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G E N E R A L M E M B E R S H I P A N D 2 0 1 7 E L E C T I O N N O M I N AT I O N M E E T I N G S N O V. 8




Jerry Douglas DOBRO WIZARD

Conjures up an alternate bluegrass universe OCT – DEC 2017 1

Pr ot ec to r st r ti A e Th

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BettyAnn and Tom Murphy, parents of three of the Kings of Leon

CONTENTS Official Journal of the Nashville Musicians Association, AFM Local 257 | OCTOBER – DECEMBER 2017

4 6 7 8 10 12 16

ANNOUNCEMENTS Details on the next membership meeting and nomination meeting to be held Wednesday, Nov. 8, and the proposed 2018 dues schedule. STATE OF THE LOCAL President Dave Pomeroy remembers the late Don Williams, and his days in the late great singer’s touring band. NEW GROOVES Secretary-Treasurer Vince Santoro talks about important ways the AFM and Local 257 can help members in times of financial trouble.



HEARD ON THE GRAPEVINE The notable comings and goings of Nashville Musicians Association members. NEWS Important information about the pension plan, and a big thanks to all who donated to Special Olympics. GALLERY We recognize member milestones as well as other events and honors. COVER STORY: JERRY DOUGLAS Warren Denney sits down with the trailblazing dobro player and explores the roads less traveled that led Jerry Douglas to an innovative and brave new world.

22 REVIEWS The legendary Charlie McCoy knocks two

out of the park — his new book and record. And, Michael Spriggs produces a unique and historic CD offering from the Benny Havens Band — made up of U.S. Marines.



26 SYMPHONY NOTES Laura Ross reveals what it’s like to work with composer John Williams.

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

29 FINAL NOTES We bid farewell to Kayton Roberts, Jimmy Nalls, Steve Chapman, Willard Temes, Donna Darlene Jackson, A.J. Nelson, Irene Foster, and Rex North.




OCT – DEC 2017 3









Dave Pomeroy Vince Santoro Kathy Osborne Leslie Barr Austin Bealmear Warren Denney Hank Moka Roy Montana Kathy Osborne Dave Pomeroy Vince Santoro Laura Ross Rick Diamond Tripp Dockerson Lisa Dunn Donn Jones Dave Pomeroy Laura Ross Vince Santoro Lisa Dunn Design Kathy Osborne Leslie Barr 615-244-9514

Dave Pomeroy Vince Santoro Jimmy Capps Beth Gottlieb Mark Johnson Andy Reiss Laura Ross Tom Wild Jonathan Yudkin Michelle Voan Capps Tiger Fitzhugh Teresa Hargrove Kent Goodson Dave Moody Kathy Shepard John Terrence Bruce Radek Biff Watson


Steve Tveit


Laura Ross


Anita Winstead

Steve Tveit Teri Barnett Christina Mitchell Paige Conners

The next Local 257 General Membership Meeting will be Wednesday, Nov. 8, 2017 at 2 p.m. Doors will open at 1:30 p.m. There will be a vote to approve the 2018 dues. Immediately following the 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.

2018 DUES BREAKDOWN (must be approved by membership at Nov. 8 meeting) $154.00………………Local Dues (Life member local dues are 33 percent of regular member dues) 66.00………………AFM Per Capita (Life member per cap $50.00) 70.00………………Funeral Benefit Assessment 3.00………………Emergency Relief Fund 3.00………………Emergency Relief Fund (voluntary) 2.00………………AFM Tempo Fund (voluntary) $298.00………………Total 2018 Dues Regular Members (including $5 voluntary) $180.00………………Total 2018 Dues Life Members (including $5 voluntary)

CANDIDATE BIOGRAPHIES FOR 2017 ELECTION The election packet mailed to all members in good standing of Local 257 will include biographies of all candidates who wish to submit them, so the members may make a more informed decision when voting for officers. The biographies will be limited to up to 250 words. A photo may be included, if desired. Should a nominated candidate not be in attendance at the Nominating Meeting on Nov. 8, 2017, the Election Committee chair will contact the candidate as soon as possible to advise them of this opportunity. The deadline for submission of biographies will be determined and announced by the chair of the Election Committee to the candidates.

Leslie Barr Laura Birdwell Sarah Bertolino

@ 2017 Nashville Musicians Association P.O. Box 120399, Nashville TN 37212 All rights reserved. nashvillemusicians.org


EDITOR’S NOTE: In our review of Jim Rooney and the Irregulars in the April — June 2017 edition of The Nashville Musician we omitted drummer Pat McInerney from the list of band members that appears in the story. He is an original member of the group. Our apologies.


Nashville Musicians Association AFM Local 257, AFL-CIO Minutes of the Executive Board Meeting May 4, 2017

Nashville Musicians Association AFM Local 257, AFL-CIO Minutes of the Executive Board Meeting July 17, 2017

PRESENT: Vince Santoro (VS), Dave Pomeroy (DP), Andre Reiss

(AR), Tom Wild (TW via phone-in), Beth Gottlieb (BG), Laura Ross (LR), Mark Johnson (MJ).

PRESENT: Vince Santoro (VS), Dave Pomeroy (DP), Andre Reiss (AR), Tom Wild (TW), Laura Ross (LR), Mark Johnson (MJ), Jonathan Yudkin (JY), Chuck Bradley (CB).

ABSENT: Jimmy Capps (JC), Jonathan Yudkin (JY).

ABSENT: Jimmy Capps (JC), Beth Gottlieb (BG).

President Pomeroy called the meeting to order at 10:11 a.m.

President Pomeroy called the meeting to order at 9:10 a.m.

MINUTES: Minutes from Feb. 17, 2017 were distributed. MSC to approve as amended. LR, AR.

MINUTES: Minutes from May 4, 2017 were distributed. MSC to approve as amended. LR, AR.

PRESIDENT’S REPORT: The following issues were discussed:

PRESIDENT’S REPORT: The following issues were discussed:

1. Opry agreement is complete. Ratification is due. 2. General Jackson agreement is ongoing. 3. Lower Broadway parking coupons for discount w/ Premier Parking. Thanks to Metro Councilman Jeff Syracuse for his help. 4. Membership drive brought in 34 new members. 5. Discussion of member concerns about the AFM pension fund.

1. Pension meeting went well. 2. Opry and Phono agreements are complete.

TREASURER’S REPORT: Santoro distributed financial reports and

fund balances. He reported the following: 1. We have quotes from Empire (composite unit installed curb-tocurb for $37K, or replace 9 cells for $18K), and Rackley (framedup gabled unit for $20K). 2. The Stanley Security fire alarm setup has finally been stabilized. We use a copper land line for the main communication and one VoIP line for backup. MSC to approve secretary-treasurer report. AR, MJ.

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

1. Our only surviving quotes are from a) Empire Roofing at $37,000 for the barrel-style skylight, and b) Don Kennedy at $29,000 for a gabled, hip-style skylight. The added advantage of Kennedy is that the price is competitive since the manufacturer likes that the surrounding high buildings offer them visual advertising. 2. Our HVAC systems are old and the unit that supplies the rehearsal hall is on its last leg. Our HVAC guy has proposed dealing with it before spring 2018, and he has some quote info. MSC to approve Secretary-Treasurer report. AR, TW. MSC to approve Don Kennedy bid for skylight and funding from Vanguard. LR, AR. Unanimously approved.

MSC to accept new member applications. BG, LR. MSC to accept new member applications. LR, JY. Motion to adjourn. LR, BG. Meeting adjourned at 11:16 a.m.

Motion to adjourn. MJ, TW. Meeting adjourned at 9:56 a.m.

HOLIDAY CLOSINGS AFM Local 257 will be closed

Veterans Day Friday, Nov. 10 Thanksgiving At noon on Wednesday, Nov. 22 Thursday, Nov. 23 and Friday, Nov. 24


Christmas Holiday Friday, Dec. 22 through Tuesday, Jan. 3, 2018 Martin Luther King, Jr. Day Monday, Jan. 15, 2018

OCT – DEC 2017 5


“We have been through many challenges, but have always persevered. Why? Because of our members.” BY DAVE POMEROY


years and counting

As I write this, I am just a few days away from celebrating my 40th anniversary of moving to Nashville. At times it seems like yesterday — and sometimes it feels like a million years ago. I was a military kid, and our family moved around a lot. We spent quite a bit of time overseas, mostly in Europe. I learned how to adapt to many different situations and environments, but I never really felt truly home until I moved to Nashville in 1977. I came here with a simple desire to figure out a way to become a professional musician, like many before and after me. Through a combination of hard work, a few breaks, and more hard work, I was able to make a living doing what I love. I am grateful to our city’s incredible creative community, and especially to AFM Local 257 for helping me make my dreams come true. Music City is my home and will be until the day I die. I am honored to represent you as president of this local, and want you to know that the staff and I are doing all we can to make things better for future generations of Nashville musicians.

Remembering Don Williams

On Sept. 8, 2017, my longtime employer, friend, and mentor Don Williams passed away. He was one of the single biggest influences on me, not just career-wise, but in life as well. Getting the job as his touring bass player in 1980 was my big break, and led to 14 years on the road together, the last four as his bandleader. I was able to gradually expand the kind of work I was able to do in town while also having a steady income to support my family. This was only possible because Don valued his time at home and 6 THE NASHVILLE MUSICIAN

did not work nearly as many road dates as most other artists. Don always treated his band as equals, and not as backup musicians, and encouraged us to work on our own music. He featured us in his shows and helped us get a record deal with MCA as The Scratch Band, and coproduced our record. He encouraged me to write songs, gave me feedback, even wrote a few with me — and recorded one of them. He invited us to come to the studio and hang out when he was recording, which was an incredible learning experience. Don and his coproducer Garth Fundis began occasionally using me on his records, and in 1985, I got my chance to go in the studio with Don’s “A-Team,” which included Kenny Malone, Billy Sanford, Jim Horn, and the late, great Charles Cochran. I played on my first No. 1 record, “Heartbeat in the Darkness,” and that was the real beginning of my studio career. I was Don’s bandleader for four years, and getting off the road in 1994 to go freelance in town was a very difficult decision, but he was genuinely happy for me. In 2010 I came back to fill in occasionally for several years, and it was an amazing flashback to play those songs once again for those devoted fans of his. Even better, I had the chance to spend some quality time with him, which really meant a lot to me. We were family, and I could never overstate all of the things that I learned from Don. In my younger days, I was naïve enough to think that most artists treated their musicians the way that Don did. As I began to compare notes with my peers, I found out that was not always the case. Don’s demeanor could be a little intimidating to those who didn’t know him well, but both as the new guy in the band, and later as his bandleader, I was always able to go straight

to Don with a question or issue. We were always able to find a reasonable solution. The respect he consistently showed us is one of the main motivations that led me to my current job as Local 257 president.

The long run

There will always be speculation and concern about the future of labor unions, just as there will always be people who will try to take advantage of musicians, and would love to see the system that has worked so well for so long break down. Local 257 was founded on Dec. 11, 1902 — 115 years ago. Think about that for a moment. We have been through many challenges, but have always persevered. Why? Because of our members. Every time there has been a crisis, we have worked our way through it together withopen and honest communication. In this age of WAY too much information, we need to deal in facts and not speculation or doomsday predictions. The solution is not to turn away or give up. AFM members working together in a positive fashion to make things better — that is the correct path forward. But it’s up to you: We are only as strong as our members allow us to be.

Hope for the future

As we go to press, we heard the horrific news of the mass shooting in Las Vegas at the Route 91 Harvest Festival. Many of our members were there to perform. We are grateful they were uninjured, and send much love and sympathy to all those affected by this senseless act of violence. Music is meant to bring people together, and this terrible tragedy sends the worse type of message to the world. America can do better than this – love and tolerance, not violence, is the answer, and music can help heal these wounds. TNM



“Our union wants to help see your plans through. That’s why the AFM and Local 257 have each set up certain funds to provide assistance for members in good standing.”

nertia is the name given to a scientific theory that says, “A body in motion tends to stay in motion.” This theory can also be applied to our daily lives. We go until something stops us. As musicians, this theory explains why most of us really don’t entertain the idea of retirement. Why? I believe it’s because what we have chosen to do moves us unlike other livelihoods —making music is in our blood and once we experience its rewards we don’t ever want it to end. So that’s the plan. However, plans have a sneaky way of going awry! Whenever we hear stories about folks who have encountered tough situations that create obstacles to their plans, it has real impact and makes us thankful we aren’t in their shoes. Our union wants to help see your plans through. That’s why the AFM and Local 257 have each set up certain funds to provide assistance for members in good standing. These funds are for those who — through no fault of their own — run into serious problems that make it impossible to carry on without help. It is important to be aware that application to these funds is completely confidential, but many who have received assistance are happy to talk about how these funds have helped them. Here is a small handful of their stories.


Guitarist Steve Purcell was on his way to a gig when a drunk driver hit his vehicle head-on. His injuries had him incapacitated for months. “I had no way to pay my bills in Nashville, couldn’t drive and obviously couldn’t work playing guitar or anything else. I was immediately approved to receive $2500.  This money paid my bills and the numerous doctor bills that I had accrued during this time. I was off work for approximately four months and the union came through for me and helped me get back on my feet. I can never say enough good things or thank them enough for the

BY VINCE SANTORO help I received. I truly don’t know what I would have done had it not been for the help, love and support from everyone at the Nashville Musicians Association Local 257. God is good and so is the musicians union. I will be a lifelong member.” Guitarist Bob Britt was blindsided with this news, as conveyed by his wife Etta: “In February of 2016 my husband Bob Britt was diagnosed with a very aggressive cancer which needed to be treated immediately and would continue most of the year. While going through our finances I reached out to Dave and Vince and asked if we could defer his dues for a few months. Not only did they help us with that, they sent a form to fill out to receive help from the Emergency Relief Fund. We were approved right away and a check was sent. It was a huge help to us to be able to receive financial assistance and breathe easier while focusing on Bob’s treatment. I am very grateful to the Nashville Musicians Association for helping us get through that very difficult time.” Drummer Bobby Daniels had multiple surgeries and found help through the ERF. “Having had three major surgeries beginning in September 2010, I was having a difficult time keeping up with the out-of-pocket medically-generated financial needs, even with excellent medical insurance. As a result of the surgeries, along with chronic back problems, monthly required medications, the constant care of a pain management physician, I was financially incapacitated. Monthly medications were often overwhelming, with them constantly subject to change depending on needs to meet ongoing — and oftentimes changing — pain levels. I genuinely needed help — and help was generously provided by Local 257 – in a timely and significant manner!

I am humbled and eternally grateful for the union’s much-needed assistance and support. Without it, I am not sure what would have come about in my financial standing! When help was needed, my union was there for me! Grateful is truly an understatement!”

Lester Petrillo Memorial Fund for Disabled Musicians

Drummer/percussionist Rodney Ledbetter was directed to this fund because he became disabled. “When it became apparent that I might need some financial assistance regarding a nerve issue that would result in surgery, I reached out to the Nashville Musicians AFM Local 257 for some financial relief. They were very helpful in pointing out some avenues available in financial assistance that the AFM had to offer. After an initial phone conversation and an inquiry about possible assistance, it was suggested that I look into the Lester Petrillo Memorial Fund for Disabled Musicians. Since I would be out of work for an undetermined amount of time because of surgery, the Lester Petrillo Fund provided the short-term financial assistance that I needed. Just wanted to say thanks again to the American Federation of Musicians for helping me when I really needed it.” The Emergency Relief Fund and the Lester Petrillo Memorial Fund for Disabled Musicians do the heavy lifting for our members in need. These funds, the Local 257 disabled member discounted annual dues, and our relationships with MusiCares and the Opry Trust Fund, help provide a safety net for unforeseen crises that arise. I thank these folks for sharing their experiences in this column. We are all in this together — that’s what solidarity is about. If you or anyone you know is struggling with a tough situation, call the TNM local and let us help. OCT – DEC 2017 7



The life and career of Local 257 life member Loretta Lynn is the subject of a new exhibit at the Country Music Hall of Fame and Museum; she was inducted into the CMHOF in 1988. The legendary artist has stayed active throughout her more than 50-year career — just last year she received a Grammy nomination for her 2016 record Full Circle. The Kentucky-born singer and songwriter, once described by Owen Bradley as “the female Hank Williams,” cut her first single — “I’m a Honky Tonk Girl” — in 1960. The decade which characterized so much social upheaval was the perfect backdrop for Lynn’s songs. She wrote the stories of working class women — their struggles, heartbreaks and triumphs — and inspired listeners everywhere. Loretta Lynn: Blue Kentucky Girl highlights include handwritten lyrics, guitars, awards, and a dress she made when she was 14, which was later worn by Sissy Spacek when she portrayed Lynn in Coal Miner’s Daughter. The exhibit will close Aug. 5, 2018.


Singer, songwriter, and multiinstrumentalist Shawn Camp performed at a Songwriter Session in the Ford Theater Aug. 26 — an event held to coincide with the current CMHOF Loretta Lynn exhibit. In addition to his work with the award-winning group Earls of Leicester, Camp has collaborated Shawn Camp with Lynn for a decade. Lynn and Camp cowrote “The Big Man,” “I’m Dying for Someone to Live For,” and “Ruby’s Stool,” which appear on Lynn’s 2017 album Wouldn’t It Be Great. The two also cowrote “White Christmas Blue” on Lynn’s 2016 holiday album, and Camp provided acoustic guitar and backing vocals on Full Circle. As a songwriter, Camp has had an array of hits during his career, including Brooks & Dunn’s “How Long Gone,” Garth Brooks’ “Two Piña Coladas,” “Would You Go with Me” for Josh Turner and Blake Shelton’s “Nobody but Me.” He has been awarded two Grammys: Best Folk Album for producing Guy Clark’s My Favorite Picture of You and Best Bluegrass Album for the self-titled debut The Earls of Leicester.


Rob McCoury took a brief sabbatical from The Travelin’ McCourys in September to participate in a pilot program about the Polynesian influence on progressive string music. McCoury said in a statement that “Bela [Fleck] and Jim Mills inspired me with their travels to Africa, and I have often found myself under the influence of Polynesian culture. There’s a paper umbrella and a world of knowledge in my future.” The program is being funded in part by String Cheese Incident member Bill Nershi. 8 THE NASHVILLE MUSICIAN

Loretta Lynn

Rob McCoury Norbert Putnam

McCoury, his brother Ronnie, and their father Del have toured extensively in the 20-plus year history of the acclaimed bluegrass band, which is well-known for moving seamlessly from traditional to progressive styles. McCoury rejoined the band in October.


Legendary musician-producer Norbert Putnam received the Applause Award from the Tennessee Performing Arts Center (TPAC) at its annual fundraising event held Aug. 26. The center also honored the legacy of singer-songwriter Dan Fogelberg — Putnam was his longtime producer. Fogelberg’s life and work is celebrated in a new original musical — Part of the Plan — which premiered at TPAC in September. “So many artists, songwriters, and performers are drawn to Music City, just as Dan Fogelberg was as a teenager,” said Kathleen O’Brien, TPAC president and chief executive officer. “Genius artists like Norbert Putnam helped make Nashville a place for creative risk.” In addition to his Grammy-winning success with Fogelberg, Putnam, a bassist, was one of the Nashville Cats, a group of session players who worked on a multitude of rock, country, and folk sessions during the ‘70s in Nashville. He recorded with Elvis Presley, Waylon Jennings, Jimmy Buffett — whom he also produced — Linda Ronstadt, and Bobby Goldsboro among many others. He also co-founded Quadrafonic Sound Studios with fellow Nashville Cat David Briggs. “I am extremely excited and honored to receive the Applause Award and be present to honor the legacy of my old pal, Dan Fogelberg. The music we created together provided a template of creativity for generations to come,” Putnam said.

HEARD ON THE GRAPEVINE Chris Stapleton, Miranda Lambert, George Strait, Robert Earl Keen and Lyle Lovett

Kings of Leon

Alyssa Bonagura and Ruby Stewart Usher and Blake Shelton

Andy Reiss Kenny Chesney


Local 257 musicians came out in force to offer support for those affected by hurricanes Harvey and Irma. A massive telethon — Hand in Hand: A Benefit for Hurricane Relief — was broadcast simultaneously from New York, Los Angeles and Nashville on CBS and also on 17 other networks Sept. 12. The event was cohosted by Blake Shelton, who also performed, along with Brad Paisley and many others. Chris Stapleton and Lyle Lovett appeared during a Sept. 12 benefit concert launched by George Strait in San Antonio — some of which was broadcast as part of Hand in Hand. Proceeds benefited several charities including United Way, Habitat for Humanity, Save the Children, and Direct Relief. The Houston Food Bank announced that Taylor Swift had made what it termed a “sizable donation” to the organization. The artist’s mother graduated from high school and college in Houston. Kings of Leon bassist Jared Followill also had a personal connection to the

beleaguered city — his wife Martha is from Houston. The rock band teamed up with the Tennessee Titan’s Taylor Lewan for a fundraiser concert and silent auction at 12th & Porter which has raised over $50,000. All proceeds will be donated to the J.J. Watts Houston Flood Relief Fund. Another fundraiser for hurricane victims was held Oct. 6 at 3rd & Lindsley featuring a host of Nashville musicians covering ‘80s ballads, including Alyssa Bonagura and Ruby Stewart (Sisterhood), Gabe Dixon, and other special guests. Donations can be made at GoFundme.com/NashvilleArtistsUnite. Guitarist Andy Reiss helped Texas friend Big John Mills collect instruments and gear for musicians in Houston who suffered losses during the hurricane. Facebook posts Sept. 15 on Reiss’ page showed a van full of equipment and instruments headed south. Many helped out, including Jim Ferguson, Mike “Cookie” Jones, Ronnie Brooks, Gabriel Hernandez, Germantown Guitars, and Blues Vintage Guitars. Kenny Chesney, who owns a home on the island of St. John — which was decimated — has vowed to help the area

Van filled with donated gear bound for Texas.

rebuild. He’s started a foundation to raise money for relief efforts in the affected islands. In the immediate aftermath of Irma, Chesney also lent his private plane to refugees with no way to get back to the U.S. MusiCares announced it has established a relief fund for music industry professionals affected by the flood. Assistance will include help with basic living expenses, medical bills, instrument and equipment replacement, and more. Those seeking help are encouraged to call 615-327-0050 for more information. You may also donate to flood relief at the AFM federation website. Go to afm.org for more information. There are many, many, individuals who have donated time, money, or other resources to help the victims of Harvey and Irma. Thank you to everyone — including those we may have not heard about — who reached out to help those affected by the TNM September hurricanes. OCT – DEC 2017 9


Five positive things you can do to help yourself and the AFM Pension Fund In July the AFM Pension Fund’s Trustees visited Local 257 to give a presentation for members to explain the current status of the Fund. Many members felt the presentation was informative and educational. However, there continues to be speculation about what may or may not happen in the future. Regardless of anything you may have heard, one simple fact remains: The more money that goes into the Fund, the better it is for everyone. Here are five simple ways you can help make the Pension Fund stronger:


WORK ON THE CARD: Now is not the time to abandon ship and work off the card, in fact that would be the worst thing you can do. Every non-union session hurts the Fund, and also takes away your opportunities for future revenue, because what you make on a non-union session is all you will ever make. The paper trail of an AFM session is the only way to ensure you will be paid fairly for your work — now and in the future. We recently got session musicians paid for New Use and Re-use of a Patsy Cline session from more than 50 years ago, and are constantly billing for new uses of AFM recordings.


USE THE SINGLE SONG OVERDUB SCALE: When you overdub for Internet clients in your home studio and use the Single Song Overdub Scale, you are protecting yourself and helping the Fund as well. We created the SSOS specifically for this purpose, yet it is not being used nearly as much as it could - or should - be. It is easy to use, protects you and your employer, and unlike any other AFM agreement, it allows you to negotiate your own per song rate ($100/song minimum) and pay into your own pension. We have recently simplified the agreement language, and it can be signed by the employer online with an “X.” You make your own pension payment from the lump sum you receive once the work is done. It can also be combined with Limited Pressing if you are overdubbing on existing LP tracks.


PENSION FOR TOURING MUSICIANS: We have a new Touring Pension Agreement for musicians working the road who want to add to their pension contributions. This agreement saves the employer money on payroll taxes, and allows anyone in the band to take a percentage of their earnings and direct it toward their individual Pension Fund account. Members of legendary group Riders in the Sky have had a Touring Pension Agreement 10 THE NASHVILLE MUSICIAN

in effect for years — they are just one of the bands that do so. And unlike previous versions, everyone in the band does not have to sign on, only those who want to build their pension through their touring income.


RECRUIT NEW MEMBERS: There are many musicians that you may work with every day who are not AFM members. Why aren’t they? In most cases, no one has explained to them what we do for our members. Others are holding a grudge because of a longago bad experience. Some musicians come and pick up check after check, and never pay the non-member service fee we ask for — which means that you are paying for the services they receive. When a peer, bandleader, or someone they respect explains to a fellow musician why they should join the union that is already working on their behalf, it makes all the difference in the world. Increasing our membership makes us stronger and everything we do more meaningful.


ORGANIZE NEW WORK ONTO AFM CONTRACTS: This longstanding tradition has always been what separates us from the rest of the world, and is how Nashville became Music City, and not Atlanta, Memphis, NYC, L.A. or any other place. Over the years, we have brought many Christian labels and indie record companies into the AFM fold, as well as countless publishers and independent artists. Jack White and Dan Auerbach are just two of the rock stars who live here and do all their work on the card – because the players asked for it. Don’t forget the leverage you have, it is real. Local 257 can talk to employers confidentially on your behalf, or provide you with any information you need to protect your work, now and in the future. That’s what we are here for. Please contact Local 257 if you have any inquiries or suggestions about the Pension Fund. Single Song Overdub information and forms, Touring Pension Agreement forms, and other information can be found on our website at nashvillemusicians.org.


Local 257 members step up for Special Olympics fundraiser

Jerry Kimbrough with some of the donations.

Local 257 members donated a wide variety of items to an auction held by the Tennessee Law Enforcement Torch Run Council in September. The organization is the largest fundraising arm of the Special Olympics, and directs resources to programs sponsored by Special Olympics and the athletes who compete in local, state and international games. Donated items from members include two signed guitars and handwritten lyrics from Vince Gill, a signed guitar from Dierks Bentley, signed sheet music and a photo from Ray Stevens, lyrics and a photo signed by Dolly Parton, plus Brad Paisley and Chris Stapleton merchandise. Other items included a selfie stick signed by Josh Turner. Special thanks to Local 257 member Jerry Kimbrough, who sought out and brought in the vast majority of the items donated. TNM

NEW LOCATION 2616 Grandv iew Avenue Nashville, TN 37211 615.750.5726

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

OCT – DEC 2017 11



his 50-year pin. 2. Multi-instrumentalist PENN PENNINGTON with his new

life member pin. 3. JIM SCHOLTEN and his family

paid us a visit when he received his life member pin. 4. Guitarist and life member SONNY WRIGHT proudly


displays his 50-year pin. 5. Life member and multiinstrumentalist BOB BROWNING shows off


his 50-year pin. 6. Banjo player and life member JACK FRECKMAN was

presented with his 50-year pin.


7. Awesome mandolinist ROLAND WHITE shows off his

50-year pin.









4. 1. Fiddle player JIM BUCHANAN with drummer (and booth organizer) CHUCK BRADLEY in front of the Local 257 booth. Volunteers SUZANNE RICHARDS and her husband, bassist TOM RICHARDS in the back. 2.

2. BRENT MASON draws a crowd at the Wampler booth. 3. Saxophonist JEFF COFFIN visits with writer RICK MORE. 4. CARL THOMASON holds down the fort at the Local 257 booth.

continued on page 14 OCT – DEC 2017 13

GALLERY continued from page 13

SONNY CURTIS pays tribute to REGGIE YOUNG at his CD release party at Green's Grocer in Leiper's Fork.




1. MINDY WHITLEY and friend wait at the Local 257 front desk

— looking for a check, or possibly a MilkBone. 2. There was a full house for the August Local 257 Musician-

Songwriter Jam. The event is held monthly.


EMAIL ADDRESS? Local 257 sends important advisories to members by email, including updates on our annual NAMM pass giveaway, and invitations to Local 257 events. Don't be left out of the loop! Notify the front desk of any changes to your contact information, including phone number, address and beneficiary. Call 615-244-9514 to make sure we have your correct information, or email kathyo@afm257.org


VIOLINS OF HOPE NASHVILLE a citywide dialogue about music, art, social justice and free expression. PRESENTED BY

The Violins of Hope are a collection of restored instruments played by musicians interned in concentration camps during The Holocaust. The Nashville Symphony has partnered with more than two dozen organizations to offer a community-wide series of events around these instruments, driving the creation of music, dance, theater, readings and educational activities throughout Middle Tennessee.


· Nashville Ballet Performs Light: The Holocaust and Humanity Project, Feb. 9-11, 2018 · Guerrero Conducts the Violins of Hope, with the Nashville Symphony, March 22-24, 2018 · Violins of Hope instrument exhibit at Nashville Public Library, March 26-May 28, 2018 · “We Shall Overcome: Civil Rights and the Nashville Press, 1957-1968” at Frist Center for the Visual Arts, March 30-Oct. 7, 2018

Learn more and get involved at ViolinsofHopeNashville.org

615.687.6400 • NashvilleSymphony.org OCT – DEC 2017 15

What if... There is a scene in the Jerry Douglas Band’s current video, “Hey Joe,” in which Douglas is seen riding in the back of a pick-up truck, clutching the side of the bed, a hand placed atop his hat, bracing against the wind as he races along a backcountry road to make a session with his mates. by warren denney


is at once comical and thrilling, as you become absorbed into his take on the Jimi Hendrix psychedelic blues classic, dobro in tow. The song, originally copyrighted by singer Billy Roberts in 1962, is a snippet from the new record What If and is a glimpse into the expanded mind of Douglas and his musical approach. “I’ve always listened to other things,” Douglas said recently. “I heard Chick Corea and Weather Report. The fusion. I was listening to Clapton and Jeff Beck — all kinds of people to adapt things to my instrument. There wasn’t anyone for me to listen to to influence me on my instrument.”


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These instruments are just conduits for what we are and what our instruments make us. As I grew, the instrument put me on different tracks with different people and so it just became what it is. That, of course, would be the resonator guitar, an instrument so integrated into the roots of bluegrass, country, and blues, as to be considered expected. Jerry Douglas has spent his career altering such perception, redefining the dobro through musicianship, taste, and exploration. He claims it — past, present, and future. Douglas has recorded with artists ranging from Johnny Cash and Ray Charles, to Ricky Skaggs and The Whites, T Bone Burnett, Alison Krauss, Elvis Costello, Béla Fleck, J.D. Crowe, James Taylor, and countless others. To say he has expanded the dobro’s influence is understatement. Over the course of a career entering its fifth decade, Douglas has earned 14 Grammys and three CMA Musician of the Year awards. He is a multiple recipient of the IBMA’s Dobro Player of the Year award, and has been a past Artist In Residence at the Country Music Hall of Fame and Museum, and received a National Heritage Fellowship from the National Endowment for the Arts. “I came at it totally from a bluegrass background,” he said. “So that’s what I was thinking about from the beginning. When I first started playing the guitar and dobro, I wasn’t really thinking about any other kind of music than bluegrass. “These instruments are just conduits for what we are and what our instruments make us. As I grew, the instrument put me on different tracks with different people and so it just became what it is. At the same time, I’ve been nominated for the CMA Musician of the Year, so what am I? — and what is the perception of what I am?” Douglas grew up listening to his steelworker father and watching his bluegrass band practice and perform around Warren, Ohio. It was the foundation of his musical education, as he watched them rehearse and perform. “My father is a guitar player,” Douglas said. “He worked in the steel mills like a lot of other people did, and he had the band. I would watch them rehearse — some of my earliest memories are of watching them play music. I’d hear them work up songs and practice. I’d watch them work them up and then go play them in the beer joints. “It was definitely real. Most kids don’t get to see something like that. I had a crash course 101 in watching them rehearse and formulating their plan and how it all works — like what I do now. I got to see what goes into that.” That crash course turned into his first real gig, which in turn opened the door to the greater musical world. He encountered the dobro sound when he was eight years old at a Flatt & Scruggs show, moved by Uncle Josh Graves and the Smoky Mountain Boys’ Bashful Brother Oswald, and brought it into his father’s band. “I played in his band from the time I was probably fourteen,” Douglas said. “I played with them for a couple of years. Then, I was sort of drafted by a professional bluegrass band called The Country Gentlemen, at the same festival my dad’s band was playing at. I could see them kind of spreading out in the audience. They came up to me at the end of a set and asked if I’d go on the road with them from right there. I said ‘No, I’m still in high school,’ but during the summer between my junior and senior year I’d go on the road with that band. It was my first brush with reality as a professional musician.” That was the early 1970s. He would join Crowe’s New South by 1974 and moved to Nashville by the time he turned 21. He knew he had something, and for him to flourish, he wanted the session work and to be around other top-flight players. 18 THE NASHVILLE MUSICIAN

Photo: Frank Serio

“It was a bright light,” Douglas said. “If you were going to be a musician, you wanted to be in Nashville. I thought of it as the mecca for any good musician. You’d graduate to this position. But, all of the bluegrass people though discouraged that — they’d had bad dealings in Nashville. Even at that point. You know, ‘You guys are hillbilly music, not cosmopolitan enough.’ “I did realize, though, I needed to move to Nashville. I wasn’t just a bluegrass musician. I discovered I could play other kinds of music. I moved here to work with The Whites, and I started doing sessions. It became so heavy that by 1984 or 1985, I got off the road and just did sessions.” Along the way, Douglas formed Boone Creek with Skaggs, and recorded his first solo album Fluxology, in 1979 on Rounder. Clearly, Nashville was taking notice. He became a member of Local 257 in 1980. “I was just getting something off my mind with these solo records,” Douglas said, laughing. “I was very much a band guy and had no interest in stepping out front. I wanted to voice my musical mind — [things were] rolling around in there, but I didn’t know what to do with them. I was hanging around with Tony Rice and David Grisman — sort of hybrid bluegrass musicians. They didn’t play their father’s bluegrass music anymore. So, it was an outlet for things I had in my head. “I think it [the scene] was more wide open. I mean, it was heavily judged, and people sort of looked at us as great players and singers, but not as someone that appealed to this mass audience. We didn’t have our own machine — our own kind of publicity people who could reach out. We would just do our thing.” He played on hits by Skaggs and The Whites, who were touring as Emmylou Harris’s opening act. Through that experience, Douglas appeared on her Roses in the Snow and began to cement his reputation as a visionary on the instrument, incorporating influences from rock & continued on page 20 roll, jazz fusion, and beyond. OCT – DEC 2017 19

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Douglas has been a member of Alison Krauss’s Union Station since 1998. “I met Alison when she was 14. Rounder Records brought her to Nashville and she auditioned in front of me, Sam Bush, and Béla Fleck. They were looking for a producer for her. I worked on her first record and I coproduced her second one. I’ve worked on just about every record she’s made. I didn’t work on the Robert Plant record, and I was one of the people who told her she should do it. I would want her to tell me the same. “I joined the band in 1998 to do a group of shows — and two shows in they asked me to stay. That was 19 years ago. But, I’ve always been a freelancing musician, working sessions. Traditional country music was really hot, and I played on all that stuff. Randy Travis. Alan Jackson. Garth Brooks. All those things. That’s when I was working hard to be a session musician, and producing, of course.” Throughout Douglas’s career, he has felt the charge of the current that feeds the present from the past. Today’s manifestation of that current is his celebrated band Earls of Leicester, formed in 2013, presenting the music of Flatt & Scruggs, and the Foggy Mountain Boys. The band’s self-titled debut release in 2014 which earned the Grammy for Best Bluegrass Album, coupled with the follow-up Rattle & Roar in 2016, have established Douglas and the Earls as keepers of the kingdom. “I feel a strong line,” he said. “That was one of the reasons I formed Earls of Leicester. I was at a point in my career where I wouldn’t just be thought of in that way again. And that sound didn’t exist anymore — it’s been sucked into the bluegrass vortex vernacular. Nobody was playing it the way they were playing it — the way it was originally intended. “We’re a bunch of like-minded musicians. We just tried to channel those guys in that band to get it as close as we can, and to give it that full reading, you know. I think people really liked hearing it again … in a big way. People hadn’t heard that in so long, it’s like Flatt & Scruggs had come back. I’m very glad, and I’ve heard from people — older people — that they thought they’d never hear that sound again. And, then you have younger people wondering what it is. Well, you should go buy every record you can find. Don’t think Tony Rice, or Alison, or Sam Bush, or Béla Fleck, or I, invented this. This is where it came from.” To understand the future, you have to know the past. “It’s working people’s music,” he said. “They only played it on their back porch because they had to go back to work. It wasn’t country music like Bob Wills or Ray Price. It was specific to an area almost, and a survivalist kind of music. People left a hard-scrabble life behind them when they would move, but their music came with them. They were looking for something honest. Something simple. But, playing that music is anything but simple. Its very physical. You have to do your homework. It’s just like playing jazz. You have to go back and find out who the founders were before you can really understand.” Of course, Douglas understands. He was there at a tender age. He worked hard for his place, and championed an instrument that cried out for more. And, by honoring the past, he has created more appreciation for the future. His current record What If is the ultimate nod to his vision, and his influence. As in the “Hey Joe” video, Douglas is on the road, barreling to a musical collaboration. “It came on at No. 1 on bluegrass charts,” he said, laughing. “Everyone sees my name and they think bluegrass automatically, and don’t even listen to the record. It’s not a bluegrass record. Finally, Downbeat reviewed it and gave it a great review. Nobody really knows what it is. But for me, it’s all mixed in. It’s all in there. “If you let others’ perceptions rule your music, you’ll be worried every day about what kind of musician you are.” TNM 20 THE NASHVILLE MUSICIAN


GUITARS: All resophonics built by Paul Beard of Hagerstown, Md.except** Beard Jerry Douglas LTD (all solid quilted Mahogany) Beard Blackbeard (Sapele Mahogany) Pogreba Baritone metal body guitar** 1919 Weissenborn Hawaiian guitar**   (Earls of Leicester) original 1934 Model 37, and 1934 Model 27 Dobro guitars also, new to the market Paul Beard DECO brand Model 27 resophonics   LapKing lapsteel guitars, Rodeo and Bel Aire models Fender Custom shop slab neck Tele by Fred Stuart, and Stratocaster by Donnie Wade   LAP STEEL AMPS: 1954 Fender Tweed Vibrolux, Fender Tweed Blues Deluxe reissue, Fender Tweed Deluxe reissue.   RESO AMP: AER Compact 60’s   PEDAL BOARD: Grace Design Felix per-amp Fishman Jerry Douglas Aura pedal Memory Man multi effects pedal Two Boss DD7 Delay pedals Timmy overdrive pedal Origin Effects Slide Rig pedal POG octave divider pedal DigiTech Whammy DT Drop Tuning Pedal Jim Dunlop volume pedal   SMALLER RIG: Fishman Jerry Douglas Aura TONEDEQ Preamp EQ   CABLES: Asteropes D’Addario American Stage guitar cables   PICKS: JD Blue Chip thumbpicks Pro-pik reso fingerpicks   STRINGS: D’Addario J-42 Resophonic guitar strings 



POETS AND PROPHETS: A SALUTE TO LEGENDARY SONGWRITERS October 7: Gary Burr SPECIAL PROGRAMS October 29: Technique Workshops and Group Jam with Dailey & Vincent November 11: Bluegrass and Beyond with Blue Mafia, Irene Kelley Band, Jim Hurst & Friends, and Don Rigsby Band SATURDAYS: SONGWRITER SESSION October 14: Bobby Bare, Mary Gauthier, and Max T. Barnes November 4: Josh Kear December 9: Steve Dorff SUNDAYS: MUSICIAN SPOTLIGHT October 1: Ryan Joseph • Fiddle October 8: Four-Part Harmony with Dailey & Vincent December 3: Kenny Malone • Percussion VISIT OUR WEBSITE TO SEE THE FULL CALENDAR OF PERFORMANCES AND INTERVIEWS

#PressPlayRecord • @CountryMusicHOF CountryMusicHallofFame.org • Downtown Nashville PROGRAM FUNDERS: Museum programs are funded in part by The Bonnaroo Works Fund of The Community Foundation of Middle Tennessee, Epiphone, Fender, Jackson National Community Fund, Metropolitan Nashville Arts Commission, and Nashville Parent. Technology Partners: Cisco; NewTek; Personal Computer Systems, Inc.; and Promethean.

OCT – DEC 2017 21


Ear Candy is McCoy’s 40th solo record, and combines six original tunes with eight classic covers — utilizing many of Nashville’s finest pickers.

Charlie McCoy

Ear Candy Flying Harp Productions Multi-instrumentalist and Country Music Hall of Famer Charlie McCoy has carved out an amazing double career as one of the most recorded musicians in Nashville history — and also as a prolific and successful solo artist, touring the globe performing to enthusiastic audiences. Ear Candy is McCoy’s Forever | Ace Records 40th solo record,Young and combines six original tunes with eight classic covers — utilizing many of Nashville’s finest pickers. McCoy adds spoken commentary, and introduces several of the songs and special guests, which gives the album a personal touch. The title track kicks things off with a funky New Orleans groove, leading into a cool cover of “Wonderful World,” featuring Brent Mason on electric guitar and Eddie Bayers on drums. “City of New Orleans” finds McCoy trading harmonica licks with the great Mickey Raphael, longtime Willie Nelson sideman. “Statue of a Fool” is a throwback to the classic “Nashville Sound,” with Harold Bradley’s tic-tac bass blending perfectly with Mark Burchfield’s bass, and Pete Wade contributing some tasty electric guitar. “Hatfields and McCoys” features Vince Hatfield in a vocal duet with McCoy. The tune re-tells the story of the biggest family feud in history, along with Wanda Vick adding banjo, fiddle and mandolin, Sonny Garrish on steel, Biff Watson on acoustic guitar, Gary Prim on keys, and the late Mike Chapman on bass. McCoy covers classics such as Burt Bacharach’s “What the World Needs Now,” and his version of the ‘60s instrumental hit “Sukiyaki” demonstrates his vocal-like phrasing on the harmonica, one of

the most recognizable sounds in Nashville music history. “Baby,” originally cut by Wilma Burgess, features Ashton Stoyer on vocals and Lloyd Green on steel, along with Bradley and Wade. “Downsize” is a hilarious tune about hoarding set to a greasy groove courtesy of Bob Mater on drums. “The Rose of Killarney” is a beautiful Celtic melody featuring guests The Molina Brothers from the Czech Republic on Irish whistle and fiddle. The international flavor continues with “La Belle D’Avignon, a duet co-written and sung with French vocalist Annabel Peyard. Joni Mitchell’s “River” flows sweetly courtesy of Michael Spriggs’ acoustic guitar and percussion, with a string section including Emily Nelson on cello, and violinists Erin Slaver and Katelyn Westergard. The album closes with the aptly titled original “Where Do I Go From Here,” a bittersweet love story with Spriggs’ gut-string guitar, Dave Pomeroy on string bass, and Bruce Bouton on steel supporting McCoy’s poignant vocal. Ear Candy showcases a musical chameleon at the top of his game, with no end in sight. Sweet, indeed. — Roy Montana

CHARL Multi-instrumentalist and Country Music Hall of Famer


Charlie McCoy with Travis D. Stimeling 50 Cents and a Box Top West Virginia University Press

Legendary musician Charlie McCoy is a very down-to-earth guy. When you meet him there’s no pretense, no sense that you are talking to a musician who has worked with everyone from Bob Dylan to Chet Atkins to Elvis. He’s friendly and warm. He really seems interested in what YOU have to say, rather than jumping in with what HE thinks about the subject before you’ve finished your first sentence. So it makes sense that his memoir, 50 Cents and a Box Top, evokes the feeling that you’re reading a letter from your friendly, chatty uncle — who just happens to be a world-famous harmonica player and member of the Country Music Hall of Fame. This book is full of the kind of amazingly detailed stories that will not only be fascinating to the general public, they’ll be devoured by any young musician who wants to know how you make it in the business. And most of all, it feels like he’s talking directly to you. This book doesn’t just weave a great story about the amazing time in American musical history when rock & roll was young, country was re-inventing itself, and the possibilities were endless for a young musician with talent, courage — and a very intense intellectual curiosity about music, people, and life in general. It also goes into a lot of detail about McCoy’s experiences on the road, the studio, and being a side man. If that’s not enough, there are timeless stories about being an artist, having a band, and working with a label. McCoy was also the musical director — and a cast member — on Hee Haw for 14 years, so there is a fascinating inside perspective on the popular longrunning show, and television production in that era. Plus, for those who want to broaden their horizons even more, McCoy recounts his experiences about what it’s like to play internationally, something that he’s done for decades, and continues to do to this day. McCoy got his start by mailing off 50 cents and a box top, and receiving a harmonica in return. Although he plays a host of other

instruments, it’s the harmonica that paved the way for his legendary success. And in this book, he is quick to thank everyone along the way — parents and teachers to fellow players and music business executives who helped him achieve his goals. This is a musician who has clearly never forgotten the many individuals who believed in him. He is also clearly a guy who knows the value of gratitude and humility. The book is a great read, and it’s a textbook for how to take talent, add hard work and a lot of appreciation for the folks along the way, and put it all together to realize your dreams. – Kathy Osborne

(Front) Chet Atkins, Buddy Harman (Middle) Charlie McCoy, Henry Strzelecki (Back) Ray Edenton, Jerry Smith in the studio

(Front)Felton Jarvis, Chip Young, Charlie McCoy, James Burton (Back) David Briggs, Norbert Putnam, Elvis, Al Pachucci (engineer), Jerry Carriage

LIE MCCOY Most Recorded Musician in Nashville History

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Glen Campbell

The Benny Havens Band

Songs That Save Our Lives Agnes Records

USMA Benny Havens Band with recording staff. Master Sgt. Brian Broelmann, Master Sgt. Dan Pierce, Sgt Fist Class Brandie Lane, Staff Sgt. Vince Magno, Staff Sgt Bryan Pnton, Michael Spriggs, Joey Turner, Staff Sgt. Emily Mc Aleesejergins, Steve Hinson, Staff Sgt. Jeremy Gaynor, Master Sgt. Rich Johnson, Sgt. First Class Brandon Nelson, Sgt. Major Scott Drewes, Sgt. First Class Carla Loy Song, Kam Luchterhand. (l-r) Not pictured: Commander of the USMA Band Col. Andrew Esch

The Benny Havens Band is about as far from a typical contemporary country ensemble as you can get. This group is made up of 10 of the finest musicians and singers in the U.S. Armed Forces. They are all active members of the military, stationed at West Point, and travel the country in support of the Army’s recruiting efforts. With the help of producer Michael Spriggs, they have created an album that reflects the military way of life from a personal and musical perspective. This is not one of those “band” albums where session players dominate the proceedings. Other than Spriggs’ tasteful acoustic guitar and Steve Hinson’s slinky dobro, steel and slide, the Havens Band cover everything. The album opens with “Small Town Skyline,” and immediately establishes the fact that these folks are operating at a very high level. With three lead vocalists, three guitarists, keyboards, banjo, bass, and drums, their sound is big and punchy, and the arrangements and production are as well. The vocalists trade roles throughout the album and hit the mark consistently, in fact, male vocalist Jeremy Gaynor was a season eight contestant on The Voice before entering the military. “That’s When America’s Beautiful” is an uplifting tale of people coming together, a nice change of pace in these turbulent times. “Unfriendly Fire” addresses the issues of veterans coming home with a compassionate viewpoint, and features a passionate vocal performance from guest vocalist and Iraq War veteran Ryan Weaver, whose brother Aaron was a casualty of that conflict. Charlie Daniels donated two of his original CDB patriotic songs, “Let Freedom Ring” and “God Bless the Mother,” to the project, and those performances are characteristically sincere and passionate. “Hold the Line” features another veteran, Keni Thomas, one of only three survivors of the infamous “Blackhawk Down” incident in Somalia, who was awarded the Bronze Star for Valor, and is an ode to the power of working together towards a common goal. The album’s themes of sacrifice, shared responsibility and love of country are a welcome cliché-free relief from the often superficial nature of “modern” country music. Kudos to these military musicians for their service to our country and for creating a very special record, and to producer Michael Spriggs for pulling off this ambitious project. Mission accomplished. — Roy Montana TNM 24 THE NASHVILLE MUSICIAN

Iconic pop and country artist Glen Campbell passed away Aug. 8, 2017 after a long struggle with Alzheimer’s disease. A longtime member of AFM Local 47 in Los Angeles, he began his career as a session musician, and went on to become an incredibly influential recording artist in his own right. Local 257 members Jeff Dayton (guitar) and Steve Turner (drums) enjoyed a long run as part of Campbell’s touring band. In 2012, Campbell was presented with a proclamation from Nashville Musicians Association honoring his achievements and making him an honorary member of Local 257.

(L-R) Steve Buckingham, Campbell, Dave Pomeroy, and Carl Jackson, who produced Campbell’s farewell recording, Adios.

The Glen Campbell Band around 1980, which includes, from left, T.J. Kuenster, Steve Turner, Craig Fall, Bill McCubbin, Campbell, Steve Hardin and Carl Jackson

Jeff Dayton performs with Glen Campbell.

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he Nashville Symphony is very lucky to have access to Nashville’s remarkable pool of talented musicians when hiring subs and extras. One musician’s performance stood out at the end of the 2016-17 season — keyboard player Stephen Kummer. We perform many concert versions of motion pictures — the orchestra plays the complete score while the movie is exhibited on a screen above. Lately, we’ve focused on John Williams’ movie scores, but this past summer our final movie was La La Land. Steve Kummer is a regular NSO extra and sub. He said, “I would never want Bob Marler’s job! He’s an amazing musician and the amount of music he has to play is incredible.” Principal keyboard is not a common position in an orchestra because they are required to perform more musical styles beyond classical, and Marler is on most of our rosters — Pops and Classical. But this movie had some material written out notefor-note, while other portions were just chord charts as part of a jazz combo. Kummer had to match his playing to Ryan Gosling’s hands on the screen — no easy task — but in rehearsals and performances, it was incredibly accurate. “A month before the performances they sent me the music, video that had the beats included like the conductor sees, and the click track.” I commented that trying to follow the conductor or the click track had been difficult because the tempos were so erratic, even within the space of a single measure. Kummer said it was a lot of work, and it took all month, but he felt pretty confident by the time rehearsals began. “Before Nashville, they performed this in Mexico, and Russia, but it wasn’t great. They also considered leaving the keyboard tracks in the movie. But if they did that, they would have had to 26 THE NASHVILLE MUSICIAN

leave in the jazz combo too, which would kind of defeat the purpose of these concert versions,” he said. Kummer’s performance was so successful, he will be heading to Europe to perform it next.

Thrill of a lifetime

As mentioned earlier, we’ve spent a good deal of time playing the movie scores of John Williams the past year and a half – Home Alone, Jurassic Park, Indiana Jones and the Lost Ark, Harry Potter (parts I and II), E.T. (during which mysterious piles of Reese’s pieces appeared on musicians’ chairs), and in 2017-18, Harry Potter (Part III; Part IV was written by Patrick Doyle but includes much of Williams’ thematic material), and Star Wars July 5-7, 2018. John Williams’ music is incredibly difficult and wonderful, and we were excited to work with him. Adding to our excitement were reports Brad Mansell and I heard from orchestra colleagues at the recent ICSOM conference, who all said the same thing: working with John Williams was one of the best experiences they’d ever had. Giancarlo Guerrero conducted the first half of the concert which included Williams’ bassoon concerto, The Five Sacred Trees, and was brilliantly performed by our new principal bassoonist, Julia Hargundy. Williams conducted the second half. In the three rehearsals scheduled for this first concert of the season, we had about 90 minutes with Williams. During that rehearsal, he had very little to say but the few comments and passages we ran were obviously exactly what he wanted. What impresses me about John Williams is that his music can stand on its

own; it can accompany the movie, even when buried behind sound effects — but it doesn’t require the movie to stand alone. I told my colleagues that working with him was like working with Richard Strauss (for the neophyte, the opening of 2001 A Space Odyssey is from Strauss’ Also Sprach Zarthustra.) In rehearsal, he spoke softly, and needed only a few words to describe what he wanted; he was very self-contained and had no extraneous gestures. Yet, with a simple gesture during the concert — his left hand was down to his side and he slightly lifted his hand and gestured for more with his index finger — he instantaneously heard a crescendo exactly where he wanted it. The next day, rehearsing at Ascend Amphitheater, Guerrero told us Williams was so thrilled with the orchestra’s performance he said he felt it was one of the best performances ever. Not two minutes later, Williams’ manager approached Guerrero and said he’d never seen the composer happier with a performance. This kind of validation is thrilling, but it’s not the first time we have received praise from a visiting artist who is amazed at the level of performance by the Nashville Symphony. The following week, during the first readthrough of a new composition by another composer, he said we played it better than the premiere — wow. Our contract expires at the end of this season; we hope our board, our donors, and our community will commit to supporting this amazingly talented orchestra. A former staff member told me “This is a $100,000 {yearly salary} orchestra and they need to make this happen.” From her lips to God’s ears. TNM

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OCT – DEC 2017 27



Kurt Elling John McLaughlin


merican music — especially jazz and blues — is often the art of re-visiting or re-inventing the past. Since most of the artists below are walking into town looking backwards, I offer an opinion or two about the eternal battle between creativity and ripping off the past (even your own) for commercial gain. The past can always be valid if it’s respected — and you’re willing to learn from it. It doesn’t help that when history celebrates innovators, it often does so by creating myths that obscure real contributions. Myths come in handy when you need to make money from a public usually more comfortable with what’s familiar. I can’t knock repeating successful formulas. But when I hear a young singer announce, “Now I’d like to do a Linda Ronstadt song, “Summertime,” or when I see a band in zoot suits playing imitation Louis Jordan jump blues and calling it “swing,” or a whole crop of bands marketing themselves as Americana by dressing like the band in O Brother Where Art Thou? — I have to wonder: Is it really necessary to ignore or fake the past to achieve fame and fortune?

At the Schermerhorn

John McLaughlin and Jimmy Herring present Meeting of the Spirits — McLaughlin’s American farewell tour. The Nov. 21 show will include the music of the legendary Mahavishnu Orchestra. In 1971, British guitarist McLaughlin was already a pioneer of jazz28 THE NASHVILLE MUSICIAN

rock when he formed the amazing Mahavishnu which immediately set the standard for driving, virtuostic “fusion” music, and a new standard for an intense gun-slinging style of jazz guitar. After 40 years of unique forwardlooking projects, it will be interesting to see how he approaches his own past. Helping out will be another guitar heavy: Jimmy Herring of Widespread Panic. Each will play a set, and then join forces for an expansive closing jam based on classic Mahavishnu material. Vocalist Stacey Kent offers a more intimate style of jazz on Friday, Feb. 9, at 8 p.m. Kent is a charming singer, thanks in part to sounding a lot like unique little-girl-voiced 1950s legend Blossom Dearie. More information at www.nashvillesymphony.org

At City Winery

On Monday, Nov. 27, at 8 p.m. phenomenal vocalist Kurt Elling performs with his current quartet. For my money, Elling at this point has no peers, and manages to stay in the jazz vocal tradition while pushing it forward. His rich baritone spans four octaves and features both astonishing technical mastery and emotional depth. Since his first CD in 1995, Elling has received 12 Grammy nominations, 14 Downbeat Critics Poll wins, eight Male Singer of the Year awards, and a Lifetime Achievement Award. Not bad for a guy planning a career in religious philosophy. Any musician who thinks they know how to sing needs to see this artist in performance. Every song is a master class. Asleep at the Wheel was already a retro act, playing Western swing of the 1940s, when Ray Benson founded the group 47

years ago. Now an eight-piece band based in Austin, Texas, they will display their own sound on Sunday, Dec. 3 at 7 p.m. The band holds 10 Grammy awards, 20 studio albums and 20 singles on the Billboard country charts. Expect to still hear some classics — the band’s most recent CD Still the King was its third tribute to western legend Bob Wills and His Texas Playboys. More information at www.citywinery.com

At the Franklin Theater

Big Bad Voodoo Daddy marks the 24th anniversary of the band’s arrival into the retroswing craze of the 1990s with a show set for Nov. 1 at 8 p.m. Since then the band has toured virtually nonstop, performing over 150 shows a year, and producing a sizable catalog of recorded music. The Daddy’s always put on a high energy show, and there is room for dancing. If your blast from the past needs to be a little more eclectic, check out The Bumper Jacksons, who arrive Nov. 3 at 8 p.m. Their publicity calls this seven-piece band hot and sweet, painting America’s story from the streets of New Orleans to Appalachian hollers. Scrapping together new sounds from forgotten 78s, the Jacksons pay homage to the traditions while fashioning their own unique, playful style.

And the blues

At press time there was no word on this fall’s competition schedule for the 2018 International Blues Challenge, produced by the Blues Foundation in Memphis. The Nashville winner is usually determined in November and December, and sent to the Memphis finals in February 2018. Look for announcements at www.nashvillebluessociety.org. For more news on blues projects, try this site: DonandSherylsBluesBlog.wordpress.com. The hosts of this blog are a couple from Dickson, Tenn. The record reviews seem intelligent, there is a section for comments, and it appears to be kept up to date. TNM


Kayton Arthur Roberts Nov. 25, 1933 — July 13, 2017


ashville Musicians Association life member Kayton Arthur Roberts, 83, died July 13, 2017. The Hall of Fame steel guitarist played in Hank Snow’s Rainbow Ranch Boys band for over 30 years, and also worked with a host of other artists during his career. He joined Local 257 in February 1967. Roberts was born Nov. 25, 1933 in Ona, Fla., and played first with his father’s country band — he got his first guitar when he was a pre-teen. In the ‘50s he performed in Florida with other bands on radio and television stations in Gainesville and Jacksonville. His first big career break came when Jerry Byrd recorded his tune “Chime In” on his 1964 record, Admirable Byrd. Fellow Floridian Chubby Wise introduced Roberts to Snow,

who hired him first as rhythm guitarist. He said that another Snow band member — steel guitarist Joe Talbot — was the player who first made him interested in steel, and that Talbot’s style greatly influenced him. Roberts also worked with Alison Krauss, George Jones, Billy Joe Shaver, Dolly Parton, Riders in the Sky, Ricky Skaggs, Marty Stuart, Randy Travis, and many others. Over his career he toured the world, and his television performances included The Porter Wagoner Show, The Mike Douglas Show, and multiple Grand Ole Opry appearances. Joey Miskulin said “All four of us in Riders in the Sky will miss working with, and spending time with Kayton. Rest in peace, old friend. Roberts was also a songwriter; his compositions include “Blue Steel Guitar,” “Kay-

ton’s Rag,” “Opryland Swing” and “Kayton’s Waltz.” He released several records, including Steelin’, The Bells of St. Mary’s, and Valley of the Roses. He was inducted into the Steel Guitar Players Hall of Fame in 2012. Roberts was preceded in death by his wife, Iva Lee; three brothers, Oswald, Joe, and Vance Roberts; and one sister, Francis Roberts. Survivors include two sons, Louis and Martin Roberts; one daughter, Jan Roberts-Williams; one sister, Alberta Spring; and five grandchildren. A celebration of life was held July 23 at The Church at Grace Park in White House, Tenn. Memorial contributions can be made to the building funds for Ebenezer Baptist Church in Greenbrier, Tenn., and the Church at Grace Park in White House, Tenn. continued on page 30 OCT – DEC 2017 29


Willard Temes Oct. 24, 1925 - July 20, 2017 A.J. Nelson

Alden Johnny “A.J.” Nelson June 4, 1922 — June 22, 2017 Alden Johnny “A.J.” Nelson, 94, died June 22, 2017. He was a life member of the Nashville Musicians Association who joined the local in September 1953. The steel guitarist was a member of Roy Acuff’s Smoky Mountain Boys, and also revered by other players for his work at Sho-Bud, where he headed the repair department, and later as a refinisher at another steel guitar shop, Show-Pro. Nelson was born June 4, 1922 to Elzie and Georgie Ann Nelson. He served in the U.S. Navy during WWII and later performed on many USO tours for troops during the Vietnam War. He was an animal lover who also enjoyed the beach, and spending time with family and friends. He was preceded in death by his parents; three brothers, Doyle, Noble Jack and Waldo Nelson; and one sister, Flois Collier. Survivors include his wife of 70 years, Margaret Nelson; one daughter, Carolyn Fosbinder; one son, Johnny Nelson; six grandchildren; eight great-grandchildren; numerous nieces, nephews and cousins; and beloved cat, Oreo. Funeral services were held June 26 at Sellars Funeral Home in Mt. Juliet, Tenn., with Bro. Chet Murral officiating. Interment followed at Mt. Juliet Memorial Gardens.


Bassist, guitarist, and mandolinist Willard Temes, 91, died July 20, 2017. He was a 50-year life member who joined Local 257 in March 1967. He was born Oct. 24, 1925 in Florence, Ala. He was the son of the late Thomas Lee Temes and the late Mary Reagan Temes. He served in the U.S. Army, 2nd Infantry Division, 38th R.C.T. He retired from Union Carbide after 38 years of service. His son David said that Temes’ musical life began when he was sick as a boy, and his father bought him a $2 “tater-bug” style mandolin to play while he recovered. Temes worked with guitarist Johnny Gidcomb in Nashville, and also in many other gigs around the region. His longtime friend Eddie Gray, a pianist who played with Temes for over 40 years, said Temes was easy to get along with and always had a big smile on his face when he was playing. “He taught me a lot about music,” Gray added. Temes was a member of The Church of God of Prophecy, and the Herbert Griffin American Legion Post 19. He was preceded in death by one son, Thomas Temes; five brothers, G.W., James Lee, J.C., Buddy, and Bobby Temes; one sister, Lavinia Green; one grandson; and one great-grandson. Survivors include his wife of 68 years, Elizabeth Lindsey Temes; two sons, David and Michael Temes; two daughters, Penelope Kellman and Valerie Stinnett; ten grandchildren; seven great-grandchildren; and two great-great-grandchildren. Services were conducted July 23 at Oakes & Nichols Funeral Home with Pastors Lawrence Jackson and E.C. McKinley officiating. Burial will followed in Rose Hill Cemetery with military honors.

Steve Chapman April 18, 1943 — July 29, 2017 Guitarist Steve Chapman, 74, died July 29, 2017. He recorded and toured with a host of artists including Ernest Tubb, and first joined Local 257 in 1965. He was born April 18, 1943 to William and Beatrice Chapman. He came to Nashville in 1964 and first played with Billy Walker. Other gigs soon followed, including the stint with Tubb. Over his career he worked with Jim Ed Brown, Porter Wagoner, Bill Anderson, Donna Fargo, and many others. He made a host of TV appearances, including The Ernest Tubb Show, and the Grand Ole Opry. Chapman bucked the tendency of musicians at the time to play either with touring artists or in the studio, and was noted for working in both situations. Survivors include Chapman’s wife, Sue Chapman; two sons, Steven R. Chapman, Jr., and Jason Casner; three daughters, Michele Chapman, Tonia Merritt, and Jennifer Hollingsworth; his beloved cat Purrpurrkiki; and a host of family and friends. A celebration of life service was held Aug. 4 at Hermitage Funeral Home.

In the obituary for Jim Hunt that appeared in The Nashville Musician JulySeptember 2017 issue, we mistakenly identified Hunt's birthday as April 16. His birthday was April 26. Our apologies.

Donna Darlene Jackson Nov. 29, 1938 — June 24, 2017

Life member Donna Darlene Jackson, 78, died June 24, 2017. She was a singer and guitarist, and the widow of steel guitarist Shot Jackson. She joined the Nashville Musicians Association in January 1992 — but was first an AFM member in Ridgeway, Pa., and Wheeling, W.Va. Jackson was born Nov. 29, 1938 in Kane, Pa. In the early ‘50s she first played with a group of friends that included Judy Lee, (Alice Schreiber) Betty Schreiber, and brothers Buddy and Bobby Spicher in a group called the Golden West Girls. She performed on the Wheeling Jamboree with Dusty Owens and his Rodeo Boys show, and over the years continued to perform regularly on that show, as well as on touring dates throughout the country and internationally. Buddy Spicher also performed with Owens — he and Donna married in 1955 and had a daughter, Suzette. Jackson sang a duet with Owens, “Once More,” on the Admiral label, and also began to release solo recordings. In 1959 and 1960 she was heard on Country Music Time, a Nashville program hosted by Jim Reeves. She also performed on a Jamboree tour with artists that included Wilma Lee and Stoney Cooper and Mac Wiseman. Her second marriage was to Cajun artist Doug Kershaw; they had two sons, Douglas Jr., and Victor. Jackson continued to record and perform throughout the ‘60s. She took a guitar in for repair to Sho-Bud, where she met Shot Jackson, with whom she went on to marry and have a daughter, Shotsie. Donna became a familiar face to customers at Sho-Bud, where her husband manufactured and repaired guitars and pedal steel guitars. The two artists sometimes toured together, Shot with Roy Acuff and the Smoky Mountain Boys, and Donna working

with an all-girl band. After Shot was injured in a serious car accident with Roy Acuff, he would return to tour and record with Donna for many years, until he was sidelined by a stroke in 1983. Over the decades “Donna Darlene,” as she was known professionally, recorded numerous records for several independent labels. In 2012 she recorded a gospel album, with her daughter Shotsie singing harmony vocals. Jackson was also well known at the annual International Steel Guitar Conference in St. Louis, Mo., which she attended regularly for many years. Survivors include two sons, Doug Kershaw, Jr., and Victor Kershaw; two daughters, Shotsie West and Suzette Johnson; six grandchildren and nine great-grandchildren. A memorial service was held July 8 at Hermitage Funeral Home with Wendell Poole officiating.

Elmer E. “Rex” North May 2, 1934 – July 17, 2017

Nashville Musicians Association life member Elmer E. “Rex” North, 83, died July 17, 2017. Born May 2, 1934 to Elijah and Laura McDaniel North, he was a U.S. Navy veteran and a staff musician for WSM. North was a bassist and tuba player who joined Local 257 in July 1972. Survivors include his wife of 36 years, Beverly North; one son, Rusty North; one daughter, Victoria Walker; five grandchildren; and 15 great-grandchildren. Graveside services were conducted July 20 at Union Cemetery with interment following. The family has requested that donations be made to the American Cancer Society or the Alzheimer’s Association. continued on page 32 OCT – DEC 2017 31

FINAL NOTES continued from page 31

Irene Rudolph Foster April 7, 1932 – June 6, 2017 Life member Irene Rudolph Foster, 85, died June 6, 2017. She was a keyboardist who joined Local 257 in April 1964. She served as an organist for the Nashville Christian Scientist Church. Foster was born April 7, 1932, and over the course of her life became a woman of many passions including cooking, gardening, the beach, cats, and the Atlanta Braves. She was noted for her love of games and puzzles, her generosity, and her love of laughter, dancing, and parties. She was preceded in death by her husband Robert. Survivors include her daughter Dorthy Savant; two grandchildren; best friend Martha Bates, and many other friends. Services were held June 14 at Marshall-Donnelly-Combs Funeral Home. Memorial contributions may be made to Nashville Cat Rescue, Nashville Humane Association, Alive Hospice of Nashville, or any charity of choice.

James A.”Jimmy” Nalls, III May 31, 1951 – June 22, 2017 Rock and blues guitarist James A. “Jimmy” Nalls, 66, died June 22, 2017. He was a member of the jazz-rock supergroup Sea Level; he also toured and recorded with numerous artists including Gregg Allman, Don McLean, Dr. John, The Nighthawks, Jack Pearson, and Lee Roy Parnell. Nalls joined Local 257 in July 1986, after moving to Nashville from Macon, Ga. He released his first solo album Ain’t No Stranger, in 1999 to critical acclaim, and continued to tour sporadically, but a 1995 diagnosis of Parkinson’s disease had curtailed his ability to play. He began to write a second record with his collaborator Dave Duncan, but it remained unfinished due to complications of his illness. However, in late 2014 a project to finish and release the album was launched by Nalls’ friends Gabriel Hernandez [owner of Blues Vintage Guitars] and Joe Glaser [owner of Glaser Instruments]. The final product —The Jimmy Nalls Project —was completed with the help of several of Nalls’ fellow musicians, and released three days before Nalls’ death. Contributors include Larry Carlton, Warren Haynes, Jack Pearson, Dave Duncan, Jimmy Hall, Buddy Greene, Charles “Chopper” Anderson, Lee Roy Parnell, Wes Little, Brian Allen, Guthrie Trapp, Kenny


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




Steven Richard Chapman




Elmer E. North





Kayton A. Roberts





Mark O. Selby




Willard Temes





Life Member


“He was an exceptional musician, husband, father and friend who inspired all of those around him with the courage he showed during his long battle with Parkinson’s. His musical legacy still shines bright,” – Dave Pomeroy. Greenberg, and many more. All proceeds from the album go to Nalls’ family. “I was already a big fan of Jimmy’s playing in Sea Level when I first met him on the road in 1985. We instantly hit it off and I helped encouraged him to move to Nashville. He was an exceptional musician, husband, father and friend whoA.inspired all of those Jimmy Jimmy Nalls around him with the courage he showed during his long battle with Parkinson’s. His musical legacy still shines bright,” said Local 257 President Dave Pomeroy. Survivors include his wife of 38 years, Patricia Diane “Minni” Nalls; one son, James “Buddy” Albert Nalls IV; one daughter, Jennifer Amanda Greer; one brother, Jeff Nalls; one sister, Jo Lynn Nalls Hendrickson; and three grandchildren. A celebration of life was held July 1 at Hamilton United Methodist Church in Antioch, Tenn. A public memorial concert is planned for a future date. Memorial donations may be made to The Grand Ole Opry Trust Fund or to the MusiCares Foundation TNM in Nashville.

MEMBER STATUS NEW MEMBERS Olivia Bey GTR VOC olivia_bey@yahoo.com Cell (404) 438-6073 Gray Devio (Gary Desesa) VLN VLA VOC PIA BAS DRM GTR gray@graydevio.com Cell (516) 770-5530 Robin Guidicy (Jeffrey Guidicy) VOC GTR robinguidicy@yahoo.com Cell (786) 877-3510 Tara Hayes VOC UKE SAX tarahayes777@gmail.com Cell (772) 924-5440 Kathryn Lynn Hendricks (Kati Hendricks) VOC PIA UKE ACC DRM kati@katihendricksvoice.com Cell (954) 292-9617 Stephen Kent Hornbeak KEY GTR steve@326productions.com Cell (615) 429-4450 Craig Dwayne Koons BAS DRM GTR ckoons23@gmail.com Cell (812) 322-5399 Mike Vincent Miller (Mike Miller) PIA GTR MDN PRG VOC Jack Ruby PRC jack@therubygroupllc.com Cell (646) 204-2244 Samuel Draper Smith (Sam Smith) DRM PRC KEY sam@samsmyth.net Cell (615) 397-9944

Daniel Keyes Tashian (Royal Plumb Music) BAS GTR VOC royalplum@icloud.com Rozlyn Marie Turner FDL MDN rozlynturner3@gmail.com Cell (812) 675-1196 REINSTATED Kenneth Wayne Anderson Rahsaan Jelani Barber Roland Jabari Barber Tigar Lee Bell Dorsey William Burnette, III Gary S Burr Carly Campbell Scott A Coney Harrell Dink Cook, Jr Renwick Smith Curry Christopher B Deaton Robert A Hajacos Gail Rudisill Johnson Virginia Clare Johnson Archie P Jordan Kevin D Madill Kenneth John Olson, III Dean Pastin Kevin M Post Phil W Redmond David C Spires Christopher Walters N Leon Watson, Jr Lewis Bryant Wells Scotty Lamar Wray

General Membership Meeting and Nominating Meeting Nov. 8 at 2 p.m., in Cooper Hall, Local 257.

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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 nonunion work. When you work without protection of an AFM contract, you are being denied all of your intellectual property rights, as well as pension and health care contributions. Every nonunion session you do harms your AFM Pension. TOP OFFENDERS LIST RecordingMusicians.com - Alan and Cathy Umstead are soliciting nonunion recording work through this website and elsewhere. Do not work for them under any circumstances without an AFM contract. Steve Schnur, Worldwide Music Executive for the videogame company Electronic Arts, is commissioning and recording non-union sessions in Nashville for his company’s hugely successful franchises. EA declared $4.3 billion in net revenue in fiscal year 2015 and despite many promises made, he still refuses to work under AFM contracts or negotiate in good faith. We will continue to work towards resolution. These are employers who owe musicians large amounts of money and have thus far refused to fulfill their contractual obligations to Local 257 musicians. Positive Movement/Tommy Sims (multiple unpaid contracts from 2007) 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) Ed Sampson & Patrick Sampson (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 (multiple unpaid contracts/pension) UNPAID CONTRACTS AND PENSION Sydney Lett (partial payment received) Casa Vega/Ray Vega Knight Brothers/Harold, Dean, Danny & Curtis Knight RLS Records-Nashville/Ronald Stone Region One Records RichDor Music/Keith Brown River County Band/SVC Entertainment (unpaid demo conversion/pension) Robbins Nashville

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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 In Light Records/Rick Lloyd Little Red Hen Records/Arjana Olson Maverick Management Group Mike Ward Music (pension/demo signature) Joseph McClelland 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 The Collective TNM

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The Nashville Musician, October - December 2017  

The official journal of Nashville Musicians Association, AFM Local 257. This issue features Jerry Douglas, Charlie McCoy, Benny Havens Band...

The Nashville Musician, October - December 2017  

The official journal of Nashville Musicians Association, AFM Local 257. This issue features Jerry Douglas, Charlie McCoy, Benny Havens Band...