OFFICIAL JOURNAL OF AFM LOCAL 257 OCTOBER– DECEMBER 2014
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CONTENTS Official Journal of the Nashville Musicians Association, AFM Local 257 | OCTOBER—DECEMBER 2014
6 7 9
ANNOUNCEMENTS Details on the next membership meeting, scheduled for Monday, Nov. 3, 2014, plus minutes of past meetings. NEWS The never-ending saga of the DOT, FAA, and musicians flying with instruments seems to be moving toward resolution. Plus, an interesting development for a well-known address on Belmont Boulevard. STATE OF THE LOCAL President Dave Pomeroy discusses the importance of solidarity in preserving the uniqueness of Music City. NEW GROOVES Secretary-Treasurer Craig Krampf talks about the importance of the ERF and the TEMPO funds plus more. HEARD ON THE GRAPEVINE The notable comings and goings of Nashville Musicians Association members.
11 GALLERY Member milestones and events.
14 COVER STORY: PETER FRAMPTON Our writer Warren Denney sits down with the iconic guitarist to talk about his current tour, legendary history, and the inescapable Nashville connection to it all.
20 FEATURE: SUMMER NAMM The yearly convention celebrates its second year in the Music City Center with an amazing line up of shows, demonstrations, and a jam-packed exhibition hall. Not to mention the best fellowshipping ever.
24 REVIEWS Fred LaBour, Joey Miskulin, Pat Flynn and Rich Redmond.
26 SYMPHONY NOTES The ICSOM conference and a new contract for NSO musicians.
28 JAZZ & BLUES A roundup of cool shows, and other happenings in the jazz and blues community.
29 FINAL NOTES We bid farewell to Jimmy C. Newman, Velma Smith, George Riddle, William Rehrig, Donald Morton, Earl White, Jack Solomon and Billy Bun Wilson.
33 MEMBER STATUS 34 DO NOT WORK FOR LIST
24 PAT FLYNN
OCTOBER–DECEMBER 2014 3
ANNOUNCEMENTS LOCAL 257 NOMINATIONS FOR OFFICE NOV. 3, 2014 OFFICIAL QUARTERLY JOURNAL OF THE NASHVILLE MUSICIANS ASSOCIATION AFM LOCAL 257
PUBLISHER EDITOR MANAGING EDITOR ASSISTANT EDITOR CONTRIBUTING WRITERS
Dave Pomeroy Craig Krampf Kathy Osborne Leslie Barr Austin Bealmear Warren Denney Roy Montana Kathy Osborne Laura Ross Vince Santoro Steve Tveit
CONTRIBUTING PHOTOGRAPHERS Mickey Dobo Tripp Ellis Denise Fussell Donn Jones Rachel Mowl Dave Pomeroy 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 Robert Sieben Lydia Patritto
DIRECTOR, LIVE/TOURING DEPT. Leslie Barr AND PENSION ADMINISTRATOR MEMBERSHIP COORDINATOR & Rachel Mowl LIVE ENGAGEMENT/MPTF COORDINATOR MEMBER SERVICES/RECEPTION Laura Birdwell
The next General Membership meeting will be Monday, Nov. 3, 2014 at 6 p.m. Doors will open at 5:30 p.m. Dues for 2015 will be the same as 2014. Immediately following the Nov. 3 general membership meeting, a special nominating meeting will take place. Nominations will be taken for: President, Secretary-Treasurer, Executive Board (seven positions), Hearing Board (seven positions), Trustees (two positions) and Sergeant-at-Arms. Following the nominations, an Election Committee will be elected by the members present. Ballots will be sent to all Local 257 members in good standing, and the votes will be counted no more than 30 days after the nominating meeting. We urge all Local 257 members to attend, and to consider running for office if so moved. Please note the applicable election Bylaws below: From our Bylaws: Article XV, Section 2: “The term of office for all elected officials shall be three years.” Article XV, Section 5: “An Election Committee of five members and two alternates shall be elected by the membership after nominations are complete.” Also from our Bylaws, Article XV, Section 4: “To nominate a member who is not present, the member nominating such member must present a signed statement stating his/her willingness to accept the nomination.” Our complete Bylaws are viewable online at www. nashvillemusicians.org. Article XV deals with Elections.
2015 DUES BREAKDOWN According to Local 257 bylaws, local dues shall be the amount last determined by the membership (Article 2, Section 3). $ 138.00………………Local Dues (Life member Local dues $34.50) 66.00………………AFM Per Capita (Life member per cap $50.00) 15.00………………Funeral Benefit Fund 27.00………………Funeral Benefit Assessment 3.00………………Emergency Relief Fund 2.00………………AFM Tempo Fund 3.00………………Emergency Relief Fund (voluntary) 2.00………………AFM Tempo Fund (voluntary) $ 254.00………………Total 2015 Dues Regular Members (including $5 voluntary) $ 134.50………………Total 2015 Dues Life Members (including $5 voluntary)
MINUTES OF THE EXECUTIVE BOARD MEETING JUNE 30, 2014 President Dave Pomeroy called the meeting to order at 8:50 a.m.
ATTENDING: Pomeroy, Secretary-Treasurer Craig Krampf, Jimmy Capps (JC), Tim Smith (TS), Tom Wild (TW), Andre Reiss (AR) and Jonathan Yudkin (JY). Absent with excuse: Laura Ross (LR) and Duncan Mullins (DM).
READING OF THE MINUTES Reading of the minutes of the meeting, March 20, 2014: MSC to approve: TW and JC. Unanimously approved.
PRESIDENT’S REPORT Pomeroy reported on the following: 1. An out of court settlement has been made with Spike TV (a subsidiary of MTV Networks Entertainment Group, a division of Viacom), the current owners of the old Nashville Network and TNN. An initial distribution of funds has been made. 2. A new AFM jingle agreement was reached on June 14. The three-year agreement provides for an upfront six percent increase in wages for recording sessions and reuse payments. The contract also includes increases of health and welfare, and pension contributions. The agreement will be submitted to rank and file musicians for ratification.
TREASURER’S REPORT MSC to approve: AR and JY. Unanimously approved.
@ 2014 Nashville Musicians Association P.O. Box 120399, Nashville TN 37212 All rights reserved.
MSC to approve new members: TW and AR. Unanimously approved. MCS to adjourn: JY and TS. Meeting adjourned at 9:03 a.m. Respectfully submitted, Craig Krampf, Secretary-Treasurer
4 THE NASHVILLE MUSICIAN
MUSICIANS FLYING WITH INSTRUMENTS
COWBOY JACK CLEMENT’S FORMER HOME DESIGNATED NEIGHBORHOOD LANDMARK
Zavitson Music Group, the new owner of Cowboy Jack Clement’s home and studio, has obtained approval from Nashville’s planning commission to designate the former residence as a neighborhood landmark. Clement operated a recording studio out of his Belmont Boulevard home, known somewhat humorously to longtime music business professionals as the Cowboy Arms Hotel and Recording Spa. It was a gathering spot for generations of musicians, artists and writers including Johnny Cash, John Prine and Nanci Griffith. However, the home is in a residential area which technically bans it under Metro code from any commercial use. The decision to designate the site a landmark comes at a time when many older buildings on Music Row and in adjoining neighborhoods are being leveled to accommodate the development boom, which is bringing a plethora of new houses, high-rise condos and hotels to the area. Zavitson Music Group President and CEO Russ Zavitson said the business will move about 10 employees into the office. He said his main motivation is to continue to make history in the facility. “It’s great to be embraced by the industry and neighborhood and people who were part of the history there…it’s fun to see these kids come in and be fans of Johnny Cash…and want to add to the TNM history,” Zavitson said.
In February 2012 a federal law was passed that was intended to modernize policies for musicians flying with instruments. The law stated that musicians could carry on instruments as long as they fit in the overhead compartments of the plane, a major step forward for musicians hampered for years by inconsistent enforcement of carryon policies. It also clarified provisions for buying a seat for larger instruments. The law was set to take place after economic impact studies and other implementation work had been completed, and was expected to be concluded in two years — at the latest. However, in February 2014 it was discovered that implementation work was not finished, which the Department of Transportation (DOT) said was a result of stringent budget cuts. AFM President Ray Hair immediately got involved; and his proactive demand for action, combined with AFM National Legislative Director Alfonso Pollard’s Washington D.C. presence and expertise, led to a meeting with the DOT. Initial discussion was led by DOT counsel, which was wide-ranging and exhibited a desire by all sides to move forward. On July 9, 2014, AFM officials went to Washington D.C. to meet again with the DOT, representatives of the airline industry and other musician advocate groups. This was a significant step towards getting the process of implementation back on track. The AFM was represented by Hair, Pollard, and Local 257 President
Dave Pomeroy. Also in attendance were Washington D.C. Local 161-710 President Ed Malaga and violist Jenny Mondie who played a brief musical piece as a clarinet and violin were passed around to demonstrate the fragility of musical instruments to those in attendance. Pomeroy gave details on the types of problems musicians have encountered while trying to carry on their instruments. “I was able to use several of the stories that Local 257 members sent to me as examples,” Pomeroy said. “The airlines expressed a desire to get these complaints in writing, and I assured them that I had plenty of examples and that I would be more than happy to send to them, which I have done. Thanks to all the Local 257 members who gave me concrete examples on very short notice — your voice was, and will be heard.” Pomeroy said that during the meeting the AFM made significant progress in a number of areas and paved the way for the next steps. “Here’s what we learned: The DOT has found the money to complete the process of creating the rules and guidelines. We also learned that most, if not all, of the airlines have been working towards having instrument policies in place to match the parameters of the 2012 law. It was agreed we would start sharing all available information with each other, in the hopes of facilitating the process of creating the guidelines in a realistic and hopefully effective way,” Pomeroy said. A follow-up meeting was set for Sep. 29. “All indications are that we are very close to resolving this vitally important issue for our members and musicians everywhere,” Pomeroy said.
OCTOBER–DECEMBER 2014 5
STATE OF THE LOCAL BY DAVE POMEROY
“I hope we can all work together in harmony to use the power of music to give back to our city and creative community, and build a brighter future for the next generations of musicians.”
At its best, Nashville and its music industry both have a sense of community that is like no other place on earth. This did not happen overnight, and while time and technology continue to march on, the basic principles on which Music City was built have remained. Industry pioneers like Owen Bradley and Chet Atkins established a tradition long ago of treating musicians with respect and paying them fairly through the AFM. This is one of the main reasons why Nashville has been a magnet for musicians for decades, and why Local 257 is the third largest AFM Local in the U.S.
Your involvement is our strength Any organization — but particularly a labor union — is only as strong as its members allow it to be. The quality, versatility and efficiency of Local 257 musicians creates the leverage needed to ensure that employers understand that if they want the best players Music City has to offer, the work has to be done on an AFM contract. Bringing work “on the card” is a collective effort that starts with the musicians being aware of the importance of protecting themselves. All it takes is one person or better yet, several of you speaking up, to make it happen. Members who are informed and involved make a good organization better. We are seeing more and more positive results from our collective efforts. For example, over the past few months we have had numerous success stories of getting film soundtrack work 6 THE NASHVILLE MUSICIAN
on the proper AFM contract, which opens up a whole new residual revenue stream for players. Almost every time that process started with a musician asking the right questions and letting us know what was going on. We were able to get the jump on these situations rather than trying to chase them down after the fact, and the results speak for themselves. This is how we work together for the common good of all of us.
Doing the wrong thing We have positive relationships with thousands of employers, but there are still those people who seem to have no problem trying to take advantage of musicians. That is when the strength of an AFM contract is essential. When employers renege on their responsibilities, we are not afraid to call them on it and do whatever it takes to make things right. I have negotiated a variety of settlements this year for the unauthorized sale of music recorded under AFM contracts and distributed it to the musicians involved or in some cases their rightful heirs. We currently have a variety of legal actions in the works against those who have ripped off our members and ensure they do not get away with it again. The Local 257 Do Not Work For list on page 34 is there as a heads up and reminder to our members and others that there are still people who seem to think it’s OK to break their word and ignore their legal and moral obligation to pay people for their work. The Do Not Work For list is also available online at nashvillemusicians.org.
Saving Music Row There has been a lot of talk and speculation recently about the changing landscape of Music Row. The organic way in which Music Row evolved over many years is part of what makes this area of
Nashville unique. We have already lost a number of iconic buildings that were the scene of some of the greatest musical moments of all time. RCA Studio A is the latest symbol of “progress” colliding with history. I hope that voices of reason will prevail and that Studio A can be saved. It is the last of four unique RCA studios around the country, and it would be a shame if money rules the day and this historic building is demolished. It deserves a better fate than the wrecking ball and yet another generic condo development, which we have plenty of already!
Support our symphony As we went to press, the Nashville Symphony ratified a new four-year contract that begins the process of restoring their wages from the 15 percent cut they took a year ago. We will be working together with NSO management and the board to find new sources of revenue so we can have significant increases in the last two years of the contract. We urge all of you to support our amazing symphony musicians in any way you can. What they bring to our community is priceless and should never be compromised. Nashville has been very good to me, and I am grateful for the opportunity to serve as your president. It has been an incredible learning experience and very rewarding to be able to help make a difference in the lives of Nashville musicians, and I appreciate all of you and everyone who works here at the Nashville Musicians Association. It’s a team effort and you are welcome to join in. I hope we can all work together in harmony to use the power of music to give back to our city and creative community, and build a brighter future for the next generation of musicians. Thanks to all of you for your support and involvement in Local 257. We TNM couldn’t do it without you!
NEW GROOVES BY CRAIG KRAMPF
Greetings, brother and sister musicians. With the release of this issue, we are well on our way into fall, and soon we will be coming up on the ending of another year. My hope is that this year has been a good one for you. I have had some health issues this year, but everything is well, and for that I am grateful and thank God. We need to remind ourselves from time to time that life can change in an instant and so, we should enjoy it as much as we can.
We are asking for your generosity If you take note of your annual dues postcard that will be arriving soon or the breakdown of the 2015 membership dues that is printed in this issue, you will notice two voluntary categories: an additional $2.00 for our Emergency Relief Fund (ERF) and a $3.00 contribution to the AFM TEMPO Fund.
Local 257’s Emergency Relief Fund The fund’s full name is “The Vic Willis Emergency Relief Fund,” since it was conceived during Willis’ term
as secretary-treasurer. It has helped countless Local 257 members in need of financial assistance, usually because of health reasons. Members may apply once a year for this assistance which is not a loan, but a gift from your brother and sister musicians here at the local. There is an anonymous committee that goes through the official Local 257 application (we can send it to you as a PDF or mail it to you) and accompanying supporting paperwork (i.e. bills, financial statements). This committee works diligently to arrive at a fair and unbiased opinion on whether or not to grant the request. If things are going well for you financially, we ask you to consider making a donation to the ERF on top of your dues payment, to help bolster funding. During the last few years, the fund has run dangerously low towards the end of the year.
The AFM TEMPO Fund TEMPO is the AFM’s legislative action fund and is one of the most effective ways AFM members have to take collective action and to make our voices heard in Washington, DC. The AFM National Legislative Office, headed up by Alfonso Pollard, advocates legislative policies that help the lives of working musicians. It is funded by voluntary, tax-deductible member contributions to The AFM TEMPO Fund. The fund is truly non-partisan.
I experienced this firsthand when we visited Republican, Democrat and Independent members of the United States Congress on our trips to Washington, DC to lobby for musicians’ issues. A recent example of AFM political action at work has been the effort on standardizing regulations for airlines and carry-on musical instrument policies. We are asking you to support the TEMPO voluntary category to the best of your ability. Note: Call the local for electronic documentation of the new carryon law and other travel tips for musicians.
Epilogue It seems early to do so as I write this column, but I wish, hope and pray that you and all your loved ones have a wonderful Thanksgiving, a Merry Christmas, Happy Hanukkah and a most wonderful New Year. May 2015 be filled with lots of love, good health, peace and prosperity sprinkled with smiles and laughter. Author Jay Dixit wrote in a Psychology Today article: “Life unfolds in the present. But so often, we let the present slip away, allowing time to rush past unobserved and unseized, and squandering the precious seconds of our lives as we worry about the future and ruminate about what’s past.” May we be able to pay attention to the present moment and become aware of the immediate experience and the joy of being alive. TNM
OCTOBER–DECEMBER 2014 7
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HEARD ON THE GRAPEVINE KENNY CHESNEY Local 257 member Kenny Chesney is well known for his soldout concert tours and hit records, but many don’t know that he is also a filmmaker. His newest football documentary, The Believer, debuted on ESPN’s SEC network in August. The film is about South Carolina head coach, Steve Spurrier, a Heisman Trophy winner who went on to become the most winning coach in South Carolina history. Chesney also helped create the high school football documentary The Boys of Fall, and The Color Orange, a film about the University of Tennessee player Condredge Holloway, who was the first African-American starting quarterback in the Southeastern Conference. ALAN JACKSON “Alan Jackson: 25 Years of Keepin’ It Country” is the newest exhibit at the Country Music Hall of Fame and Museum. On display are artifacts from the Grammy Award-winner’s time growing up in Newnan, Ga., as well as his career in music. Awards, instruments, costumes and momentos that many will recognize from his concerts and videos will be included, as well as handwritten lyrics to “Livin’ on Love” and “Where Were You (When the World Stopped Turning).” The exhibit will run through March 2015. THE MEMPHIS BOYS Members of The American Studios Band, aka The Memphis Boys — and Chips Moman — were recognized in August with an historical marker at Thomas and Chelsea Avenue in Memphis. Moman, who helped develop Stax Records, wooed members of staff bands at Hi Records and Phillips to form the legendary group (all members of Local 257): guitarist Reggie Young, drummer Gene Chrisman, pianist Bobby Wood, organist Bobby Emmons and bassists Mike Leech and the late Tommy Cogbill. The marker was placed at the site of the former American Recording Studio. This location is where the band cut Elvis Presley’s 1969 “comeback” sessions, as well as over 100 chart hits between 1962 and 1972, including records for Dusty Springfield (“Son of
a Preacher Man”), Neil Diamond (“Sweet Caroline”), B.J. Thomas (“Hooked on a Feeling”), Bobby Womack (“Fly Me to the Moon”) and many others.
ADCOCK RECEIVES STEVE MARTIN PRIZE
Banjo player Eddie Adcock was the recipient of the prestigious 2014 Steve Martin prize for Excellence in Banjo and Bluegrass. The honor includes a cash award of $50,000. Selection of the winner is made by a board which includes Martin and other musicians, including Bela Fleck, J.D. Crowe and Tony Trischka. Adcock, a Grammy nominee, began his career playing alongside Bill Monroe and later joined the Country Gentleman. He commented on what it meant to receive the award. “Well, it means recognition for what I’ve tried to do in music all my life and still try to do — be myself and find new paths. It means that hasn’t been forgotten; it’s a renewal,” Adcock said. “I bless Steve and his prize for lightening the load and chasing the blues. I thank God, and I thank Steve Martin — there’s only one TNM of each!” OCTOBER–DECEMBER 2014 9
Big Band to Bluegrass
all true, all real
4. 1. JESSE MCREYNOLDS shows off his 50-year AFM pin before performing at the Grand Ole Opry, where he has also been a 50 year member.
2. RICH ECKHARDT proudly displays his 25-year AFM pin. 3. JIM VEST receives his life member pin and displays a proclamation from the state of Tennessee commemorating his contributions to music.
www.tom shed.com 10 THE NASHVILLE MUSICIAN
4. Guitar player DENNIS LUMPKIN receives his AFM 25-year pin from Craig Krampf.
GALLERY STEVE GIBSON (r) was recognized as a “Nashville Cat” on June 18 at the Country Music Hall of Fame and Museum. Pictured here with Mike Noble.
BRIAN ARROWOOD Nashville based Fiddle Player
2. 1. New AFM 257 member JOEL SANDERS sings a tune at the monthly member jam.
2. ANDREW DICKSON rocks at the June member jam.
• 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 www.brianarrowood.com email@example.com OCTOBER–DECEMBER 2014 11
GALLERY ACM HONORS: Several Local 257 members were celebrated during the 8th Annual ACM (Academy of Country Music) Honors, held Sept. 9 at the Ryman Auditorium. Special Award recipients included Cowboy Jack Clement (posthumously), Kris Kristofferson and Ronnie Milsap. Studio Recording Awards (formerly MBI Awards) were given to drummer Shannon Forrest, steel guitarist Paul Franklin, producer Dann Huff, keyboardist Charlie Judge, guitarist Rob McNelley, bassist Michael Rhodes and Bryan Sutton for specialty instrument. TNM NOMINATION MEETING
ACM Bassist of the Year MICHAEL RHODES and Guitarist of the Year ROB MCNELLEY visit with AFM President RAY HAIR before the ACM Honors show at the Ryman on Sept. 9.
On Nov. 3, a nomination meeting will follow the general membership meeting, set to begin at 6 p.m. at the local. To be eligible for nomination, a member must be in good standing and have held full membership in AFM Local 257 for not less than twelve (12) months prior to the election, and during that said period, shall not have been found guilty of the violation of any of the Bylaws.
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WEEKLY SONGWRITER SESSIONS Established songwriters tell the tales behind their hits and perform in an intimate setting.
UPCOMING SPECIAL PROGRAMS SATURDAY, OCTOBER 18 POETS AND PROPHETS: A SALUTE TO LEGENDARY SONGWRITER BILLY EDD WHEELER SATURDAY, NOVEMBER 1 NASHVILLE CATS: A SALUTE TO FIDDLER STUART DUNCAN SATURDAY, NOVEMBER 15 CONCERT AND CONVERSATION: RALPH PEER AND THE MAKING OF COUNTRY MUSIC WITH CARLENE CARTER, BARRY MAZOR, RALPH PEER II, AND MORE
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14 THE NASHVILLE MUSICIAN
By Warren Denney
is as if Frampton, in one captured moment, had been designated through fate to question the future for everyone. And, it was certainly a questionable future for rock & roll in 1976, the year of its release, as well as for fans who were experiencing the great slide of the times. The double live album soared to No. 1 within weeks, and stayed on the charts for nearly two years. At that point, it was the greatestselling live record of all time. Through his bright and undeniable guitar work, his tenor voice and signature talkbox, and through hits like “Show Me The Way” and “Do You Feel Like We Do,” Frampton emerged from near-obscurity to rock megastar overnight. The hits became radio standards, a phenomenon which holds true today, 38 years later, on classic rock stations. But, in many ways, Frampton was the reluctant hero, the guitar god with the boyish air who could somehow see through
FRAMPTON Reluctant Guitar Hero The image is there, burned forever into the collective rock & roll consciousness — the compelling image of youth, gazing beyond the viewer, strangely innocent, with a guitar hanging from the shoulder and stage lights hovering hazily in the background. It is Peter Frampton on the cover of the iconic record Frampton
it all. He had been a prodigy, maybe a little wise, and a professional by age 14, growing up the son of a schoolteacher in Bromley, Kent, England. Coincidentally, David Bowie was a schoolmate of Frampton’s — three years older — at Bromley Technical School. “I pretty much knew by the time I was 12 years old that this was the major force in my life,” the Local 257 member said recently from his Nashville home. “By the time I was 15, I had multiple offers from bands and I had already been in several others. I could have gone professional earlier than I did, but my father was a teacher, and he had a different idea about the whole thing.” Frampton, in the early 1960s, was coming of age during a time when a new rock & roll was beginning to seethe and bubble in the crucible. “I think that the early music [caught my attention], from rockabilly — you know, with Elvis, and some of the early country music that got to me there in England,” Frampton said. “Jim Reeves, I remember. But for me, I was into Hank Marvin of the Shadows — very similar to the Ventures, but our version. And then there was Eddie Cochran, and Buddy Holly, and Scotty Moore. I really loved his [Moore’s] guitar playing. “Basically, I was living my dream. Like from 14, onwards — all the ups and downs that come along with that. Even those last two years, I was basically on the road more than I was at school. I left in 1966, or 1967, and I joined The Herd professionally. It wasn’t until late 1968 that everything happened quickly — Humble Pie was formed — and we were off and running.” The Herd had scored a few minor U.K. hits with Frampton, before former Small Faces guitarist Steve Marriott brought Humble Pie, along with bassist Greg Ridley and drummer Jerry Shirley, to him. It was a run that would last into the early 1970s for Frampton, and establish Humble Pie as an in-yourface, guitar driven, rock & roll tour de force. Through 1971, with Frampton in the lineup, the band produced four studio albums and the live record Performance Rockin’ The Fillmore in New York. continued on page 16 OCTOBER–DECEMBER 2014 15
continued from page 15
Though the band certainly never found the chart success that Frampton would go on to enjoy as a solo artist, Humble Pie played an important role in the pioneering of the guitar-laden supergroups of the decade. He released his solo debut Wind of Change, featuring Ringo Starr and Billy Preston, in 1972 and went on to record three more for A&M Records, all moderately received, between that year and the unforseen breakout Frampton Comes Alive!, recorded primarily at the Winterland Ballroom in San Francisco.
16 THE NASHVILLE MUSICIAN
As if someone had flipped a switch, Frampton was suddenly the shining idol and all that entails, rollicking to the rattle and jangle — as well as the distorted beat — of the rock & roll superstar. There he is, frenetic and thin as a scarecrow in bellbottoms, rocking the show on Midnight Special for Wolfman Jack. America was making it up as it went along. “It was such a jolt when it all took off, that it’s very hard to remember details back then — it all happened so fast,” Frampton said. “It was a very surreal period. I went from basically being
unknown, apart from Humble Pie, to this worldwide biggest record ever. “I think you can actually use the term ‘It blew my mind!’ in its correct form and place. That was definitely a mind-blowing moment. I had to sit down on that one.” A critical element that fueled Frampton’s meteoric rise was the use of a vocal effect that would become a trademark — the talkbox. The unit, which modifies the sound of Frampton’s guitar and directs it through a tube that is adjacent to his vocal mic, allows him to “sing” the guitar’s output. Two of the monster hits from Frampton Comes Alive!, “Do You Feel Like We Do” and “Show Me The Way,” featured the talkbox, bringing the obscure effect into the mainstream consciousness. The use of the talkbox is very much a Frampton fingerprint, and — of course! — its roots can be traced to a Nashville connection. “The first person I met from Nashville was Pete Drake, the pedal steel player,” Frampton said. “It was at Abbey Road Studios, during [the recording of] George Harrison’s All Things Must Pass record. I was playing on some of those sessions. He [Drake] had played on Bob Dylan’s Nashville Skyline, and recommended to George that if you wanted pedal steel, this was the man for him. “So, George flew him over and set him up right next to me in Abbey Road in London, and in a slow moment, he got out this little box — and I didn’t know what he was doing. Drake said ‘check this out,’ and all of a sudden he put this little pipe in his mouth, and the next thing I know the pedal steel is singing to me! It was a eureka moment for me. I had heard that sound, but Pete Drake had made it himself. There were no talkboxes being made commercially. It was his. Then, years later, I came to Nashville to live. It’s funny that this is the place [from which] the talkbox reached out to me.” The success, and excess, of Frampton Comes Alive! was unexpected, uncharted — and ultimately — unsustainable. “From that moment on, I became more and more scared,” Frampton said. “It was like I had the feeling that the bigger you are, or the higher you go, the bigger the crash. And that was in my mind right from the time we hit No. 1.”
was not an unfounded emotion. After all, Frampton was a seasoned veteran by then, and was now swept up in the industry’s absolute bloodthirst that accompanies such stardom. And, these were times for the mighty to fall. Elvis. The Beatles. Richard Nixon. Wherein lies the art of staying power? His follow-up record, I’m In You, was released in 1977 and contained the titletrack hit, but his commercial arc was in descent. Several years that followed were marked by well-documented personal setbacks, though he continued to record. And, in a reunion with his old schoolmate, Frampton appeared on David Bowie’s 1987 album Never Let Me Down. He subsequently participated in Bowie’s coinciding Glass Spider world tour, and the experience seemed to reset Frampton’s personal compass. It should be noted that Frampton’s session work has always been a vital part of his life, landing him squarely on the records of legendary artists such as Bowie, Harrison, Harry Nilsson, Ringo, Jerry Lee Lewis, John Entwistle, and many others. Frampton stayed the course. The following decade included the release of two records, Peter Frampton and Frampton Comes Alive! II, and in the late 1990s, he participated in notable recording and touring gigs with Ringo’s All-Starr Band and Bill Wyman’s Rhythm Kings. Though Frampton’s breakout moment, and his commercial apex, were defined in that golden year of 1976, he has been an artist that has fought for himself, remaining identifiable and relevant, never allowing himself to become frozen in time. Witness the release of Fingerprints on A&M in 2006, a record Frampton co-wrote and coproduced with Gordon Kennedy, which earned a Grammy for Best Pop Instrumental Album that year. And, that staying power — it lies in holding forth. Beginning in 2013, and continuing this year, Frampton has toured extensively throughout North America with his own rocking medicine show, Frampton’s Guitar Circus. The tour has featured many stellar guest performers, including such legends as B.B. King, Rick Derringer, Buddy Guy,
Robert Cray, Sonny Landreth, Vince Gill, Roger McGuinn, and others in a celebratory parade of friends and peers. In the studio, Frampton has gone through yet another evolution with this summer’s release of Hummingbird In A Box, on RED Music Solutions / Phenix Phonograph, a record inspired by the Cincinnati Ballet and again co-written and co-produced with Kennedy. It features seven original guitar pieces set to dance. “It started six or seven years ago when the Cincinnati Ballet approached me about using three or four pieces of my music from Fingerprints,” Frampton said. “They wanted to produce a pas de deux for an evening’s performance. I said yes. Then, over the next couple of years, we talked about my band playing live with the ballet, and how that would work. “I wrote seven pieces of brand new music which we then did — three performances of that show up in Cincy — and after that I decided I would record the music and it should be released. That’s what Hummingbird In A Box is. I had never written for a dance before. It was a challenge, which I really enjoy. In fact, it was very freeing.” Frampton, who was inducted into the Musicians Hall of Fame Jan. 28, 2014, seems at ease with his place in rock & roll history. It is one in which he has secured a rich and enduring creative legacy. And, he has made Nashville his permanent home, an environment he believes in which he can continue to thrive. “I moved back for good two years ago,” he said. “I’ve always loved it. It’s just a very inspiring city for me because there’s a different outlook here on people who write and perform — and who record music here. No TMZ here. You can see Garth Brooks in a restaurant, and nobody bothers him. We have a respect for the artist here. I just love that. I hope it never changes. “There’s so many great singers and writers, and musicians here in this town. It’s what the city is about — incredible, incredible players. Musicians. Even though there are stars, everyone’s a musician here. There’s a lot of respect for that, and that makes this town unique.” TNM
Frampton’s Guitar Circus The intersection of art and science The fans who attend the Circus are treated to a night with the rig that has, in effect, made the man. To the average listener, it is wizardry. To Frampton, it is the intersection of art and science. “We have three Marshall cabinets onstage,” Frampton said. “And it’s a wet, dry, wet situation — so the center cabinet is the dry, with the front end effects, and the regular distortion. The send from that head runs all the stereo effects, which get sent through a stereo power amp back to the left and right cabinets. Now you have your signal, and you have your delays, a stereo chorus, multi-effect units, whatever. All the stereo effects go through that. And it’s controlled by an expanded pedal that’s on the floor in front of me by my mic. Its all MIDI-controlled. “Each song on the pedal board has its own bank. You can basically pedal through them. They’re right there. I’ve been using it for years. It’s way out of date, but we’re waiting for a MIDI update [laughter]. It’s flawless. It’s phenomenal — a great system for me.”
OCTOBER–DECEMBER 2014 17
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Photo: Photo: Courtesy of Getty Images for NAMM
Summer NAMM is always one of the most exciting events of the year for Local 257 members, and the new Music City Center is a perfect venue for this extravaganza of the latest in musical equipment. NAMM has generously given our members free passes for the past few years, and also employed a lot of musicians during the convention as well. It’s a great chance for musicians of all types to check out the latest gear, reunite with friends from around the world, and see many one of a kind musical performances as well. Local 257’s booth was packed with volunteers, attendees and interested folks who learned a lot about what we do, some of whom ended up joining as new members. Many thanks to our friends at NAMM and everyone who helped the Nashville Musicians Association have a Dave Pomeroy, Musicians Hall of Fame founder Joe Chambers, Craig Krampf 20 THE THE NASHVILLE NASHVILLE MUSICIAN MUSICIAN 20
Guitarist Corey Congilio jams at the QSC booth.
strong presence at NAMM once again in 2014. – Dave Pomeroy
SUMMER NAMM 2014
Jellyroll Johnson (r) visits the Hohner booth and chats with fellow harp player Tim Gonzalez
Photo: Courtesy of Getty Images for NAMM
s Drummer Roy Wooten demonstrates how it’s done.
Local 257 Executive Board member Andy Reiss checks out a guitar at the Rocco booth.
s BAND FOR NAMM’S TOP 100 DEALER AWARDS SHOW (l-r) Dave Pomeroy, Roland Barber, Joe Gross, Evan Cobb, Duffy Jackson, Gary Barnette and John Hobbs
Local 257 Live Department Director Leslie Barr with Music Performance Trust Fund Director Dan Beck at a reception hosted by the MPTF. Beck is working with NAMM to raise awareness about the importance of music education.
continued on page 22 OCTOBER–DECEMBER 2014 2014 21 21 OCTOBER–DECEMBER
SUMMER NAMM 2014 continued from page 21
DAVE POMEROY AND THE ALL-BASS ORCHESTRA ROCK THE HOUSE AT SUMMER NAMM’S BASSES LOADED 2014 CONCERT (L-R) Dave Francis, Roy Vogt, Brian Shind, BIll Dickens, Charlie Chadwick, Chuck Rainey, Andy Irvine, Tisha Simeral, Dave Webb, Dave Pomeroy, Dave Roe, Vail Johnson, Bakhiti Kumalo, Don Kerce, Adam Beard, and Mike Chapman
257 members Evan Cobb and Roland Barber perform with Local 802 / Local 6 member Jon Hammond.
C 22 THE NASHVILLE MUSICIAN
Roy Vogt, Chuck Rainey, Charlie Chadwick and Dave Pomeroy at Basses Loaded 2014
Drums ♬ Percussion ♬ Programming ♬ Electronic Percussion
w w w.chuckbradley.me
AFM 257 Member
SUMMER NAMM 2014
Guitarist Jimmy Nalls visits the show with friend David Pinkston.
Local 65-699 board member Sam Dinkins III and his son check out the show.
Ty Campbell, Chuck Bradley, Leslie Barr and Jim Hunt at the Local 257 booth
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In the decades that have followed the founding of Riders In The Sky, the band has become an international institution — celebrating “The Cowboy Way” and all things Western since 1977. Ranger Doug Green, Woody Paul, Fred “Too Slim” LaBour and Joey Miskulin have carved out a unique niche in the music world. The Riders are consummate entertainers, and one of the secrets to their success is the way their independent personalities blend. Bassist Fred LaBour has been the jokester of the band for years, and accordionist Joey Miskulin, known as the “Cowboy Polka King,” brings a lifetime of musical versatility to the group. At first glance, one might not think these two guys would be in a band together, but after repeated listenings, LaBour’s and Miskulin’s latest solo projects reflect their personalities and flesh out their individual musical identities.
Say No More, It’s Freddy Labour Say No More Records On Say No More, It’s Freddy LaBour, Too Slim trades in his cowboy hat and the sheepskin chaps in exchange for a fedora and sneakers and a hilarious new comedic identity, Freddy Labour. The album is an entertaining romp through humorous original tunes and spoken word comedic monologues — with plenty of witty wordplay and a surprise or two along the way. A true solo effort, LaBour provides the instrumental backing on guitar and upright bass, face, percussion and a variety of voices. Opening with a one-two punch of “Aspiration Blues,” a number full of double entendres, and “Who Offed Hoffa,” a quizzical look back into one of history’s great unsolved mysteries. The title “Whilst Downloading Durante” is funny enough, but when LaBour pulls off a convincing vocal imitation of the man himself, this 43-second bit is simply too short and demands to be played again. In the midst of all this funny stuff, LaBour slips in the serious and heartbreaking “Father’s Day,” an all too familiar tale of a single dad cherishing every moment he has to visit with his son. It’s a jarring contrast but somehow it works. Before long, the listener is back rolling on the floor with laughter as he sings “Salting of the Slugs” a cappella in a hilariously exaggerated parody of a traditional Irish song. Other standout tunes include the joyful “Prozac Polka” as well as the Valley Girl meets John Wayne imagery of the spoken word “Cowboy Whoa!” The album closes with LaBour’s rapid fire delivery on the soon to be classic infomercial “Garth Does Darth Does Garth.”
The Other Side Of The Fence Music Wagon On the other hand, accordionist Joey Miskulin’s latest project outside the Riders, The Other Side Of The Fence, is a loving tribute to “the great music I grew up on,” he said. In his case, this means the classic jazz standards. With an outstanding band of some of Nashville’s top jazz players including Roger Spencer on bass, Andre Reiss on guitar, Josh Hunt on drums and the inimitable Denis Solee on clarinet, the band 24 THE NASHVILLE MUSICIAN
swings from top to bottom and beginning to end. “Avalon” kicks things off immediately with a tight ensemble performance — Miskulin’s effortless solo work demonstrates that he is a top-shelf jazz improviser. Solee’s supple and woody clarinet is a beautiful tonal match for the accordion, and as always, his solos are succinct and swinging. Reiss’ round tone and tasty note choices are evident throughout and the consistency of the instrumentation gives the whole record a unified feel. The Dixieland standard “Basin Street Blues” bounces along with a seamless call and response conversation between the clarinet and accordion — and Spencer chimes in with some tasty fills at the end of the tune. One surprise is the inclusion of “I’m So Lonesome I Could Cry,” given a Blue Note-style treatment — Miskulin plays the melody with a ton of soul over the relaxed groove. Solee’s clarinet follows as the band shifts into a bluesy midtempo swing for the solos, before shifting gears again, then returning to the familiar melody and descending chords of the coda. The track is a wonderful reimagining of a country classic. Miskulin’s mellifluous vocals on “Our Love Is Here To Stay” and “It’s Almost Like Being In Love” are understated and right in the pocket —they serve as a nice contrast to the instrumental tunes. “Stardust” opens with an expressive accordion intro that slides into a beautiful treatment featuring some of Miskulin’s finest playing on the record and once again the interplay between his accordion and Solee’s clarinet is stunning. “Green
THE NASHVILLE MUSICIAN REVIEWS Dolphin Street” features great playing by Spencer and a hot guitar solo by Reiss. When a band has such a long run as Riders In The Sky, it can be easy for band members to submerge their individual musical identities and stick with the familiar. There’s no danger of this happening to Joey Miskulin and Fred LaBour any time soon. Listening to these two projects, one has to appreciate the two very different creative paths these two bandmates have chosen. Interestingly enough, both projects were recorded at Local 257 member Brent Truitt’s studio and feature photography by Jim McGuire. Excellent work on all fronts by everyone involved. – Roy Montana EDITORS NOTE: The Riders are incorporated and have been working under an AFM Touring Agreement for many years, building their individual pension retirement income with every show. PAT FLYNN reNew reQuest Records
Pat Flynn is a producer, songwriter, singer and a guitar player. Not just any guitar player — one of the guitar players. He was awarded “Best Acoustic Guitarist” five years in a row by Fret magazine’s national readers poll. As a session musician he has played on countless recordings for artists such as Garth Brooks, George Strait and Glen Campbell. Brooks even cut one of Flynn’s songs, “Do What You Gotta Do.” If that’s not enough, he was also a member of bluegrass supergroup New Grass Revival along with Bela Fleck, Sam Bush and John Cowan. Google Flynn’s name
and apparently he is also a financial blogger – where does he find the time? Now that I think of it, that’s probably a different Pat Flynn. Anyway, we’re here to talk about his latest album, reNew. He wrote six of the 10 songs on the project. The other four are a mixture of traditional songs and covers. He enlisted the help of Local 257 members Steve Bryant, Rob Ickes, Jim Hoke, John Cowan, Smith Curry, Ben and Sonya Isaacs and our own Dave (It’s All About That Bass) Pomeroy. The first song, “Kingdom Come” storms out of the gate with great guitar work from top to bottom. Flynn’s lead vocal along with the harmonies work together perfectly — definitely one of my favorites. Cut four is “Guitar Medley: Little Rock Getaway/I Don’t Love Nobody,” dedicated with love and respect to Doc Watson – Doc would be proud. One of the surprise cuts is Flynn’s cover of the Jimi Hendrix song “Fire.” It’s a fun listen with a cool arrangement. The record fittingly ends with an original song, “Take Me To Forever.” A hopeful song about life and love — what else do you need? The back cover of the jacket leaves us with a wonderful Walt Whitman poem “O Me! O Life!” No question, Flynn is living a full life. – Steve Wayne RICH REDMOND AND MICHAEL AUBRECHT FUNdamentals of Drumming for Kids Modern Drummer Publications Local 257 member Rich Redmond along with Michael Aubrecht know how to “talk drums” to kids. It’s obvious they remember being fledgling drummers themselves by the clear way they communicate with their special audience in the wonderfully instructional publication geared toward ages 5-10, FUNdamentals of Drumming for Kids. I recall my own beginnings at the craft and these guys use many of the same techniques that helped me then. These concepts should be of great use to youngsters today. The Momma-Dadda hand stroke, clapping strokes and “play-it-like-you-sayit” approaches use familiar and accessible language for the new drummer — mak-
ing lessons easy to digest without bogging them down. Never is anything presented in a patronizing way. I like how they teach limb independence — they focus on the feet separately at first, instead of trying to gain independence all at once, which can be confounding and difficult, and not just for kids! The reading drills grow in complexity over the course of the book, but never too quickly. As the student gets more comfortable with the book’s style, each is asked to add a little attitude by putting in accents and open high-hat strokes. This lets the students put their own stamp on an otherwise straightforward pattern. Kids will find this exhilarating because it draws on their own experimentation and creativity. The “Recommendations” chapter contains classic reminders and suggestions that only an experienced musician can offer. There is a real passion for the genre here and an equal amount of nurturing for tomorrow’s musical brethren. “Rich and Michael have nailed it for the young drum student, and teacher alike,” said fellow drummer Craig Krampf. “The 96-page book with all its various creative activities and one-hour DVD lesson featuring Rich, keep the whole learning experience fun. That’s what playing music should be about.” A solid foundation for a new drummer is the clear goal of the authors — and FUNdamentals of Drumming for Kids takes kids toward that goal along a fresh and friendly path. – Vince Santoro TNM OCTOBER–DECEMBER 2014 25
SYMPHONY NOTES BY LAURA ROSS
“We must also redefine budget priorities; during bargaining we became aware that NSO musicians receive less than 25 percent of the budget. To quote one of our staff members, ‘It does say Symphony on the building, right?’” People keep asking how I’m doing and it’s been difficult to answer, but since the orchestra ratified a new agreement on Monday, September 22, my hope is things will only improve. My NSO colleagues have also been through a couple of difficult years after so many years when things were running very well. We moved into a building we love and feel very grateful to call home, but then hit some potholes when the economy went haywire, and then a flood, and then a very public fight for possession of the Schermerhorn Symphony Center. Meanwhile, we kept playing and making the best of whatever situation came our way. There was a pay freeze in 2010 and last season after the dust had settled, most people will remember that the orchestra accepted a very painful cut – 15 percent of salary equaling $9,000 to $11,000 of lost income – but there was no reduction in workload. We took this cut even though the financial crisis was not our fault, and stepped up to work even harder performing additional education and community outreach services to assure the sacrifice was not in vain. Musicians were assured this was temporary, and was not an attempt to reset our salaries, but rather would allow the Symphony to regroup, fix problems and move forward stronger than before. So the musicians demonstrated their commitment to the Nashville Symphony by meeting with donor and audience members, and identifying and performing in countless venues for community engagement concerts and education services. Nevertheless, as one might expect, morale has suffered, staff turnover has been significant, and we have lost at least one musician to another orchestra 26 THE NASHVILLE MUSICIAN
with others auditioning for jobs whenever possible. And, while it takes a bit longer for musicians to leave due to the limited number of jobs available, they will leave if things don’t improve. I also mentioned that staff members have been leaving and the latest is Vice President, General Manager and current Chief Operating Officer Mark Blakeman, who leaves in November to become executive director of the Tucson Symphony. This is a big loss because he knew much of the contract’s history, which is not really standard in our industry as musicians are generally the ones with the long-term histories; the staff normally comes and goes, so don’t usually have long-term knowledge of events. I have always respected and believed Mark Blakeman was a person of good character even when I didn’t agree with him; he will be missed.
Negotiation priorities Needless to say, we hoped for the best when negotiations began but were disappointed instead. The first financial offer made it clear that restoration was not even on management’s radar. Even the final offer we ratified is nowhere close to what we had hoped to achieve in a new agreement. It provides for only a disappointing three percent increase in each of the first two contract years, with a reopener for the third and fourth years. Even though the agreement was ratified, there is still a great deal of work that needs to be done. We must correct the impression in our community that everything is fine because we saved the building from auction. We must also redefine budget priorities; during bargaining we became aware that NSO musicians receive less than 25 percent
of the budget. To quote one of our staff members, “It does say Symphony on the building, right?” How is it possible, even for an orchestra that owns its hall, to apportion so little money to the actual entity it is purported to support and feature? As I examine other orchestra’s budgets, those in our budget level that own their own halls receive nearly 10 percent more of the budget and have far fewer staff – comparing all of ICSOM’s 52 orchestras, we are ranked sixth in staff size. In addition, many of our colleagues at the ICSOM conference commented on the level of executive compensation – we rank near the top for music director and top executive salaries. Don’t get me wrong, there were positive things that happened this past year. NSA board chair James Seabury was instrumental in significantly raising board contributions and led by example – his multi-year donation increased ten-fold. The annual campaign increased donations by 70 percent, though they were starting from an all-time low, but it’s a good start. We have new multi-year concert series sponsors replacing former long-time sponsors and ticket sales are doing well. Our musicians have also become more involved in reaching out to our audiences. We have a website and Facebook page we update frequently, as well as Twitter and Instagram accounts. It has provided new creative outlets for my colleagues. For example, we have now distributed two online newsletters on topics such as Kenneth Schermerhorn’s legacy, a volunteer profile, an introduction of our two new orchestra members and an article on how auditions are run. Anyone interested in hearing from or finding out more about your NSO musicians should sign up for
SYMPHONY NOTES the newsletter on our website www. musiciansofthenashvillesymphony.org So, although our recent past has not been kind to us, we are now looking forward to a brighter future, and this new contract is the first of many steps needed to regain what we have lost and continue the trajectory of growth the NSO has enjoyed for many years. We are in a position to make great strides, especially with the incredible growth occurring now in Music City, and we hope the Association will immediately move forward to take on this challenge. We also hope the community will join us in our continuing recovery and lend their support to our mission. We look forward to continuing to do what we’ve managed to do all along in the face of incredible odds: keep making music.
ICSOM Conference in Los Angeles A week before the symphony season began, Brad Mansell, Dave Pomeroy and I attended the ICSOM Conference. There were a number of inspiring speakers and workshops with a focus on arts advocacy and helping musicians become spokespeople for their own orchestras in order to demonstrate how our organizations impact our communities. We also heard reports from orchestras in negotiations and from the Minnesota Orchestra that had returned after a 16 month lockout. We heard about the Metropolitan Opera settlement after MET manager, Peter Gelb’s failed public claims that opera was dying and the escalating budget costs exceeding $30 million were due to the 16 unions the MET employs, including Local 802 that represents two bargaining units, and the American Guild of Musical Artists (AGMA) that represents singers and dancers, rather than his overspending. Thankfully, there is still one opera company performing at Lincoln Center since the NYC Opera filed for bankruptcy in 2013 due to bad stewardship by a board that depleted a $29 million endowment. In another presentation, four of San Francisco Opera Orchestra’s negotiators came for the day to speak about their negotiations. This orchestra had made concessions over 11 years and had received a cumulative increase
ICSOM Conference is good for meeting new friends and renewing old acquaintances.
of 0.45 percent while the company’s upper management had received salary increases of nearly 67 percent during the same period. Musicians were faced with demands for further concessions but ended negotiations with substantial raises and benefit improvements. Lastly, the Atlanta Symphony has been locked out again just two years after a five-week lock out and 15 percent wage cut. I am at a loss to understand
why shortsighted boards and managers take out their aggression against the very people who produce the music. Enormous salaries are paid to managers who serve in support roles, not as featured artists. I think the new business model should focus on the musicians who make the music and who spent their lives training to achieve a place in one of the world’s great orchestras. Musicians deserve respect. TNM
Your Nashville Symphony | Live at the schermerhorn
concerts at a glance THE MUSIC OF QUEEN
CHRISTMAS WITH CELTIC THUNDER
HOME ALONE IN HD
UNDER THE BIG TOP
ITZHAK PERLMAN IN RECITAL
WITH THE NASHVILLE SYMPHONY
DAVE BARNES presents a very merry christmas with special guests
MICHAEL W. SMITH: THE SPIRIT OF CHRISTMAS
JIM BRICKMAN: ON A WINTER’S NIGHT
TONY BENNETT IN CONCERT
WITH THE NASHVILLE SYMPHONY October 30 to November 1 November 1
WITH THE NASHVILLE SYMPHONY November 7 & 8
A NIGHT AT THE COTTON CLUB WITH THE NASHVILLE SYMPHONY November 13 to 15
& THE NASHVILLE SYMPHONY
JONATHAN BISS PLAYS BRAHMS November 20 to 22
WITH THE NASHVILLE SYMPHONY
THE MANHATTAN TRANSFER SWINGS CHRISTMAS December 5
AMAHL AND THE NIGHT VISITORS December 6
WITH THE NASHVILLE SYMPHONY December 6
WITH THE NASHVILLE SYMPHONY December 11 & 12
WITH THE NASHVILLE SYMPHONY December 18 to 20
Mention promo code AFM for 10% off Aegis Sciences Classical Series tickets! OCTOBER–DECEMBER 2014 27
JAZZ & BLUES BEAT BY AUSTIN BEALMEAR
NSO takes a trip to the Cotton Club It’s listed under their FirstBank Pops Series but the Nashville Symphony performance takes a trip back to the beginning of the swing era with a salute to New York’s Cotton Club, the “Hi De Ho” swing of Cab Calloway, and the elegant “Satin Doll” sheen of Duke Ellington. Concerts are Nov. 13 at 7:00 p.m., and Nov. 14 and Nov. 15 at 8:00 p.m. The conductor for the performance is Grammy Award-winning arranger Jeff Tyzik, Principal Pops Conductor of the Rochester Philharmonic Orchestra for 17 years. Trumpet and vocal duty will be handled by Byron Stripling, Artistic Director of the Columbus Jazz Orchestra for 12 years. A special guest is vocalist Carmen Bradford, a third generation jazz musician who was discovered by Count Basie and sang with his orchestra for nine years. You can’t have a Cotton Club without dancers, and Ted Louis Levy is a Tony-nominated veteran of top dance show collaborations with Gregory Hines and Savion Glover. Keeping the beat is Bob Briethaupt, drummer with the Columbus Jazz Orchestra for 24 years. For ticket information, go to www. nashvillesymphony.org.
The Manhattan Transfer gets jolly at the Schermerhorn One of the most popular and enduring groups in jazz, The Manhattan Transfer has been together since 1978. On Friday, Dec. 5 at 8:00 p.m. the beloved vocal quartet makes a stop at the Schermerhorn ready to deck the halls, trim the tree and sing all the Christmas songs that make you feel warm and fuzzy! Enjoy holiday cheer and cool jazz tunes with some of the finest and hippest singers ever to grace the stage. The multiple-Grammy Award winners 28 THE NASHVILLE MUSICIAN
received 12 nominations alone for their 1985 album Vocalese. The concert will no doubt include selections from the group’s two holiday discs, including 1992’s The Christmas Album, arranged by the legendary Johnny Mandel, which became one of the five best-selling Christmas albums on Columbia Records which has the largest Christmas catalog, and is an annual shopping mall favorite to this day.
Nashville Sunday Jazz Band finds new home The Nashville Sunday Jazz Band (aka The Original Nashville Sunday Afternoon Jazz Band) has been keeping traditional jazz alive by performing trad and swing on Sunday evenings for more than 20 years. Started by the late trombonist Louis Brown, the band has moved from one venue to another with the help of a very devoted group of regular attendees. The band’s new residence is Dalt’s American Grill at 38 White Bridge Road. Every Sunday from 5 – 8 p.m. you’ll hear great tunes by Fats Waller, Jelly Roll Morton, Hoagy Carmichael, Louis Armstrong, W.C. Handy and many more played by some of Nashville’s most talented musicians. Usually that’s Denis Solee on reeds, Bernie Walker on trumpet, Chris Walters on piano, and several excellent rhythm section combinations. Fans are known to get out their parasols and march around the room to the strains of a traditional second line tune like “Bourbon Street Parade.”
31st Musicians Reunion another success for Marion James Nashville’s “Queen of the Blues” — since her 1966 hit “That’s My Man” — Marion James has been taking care of other musicians since the 1950s when they began stopping at her house for a meal and a place to stay. For the past 30 years her annual Musicians Reunion has been a gathering place and fundraiser for Nashville blues and R&B musicians who have fallen into hard times and ill health. James started the reunion with her own money. “I didn’t have a whole lot, but I had a little bit and I was willing to share what I had,” she said in a recent interview. James herself has been in a rehabilitation center for a year, but at a July Night Train to Nashville celebration she sang “It’s Love, Baby (24 Hours A Day)” from a wheelchair to a standing ovation. At the Aug. 31 reunion James was joined by Jonell TNM Mosser, Nick Nixon, and other blues vets.
JIMMY NEWMAN 1927–2014 Jimmy Yves Newman, 86, a life member of Nashville Musicians Association, died June 21, 2014. In 1956 he became the first Cajun artist to join the Grand Ole Opry, and was known to fans by his stage name, Jimmy C. Newman — he said the “C” stood for Cajun. The guitarist joined AFM Local 257 in 1956, after his first Top 10 country hit in 1954, “Cry, Cry Darling.” Newman was born in Mamou, La., on Aug. 29, 1927 to Marcena and Rose McGee Newman, who raised him with a love of both Cajun and country music. In the ‘40s he met a label owner — J.D. Miller — who released Newman’s debut for Modern Records. Newman later said he knew that he would need to write a hit song to become successful. “So I wrote, ‘Cry, Cry Darling,’” he said. Miller, who collaborated on the song, took it to Nashville where it was re-recorded at the home of iconic publisher Fred Rose. The song was also recorded by Bill Monroe, Ricky Skaggs, Ronnie Milsap, and others. Before he moved to Nashville, Newman performed on The Louisiana Hayride. His first hit was followed by four more Top 10 records, including “Seasons Of My Heart,” and “A Fallen Star.” He went from Dot to MGM Records in 1958; and in the ‘60s Newman moved to Decca, where he recorded 16 more Top 40 hits, including Tom T. Hall’s “D.J. For a Day.” He also became a partner in Newkeys Music, a publishing company. A generous artist, Newman gave part of his performance time to a young Dolly Parton for her debut on the Opry. He was also known as a mentor to Hall, and helped other performers and artists in various ways. Although his hits were not always Cajun music, he always made sure to include Cajun tunes in his concerts. In 2004 he became a member of the Cajun Music Hall of Fame, and in 2009 he was inducted into the Louisiana Hall of Fame. He was also a member of the North American Country Music Association’s International Hall of Fame. His lifelong career spanned seven decades and included nu-
merous TV appearances as well as a 1991 Grammy nomination for he and his band for the album Alligator Man. Newman’s son Gary is also a life member of AFM Local 257. “Dad always valued his membership to 257. He would encourage every musician that he met to become a member of the union and would express the many advantages of being a member. He often told me how much he enjoyed visiting with everyone at the union office. This goes back to the days of Mr. Otto [Bash] as well as today with Dave and his staff. On behalf of our family, we would like to thank all of the members and staff of AFM 257; both present and past, for all of the advice, support, and joy that you gave to my father. He was a proud member of 257,” Newman said. Marty Stuart, to whom Newman gave a yellow stage suit “so he would look like a bandleader,” commented on Newman’s place in music history. “His role became the Cajun fellow at the Opry, and that’s great,” said Stuart. “But if you go back to his 1950s recordings of ‘Cry, Cry Darling’ and ‘Seasons Of My Heart,’ you’ll witness a country music architect at work. He was a brilliant singer, a brilliant designer of country music.” Newman was preceded in death by his brother, Walter Newman. Survivors include his wife of 66 years, Mae Daire Newman; one son, Gary Newman, one
grandchild, two step-grandchildren; and two step-great grandchildren. A public memorial service, followed by a private gathering for family and friends, was held June 25, 2014 at the Ryman Auditorium. The eulogy was given by Tom Perryman. In lieu of flowers, memorials may be made to the Grand Ole Opry Trust Fund, 2804 Opryland Drive, Nashville, Tenn., 27214. continued on page 30 OCTOBER–DECEMBER 2014 29
FINAL NOTES continued from page 29
a plethora of albums for artists like Jim Reeves, Eddy Arnold, Hank Snow, Bobby Bare and many more. In the studio she also worked with Chet Atkins, Boots Randolph, Hank Garland, Floyd Cramer, The Jordonaires and the Anita Kerr Singers. Smith was also a songwriter; Patsy Cline recorded one of her songs in 1960 — “Shoes,” which she wrote with Hank Cochran. Funeral services were held Aug. 2 at Forest Lawn Memorial Gardens in Goodlettsville.
JAMES EARL WHITE 1936–2014
VELMA SMITH 1927–2014 Velma Smith, 87, a life member of the Nashville Musicians Association and 2014 inductee to the Musicians Hall of Fame, died July 27, 2014. The renowned studio guitarist was one of Nashville’s first female session players. Life member and longtime president of AFM Local 257 Harold Bradley — a member of the venerated A-Team — commented on Smith’s groundbreaking career. “Velma Smith was not only a sweet lady, she was very musically talented, playing the bass and guitar. I’m very proud to have known her, and been her friend! Her contribution as the first lady to play recording sessions with the A-Team was historic, and deserving of her induction into the Musicians Hall of Fame.” Smith was born in South Central Kentucky, at Epley Station. She was the daughter of the late Clyde Williams and Era Crawford Williams. She and her sister Mildred were discovered by bluegrass legend Bill Monroe in 1941 after a performance on Hopkinsville radio station WHOP. They performed on the Grand Ole Opry, which launched their career. Smith became a member of Roy Acuff’s Smokey Mountain Boys and Girls, and also worked with Ernest Tubb and Carl Smith. In 1948 she married fiddler Hal Smith, who also played with Acuff. He went on to become a record producer and publisher, and co-founded Pamper Music with Ray Price. Smith died in 2008. As the only female member of the A-Team, she played rhythm guitar on 30 THE NASHVILLE MUSICIAN
Life member James Earl White, 78, died Aug. 7, 2014. He was a fiddle player who also played guitar and mandolin; he joined Local 257 in 1955. White performed on the Grand Ole Opry for 58 years, in addition to numerous road engagements. He was born in Lutts, Tenn., March 1, 1936, to a musical family — his father and grandfather were also musicians. In an interview White said that they “were both old time fiddlers so I grew up around the music. I drove everyone crazy trying to learn ‘Bonaparte’s Retreat,’ but figuring out that tune was the way I learned how bowing and fingering worked.” In high school White formed a band and began playing around the area. He said that after seeing Flatt and Scruggs play, he and his sister won a singing contest and got to perform on the Flatt and Scruggs Martha White television program. After high school White moved to Nashville, and in 1955 he began playing with Marty Robbins, which led to his first Grand Ole Opry appearance. After joining the U.S. Army, White played in an army country band started by Faron Young.
When he returned to civilian life he worked with Hawkshaw Hawkins and Cowboy Copas, and also Hank Snow. After the tragic loss of Hawkins and Copas in a plane crash — the same incident that took the life of Patsy Cline — White stopped touring. He released several records with the Cumberland Mountain Boys, and also joined the Crook Brothers, who had appeared on the Opry since 1926. More recent visitors and fans of the show know White as the leader of the Opry Square Dance Band. Opry musician Steve Gibson commented on White’s passing: “I am saddened at the passing of Earl White. Earl’s fiddle and Charlie Collins’ guitar comprised the heart of the Opry Square Dance Band for many, many years. He was a kind man with a big smile and a firm handshake. Earl was one of those guys I was always happy to see backstage, and even more so when he stepped up to the mic and played ‘Tomahawk.’ Charlie passed away a few years back, but Earl carried the torch forward as long as he could. He never stopped playing with passion. I admired that a lot. And, I will miss him a lot. May he rest in peace.” White was preceded in death by his parents, Randall Earl and Lina Combs White. Survivors include his wife, Anita Joyce Robinson White; two daughters, Angela White Sievers and Tina White; four grandchildren, three great-grandchildren; and one sister, Fran White McMurtry. A life celebration was held Aug. 11 at Crestview Funeral Home in Gallatin, with burial following at Sumner Memorial Gardens.
JACK SOLOMON 1943–2014 Jack Solomon, 71, died June 24, 2014 in Nashville. He was a guitarist, and a life member of the Nashville Musicians Association. He was born Feb. 12, 1943 in Columbus, Ohio. After his move to Nashville, he worked with George Jones as a member of The Jones Boys. Later he also worked as a session player on recordings for Jones, Leon Russell, Dolly Parton, Marty Robbins, Alabama, Ernest Tubb, Andy Williams, Jim Lauderdale, and his wife Melba Montgomery, as well as many more. Solomon’s friend Ron Oates worked many sessions with him. “When I
JACK SOLOMON WITH HIS DAUGHTER, TARA
moved to Nashville in October, 1969, Larry Butler convinced Bob Montgomery, Ron Chancey and Pete Drake to take me under their wings and put me to work. I met Jack Solomon on the first sessions I worked for Pete Drake. I noticed immediately that Jack had a ready smile and he was an exceptional guitarist. I was new here, but I could tell. Jack knew exactly what to play and, what’s more, he knew what not to play. I was impressed. I always looked forward to working sessions with Jack.” Solomon was a 32nd degree Mason. He loved riding Harley-Davidson motorcycles, and also enjoyed playing golf. Survivors include his wife and four daughters, Tara Denise Solomon, Diana Lynn Cirigliano, Melba Jacqueline Chancey and Melissa Solomon Barrett; one sister, Jean Solomon Ticer; five grandchildren; two great-grandchildren; and one niece. A celebration of life was held June 27 at Harpeth Hills Memorial Gardens and Funeral Home in Nashville. Donations to the Shriners Hospitals For Children will be appreciated by the family.
GEORGE VERNON RIDDLE 1935–2014 Nashville Musicians Association life member George Vernon Riddle, 78, died July 20, 2014. He was a guitar player, songwriter and artist; a regular performer on the Grand Ole Opry for over four decades, and also the first member of George Jones’ band the Jones Boys. Riddle was born in Marion, Ind., Sep. 1, 1935 to Clay and Lottie Teal Riddle. At age 10 he won a talent show with his 13 year-old brother Walt, which led to their first gig — traveling the area with a medicine show. Later the two brothers performed on local radio stations for several years. After high school, Riddle
served in the U.S. Army, and then came to Nashville, where he met George Jones. Over his lengthy career Riddle wrote songs for Jones, Ray Charles, Tammy Wynette, Faron Young, Melba Montgomery, and Del Reeves. He performed as an artist as well, and released records for United Artists, Musicor, MGM, Starday, Marathon and Roma Records. Riddle also appeared on The Johnny Cash Show and in the film Country Music On Broadway. Most recently he hosted a classic country radio show on WCJC in Indiana near his home. Additionally, he received Reunion of Professional Entertainers (ROPE) awards in 2011 and 2012. He was preceded in death by his parents, three sisters, Ruth Winther, Rosie Shaffer and Lavada Bobo; and six brothers, Omer, Henry, Stanley, Kenneth, Elmer and Walt Riddle. Survivors include two sisters, Roberta King and Lola Miller; one daughter, Suzanne Fiser, two grandchildren, and one great-grandchild. Funeral services were held July 24 at Grace Community Church in Marion. MeGeorge Jones, Carl Smith, George Riddle morial contributions can be made to Marion-Grant County Humane Society, 2768 W. Avon Ave., Marion, Ind., 46952; Cancer Services of Grant County, 305 S. North St., Marion, Ind., 46952; or Marion VA Recreation Services, 1700 E. 38th St., Marion, Ind., 46953.
BILLY BUN WILSON 1926–2014 Billy Bun Wilson, 87, a life member of the Nashville Musicians Association, died July 19, 2014. Wilson was a drummer; and was Ernest Tubb’s first drummer as a member of the Texas Troubadours. Over his long career, Wilson played, sang, and also performed comedy at venues throughout the country. Wilson was born Nov. 5, (l-r) Texas Troubadours Billy Bun Wilson, Jack Drake, John1926 near Puryear, Tenn., ny Johnson, Ernest Tubb, Leon Rhodes, Buddy Emmons and began his entertainment career at the age of six, when he won a talent show in Puryear for his dance routine. Wilson once joked that his family lived so far out in the country “he had to go toward town to hunt.” He initially played fiddle, mandolin and guitar in addition to drums, and also worked at a Mayfield radio station in the mid-1940s. After he moved to Nashville in 1956 he joined AFM Local 257. In addition to his work with Tubb, he played with several performers, including Mel Tillis, Willie Nelson, Little Jimmie Dickens, Red Sovine and many more. He appeared on The Ernest Tubb Show, and The Phillip Morris Show, and after a break from entertaining in the ‘80s, worked regularly at Renfro Valley until his retirement. In 2009 Wilson and Byron Gallimore, a producer also from the Puryear area, served as grand marshalls of Puryear Day. Wilson was once asked where the name “Bun” came from. He said his father used to imitate a man named Bun who walked funny, and that his mother gave him the name after he and his siblings mocked their dad’s imitation. Wilson was preceded in death by his parents, W.H. “Bun” and Katie Venable Wilson; six sisters, Lela Atkins, Edna Earl Wilson, Marie Paschall, Kitty Wilson, Rebecca Wilson, and Vera Wilson; and four brothers, Carl, Wayne, Noble and Bernard Wilson. Survivors include a son, Wayne Wilson; one sister, Marjorie McCree; one brother, continued on page 32 OCTOBER–DECEMBER 2014 31
FINAL NOTES continued from page 31
W.H. “Dub” Wilson; four grandchildren, and numerous nieces, nephews and cousins. Funeral services were held July 23 at McEvoy Funeral Home in Paris, Tenn., with Bro. Jerry Lee officiating. Burial followed at Hazel Cemetery.
WILLIAM HENRY REHRIG 1938–2014 William Henry Rehrig, 74, died July 17, 2014. He was a fiddle player, and a life member of the American Federation of Musicians; he joined Local 140 in Wilkes-Barre, Penn., in 1957, and Local 257 in 1974. Rehrig, who also played jazz guitar, was born in Parryville, Penn., and performed first with his brothers in area bands. He graduated from Kutztown University with a B.A. in elementary education. Over the next three decades he worked with many artists, including 20 years as Eddie Rabbitt’s fiddle player and personal manager. He also performed with artists including Tanya Tucker, Jerry Reed, Dolly Parton. After retirement, he played with local bands in Tennessee, participated in Mark O’Connor’s music camp, and taught privately as well. Rehrig was preceded in death by his parents, Frank and Matrona Dorward Rehrig and his first wife, Elaine Babinchak Rehrig. Survivors include his wife, Holly; two daughters, Lisa Rinehart and Roslyn Rehrig; one son, Ross Rehrig; stepsons David and Heath Ebert; stepdaughters Heather Ebert and Channing DeShong; three brothers, David, Dennis, and Dean Rehrig; and one sister, Shirley Greene, as well as nine grandchildren and numerous nieces and nephews. Funeral services were held July 23 at Williamson Memorial Funeral Home. The family requests that donations be made to MusiCares or Music Health Alliance, both of which provide a financial safety net to musicians in critical need.
DONALD “MOUSEY” MORTON 1943–2014 Donald Morton, 71, a life member of the Nashville Musicians Association, died July 8, 2014 in Fishersville, Va. He was the longtime drummer for the Statler Brothers, and joined AFM Local 257 in 1971. Morton was born in Boaz, Ala., to James and Bedelia Rice Morton. He was preceded in death by his parents and one brother, Jimmie Morton. Survivors include his wife Cathey; two daughters, Michelle Seal and Angie Morton; one stepdaughter, Jennifer Monroe; two brothers, Tony and RanTNM dall Morton; and two grandchildren.
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.
George Hamilton, IV
Life Member Y
Donald R Morton
William Henry Rehrig
George Vernon Riddle
Velma Elizabeth Smith
James Earl White
Billy Bun Wilson
June P Wolfe
32 THE NASHVILLE MUSICIAN
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MEMBER STATUS NEW MEMBERS Joseph William Arick (Joe Arick) PIA GTR HRM BAS TPT DRM 60 Shady Valley Dr Lebanon, TN 37087 Cell (615) 512-9938 Dustin R Bear SAX 4208 Burton Hollow Rd Whites Creek, TN 37189 Cell (615) 556-6338 Travis Bettis GTR 312 Townes Dr Nashville, TN 37211 Cell (615) 293-3870 Zachary Stephen Brown GTR VOC 409 N 16th St Nashville, TN 37206 Cell (770) 380-6675 Robert M Campbell (Bobby Campbell) KEY GTR PRC 1616 Boscobel St Nashville, TN 37206 Cell (765) 524-8244 Pete Allen Coatney DRM GTR 8200 Euclid Ave North Richland Hills, TX 76180 Cell (817) 454-6216 Jonathan D Cook (Johnny Cook) VOC GTR 1016 Argyle Ave Apt #3 Nashville, TN 37203 Cell (870) 512-8853 Mark A Corradetti BAS 1032 Glastonbury Dr Franklin, TN 37069 Cell (615) 668-6275 Joseph Graham Deloach BAS VOC 326 Chamberlin St Nashville, TN 37209 Cell (615) 719-0545 Robert Shawn Emerson (Robby Emerson) BAS VOC GTR 106 Harpeth Valley Rd Nashville, TN 37221 Cell (615) 289-4707 Hm (615) 673-0370 Curt Samuel Gibbs GTR BAS KEY MDN PRG 610 Ashley Ct Nashville, TN 37211 Cell (615) 668-6939
Michael Gray DRM VOC 104 Willow Crest Court Goodlettsville, TN 37072 Cell (615) 974-0189
Brian David Purwin VLN KEY PIA 307 Chamberlin St Nashville, TN 37209 Cell (561) 715-4319
Robert Wesley Wilbur GTR 707 Shelby Ave Nashville, TN 37206 Cell (616) 638-9147
Michael Kenneth Hobby VOC GTR PRC HRM 206 36th Ave N Nashville, TN 37209 Cell (615) 830-6509
Jonathan E. Radford DRM PRC Cell (615) 477-3346
Frederick Lawrence Wilkerson (Rick) DRM PRC KEY 3840 Valley Ridge Dr. Nashville, TN 37211 Cell (615) 681-1171
Myron Keith Howell DRM BAS 1244 Blairfield Dr Antioch, TN 37013 Cell (615) 608-1223 Paul Ryan Jenkins TBN 1904 Boscobel St. Nashville, TN 37206 Cell-(469)-556-2842 Barbara Lamb FDL MDN VLN 5107 Dakota Avenue Nashville, TN 37209-3322 Cell (615) 438-0595 Wesley Robert Langlois (Wes Langlois) GTR 537 Richmar Drive Nashville, TN 37211 Cell (615) 830-7584 Zoya Leybin VLN 9711 Amethyst Ln Brentwood, TN 37027 Cell (650) 339-3342 Hm (615) 819-0939
Paul Rippee BAS 718 Vernon Avenue Nashville, TN 37209 Cell (615) 336-4588 Dylan Rosson GTR BJO MDN 226 Stockton Drive Murfreesboro, TN 37128 Cell (678) 622-9998 William Brunson Satcher GTR VOC BAS 3501 Elkins Ave Nashville, TN 37209 Cell (615) 739-1967 Frederick A Sienkiewicz TPT FLH COR PIC 3769 Nadia Ct Clarksville, TN 37040 Cell (617) 217-1004 Bradley N Smith KEY GTR 4900 Log Cabin Road Nashville, TN 37216 Harry Lee Smith, III GTR DBR MDN 3337 Mulberry Grove Rd Murfreesboro, TN 37127 Cell (615) 476-8590
Michael Theodore Malinin (Mike Malinin) DRM 3133 Tristan Dr Franklin, TN 37064 Hm (323) 717-2235
Meghan Elizabeth Trainor GTR PO Box 340020 Nashville, TN 37203-0020 Hm (615) 329-9902
Donald Robert Marple (Donnie Marple) DRM 209 Cadey Cove Hermitage, TN 37076 Cell (615) 651-4983
Joel David Wallace (David Wallace) GTR 7071 Brittany Circle Baxter, TN 38544 Cell (225) 326-9406 Hm (931) 858-1971
Katherine Draxler Munagian DBB 2831 Hillside Dr #H-7 Nashville, TN 37212 Cell (312) 928-9984 Derrek C Phillips DRM PRC 1332 Dodd Trail Murfreesboro, TN 37128 Cell (973) 420-8893
Nathan L Walters PIA KEY PRG GTR 2915 Teakwood Drive Nashville, TN 37214 Hm (615) 491-6748 Austin Edward Webb GTR MDN BAS DRM 15018 Blossom Bay Dr Houston, TX 77059 Cell (281) 798-9525 Hm (281) 286-7594
Derek Alexander Williams GTR BAS BJO DRM VOC MDN 3333 Penn Meade Way Nashville, TN 37214 Cell (931) 551-6321 Gordon Lee Worden (Lee Worden) GTR BAS DRM VOC KEY MDN DBR LPS PRC 137 37th Ave N Nashville, TN 37209 Hm (615) 920-5785 REINSTATED Howard S Adams, III Timothy Wayne Akers Mark Jeffrey Allen John M Arnn Kelly Back Kent D Blanton Tonya Latish Dunn Darin Lee Favorite Patrick H Flynn Robert A Hajacos Dean Hall Adrienne Harmon Russell Hicks Marcus Hill Dennis Lee Holt David Huntsinger Michael G Joyce Lauren Koch William Robert Mason, Jr Kevin Hugh Moore Jimmie Ray Murrell Daniel R Needham Bradley Charles Orcutt Dean Pastin Steve M Peffer Ed Russell Curt Ryle Stephen R Schaffer Joseph Smyth, III Chester Cortez Thompson Louis Toomey, Jr Gary Lee Tussing N Leon Watson RESIGNED Peter J. Barbeau Joshua David Pantana David Charles Russell
OCTOBERâ€“DECEMBER 2014 33
DO NOT WORK FOR The “Do Not Work For” list exists to warn our members, other musicians and the general public about employers who, according to our records, owe players money and/or pension, have failed to sign the appropriate AFM signatory documents required to make the appropriate pension contribution, or are soliciting union members to do non-union work. TOP OFFENDERS LIST RecordingMusicians.com – Former Local 257 members 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. Jim Owens Entertainment – we are currently in litigation with Owens regarding various shows recorded under TNN Agreements that he has obtained and licensed to other parties without proper payment to musicians. We hope to resolve this matter in the near future. These are other employers who owe musicians large amounts of money and have thus far refused to fulfill their contractual obligations to Local 257 musicians.
Positive Movement/Tommy Sims (multiple unpaid contracts 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) Beautiful Monkey/JAB Country/Josh Gracin Eric Legg & Tracey Legg (multiple unpaid contracts) Ray Vega/Casa Vega Quarterback/G Force/Doug Anderson Rust Records/Ken Cooper (unpaid contracts and pension) Revelator/Gregg Brown (multiple bounced checks/unpaid contracts) HonkyTone Records – Debbie Randle/ Elbert West UNPAID CONTRACTS AND PENSION Wayd Battle/Shear Luck Beautiful Monkey/JAB Country 34 THE NASHVILLE MUSICIAN
Bull Rush, Inc/Cowboy Troy (unpaid demo upgrade – making payments) Casa Vega/Ray Vega Daddio Prod./Jim Pierce (making payments) Goldenvine Prod./Harrison Freeman Golden Vine/Darrell Freeman Katana Productions/Duwayne “Dada” Mills Mark McGuinn Steve Nickell Quarterback/G Force Music/Doug Anderson RLS Records-Nashville/Ronald Stone Region One Records RichDor Music/Keith Brown River County Band/SVC Entertainment (unpaid demo conversion/pension) Robbins Nashville Round Robin/Jim Pierce (unpaid contract – making payments) Shauna Lynn Shear Luck Productions/Wayd Battle Shy Blakeman Singing Honey Tree Sleepy Town/David Lowe Sound Resources Prod./Zach Runquist Mark Spiro Spangle 3/Brien Fisher Tough Records/Greg Pearce (making payments) Adam D. Tucker Eddie Wenrick UNPAID PENSION ONLY Comsource Media/Tommy Holland Conchita Leeflang/Chris Sevier Ricky D. Cook FJH Enterprises First Tribe Media Matthew Flinchum dba Resilient Jimmy Fohn Music Rebecca Frederick Goofy Footed Gospocentric Tony Graham Jeffrey Green/Cahernzcole House Randy Hatchett Highland Music Publishing Engelbert Humperdinck In Light Records/Rick Lloyd Little Red Hen Records/Arjana Olson Maverick Management Group Mike Ward Music (pension/demo signature) Joseph McClelland Tim McDonald Joe Meyers Missionary Music Jason Morales (pension/demo signature) O Street Mansion OTB Publishing (pension/demo signature) Tebey Ottoh Ride N High Records Ronnie Palmer Barry Preston Smith Jason Sturgeon Music
AFM NON-SIGNATORY PHONO LIST We do not have signatory paperwork from the following employers — pension may have been paid in some cases, but cannot be credited to the proper musicians without a signatory agreement in place. If you can provide us with current contact info for these people, we will make sure you get your proper pension contribution for your work. 604 Records Heaven Productions Stonebridge Station Entertainment Straight Shooter Music Ryder Media Sky Dancer Donica Knight Busy At Play Trent Wilmon The Collective
NEXT MEMBERSHIP MEETING Monday, Nov. 3, 2014 George Cooper Rehearsal Hall Doors open at 5:30 p.m. Meetings starts at 6:00 p.m. Election nomination meeting to follow.
AFM LOCAL 257 HOLIDAY CLOSINGS Veterans Day Tuesday, Nov. 11 Thanksgiving At noon on Wednesday, Nov. 26, Thursday, Nov. 27 and Friday, Nov. 28 Christmas Holiday Tuesday, Dec. 23 through Thursday, Jan. 1, 2015 Martin Luther King, Jr. Day Monday, January 19, 2014
OCTOBER–DECEMBER 2014 35
Nashville Musicians Association PO Box 120399 Nashville, TN 37212-0399 —Address Service Requested—
Nonprofit U.S. Postage PAID Nashville, TN Permit No. 648
MUSICIANS AFM LOCAL 257 WE PUT the music in MUSIC CITY NEXT MEMBERSHIP MEETING Monday, Nov. 3, 2014 George Cooper Rehearsal Hall Doors open at 5:30 p.m. Meetings starts at 6:00 p.m. Election nomination meeting to follow. 36 THE NASHVILLE MUSICIAN
The Official Journal of the Nashville Musicians Association, AFM Local 257. This issue features Peter Frampton, Summer NAMM, Fred Labour, Jo...
Published on Oct 15, 2014
The Official Journal of the Nashville Musicians Association, AFM Local 257. This issue features Peter Frampton, Summer NAMM, Fred Labour, Jo...