassoon and I’ve always been very proud of him.” Retiring from the symphony is just a few months away but as someone who “still loves music,” Cynthy said, “I hope to continue playing some.” She added, “I’m looking forward to spending time with my piano, which has been largely ignored for a long time. I have a few other instruments around the house that will probably get some attention as well. I’m also looking forward to sailing … another hobby of mine that needs dusting off!” Cynthy will also have more time to spend with daughter Kimmy, who graduated with a degree in biology, and is currently working up in Lexington, Ky., for a horse veterinarian. “I was blessed to have early opportunities and people who recognized my potential. Interlochen gave so many people a head start and Thor and others paved the way for me – blessings on them. It’s been an incredible joy to have been a part of this orchestra and I look forward to hearTNM ing many concerts in the future.”




May 6 Friday-morning concert







June 12


June 17

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June 23





July 3

May 21



July 8

May 31

615.687.6400 •

June 4

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SONNY JAMES 1928 – 2016

“We’d do a variety of material — ballads, uptempo and even bluesy songs — but I stayed the same. I tried to give the fans the kind of songs they had come to expect. I think that was the reason­I had such success.” ­Sonny James


ountry Music Hall of Fame artist Sonny James, 86, died Feb. 22, 2016. Best known for his 1956 crossover hit “Young Love,” as well as a long string of No. 1 country records, he was a 53-year member of the Nashville Musicians Association who joined the local in 1963. He was born Jimmie Hugh Loden in Hackleburg, Ala., May 1, 1928, to Archie and Della Burleson Loden. He was performing in his family’s country band at the age of four, where he was given the nickname “Sonny.” By the time he was a teenager he was participating in fiddling competitions, and had also become an accomplished guitarist. He was a solo performer on Louisiana Hayride and Big 26 THE NASHVILLE MUSICIAN

D Jamboree, and moved to Nashville in 1952, after serving in the U.S. Army during the Korean War. He was signed to Capitol Records, and adopted the stage name Sonny James after a suggestion from his producer, Ken Nelson, who said it would be easier for people to remember. James’ breakthrough hit was “Young Love,” which sold more than three million copies and became one of the most popular singles of 1957. Shortly afterwards, James became host of Ozark Jubilee, which aired on ABC-TV from Springfield, Mo. He also performed on TV variety shows including Ed Sullivan. James appeared in the movies Nashville Rebel and Las Vegas Hillbillys. James often recorded versions of pop

and R&B hits, like “Only the Lonely,” and “Bright Lights, Big City.” In 1995 James said he always tried to do material that fit him. “We’d do a variety of material — ballads, uptempo and even bluesy songs — but I stayed the same. I tried to give the fans the kind of songs they had come to expect. I think that was the reason I had such success.” In the ‘60s James was named the No. 1 Country Male Artist of the Decade by Record World magazine, was given a star on Hollywood’s Walk of Fame, and joined the Grand Ole Opry. He co-hosted the first Country Music Association awards show in 1967 with Bobbie Gentry. He also had success as the producer of Marie Osmond’s No. 1 record “Paper Roses,” and had his final hit as a performer with “A Free Roamin’ Mind.” Throat problems forced his retirement in 1983. He became a member of the Country Music Hall of Fame in 2006. Survivors include James’ wife, the former Doris Shrode. Funeral services were held at the Hackleburg High School Gym in Hackleburg, Ala., on Feb. 27.


Pete Huttlinger 1961 – 2016

Pete Huttlinger, 54, died Jan. 15, 2016 in Nashville. The gifted guitarist also played banjo and mandolin, and joined the Nashville Musicians Association in 1985. A native of Washington, D.C., he was born June 22, 1961, and was the youngest son of Joseph Bernard Huttlinger, a White House correspondent and trade journalist, and Mary Elizabeth Walker Huttlinger. He first became fascinated with music at the age of nine after he heard a relative play five-string banjo. Born with a rare heart defect, he underwent a series of operations beginning in his teens. He landed a gig as John Denver’s guitarist in 1994 after the artist’s producer heard him on a session. Huttlinger toured with Denver for four years, and also played on Denver’s records and TV specials. He began a solo career in the ‘90s and won the National Fingerpick Guitar Championship in 2000. In addition to his own concerts, he also toured with LeAnn Rimes and John Oates, and recorded over 15 albums. His appearances included New York’s Carnegie Hall and Eric

“I’m a better person for all I’ve gone through.” Pete Huttlinger

Clapton’s Crossroads Festivals. Following a catastrophic heart failure in 2011 that resulted in a four-month hospitalization he returned to touring and recording, and also conducted numerous guitar camps. He also gave inspirational talks to a variety of groups on the topic “Don’t Just Live: Live Well.” His last musical performance was in Atlanta, Ga., Jan. 9, 2016, and he released his final album — Parnassus — a collaboration with vocalist Mollie Weaver, in 2015. Huttlinger and his wife wrote a book in 2015 about their experiences with his recovery, Joined at the Heart: A Story of Love, Guitar, Resilience and Marigolds. In the book he talked about his struggle to play again after the physical issues he suffered four years earlier. “I began by playing — badly — the simplest things I could remember … I would fingerpick a little exercise on an open-D chord. I hadn’t forgotten anything, I just couldn’t play anything … yet. ‘Yet’ is the key word if you ever have to recover from anything. Give yourself time. After four and a half years I’ve got 90 percent of my chops back … I’m working all the time and I’m a better person for all I’ve gone through.” Survivors include his wife Erin Morris Huttlinger, stepchildren Sean Della Croce and James Della Croce; one brother, Frank Huttlinger; and one sister, Theresa Vigour. A memorial service was held Feb. 27 at City Winery. Donations may be made to the Pete Huttlinger Memorial Fund Benefiting Advanced Cardiac Research at Vanderbilt University.

Grand Ole Opry with Smith. Show announcer Eddie Stubbs said “Rick Wright was an extraordinary guitar player and he was greatly admired by fellow musicians. It was always interesting to watch other guitarists in the wings watching him onstage.” In addition to his work with Smith, Wright played with the Music City Playboys, Rachael Hester, and other musicians at Lower Broadway venues. Drummer John McTigue, III, talked about his friendship with Wright. “The first time I met and played with Rick was through Connie Smith. I was filling in between drummers. Rick and I got along great and ended up doing a lot of gigs around town. Rick was a total pro and always brought a lot to the musical table. He was always learning and trying new ideas. He was completely dedicated to his craft and to the artists he worked with. As well as being a master guitarist, he was a good singer and a great guy to hang out with. I’m definitely feeling the loss of his musical presence,” McTigue said. Survivors include his wife Sherrie Wright; one son, Joshua Stonebraker, two grandchildren, his mother Linda Wright Piro, two brothers Steve Wright and Joseph Piro; one uncle, Joe Wright, two stepsons, Nicholas Thomas and Jay Thomas, and five step-grandchildren. Funeral services were held Feb. 14 at the Phillips-Robinson Funeral Home in Nashville. In lieu of flowers memorial donations can be made to the Sherrie Hensley-Rick Wright Benefit Fund at any Regions Bank.

Rick Wright 1958 – 2016

Rick Wright, 57, died Feb. 7, 2016. He was the longtime guitarist for Connie Smith and a 14-year member of Local 257. Born in Burbank, Calif., Oct. 31, 1958, he moved to Oklahoma City with his mother and brother in 1971, where he started to play with his mother’s band at the age of 14. After moving to Nashville he began to play with Country Music Hall of Famer Smith, and also appeared on her 2011 album “Long Line of Heartaches.” Wright frequently performed on the

Rick Wright continued on page 28 APRIL–JUNE 2016 27


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continued from page 27

James Howard “Jimmy” Maynard 1928 – 2015

Life member James Howard “Jimmy” Maynard, 87, died Dec. 15, 2015 in Lebanon, Tenn. He was a guitarist who played with Bill Monroe’s Blue Grass Boys and later formed the Cumberland Mountain Boys with Bill Thomas, Charlie Smith — another former Blue Grass Boy — and Johnny Montgomery. Maynard joined Local 257 in 1958. Born April 22, 1928 in Temperance Hall, Tenn., he first became familiar with Monroe’s music at the age of 13. After service in the U.S. Army, he moved to Nashville where he made the acquaintance of other musicians, including banjo player Curtis McPeake and fiddle player Charlie Smith. These friendships led to some jams with Bill Monroe backstage at the Opry, and Monroe began to use Maynard as a fill-in guitarist and singer. In the ‘60s he became a regular member of Monroe’s band and also played on some sessions during that period. Maynard was a member of the band when Monroe made his Carnegie Hall debut. After his work with Monroe, he toured with the Cumberland Mountain Boys, playing shows and area radio programs. The band recorded an album called Bluegrass Music of the ‘60s for JME Records. Maynard also played with Curly Seckler, Carl Tipton, and the McCormick Brothers. Graveside services were held Dec. 17 at Gordonsville Cemetery. A memorial service was held Dec. 19 at the Kingdom Hall of Jehovah’s Witness in Lebanon; Brother Dennis Bowman officiated.

Stanley J. Biernat 1927 – 2015

Stanley J. Biernat, 88, died Oct. 21, 2015. He was a life member of the Nashville Musicians Association who played steel guitar with Roy Drusky. Biernat joined the local in 1974. He also played fiddle and bass. Born Feb. 20, 1927 to the late Andrew and Barbara Filas Biernat, he worked with local Utica, N.Y., musicians before moving to Nashville, where he worked with Drusky and others over a 50-year career. In addition to his work as a musician, Biernat owned and operated a tavern in Utica, and was a supervisor at Univac Plant and Mohawk Data Science. After retirement, Biernat moved to Key Largo, Fla., where he resided until his passing. In addition to his parents, he was preceded in death by five sisters, Sophie Jones, Mary Alice Baran, Ann Czupryna Strawinski, Sally Lewandowski and Gladys Casey; and three

FINAL NOTES brothers, Lawrence, John, and Joseph Biernat. Survivors include one sister, Sadie Parkola; one brother, Frank Biernat; and numerous nieces and nephews. A memorial service was held Feb. 13 at Holy Trinity Church in Utica. In lieu of flowers, donations may be made to the Alzheimer’s Association in Biernat’s memory.

Jimmy A. Palmer 1938 – 2015

Jimmy A. Palmer, 76, died Dec. 6, 2015 in Springfield, Tenn. Palmer played fiddle, bass and guitar, and was a life member of Local 257 who joined in 1975. He was born Dec. 30, 1938 to the late Jack and Ada Palmer, and was a lifelong resident of Springfield. He worked 45 years for the Holman and Holman Insurance Agency; he was president of the agency from 1975 – 2011. Palmer was active in his community, and well known for his participation in local events. He was an antique car collector, and also a member of the Tennessee/Kentucky Threshermen’s Association, the Tobacco Belt Region Car Club, the Bell Witch Opry, NSRA, Good Guys, and a member of the Bounty men and the Reunion of Professional Entertainers. He was also a 45-year member of the Springfield Baptist Church. Over his career Palmer played with many artists including David Frizzell, Jimmy Fortune, Earl White, Charlie Collins, Benny Martin, Martha Carson and John Hartford. In his later years he was a frequent participant in local bluegrass jams. Survivors include his wife of 54 years, Robbye Palmer; two sons, John Marc Palmer and David Palmer, and one grandson. A celebration of life was held Dec. 10 at the Chapel of Springfield Funeral Home, with Dr. James Dean and Martin Babb officiating. A private interment followed the service. Donations may be made to the Springfield Baptist Church, 400 N. Main Street, Springfield, TN., 37172.

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.


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




Life Member

Stanley J Biernat





Ray Griff





Peter J Huttlinger





James Sonny Loden





Rick W Wright





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 2016 29


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


TOTAL REVENUES 1107621 305143 233412 28310 1674486 EXPENSES SALARIES & PAYROLL TAXES 463577 463577 OFFICER’S EXPENSES 19232 19232 OFFICE EXPENSES 148277 250 148527 OTHER EXPENSES 73985 20 74005 BUILDING & EQUIPMENT MAINTENANCE 60675 60675 PER CAPITA TAX 137729 137729 DEPRECIATION 23618 23618 FEDERATION INITIATION FEES 2860 2860 AFM-EP FUND 51238 51238 AFM WORK DUES 160207 160207 COMMISSIONS 2504 2504 ADVERTISING 1057 1057 ARTISTS & OTHERS 244486 244486 AFM - EP FUND EXPENSE 2423 2423 SERVICE CHARGE 4448 4448 MUSICIANS PAYROLL TAXES 12055 12055 BANK CHARGES & FEES 16102 158 33 16293 BENEFITS 256000 22000 278000 INSURANCE PREMIUMS EXPENSE 56085 56085 ENTERTAINMENT SERVICE EXPENSES 10383 10383 ERF CONTRIBUTIONS 7357 7357 CANDY & SNACK PURCHASES 124 124 PROFESSIONAL FEES 4000 4000 TRANSFER TO REGULAR FUND 42219 42219 TOTAL EXPENSES 1178925 305809 316118 22250 1823102 OPERATING PROFIT (LOSS) -71304 -666 -82706 6060 -148616

FINANCIALS NASHVILLE MUSICIANS ASSOCIATION Don't forget to like us on STATEMENT OF ASSETS, LIABILITIES AND FUND BALANCES DECEMBER 31, 2015 Facebook and Twitter. FUNERAL Search for Nashville REGULAR SPECIAL BENEFIT EMERGENCY FUND FUND FUND RELIEF FUND TOTAL Musicians Association ASSETS: CASH & CHECKING ACCOUNTS 212511 134401 25905 29907 402724 INVESTMENTS 25814 197342 223156 TOTALS 238325 134401 223247 29907 623880 DUE TO/FROM FUNDS -264490 0 262923 1567 0 PROPERTY & EQUIPMENT LAND 125000 125000 BUILDING 457995 457995 BUILDING RENOVATION 410741 410741 FURNISHINGS & EQUIPMENT 411281 411281 LESS: ACCUMULATED DEPRECIATION -913399 -913399 TOTAL PROPERTY & EQUIPMENT 491618 0 0 0 491618 TOTAL

465453 134401 486170 31474 1117498

LIABILITIES ESCROW AND ADVANCE PAYMENTS 16200 126700 8000 150900 PAYROLL TAXES WITHHELD 416 0 0 416 TOTAL LIABILITIES 16616 126700 8000 151316 FUND BALANCES 448837 7701 478170 31474 966182 TOTAL

AFM LOCAL 257 HOLIDAY CLOSINGS Memorial Day Monday, May 30 Independence Day Monday, July 4

465453 134401 486170 31474 1117498



MEMBER STATUS NEW MEMBERS Ark D Arlowm (Mark Douglas Darlow) DRM PRC 417 Gallatin Ave Nashville, TN 37206 Cell (615) 924-9935 Hm (615) 227-9773 Nathan Barlowe KEY GTR PRC 943 Greerland Dr Nashville, TN 37204 Cell (615) 473-9036

Kory K Caudill ORG PIA BAS HRM DRM 204 Aqueduct Place Gallatin, TN 37066 Cell (615) 838-6864 Mickey Jack Cones (Conederosa Enterprises Inc) BAS GTR KEY PRC VOC 631 Grant Park Ct Franklin, TN 37067 Jack Daniels (Alton J Dills) BAS GTR VOC 105 Katye Court Ashland City, TN 37015 Cell (615) 584-5758 Hm (615) 246-1404

Matthew John Delrossi (Matt Delrossi) GTR VOC KEY 1003 Kipling Dr Nashville, TN 37217 Cell (512) 696-8090

Caitlin Elizabeth Evanson (Caitlin Evanson) VLN GTR MDN VOC 405 Belvedere St San Diego, CA 92037 Hm (615) 306-8388

Thomas Anthony Delrossi (Tom Delrossi) DRM PRC 813 Maplewood Place Nashville, TN 37216 Cell (207) 441-1483

Ian Fitchuk DRM KEY GTR BAS 2405 Sandy Dr Nashville, TN 37216

Roger Dale Eaton GTR 110 Brunswick Dr Hendersonville, TN 37075

continued on page 32 APRIL–JUNE 2016 31

MEMBER STATUS EXPELLED Roy Buell Agee James William Anderson, III Michael Clayton Ashworth Samuel Brinsley Ashworth Denise Elaine Baker Michael T Baker Ruth Baker Billy Ray Barnette Bennie P Beach Dustin R Bear Margrethe Bjoerklund Kevin Joshua Black Kent D Blanton Robinson Harvey Bridgeforth Richard A Brothers Jeffrey Seth Brown Trey E Bruce Gary S Burr David James Carr Walter C Carter, Jr Pete Allen Coatney David Allan Coe Donnie G Collins Craig L Currier Thomas John D’Angelo Steven R Diamond Tom Sim Drenon, IV

continued from page 31

Casey Christopher Driessen David B. Dykstra Brian Robert Eckert Samuel M Ellis Robert Shawn Emerson Mark Steven Evitts Rory Darren Faciane Katherine A Farnham Darin Lee Favorite Geoffrey B Firebaugh Eric T Flores Patrick H Flynn Jason Kimo Forrest Jesse Barnard Franklin, III Jesse Vernon Frasure Juan M Garcia Adam Gardner John Gavin Mac D Gayden Alexander Hale Graham Johannes Augustus Greer Larry Thomas Harden Alexander Hargreaves Walter M Hartman Derek Harville Amos Jacob Heller Chip Henderson Shanna Lynn Hendrixson

Big Band to Bluegrass

all true, all real


Duff Clark Jackson Carolyn Dawn Johnson James David Jones, III William W Joor Glenn D Keener Emily A Kohavi Randy Alan Kohrs Chester J Kowall Keith H Landry Patrick S Lassiter James Philip Lassiter Tracy Lee Lawrence Brandon Skyler Lemmond Adam Gerard Lester Earl L Lett Timothy W Lorsch Leandria Tia Lott Jeffrey Lyle Michael Theodore Malinin Jeffrey A Marino Patrick L McDonald Charles Lynn Mead Rudy Miller Yankton Mingua Kevin Hugh Moore Jimmie Ray Murrell John Henry Myers David Clark Neal David Nels Nelson Mark Oakley James Andrew O’Brien Adam Ollendroff Bradley Charles Orcutt Bobby Van Osborne Hyram Lee Posey Christopher Aaron Powell Ronnie Victor Prophet Robert J Regan Paul Anthony Reissner William D Rigby Zach L Robbins Danny Roberts Edwin Imer Santiago Bruce Schmier Frank Duane Sciacqua Anthony Christoper Setola Tom Smith Tristen C Smith Edward L Smoak, Jr Donna Kay Stallings James Danny Stiltner Shawn Phillip Supra Philip Kelsey Sweetland Michael Lewis Swope Shoji Tabuchi Donald Lewis Teague Shane Michael Theriot Lisa E Thrall Jason Russell Tomlin, Sr James An Tooke Guthrie Trapp

NEXT LOCAL 257 MEMBERSHIP MEETING Monday, May 16, 2016 George Cooper Rehearsal Hall Doors open at 5:30 p.m. Meeting starts at 6:00 p.m.

Jonathan Marc Trebing John Henry Trinko Gary Lee Tussing Eric Tuttobene Christopher Tyrrell Ernest Vantrease Murph Wanca Mingzhe Wang N Leon Watson, Jr Earl Webb Daniel R Weller James Marshall White Frederick Lawrence Wilkerson David Andrew Wood Charles J Yamek Taylor B. York Michael James Zimmerman RESIGNED Gregory Scott Baker Grace L Baugh-Bennett Edward Alexander Black Philip Allen Brown John Charles Calzavara Joseph Randolph Dickey Carol Beth Garner Barry John Kyle Kevin Andrew Lennon Tyler Mire Michael Melvin Olekshy Tim Carlton Provence Micah Todd Schweinsberg Robert M Sterling Richard Alden Stickley Robert M Still Mr Zoro


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The “Do Not Work For” list exists to warn our members, other musicians and the general public about employers who, according to our records, owe players money and/or pension, have failed to sign the appropriate AFM signatory documents required to allocate pension contributions to individual musicians, or are soliciting union members to do non-union work. - Alan and Cathy Umstead are soliciting non-union recording work through this website and elsewhere, and are paying musicians less than scale with no benefits, pension or New Use protection. We are continuing to work in every way possible towards a solution to this very serious problem. Please feel free to contact us if you want to discuss how we can work together to fix this. TOP OFFENDERS LIST These are employers who owe musicians significant amounts of money and have thus far refused to fulfill their contractual obligations to Local 257 musicians. Positive Movement/Tommy Sims (multiple unpaid contracts from 2007 – owes $300K in court judgement) Terry K. Johnson/ 1720 Entertainment (unpaid contracts/unauthorized sales - Jamie O’Neal project) Eric Legg & Tracey Legg (multiple unpaid contracts and pension) Rust Records/Ken Cooper (unpaid contracts and pension) Revelator/Gregg Brown (multiple bounced checks/unpaid contracts) HonkyTone Records – Debbie Randal (owes $14K in court judgement) UNPAID CONTRACTS AND PENSION Knight Brothers/Harold, Dean, Danny & Curtis Knight (made partial payment) Ray Vega/Casa Vega (unpaid contracts and pension) UNPAID PENSION ONLY Conchita Leeflang/Chris Sevier Tebey Ottoh 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. James Bagley Stonebridge Station Entertainment TDM3 LLC The Collective


NON-AFM 257 MEMBER LIST There are many musicians who live and work in Nashville who are not members of Local 257. Apparently, some people believe that Tennessee’s “Right To Work” laws make it OK for them to use our services and not pay anything for them, which means that they are getting a free ride at the expense of the members of Local 257. You may be working side by side with these musicians, without realizing that you are working with non-members. The following is a list of musicians who are not currently AFM members and who owe Local 257 a significant amount in non-member services fees. If you are so inclined to reach out to them and explain the benefits of “doing the right thing” by paying their fair share and becoming an AFM 257 member, please feel free to do so and thanks in advance for your help. Jason Fitz Ed Eason Paul Bushnell Beau Black Misael Arriaga Jimmie Deeghan Brian Layson Clint Lagerberg Matthew Reviere Charles Bentley III Kelsey Lamb Randall Poole Frances Cunningham Philip Lawson Cassady Feasby Sterling Abernathy Chris LaCorte Galen Butler Richard B. Young Matt Stanfield

APRIL–JUNE 2016 35

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