R E C O R D S : JAY PAT T E N • F I LT H Y F O O T • A M I T Y3
LI V E : PUNCH BROTHERS
Books: That Thin, Wild, Mercury Sound: Dylan, Nashville, and the Making of Blonde on Blonde OFFICIAL JOURNAL OF AFM LOCAL 257 OCTOBER - DECEMBER 2018
Kathy Mattea The Joy of Reinvention
OCT – DEC 2018 1
2 THE NASHVILLE MUSICIAN
CONTENTS Official Journal of the Nashville Musicians Association, AFM Local 257 | OCTOBER — DECEMBER 2018
7 8 10 12 16
ANNOUNCEMENTS Details on the fourth quarter membership meeting to be held Monday, Nov. 5 at 2:30 p.m. — on the agenda: approval of 2019 Local 257 Annual Dues. Also, meeting minutes and a handy guide to many different possible sources of income for your work under an AFM contract. STATE OF THE LOCAL “What has the AFM done for me lately?” President Dave Pomeroy updates readers on Local 257 accomplishments and benefits. Pull up a chair. It’s a long list.
IN THE POCKET Secretary-Treasurer Vince Santoro discusses our responsibilities to maintain Local 257 both structurally and financially. HEARD ON THE GRAPEVINE The comings and goings of Local 257 members. NEWS Good news for musicians arrives with the passage of The Music Modernization Act. GALLERY We recognize member milestones as well as other events and honors. COVER STORY: KATHY MATTEA Warren Denney talks to the Grammy-winning artist about her journey of self-discovery — and how she found a new voice.
22 REVIEWS Music journalist Daryl Sanders’ new book
gives all-access look at the making of Blonde on Blonde — the iconic Bob Dylan album made in Nashville with some legendary Local 257 members. Also, new recordings from Filthy Foot, Jay Patten, and Amity3; and Punch Brothers wow the crowd at their Nashville Ryman show.
26 SYMPHONY NOTES Laura Ross takes a look at the new NSO season and auditions.
27 JAZZ & BLUES A roundup of shows and other happenings in the jazz and blues community.
28 FINAL NOTES We bid farewell to D.J. Fontana, Blue
Miller, A.J. McMahon, Dan Hearn, Judy Carrier Vreeburg, Doris Froelich and Robert McRoberts.
33 MEMBER STATUS 34 DO NOT WORK FOR LIST
W.O. SMITH MUSIC SCHOOL COVER PHOTO: RETO STERCHI
OCT – DEC 2018 3
OFFICIAL QUARTERLY JOURNAL OF THE NASHVILLE MUSICIANS ASSOCIATION AFM LOCAL 257
PUBLISHER EDITOR MANAGING EDITOR ASSISTANT EDITOR CONTRIBUTING WRITERS
ART DIRECTION WEB ADMINISTRATOR AD SALES
LOCAL 257 OFFICERS PRESIDENT SECRETARY-TREASURER EXECUTIVE BOARD
Dave Pomeroy Vince Santoro Kathy Osborne Leslie Barr Austin Bealmear Warren Denney Roy Montana Kathy Osborne Dave Pomeroy Vince Santoro Steve Tveit Laura Ross Rick Diamond Tripp Dockerson Donn Jones Dave Pomeroy Vince Santoro Lisa Dunn Design Kathy Osborne Leslie Barr 615-244-9514
Dave Pomeroy Vince Santoro Jimmy Capps Jonathan Yudkin Laura Ross Tom Wild Jerry Kimbrough Steve Hinson Andre Reiss Michele Voan Capps Tiger Fitzhugh Teresa Hargrove Kent Goodson Dave Moody Kathy Shepard John Terrence Bruce Radek Biff Watson
NASHVILLE SYMPHONY STEWARD
Next General Membership Meeting Monday, Nov. 5 The next Local 257 General Membership Meeting will be Monday, Nov. 5, 2018 at 2:30 p.m. Doors will open at 2:00 p.m. It is very important that we get a quorum of 30 people, as there will be a vote to approve the 2019 Local 257 Annual Dues, and also reports from the president and secretary-treasurer. Please make plans to attend and get involved in the business of your local. 2019 Regular Member Annual Dues Proposal (must be approved by membership at Nov. 5 meeting) $165.00………………Local Dues 66.00………………AFM Per Capita 59.00………………Funeral Benefit Assessment 3.00………………Emergency Relief Fund $293.00………………Total without voluntary contributions 3.00………………Emergency Relief Fund (voluntary) 2.00………………AFM Tempo Fund (voluntary) $298.00………………Total 2019 Dues Regular Members (including $5 voluntary) 2019 Life Member Annual Dues Proposal (must be approved by membership at Nov. 5 meeting) $ 63.00………………Local Dues 50.00………………AFM Life Member Per Capita 59.00………………Funeral Benefit Assessment 3.00………………Emergency Relief Fund $175.00………………Total without voluntary contributions 3.00………………Emergency Relief Fund (voluntary) 2.00………………AFM Tempo Fund (voluntary) $180.00………………Total 2019 Dues Life Members (including $5 voluntary)
Nashville Musicians Association AFM Local 257, AFL-CIO Minutes of the Executive Board Meeting July 6, 2018 PRESENT: Vince Santoro(VS), Dave Pomeroy(DP), Jerry Kimbrough(JK), Tom Wild(TW
remote), Laura Ross(LR), Jimmy Capps(JC), Steve Hinson(SH).
ABSENT: Andre Reiss(AR), Jonathan Yudkin(JY). ELECTRONIC MEDIA SERVICES DIRECTOR ASSISTANT DATA ENTRY RECORDING DEPT. ASSISTANT DIRECTOR, LIVE/TOURING DEPT. AND PENSION ADMINISTRATOR MEMBERSHIP COORDINATOR/RECEPTION MPTF COORDINATOR/RECEPTION
Steve Tveit Teri Barnett Christina Mitchell Paige Conners
MINUTES: Minutes from May 2, 2018 were distributed.
MSC to approve as amended. LR, JK.
PRESIDENT’S REPORT: The following issues were discussed:
@ 2018 Nashville Musicians Association P.O. Box 120399, Nashville TN 37212 All rights reserved. nashvillemusicians.org
4 THE NASHVILLE MUSICIAN
President Pomeroy called the meeting to order at 10:45 a.m.
1. Symphony negotiation and ratification was completed July 3. 2. Negotiating claims for musician severance pay for short-notice termination. 3. A proposed scale sheet has been designed to present to certain Lower Broadway venues. 4. A letter is being composed to trustees of Belmont University about non-union recording at Ocean Way.
ANNOUNCEMENTS 5. Hearing Board will be used for certain members’ overdue work dues (ODWD) balances. 6. Definition of ODWD is 90 days after check is picked up or mailed. 7. In case of direct payment, the 90 days begins when contract is filed, which is required within 15 days of recording date. BOARD ACTIONS:
1. Proposal discussed and approved that any member with ODWD of $250 or more will not be mailed checks. MSC DP, JC 2. Proposal discussed and approved that in the absence of an active payment plan, any member with ODWD of $500 or more may be brought up on charges with Hearing Board. MSC DP, VS. TREASURER’S REPORT: Santoro distributed financial reports and fund balances. He
reported the following: 1. Local 257 roof drains are in bad shape. We received quotes on emergency repairs for the drains and broken seals on the flat-roof membrane. It would be prudent to initiate a maintenance agreement on the entire roof. 2. As part of the Jim Owens settlement we are trying to recover $4200 that has been withheld in California pertaining to our tax-exempt status. Proving that our status is federally recognized is something we had to ask the Federation to help with. MSC to approve Sec-Treasurer report. SH, JK. Motion to adjourn. TW, JC. Meeting adjourned at 12:04 p.m.
Nashville Musicians Association AFM Local 257, AFL-CIO Minutes of the Executive Board Meeting May 2, 2018 PRESENT: Vince Santoro(VS), Dave Pomeroy(DP), Chuck Bradley(CB), Jerry
Kimbrough(JK), Tom Wild(TW), Laura Ross(LR), Andre Reiss(AR), Steven Sheehan(SS), ABSENT: Jimmy Capps(JC), Jonathan Yudkin(JY), Steve Hinson(SH).
President Pomeroy called the meeting to order at 2:45 p.m. MINUTES: Minutes from Feb. 6, 2018 were distributed. MSC to approve as amended. AR, LR. PRESIDENT’S REPORT: The following issues were discussed: 1. Lyft agreement providing discounts for AFM 257 members has begun. 2. Many young entrepreneurial new members bodes well for the future. 3. Musician-Songwriter Jam and Blues-Rock Jam are expanding. 4. Local 257 has established a New Media Committee to research tech issues. 5. Discussed setting a threshold of $500 overdue work dues as criteria for Hearing Board review. TREASURER’S REPORT: Santoro distributed financial reports and fund balances. He
reported the following: 1. Funeral Benefit Fund: There is no need to access savings to cover benefit outlay. 2. The most serious negative fiscal items are unpaid work dues from members and service fees from nonmembers. 3. The rerun of our executive board election has concluded and we’ve been reimbursed satisfactorily by the USPS. MSC to approve Secretary-Treasurer report. CB, SS. MSC to accept new member applications. TW, JK. Motion to adjourn. AR, CB. Meeting adjourned at 4:09 p.m.
In Nashville the saying goes “It all begins with a song.” For musicians, it begins with the recording of that song. Below is a list of the various ways money can be generated from one song recorded under an AFM contract: 1. Initial recording for: Demo, Limited Pressing, Low Budget Master and Master sessions — your payment consists of scale wages • Health & Welfare • Cartage • Pension contribution 2. Upgrades & Conversions: • Demo to Limited Pressing – pays $100 plus pension, double for leader • Demo to Master – pays full Master Scale • Limited Pressing to Master – pays the difference at 10,000 units manufactured and/ or sold • Legacy Demo – for demos that are 10 years old or more – low upfront payment – back end revenue share 3. New Use a. TV/Film b. Jingles c. Awards Shows d. Live Tracks e. Motion Picture f. Theme Music g. Variety Shows h. Supplemental Markets 4. SOUND RECORDING SPECIAL PAYMENTS FUND Distributes annual supplemental wages to musicians, funded by a percentage of signatory labels’ sales, through the collective bargaining agreement between the American Federation of Musicians and the recording industry. www.sound-recording.org (212) 310-9400 5. AFM SAG AFTRA FUND Distribution of 5% of SoundExhange’s revenue for non-interactive satellite radio play and international audiovisual content to side musicians and background vocalists. There are still many names on the “Unclaimed Royalties” list – so take a moment to make sure you’re not on it! www.afmsagaftrafund.org (818) 255-7980 6. Film Musicians Secondary Markets Fund Collects and distributes residual payments for motion picture, television and digital media. https://www.fmsmf.org/ (818) 755-7777 7. American Federation of Musicians and Employers Pension Fund Provides pension and related benefits to covered employees and their beneficiaries under the plan. afm-epf.org (800) 833-8065 Option 1 There are still many moving parts in some of these financial equations, especially in the area of foreign royalties and international collectives. We will continue to inform you as new developments occur. As always, if you have any questions please TNM reach out to us. OCT – DEC 2018 5
STATE OF THE LOCAL
The truth is — the only way we will survive and prosper is to be united and stand together for what we know is right: treating musicians — and each other — with respect. BY DAVE POMEROY
ver heard anyone ask “What has the AFM done for me lately?” Here’s a few things you can tell them:
Higher wages and more in 2018 • Over the past year, Local 257 paid out over $11 million in scale wages to musicians, not including Health and Welfare payments, overscale wages, and New Use checks, and we sent over $1 million to the AFM-EPF Fund in pension contributions. • With the help of our excellent NSO negotiating committee, we successfully negotiated a new contract with Nashville Symphony management with significant workplace improvements and 15.75 percent in raises over the next four years. • The Grand Ole Opry now pays extra for Sirius XM broadcasts and Opry TV reruns on RFD are paying a much higher rate because they were done under an AFM contract. • The Single Song Overdub scale we developed a few years ago has really begun to take off. It makes protecting the recordings you do at home easier and more effective than ever — and allows you to negotiate your own rate with the option to make your own pension contribution if you choose. • Won over $750,000 in court settlements for our musicians.
Membership benefits you in many ways
Our Emergency Relief Fund has paid out more than $200,000 over the past decade to members who are under financial duress due to medical issues. Our Funeral Benefit Fund paid beneficiaries a total of $132,000 in 2017. Hundreds of our members and 6 THE NASHVILLE MUSICIAN
their families are covered under our exclusive Blue Cross Blue Shield health insurance plan, with a nationwide network as well, which none of the current ACA plans offered in Tennessee have. In Washington, D.C. we advocate for musician’s issues, and the carry-on laws allowing instruments on planes was the result of a more than 10-year process. We continue to fight for performance rights on AM/FM radio and in the new world of streaming as well.
on the bus and go play a show. Even when you are working in another local’s jurisdiction, remember that we are here to help and will look out for you if something doesn’t go right. Recently, I spent four months getting three musicians severance pay from an artist who fired them 48 hours before a fiveweek tour was to begin. We stand up for what’s right and we stand up for you.
We’re making getting to your downtown gig easier We interface with the city on many levels, including Metro Police, Public Works, the Taxi Commissioner, and the mayor’s office about issues ranging from taxi drivers blocking the Musicians Loading Zone that we helped create in 2011, to parking. Our Lyft discount program for musicians working downtown has saved our members nearly $10,000, and we just reached agreement that the program is going to continue indefinitely. We are allowing members to use our parking lot as a Lyft rendezvous point, and it only costs about $8 for a round trip with no parking costs. The deal we made with Premier Parking has resulted in our members picking up more than 2000 free coupons at our office for Premier Parking’s McKendree Garage. No matter what the going rate is due to sports events, concerts, or conventions — which can be as high as $40 or more — when you use our coupon it’s always $5.
Our building is a community space and we take that aspect seriously as well. We have two jams every month to promote interaction between songwriters and fellow musicians, both members and potential members, and we also host a weekly Alcoholics Anonymous meeting every Thursday at 6 p.m. We have hosted Red Cross blood drives, homebuying seminars and will be hosting a lowcost mobile dental clinic in the near future. Nashville, and AFM Local 257, have been very good to me, and I am determined to do everything I can to make sure that successive generations of musicians will have the same types of opportunities that so many of us have had. I will not stand for people mistreating our members, or any musician for that matter. The truth is — the only way we will survive and prosper is to be united and stand together for what we know is right: treating musicians — and each other — with respect. That’s how we got here and why we have survived 115 years as a labor union. So, the next time someone asks you “What does the musicians union do anyway?” maybe this will give you a few things to pass on. Our door is always open to those who want to be part of making things better for ALL musicians. That’s why we’re here, and why we’re not going anywhere anytime soon. TNM
We have your back when you’re touring
For those of you who are out traveling on the road, we can help make sure that satellite radio broadcasts and streaming events pay over and above what you make to get
Our local strives to be a great part of the community
IN THE POCKET
Our agreement with members is such that our operational needs depend on timely payments of annual dues and work dues. Although we are sympathetic when members fall on hard times, we cannot stress enough the need for all members to treat these dues payments in a timely way.
hether it’s an older home or an older office building, there is a tendency for several things to need repair at once. This was the scenario at Local 257 in 2018. This past year we spent $30,000 on a new skylight, and we updated the HVAC in our rehearsal hall to the tune of $24,000. Our roof needed repair and scheduled maintenance, and that set us back $4,000. It’s the cost of doing business. In the past AFM Local 257 has sometimes reached out to membership to fund surprise expenditures that have arisen. We did not ask for members to help foot the bills this year.
Going forward with your help
Although we dug into savings to pay for repairs in 2018, there can be situations in which the local’s on-hand resources are not sufficient. We stay vigilant in keeping our expenses under control, and that is well and good — but sometimes isn’t enough to avoid outlays that can crimp the smooth operation of the local’s business. There is a realistic expectation that 11 Music Circle will need more repair and maintenance, and this building is old enough that it may very well demand more robust care. But this year I’m happy to say that Annual Dues for 2019 will not increase. See page four for details of the 2019 Local 257 Dues Schedule. Having said all that, there are a couple things for which we do ask members to take responsibility. Our agreement with members is such that our operational needs depend on timely payments of annual dues and work dues. Although we are sympathetic when members fall on hard times, we cannot stress enough the need for all members to treat these dues payments in a timely way.
The lion’s share of our members do just that. Others — not so much. I hope folks realize that we aren’t in this for profit — we don’t propose raising annual dues in order to make extravagant purchases. Every dollar is earmarked for operational need, and without those monies, your local is presented with many challenges and struggles. Our membership has done a better job of late but there is still plenty of room for improvement on this front.
Help us grow
It should come as no surprise that Right to Work (for less) laws in this state make asking nonmembers to shoulder the same obligations as members a tough nut to crack. That is the law, and most nonmembers do the right thing and pay as they go. I have, however, experienced sobering responses from folks who pick up checks from us and show zero interest in the fact that the scale wage payment they receive on their check was negotiated for them by the AFM. Employers are not workers’ enemies, but let’s be frank – if they could, they’d pay what they want to pay, with little regard to anything but their bottom line. Many nonmembers don’t realize that we are the only entity at that bargaining table with employers, fighting for their pay as we have for over 100 years. I mention nonmembers simply to illustrate how many drains on our financial well-being exist and how hard it is to keep track of them all. Every year seems to start out okay but by August the cupboard is looking a little bare. This town and Local 257 have had a long tradition of how to treat folks right and be treated right in return. It’s hard to imagine that anyone would want to throw a monkey wrench into this ongoing cooperation, but
BY VINCE SANTORO
in these times, some individuals seem to think they can easily do for themselves what we’ve been doing for them all along. Should we ever see the demise of our union, I’d have to tell them, “Good luck with that!” If you understand the mission of this local, and realize that our solidarity means everything, you will likely be more aware of who is sitting next to you in a session and what their membership status is. You may not feel comfortable bringing up the subject of union membership but if the opportunity does present itself, you may find that the guy or gal next to you is simply unaware of all the important, relevant things our union does for us every day. They may even thank you for the heads-up! TNM
Next General Membership Meeting 2:30 p.m. Nov. 5, 2018
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OCT – DEC 2018 7
HEARD ON THE GRAPEVINE
Béla Fleck was inducted into the American Banjo Museum Hall of Fame Sept. 7 along with Borgy Borgerson, the late Jim Henson, and the late Eddie Collins. The event was part of the organization’s annual Banjo Fest in Oklahoma City, Okla. Fleck, a 35-year member of Local 257, is a world-renowned player and composer who is widely recognized as one of the most innovative and technically proficient banjo players of his generation. The 14-time Grammy winner has said that his initial fascination with the instrument started when he heard Earl Scruggs’ banjo on The Beverly Hillbillies. A former member of Newgrass Revival and his own group, the Flecktones, his solo performances include the 2010 premier of his Concerto for Banjo with the Nashville Symphony Orchestra. Fleck regularly brings new genres and styles such as modern jazz and world music into his work. His awardwinning documentary Throw Down Your Heart found Fleck on a pilgrimage to Africa where he traced the history of the banjo through its many ancestral instruments and played with a variety of local artists.
Jimmy Buffett Trisha Yearwood, Garth Brooks, former President Jimmy Carter and First Lady Rosalynn Carter
In 2017 the Singing for Change foundation, created by Jimmy Buffett in 1995, gave nearly half a million dollars in grants to worthy organizations. The foundation was initially funded with contributions from Buffett’s summer concert tours and continues to receive one dollar from each concert ticket sold. Singing for Change (SFC Charitable Foundation, Inc., aka SFC) offers competitive grants to progressive, nonprofit organizations that address the root causes of social or environmental problems. Just a few of the funded projects include tree-plantings, nutrition classes, solar panel installations and much more. In 21 years the foundation has distributed over $11 million to grassroots organizations. The Gulf Coast native has also performed many hurricane relief concerts in recent years. After the particularly brutal 2017 hurricane season, Buffett said Singing for Change was founded initially “as a way to give back to communities where we play our live shows. But when bigger problems than what we are used to handling appear, we have to adapt. Through experience with Katrina and the Haitian earthquake, we’ve learned that the effects of disasters are still 8 THE NASHVILLE MUSICIAN
Photo: Jim McGuire
Ray Stevens & Ricky Skaggs
evident long after the TV crews have packed up and left, but we will still be there quietly making noise. When your reality is blown away in a matter of hours, the kindness of strangers becomes a lifeline. Now in the 43rd hurricane season since I wrote the lyrics to ‘Tryin’ To Reason With Hurricane Season’, here we are again.”
AFM Local 257 life member Ray Stevens received his own star on the Music City Walk of Fame Aug. 21. His friend and fellow Grammy-winner Ricky Skaggs presented him with the honor. “When I look at all the names on the Walk of Fame, it’s truly humbling to see mine included there,” Stevens said. “Thank you, Nashville.” Stevens arrived in Nashville in the early 1960s, and shortly thereafter met and formed a lifelong friendship with Chet Atkins. Over his career he produced Dolly Parton, played on sessions with Elvis Presley, and had a succession of hits including “Everything is Beautiful,” “Misty,” “The
Streak,” and “Mississippi Squirrel Revival.” He recently opened a live venue in West Nashville called CabaRay. Joining him as inductees on the Walk of Fame were Ben Folds, Brenda Lee and Jeannie Seely. The four were recognized for their significant contributions to preserving the musical heritage of Nashville and for contributing to the world through song and other industry collaborations.
Local 257 member Trisha Yearwood and her husband Garth Brooks have been longtime Habitat for Humanity volunteers. They have helped build houses for the organization since 2007, when they worked at the 1000th post-Katrina site on the Gulf Coast. The two contributed their efforts again in St. Joseph County, Ind., in August, working with hundreds of other volunteers for the 35th Jimmy & Rosalynn Carter Work Project. “I think things like this remind us that there is a lot of good and there are a lot of people here from all walks of life, all political affiliations, all religions, everybody is together — working together [out] of love. It’s possible,” Yearwood said. In 2016 Yearwood and Brooks were named the first-ever Habitat Humanitarians, alongside President and Mrs. Carter. Since 1984 the Carters have traveled around the world with Habitat to build and improve homes. Habitat for Humanity was founded in 1976, and allows applicants to the program to help build their own future home, and then pay an affordable mortgage. To learn more visit habitat.org. TNM
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OCT â€“ DEC 2018 9
Music Moderization Act passes Bill gives musicians new royalty sources Tennessee Senator Lamar Alexander called for a suspension of Senate rules Sept. 18 which resulted in an immediate vote on the legislation he called the “most important piece of legislation in a generation to ensure American songwriters are paid for their work.” The bill will go back to the House for a final vote, with passage expected. The new Music Licensing Collective would begin operation on Jan. 1, 2021 if the bill becomes law in 2018.
he AFM joined with other members of the music community in 2017 to urge Congress to pass a unified piece of music legislation in 2018. More than 20 organizations representing artists, record labels, songwriters, composers, music publishers, and performance rights organizations signed a joint statement in support of The Music Modernization Act of 2017, The AMP ACT, The CLASSICS ACT and a market-based rate standard for artists from satellite radio. “We stand with all music creators seeking fairness and urge Congress to to remedy the full range of inequities that harm creators under current law. Musicians welcome the support of the entire music community in urging Congress to enact a terrestrial performance right. It is time for Congress to end the loophole that deprives performers of fair pay for the use of their work on AM/FM radio,” said AFM International President Ray Hair. Now, The Music Modernization Act, passed Sept. 19 and cosponsored by 76 senators including Lamar Alexandar and Bob Corker, will be the most significant update to music copyright law in over a generation and represents unprecedented compromise across all aspects of the music industry. The bill reforms Section 115 of the U.S. Copyright Act to create a single licensing entity that administers the mechanical reproduction rights for all digital uses of musical compositions — like those used in interactive streaming models offered by Apple, Spotify, Amazon, Pandora, Google and others. It also repeals Section 114(i) and, consistent with most federal litigation, utilizes random assignment of judges to decide ASCAP and BMI rate-setting
cases — two provisions that will enable fairer outcomes for songwriters and composers. The CLASSICS Act (Compensating Legacy Artists for their Songs, Service, & Important Contributions to Society Act) will benefit artists and music creators who recorded music before 1972 by “Passing the MMA will go establishing royalty payments whenever their music is played on digital a long way in leveling the radio. SoundExchange will distrib- playing field going forward for ute royalties for pre-’72 recordings musicians and songwriters played by Internet, cable and satellite radio services just as it does for post- as well as artists and record ’72 recordings. Currently only sound labels. In addition, there recordings made after 1972 receive payments from digital radio services are talks going on with the under federal law. broadcast industry in hopes The AMP Act (Allocation for Music Producers Act) for the first of finally getting terrestrial time adds producers and engineers, radio performance rights who play an indispensable role in the for musicians, as the rest of creation of sound recordings, to U.S. copyright law. The bill codifies into the world has been doing for law the producer’s right to collect decades.” digital royalties and provides a consistent, permanent process for stu- — Dave Pomeroy dio professionals to receive royalties for their contributions to the creation of music. The organizations also strongly support a successful resolution to the lack of a terrestrial performance right to provide fair compensation for sound recordings.
You can help in this important effort by contacting Senator Alexander and Senator Corker’s offices by phone, fax, or email and thanking them for their support of this bill. “We need to make sure they understand how important these issues are to a large number of their constituents,” Pomeroy said.
10 THE NASHVILLE MUSICIAN
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BECOME AN AFM LOCAL 257 MEMBER Open to all music industry professionals. Call Sound Healthcare for more information. OCT – DEC 2018 11
< DAVE POMEROY performed at the Country Music Hall of Fame and Museum Sept. 9 as part of the organization’s “Musician Spotlight” series.
2. 1. 1. Multi-instrumentalist JOE EDWARDS
enjoying a great milestone — receiving his life member and 50-year member pins. 2. Guitarist DREW RAMSEY showing off
both his 25-year pin and his beautiful classic Mustang. 3. Drummer JOHN ROOT came by the local
to receive his 25-year pin — (l-r) Dave Pomeroy, Root, Vince Santoro. Root is holding his vintage 1941 Sonor snare. 3.
12 THE NASHVILLE MUSICIAN
4. 1. Keyboardist KEVIN MCKENDREE brings his multi-
instrumentalist son Yates in to join Local 257. 2. Bassist and piano player MITCH WALKER poses with his new life member pin in the Local 257 rehearsal hall. 3. Funky drummer “O” OWEN HALE flashes his dazzling smile and his new 25-year pin. 4. Guitarist STEVE SECHLER, longtime John Conlee band member, shows off his life member pin. continued on page 14
OCT – DEC 2018 13
GALLERY continued from page 13
1. 1. Akron, Ohio band director and Local 257 member JOHN TIMKO (r) brought
Fairgrove High School band members on a tour of Local 257. 2. Vince Santoro, Laura Ross, and Barbara
Santoro marched in the Nashville Labor Day parade.
14 THE NASHVILLE MUSICIAN
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PHOTO: RETO STERCHI
Kathy Mattea Kathy Mattea does not like to keep a secret. The award-winning singer prefers to be upfront and honest about who she is. It is the quality that has given her a life in music, and it is the quality of a subtle activism that has placed her behind causes in which she believes. BY WARREN DENNEY
16 THE THE NASHVILLE NASHVILLE MUSICIAN MUSICIAN 16
FINDING HER VOICE AGAIN
er success has always been realized outside the often-formulaic approach found in today’s country music, though she has managed to be embraced by insiders and outsiders alike. With her new record Pretty Bird, released in early September, Mattea has presented a faithful, stripped-down, and occasionally funky look into a very personal chapter from her life. It is her first record since Calling Me Home, released in 2012, and confidently builds on a stellar career that began in 1984 and includes two Grammys and four No. 1 hits along the way. She has placed 30 songs on the Billboard country charts, with a dozen finding their way into the Top Ten. Her “Eighteen Wheels and a Dozen Roses” earned the CMA’s Song of the Year in 1988 and she won back-to-back CMA Female Vocalist of the Year awards in 1989 and 1990. continued on page 18
OCT –– DEC DEC 2018 2018 17 17 OCT
continued from page 17
Mattea has managed to meld her folk, country, and bluegrass influences into a world view and into a constant thread of relevance. She has come to Pretty Bird on the back side of several personal challenges, not the least of which has been coming to terms with a changing voice. The record follows a three-year journey that found Mattea searching to reclaim that voice. “Well, you know, what was really challenging about that time, is that it’s part of a season in my life,” Mattea — a 33-year Local 257 member — said recently from her Nashville home. “It happens to you in your mid- to late-50s. But it, like a lot of things I thought were solid in my life, fell apart. A couple of groups of friends sort of dissipated, and some real — you know, a lot of people are going through a grief process now about everything from politics to the environment. I kind of walked through all that. I hit some despair about that, and I just sat and grieved it. “So, that was all going on underneath the surface, and then my voice just started to change — I would be onstage, and I'd be singing a song I’ve done for 25 years, and I’d go for the money note and it would either be tight, or squeezed, or flat. So the next night, I would pay attention to it, and the same thing would happen. Sometimes it would come out, sometimes it wouldn’t. I kind of ran away from that, inside, for a while. But, I eventually had to stop and look straight at it. I didn’t know if it was, you know, the beginning of the end of my voice.” It was not. But, the challenge of reconfiguration has been immense, culminating in a record that comes from her heart. And, from the hearts of her fans. The creation of Pretty Bird came through crowd-funding, released on her own Captain Potato label and distributed by Thirty Tigers. The confronting of Mattea’s fears began with her memory of an unlikely and distant conversation with the legendary Tony Bennett. “So, I had this little, brief conversation with Tony Bennett many years ago,” Mattea said, smiling. “I had wound up at a gathering where we both were kind of in the corner. And I thought, ‘You've got Tony Bennett all to yourself. What do you want to ask him?’ So I said, ‘I heard you sing tonight, and I know how old you are. How'd you do it?’ He was very gracious. He just smiled, and said, ‘Well, my voice isn’t what it once was, but it’s a lot better than it was a couple years ago.’ He said, ‘I found a teacher, and I started working again.’ “If Tony Bennett can do this in his [then] seventies, then I could learn to do this. It was very subtle, but I had that filed away in my brain, and it was at the heart of the challenge.” Mattea found a new teacher, Judi Vinar, and began the hard work. She was no stranger to the recovery effort, having come back from a vocal injury in her past. “That injury is a whole other story,” she said. “And so, the hardest thing was always that I had a layer of panic about all this. You know, you have to befriend that question: ‘Can I sing, or can I not sing?’ You don't know yet. So the question has to come in, and sit down beside you, and hang out. And you have to get really used to that. So, I really had to befriend the fear.
What I found was my audience doesn’t want me to be perfect. They just want me to be real … it’s about authenticity. It’s about not holding a secret.
18 THE NASHVILLE MUSICIAN
“So I would just practice every day. I took six months off the road. [Her longtime guitar player] Bill Cooley would come over every Thursday, and we would jam. So sometimes it’s instrumental things, and sometimes it’s old songs of ours, and sometimes it’s new songs, just whatever. And we talk about music, and I realized then that I needed to sing different songs — not the stuff that sounds like everything I’ve ever sung. I needed to get to know my voice. I didn’t want to go back into old habits. “So I walked in with ‘Chocolate On My Tongue’ [by the Wood Brothers] one day … and I mean, I had to learn to open it up, instead of trying to push it up there. So it was part of the learning curve. Then I kept coming in with songs like that. And after five or six months, I knew I needed some gigs. It didn’t matter how small, I just needed to get out with Bill and play in front of warm bodies. I didn’t want to wait to get polished — I wanted to face that fear of stepping back onstage. I didn’t want it to sabotage me. “Sometimes, I would hit kryptonite, but what I found was my audience doesn’t want me to be perfect. They just want me to be real … it’s about authenticity. It’s about not holding a secret. It was more important for me to step on the stage and be authentically exactly where I was, than to step onstage and feel like I had to hide that from my audience.” Growing up in South Charleston, W. Va., Mattea learned how to face challenge and to seek her way. She usually stayed ahead of the curve. She discovered music at a summer Scout camp in the fourth grade, and found by playing guitar she could overcome her feeling of being out of place. She had always excelled as a student, testing out and being moved ahead in school. She was different. “Being able to play all the chords and knowing the words was a good thing, because you facilitated everyone else’s experience,” Mattea said. “That changed everything for me. It was all I cared about. Music saved my life. I would have just been a freak. “It was empowering to have the guitar. And, then my parents got me a little cassette player with a microphone in it. I could hear myself, and it was awful. My voice became another layer of the quest. I started getting solos in my church and sang in a little folk group. It all stemmed from that feedback of listening to myself play back.” Through high school, she continued to play, seeking her tribe, jamming with a friend’s father who had a bluegrass band, singing in a Catholic folk group, and found her way into community theater and choral music. It wasn’t until Mattea attended West Virginia University, though, that her interest in lyric really blossomed, and she was exposed to old-time and traditional songs. She found like-minded friends, falling in with a group that played every spare minute they could find. “We would jam,” Mattea said. “They turned me onto the Circle album, Ozark Mountain Daredevils, John Hartford, bluegrass, newgrass — all that stuff. These guys had huge record collections, and they wanted to learn to play all the songs on the records. It was like someone opened a gate into a world that had been waiting. “It changed my life. And you know, not too long ago, I was doing
something where Jeff Hanna was, and I know him pretty well, and I was talking about his version of ‘Both Sides Now’ that's on that record. And I just looked at Jeff, and I burst into tears. I said, ‘You know, it's such a big part of why I’m here, how I got here.’” She left West Virginia in 1978 to move to Nashville with the bandleader of that college group, deciding to follow her musical ambition even after that relationship dissolved. Her time in Nashville then is well-chronicled, as she hung on — taking jobs as a waitress, a typesetter’s apprentice, and a tour guide at the Country Music Hall of Fame and Museum. She became known on Music Row, cutting many demo sessions, and signed with Mercury in 1983, struggling there until she cut Nanci Griffith’s “Love at the Five and Dime.” That song became a No. 3 country hit in 1986, and she was on her way. She married songwriter Jon Vezner in 1988, who co-wrote her 1990 Grammy-winning “Where’ve You Been” with Don Henry. The path has driven Mattea to record 18 albums, including Pretty Bird, six of which were certified gold or platinum during the Mercury years, ending in 2000. But, it is this record which may give her the most pride. From the opening track “Chocolate on My Tongue” through Bobbie Gentry’s “Ode to Billie Joe,” Mary Gauthier’s “Mercy Now,” to the heavy freight of Martha Carson’s “I Can’t Stand Up Alone” and Hazel Dickens’ own “Pretty Bird,” the record delivers on an ethereal level, and beautifully presents Mattea’s duskier, more shaded voice. “I never thought it would be an album,” she said. “I mean, these songs were the lily pads, right? I was finding the breadcrumb trail back to singing, so each song would be a little challenge — I didn't think about it beyond that. Even if I could do it, I didn’t think the songs would hang together as a record. “But, it was apparent I needed to get back in the studio, and I woke
KATHY MATTEA GEAR
up in the middle of the night, realizing Tim O’Brien had to Kathy plays produce this record. He’s Taylor guitars. the perfect person. I thought he would be the person who GEAR: L.R. Baggs could put a thread of continuDuet System ity through the sound of the (pickup + mic) album. And I’ve known him for so long, I’ve sung with him so much … he knew I didn’t know how I would feel singing into the mic, and God bless him, there were just some things I needed to chase down. He wanted me to do whatever I needed to do.” Pretty Bird bears Mattea’s singular fingerprint, from a song interpreter whose eclectic choices reflect a career that has now touched four decades. And, it reflects a real social awareness, nodding to Carson, Gentry, Gauthier’s lament, and Dickens’ cover track, a song about the cold realization of clipped wings. The record represents who she is. She is a singer unafraid of challenges, and a quiet activist unafraid of declaring a long-standing support of AIDS awareness, or her outspoken opposition to mountain-top removal and other harsh coal-mining practices. “I always feel like I should be honest, whether singing or talking about things important to me, but I would never preach onstage,” Mattea said. “I want everyone to feel welcome. I don’t care who people vote for, I just want people to be able to sing together, and I wouldn’t want one person to walk out of my show feeling like they weren’t welcome.” With Pretty Bird, Mattea has made herself feel welcome again. She has come back from heavy doubt and fear, to a place of giving. The work is candid. The door is open. TNM
OCT – DEC 2018 19
H T I M E S C . I V R W.O E S F O Y C A LEGA 57 ROOTS WITH LOC
Nashville is called “Music City” for many reasons, one of which is a long-standing tradition of music education institutions. The W.O. Smith Music School is a wonderful example. Many of our members have volunteered to teach at the school over the years. One of those volunteer instructors is guitarist Steven Sheehan, who compiled this information on the background, mission, and current news about the beloved and prestigious local facility.
Photos by Patrick Sheehan
In October 1984, a community music school opened its doors at 1416 Edgehill Ave., Nashville, Tenn. The school’s founder was William Oscar Smith — a longtime member of Local 257. He held a doctoral degree in music education and was a tenured professor at TSU; he was also a jazz bassist, and a member of the Nashville Symphony. With music industry and community support, W.O. Smith’s dream of offering affordable, quality music instruction to low-income Nashville area families became a reality. Initial school funding included a $1,500 grant from Local 257 along with proceeds from a concert hosted by the Nashville Jazz and Blues Society that featured Local 257 pianist, Beegie Adair. Today, the W.O. Smith Music School campus at the corner of 8th Avenue South and Edgehill Avenue is a visible city landmark. The location offers a panoramic view of downtown Nashville and the surrounding neighborhoods just as the school provides a gateway to expanded life opportunities for over 500 students each year. Executive Director Jonah Rabinowitz — his wife Carole is a Local 257 cellist — and full-time staff members Lynn Adelman, Chrysa Kovach and Jordan Morrison have decades of combined experience in music education and performance. Together with over 200 volunteer teachers, they help transform young lives. The high school graduation rate for W.O. Smith seniors is 100 percent.
• The school serves children aged 7-18 living in Metro Nash• • •
ville and surrounding counties. Students must meet income guidelines for the USDA Free and Reduced Lunch Program. Classes and lessons are still 50 cents each, just as in 1984. Students are provided with an instrument of their choosing, a volunteer teacher, and necessary materials for their studies.
The school offers private and group instruction for: • Piano • Guitar and Bass • Drums and Percussion • Brass Instruments • Woodwind Instruments • String Instruments • Voice | Choral • Strings • Jazz and Rock Bands • Audio Production School founder W.O. Smith 20 THE NASHVILLE MUSICIAN
In 2017, W.O. Smith partnered with the Berklee School of Music City Music Program, a network of organizations offering music education to underserved communities across the U.S.
THE 2018 BERKLEE CITY MUSIC SUMMIT NOV. 5-7 at the W.O. SMITH CAMPUS Featuring workshops and master classes by Local 257 members Jeff Coffin, Bill Livsey and Chris Cottros
“It’s not necessary to be on a music career track to benefit from focused practice sessions, setting and achieving goals, or presenting a personal achievement to the public. We believe that the self-discipline involved in the process can help any developing person, whether or not he or she goes on to pursue a career in music. Music was my ticket out of the ghetto, and my hope is that music can help the youngsters we touch to realize their own ambitions.” – William Oscar Smith
VOLUNTEER Since 1984, Local 257 members have been helping to further W.O. Smith’s legacy of community service. The school welcomes volunteers from all musical disciplines and has an immediate need for piano, bass and percussion teachers. Please consider donating your time and talent. If interested, contact Assistant Director Lynn Adelman at 615-255-8355. Check out the school website at wosmith.org and the W.O. Smith autobiography entitled Sideman.
(l to r) Lynn Adelman (assistant director), Jordan Morrison (program coordinator), Jonah Rabinowitz (executive director), Ronnie Greer, Chrysa Kovach (development coordinator), Anna Arata (administrative assistant)
“Volunteering for the W.O. Smith Community Music School started out as any volunteer work, but soon became a highlight of my week. Not only did I learn more from the students than what I taught them, I actually looked forward to going there and communicating the joys of music. It’s rekindled my appreciation for the love of music which sometimes gets lost in a professional career.” – Bill Livsey “I’ve been involved with the W.O. Smith Music School since I moved to Nashville in 1991. It continues to be one of the real treasures of our city and a place that I bring as many visitors to as possible. Jonah, Lynn and the crew continue to do breathtakingly-amazing teaching and mentoring work with young people in our community. They teach them about life using music as a metaphor. It’s truly one of my favorite places on the planet.” – Jeff Coffin “I volunteer because I enjoy the process. There is great satisfaction in watching a young musician progress from the teaching lab to the performance hall. W.O. Smith’s dedicated staff and wonderful facilities make the process inspiring for both young and old musicians.” – Bill Cooley TNM
OCT – DEC 2018 21
THAT THIN, WILD MERCURY SOUND
DYLAN, NASHVILLE, AND THE MAKING OF BLONDE ON BLONDE Chicago Review Press
This book has been a long time coming. More than 50 years have passed since the epic collision of two worlds — Bob Dylan and the Nashville Cats — gave birth to one of the greatest albums in music history. Daryl Sanders spins a fascinating and detailed account of the making of this historic album. He details the events leading up to an unexpected and ultimately triumphant artistic decision: Dylan and his producer Bob Johnston bucked the label’s wishes, followed the muse to Music City and stayed through to the last note of the last song recorded for the album.
much more than nostalgia. It feels as if you are right there in the middle of Columbia A studio as the magic happens. There are dozens of funny and fascinating anecdotes here, and many historical insights into 1960s Nashville. The stories of Dylan’s touring ups and downs also weave in and out of the narrative to great effect. And for once and for all, Charlie McCoy debunks the Use the promo code NASHVILLEMUSICIAN www.chicagoreviewpress.com/ThinWildMercurySound longstanding myth that he and receive 25 percent off. Good 10/20 — 12/20 2018 played bass and trumpet simultaneously, as he had done many times onstage with his band The Sanders delves into multiple layers of Escorts, on “Rainy Day Women #12 & 35.” He each stage of the journey, from the seleccould have, but he didn’t! tion of musicians, to the possible meanings The back stories behind the sessions and of the lyrics — after all, it is Bob Dylan — to the songs are fascinating and give an intimate the details of each session and song recordglimpse into what was arguably Dylan’s greated. The narrative takes many side roads but est creative period. For the players who were never veers too far away from the central fopaid to sit around and wait for Dylan to finish cus — the power of Dylan’s songs, the una new song, it was unprecedented, and fun. usual nature of the recording process, and And when it finally came time to turn on the the revolutionary end result. red light, they were more than ready for the Blonde on Blonde broke many stereochallenge. The proof is in the grooves of still types, not the least of which was that Nashone of the Music City’s finest moments. This ville musicians could only play country music. book immediately made me want to pull out It was one of the first rock double albums. It the record and listen to it with fresh ears and was — and remains — a huge influence on a deeper insight. countless musicians, songwriters, and artists. — Dave Pomeroy These sessions showcased some of the finest musicians to ever walk in a recording studio, including Local 257’s Charlie McCoy on bass, guitar, harmonica and trumpet; Kenny Buttrey on drums; Wayne Moss, Jerry Kennedy, Mac Gayden, and Joe South on guitars; Henry Strzelecki on bass; and “Pig” Robbins on piano. They were joined by Al Kooper and later Robbie Robertson, who had recorded with Dylan previously. Sanders’ exhaustive research and interThe Escorts (l-r) Wayne “Doc” Butler, Gerry Tuttle, views with nearly everyone involved in the Kenny Buttrey, Mac Gayden, Charlie McCoy making of the record result in a story that is 22 THE NASHVILLE MUSICIAN
Street Scene Flamingo Records Multi-instrumentalist and vocalist “Blue” Jay Patten has had a long and interesting career, ranging from singing with the Glenn Miller Orchestra as a teen, playing sax and other instruments with Crystal Gayle for three decades and gigging in almost every venue in Nashville. His latest album, Street Scene, features many of his longtime collaborators, including guitarists Andre Reiss and Mike Loudermilk; bassists Toni Sehulster, Rob Price, and Ike Harris; keyboardists Will Barrow and Steve Willets; and drummers Rick Lonow, Dave Nelson, and Duane Norman. The album is a tribute to his adopted home of Tennessee and it jumps off with a bang — a jazz-rock version of “Rocky Top” that is totally unexpected and very cool. It features great solos by Patten, Reiss, and Richard Bailey on banjo, and is a definite eye-opener. “Nice to Be Here” is an autobiographical song written by Patten celebrating life, music, and friends and sung in his inimitable style. “There’s a Rainbow” features Crystal Gayle duetting with Patten, demonstrating that great vocal chemistry they have shared on many stages over the years. An instrumental reggae version of “Let It Be Me” is another pleasant surprise, with Patten’s sax evoking that memorable melody in a new way. His original ballad “When Love Goes” sounds like something from a 1940s movie. Patten’s emotional vocal and soaring saxophone and Reiss’ guitar are perfect partners in harmony. “When Johnny Comes Marching Home” morphs from Lonow’s funky military snare introduction into a smooth jazz treatment with Patten’s soprano sax navigating its way through a series of interesting modulations and reharmonizations. Cowritten and performed with Nashville chanteuse Jonell Mosser, “Heart to Heart, Soul to Soul” is a powerful ballad with Celtic overtones including droning mandolin and pennywhistle, along with a soaring guitar solo from Reiss. “Music Row Stomp” features Patten’s alto and Billy Contreras’ high-energy fiddle playing. The album closes with “Peace Prayer,” dedicated to the great saxophonist Charlie Mariano, an uplifting, passionate instrumental with Patten
REVIEWS pushing the top of his range and the band rising and falling with his every move. A cool record by a certified cool cat – “Blue” Jay Patten. – Roy Montana
Eponymous The cover songs in this collection, handpicked by trio Amity3, have diverse origins, but fit together nicely. In the opener, “Ana Maria” by Wayne Shorter, the trio wanders through ethereal changes and structure to pull the listener in. Then, solos float in and out with familiarity and surprise, while the instrumental voices jockey congenially for the spotlight. The group is made up of Ron de la Vega on cello, William “Tiger” Fitzhugh on guitar, and Rich Adams on drums. All three are AFM Local 257 members. On “It Might as Well Be Spring” by Rodgers and Hammerstein, Fitzhugh plays the melody while comping (how does ANYONE do that?) with passion and dexterity. Adams and de la Vega have a say, too, as they all trade fours in this head-bopping bossa nova. My favorite is “Misionera’” by Fernando Bustamente. This 6/8 Argentinian “galopa” showcases the instrumental fluidity Amity3 uses to broaden their palette. The cello becomes a bass, the drums a lead voice, while the guitar glues the whole. While covering a Beatles classic can be
tricky, the group succeeds here with “Fool on the Hill,” alternating seamlessly between 5/4 and a straight-4 bossa. On “Pavane,” Adams’ glockenspiel glitters throughout Carla Bley’s charming arrangement of Ravel’s soulful piece. Amity3 signs off with “Round Midnight” where classical influence permeates de la Vega’s interpretation of the poignant melodic line — loaded with longing. The trio captures the essence of Monk’s intent. In fact, the entire collection shows the group faithfully pays homage to these classics while spreading some individual joy of their own. – Hank Moka
Piece of My Pie Filthy Foot is a collaboration between drummer Craig Wright, bassist Lee Hendricks, and guitarist Jeff Cease from Eric Church’s band, along with guitarist, vocalist and writer Eliot Houser. Together they have carved out a timeless rock & roll sound with no resemblance to anything country. The production by Houser and Wright is big and full and varied enough to give each song its own identity within the bigger stylistic range. The drums are punchy, the bass is fat, and the guitars are appropriately thick and nasty sounding without overwhelming the fierce groove of the rhythm section.
“Foot in My Mouth” kicks things off with a stomping beat and self-deprecating lyric about a guy who just can’t make the words come out right. “Moonshine” has vibey slide guitars and a soulful vocal, and “Better Than the Next” has a constant dirty eighth-note guitar acting as a drone and a lyric that goes from pessimism to optimism at the end. “Life in America” has a dissonant hook over a chugging, ominous rhythm. “Pride Talking” rises and falls from acoustic to electric and back repeatedly in a very cool Led Zeppelin-esque way, and the back story of the album’s title is revealed in the chorus. The solo guitar screams over the top of it all, and then breaks down again before building to the final chorus. “Short Line” is a sing-along rocker with gang vocals and a big driving beat courtesy of Wright and Hendricks. “Underdog” has a somewhat sinister feel, with layered vocals sweetening the pot. Cease and Houser’s layered guitars are dark yet melodic; they sit right in that “tight but loose” place that feels so good. “Running Off the Rails” is another melodic rocker, with a stop-start feel that percolates all the way to the end of the fade. “Back to Virginia” is a Wurlitzer-driven ballad that closes the album with a gospelR&B flavor — with Houser’s yearning vocal nearly stealing the show. This is a cool record for fans of classic rock yearning for new material that moves the ball forward. Can we have another piece of pie, please? – Roy Montana
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OCT – DEC 2018 23
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Live at The Ryman Auditorium, July 21, 2018 Acoustic supergroup Punch Brothers thrilled a packed house at Nashville’s Ryman Auditorium on July 21, the second of a two-night stand at the fabled venue. Touring in support of their new album All Ashore, the band played for more than two hours — wandering through their deep catalog of tunes and playing nearly every song from their new release. Led by mandolinist extraordinaire Chris Thile, with guitarist Chris “Critter” Eldridge, Gabe Wichter on fiddle, Noam Pikelny on banjo and bassist Paul Kowert, every member of this group is a virtuoso and artist in their own right. When they come together as one, the sum becomes even greater than the individual parts. Visually, the group may look like a traditional bluegrass band, but musically they are “beyond category,”
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Every member of this group is a virtuoso and artist in their own right. When they come together as one, the sum becomes even greater than the individual parts. as Duke Ellington liked to say. Covering a broad musical spectrum from traditional bluegrass tunes played at breakneck speed with dizzying precision to evocative original songs with intricate arrangements and ethereal vocals, Punch Brothers have created their own musical universe. Opening with the instrumental “Three Dots and a Dash” from the new album, the band immediately established their unique sense of interplay and dynamics, and the audience responded with rapt attention and enthusiastic applause. The new album walks a fine line between political commentary and musical virtuosity, and translates well to the stage. The audience exploded with enthusiasm at the opening mandolin ostinato of “Familiarity,” a 12-minute opus from the album The Phosphorescent Blues that takes the listener on an incredible musical and lyrical journey. This “song” is a great example of the amazing stylistic range of this group, with many twists and turns, finally ending with a gorgeous acapella chorus. The band’s relaxed stage presence and humorous banter invite the audience to share in the fun, and Thile’s infectious and charming sense of humor are hard to resist. The stage set had a nautical backdrop and Tiki Bar theme — several times the band paused to refresh with tropical drinks, and even named the new album’s instrumentals after several of their favorites. A raucous cover of Gillian Welch’s “Wayside” followed a Norman Blake instrumental tune, “New Chance Blues,” giving those who came to hear some traditional music a treat. The sound was impeccable, and at various times each member stepped out to great effect. Pikelny’s banjo playing is elastic and his complex counter-rhythm parts tie the ensemble together. His solos are dizzying in speed yet always in the pocket. Eldridge shadows Thile’s vocals perfectly, and his acoustic guitar playing is impeccable and tasteful. Kowert lays down a solid pulse when needed, but his melodic sense and incredible arco playing takes the band’s sonics to new highs – and lows. Wichter takes an orchestral approach to fiddle playing, and his vocals blend perfectly with Eldridge and Thile — whose effortless mandolin and dreamy vocals keep everything in focus. They came out in front of the speakers for the encore and played unamplified and the audience hung on every note. There are simply no weak spots in this all-star lineup, and their artistic scope feels limitless. On any given night, Punch Brothers are arguably the best band in the world. TNM – Roy Montana
PROGRAMS AT THE MUSEUM Over the past decade, the Museum has hosted interviews with songwriters and musicians who have made significant contributions to American music. Hear the stories behind some of your favorite recordings in our upcoming programs at the Country Music Hall of Fame® and Museum.
Poets & Prophets | Allen Shamblin November 17 – 2:00 pm
Nashville Cats | Sonny Garrish December 1 – 2:00 pm
TUNE IN. LIVESTREAM THESE EXCLUSIVE SHOWS.
Downtown Nashville • @CountryMusicHOF CountryMusicHallofFame.org/Programs/Watch-Listen supported by
Museum programs are funded in part by the Gibson Foundation; Metropolitan Nashville Arts Commission; and the Tennessee Arts Commission.
OCT – DEC 2018 25
BY LAURA ROSS
he orchestra has been on hiatus since early July as musicians travel, play in festivals, and take well-needed breaks. I have just returned from a series of meetings – pension meetings in early August followed by a full week at the International Conference of Symphony and Opera Musicians (ICSOM) Conference that, this year, was hosted by the Cincinnati Symphony Orchestra. Additionally, my schedule this year also included two days of Integrated Media Agreement (IMA) negotiations. The IMA expired a year ago but negotiations for the electronic media agreement under which most U.S. orchestras record— including the Nashville Symphony — have not yet resulted in a new agreement. In September the Nashville Symphony — and nearly every orchestra in the U.S. — celebrated the 100th birthday of Leonard Bernstein. This opening night concert was also live streamed on WPLN 91.1. That Sunday was scheduled to be our final performance of 2018 at Ascend Amphitheater but it was rained out, and was moved to the Schermerhorn. It included two wonderful and picturesque works by Respighi—Fountains of Rome and Pines of Rome. Our first Classical Series concerts included John Corigliano’s Symphony No. 1 (complete with mandolins) and one of my favorites — Brahms Piano Concerto No. 2 with the brilliant Emanuel Ax. That was just the first two weeks! It’s a full season of challenges ahead, including four recording projects: In early October we began recording our John Adams CD with performances of Harmonielehre; a new commission by A.J. Kernis of his Symphony No. 4 begins a new CD recording of his works; Tobias Picker’s CD currently in production will include The Encantadas narrated by the composer; and we complete our Christopher Rouse CD with performances of his Concerto for Orchestra and Supplica. These programs and others include wonderful repertoire, con26 THE NASHVILLE MUSICIAN
Photo: Justin Bradford Stage set up for Symphony No. 1 by John Corigliano by composer’s request. This symphony was written in honor of many of his friends who died from AIDS.
ductors and artists: Harmonielehre is teamed with Beethoven’s Violin Concerto played by gifted violinist James Ehnes; Victor Yampolsky conducts our performances of Shostakovich’s Symphony No. 8; Hans Graf conducts Ravel’s complete Daphnis et Chloé — and gives the strings a rest with Stravinsky’s Symphony of Psalms and Strauss’ Serenade. In addition, Gil Shaham returns with the Berg Violin Concerto; Mahler’s Das Lied von der Erde is paired with The Encantadas; and Fort Worth Symphony’s Miguel Harth-Bedoya leads the orchestra in works that include Lalo’s Symphonie espanole with violinist Chee Yun. Also, the Atlanta Symphony’s Robert Spano leads the orchestra in early May 2019. The regular season ends with a performance of Messiaen’s Turangalila-Symphonie for Piano, Ondes Martenot, and Orchestra as we welcome the return of our friend, the fabulous pianist Jean-Yves Thibaudet. Our movie lineup this year includes Danny Elfman’s score to Tim Burton’s Nightmare Before Christmas, John Williams’ Home Alone and Empire Strikes Back, and Nicholas Hooper’s Harry Potter and the Order of the Phoenix. Special and Pops guest artists will include Kristin Chenoweth, The Mavericks, Martina McBride, Michael W. Smith, Chris Botti, Igudesman & Joo, Pink Martini, and Dennis DeYoung. And these are just the ones I know about! The Nashville Symphony will also host the League of American Orchestras (LAO) annual convention in June 2019. The host orchestra generally plays during the convention, so the Nashville Symphony has scheduled a series of performances leading up to the LAO performance June 3, 2019. We will perform Carmina Burana with the Nashville Ballet, Nashville Symphony Chorus and Blair Children’s Chorus in a multi-media performance that will find the NSO sitting on the
I’m extremely flat floor with a number of chair carts removed grateful to have worked with to simulate an orchestra such a talented pit. It should be quite and thoughtful spectacular and I know group of colthe staff plans to pull leagues who, out all the stops to asalong with our sure the conference is a attorney Kevin huge success. Case and Local We also have a num257 President ber of positions to fill this Dave Pomeroy, season, with the first two bargained this days of the season dedicated to filling a section new progressive agreement. viola position. Later this season we will hold auditions for principle cello, principle oboe and assistant conductor. Assistant/e-flat/second clarinet and associate concertmaster auditions will not be held until the 2019-20 season. The principal cello and associate concertmaster vacancies are due to two of our colleagues – Anthony LaMarchina and Gerald Greer – desiring to move back into their respective sections after decades in their leadership positions, which were made possible by the restoration of two section positions that remained vacant following the cuts in 2013. The viola audition was the first to implement two new provisions in our contract: screens will remain up throughout the entire audition, and the audition committee will now vote by secret ballot whether they agree with the music director’s choice of winners. The negotiating committee — Kevin Jablonski, James Zimmermann, Brad Mansell, and Judith Ablon — worked with me to devise a clear explanation of the new audition process. I’m extremely grateful to have worked with such a talented and thoughtful group of colleagues who, along with our attorney Kevin Case and Local 257 President Dave Pomeroy, bargained this new progressive agreement. TNM
JAZZ & BLUES BEAT
BY AUSTIN BEALMEAR Dave Douglas
fter last quarter’s comments about the lack of promotion for so much local music, I had planned on researching some of the reasons for this problem and following up with more informed commentary. I soon discovered that the history and complexity of the problem made any meaningful discussion in this small column impossible. I still have a couple of thoughts to offer, but that can wait until next quarter so I can use the space to spotlight the many interesting performances scheduled for this fall. We have some great school music programs in the area, and many of their performances are free, so let’s start with them. And remember to support our high school bands as well.
In the schools
Middle Tennessee State University begins its Jazz Artists series Nov. 1 at 7:30 p.m. with trumpeter Dave Douglas in the Wright Music Building on the MTSU campus. Douglas is an outstanding player, and a composer in all kinds of different styles, with 48 CDs under his name. Other performances in Wright include the MTSU Jazz Combos Oct. 23 at 7:30 p.m. and the always exciting MTSU Salsa Band led by Lalo Davila Nov. 6 at 7:30 p.m. The world-renowned USAF Airmen of Note will bring its exciting contemporary big band jazz to MTSU’s Tucker Theater Nov. 18 at 7:00 p.m.
Belmont University gives you a second chance at the Airmen of Note Nov. 19 at 7:30 p.m. The concert starts with Belmont’s Commercial Strings and Jazz Small Group at 6:30 p.m. Check out the Faculty Jazz Concert Oct. 17 at 7:30 p.m.; the Jazz Band and Jazz Band II play Oct. 23 at 7:30 p.m.; and the Jazz String Septet perform Oct. 31 at 10:05 a.m. A great show with music of all kinds is the annual Christmas at Belmont Dec. 1 at 2:00 p.m. and 7:30 p.m. and Dec. 2 at 2:00 p.m. You can check out the PBS version of the 2017 show online at www.belmont.edu. All these events are in Massey Concert Hall. The jazz vocal group Jazzmin appears Live at the Curb Cafe on campus Nov. 15, 7:00 and 9:00 p m. Blair School of Music at Vanderbilt hosts the Blair Jazz Combos Nov. 4, 8:00 p.m., and the Blair Jazz Choir Nov. 14 at 8:00 p.m. in Turner Recital Hall. The Blair Big Band featuring Rashawn Ross and Jeff Coffin will perform Nov. 29 at 8:00 p.m. in Ingram Hall.
The big tickets
At the Schermerhorn Symphony Center banjo master Béla Fleck presents another example of his wide musical vision with friends and fellow masters, Edgar Meyer on bass, and Zakir Hussain on Indian percussion Nov. 4 at 3 p.m. After years of various gigs, two of jazz legend Dave Brubeck’s kids
have found their own musical vision with the Brubeck Brothers Quartet which appears Nov. 25 at 7:30 p.m. Big Band Holidays features the Jazz at Lincoln Center Orchestra with Wynton Marsalis Dec. 7 at 8 p.m. The more intimate Franklin Theatre recalls classic swing with the current Glenn Miller Orchestra led by vocalist Nick Hilscher Oct. 20 at 7:30 p.m., and western swing with Asleep At The Wheel led by Ray Benson Oct. 26 at 8:00 p.m. Originally singing the old slave songs that were part of the creation of jazz and blues, the historic Fisk Jubilee Singers still articulate the old-time gospel, appearing Oct. 27 at 8:00 p.m. Known for popularizing the genre of New Age music with his solo Windham Hill recordings, pianist George Winston comes in Nov. 30 at 8:00 p.m.
At the City Winery, actress Jane Lynch from Criminal Minds has gone vocal and brings her new show A Swingin’ Little Christmas in Dec. 23 at 8 p.m. Over at Rudy’s Jazz Room three major talents add to the excellent local fare. Tenor saxophonist Gregory Tardy has 13 CDs out, plus many more as a sideman, all to critical acclaim. His group plays Oct. 19 at 8 p.m. Charlie Hunter woke up the jazz world with a virtuoso technique of playing bass, chords and melody simultaneously on 7-string guitar. After releasing 18 CDs, his trio hits Nov. 8 at 8 p.m. and 10 p.m. A CD release party — after 13 CDs and a Grammy nomination — brings ace vocalist Roseanna Vitro to Rudy’s Nov. 9 at 8 p.m. Do not miss her! News on blues is getting harder to find. Sadly, the Nashville Blues Society has ceased operation, although their website is still up. BB King’s and Bourbon Street still feature a full schedule of mostly local bands. Try Papa Turney’s BBQ at Nashville Shores Marina, with blues, etc. from Wednesday through Sunday. See you out there.
OCT – DEC 2018 27
Photo: Phillip Harrington
Dominic Joseph (D.J.) Fontana March 15, 1931 — June 13, 2018
ashville Musicians Association life member Dominic Joseph (D.J.) Fontana, 87, died June 13, 2018. The Shreveport, La., native was Elvis Presley’s first and longtime drummer — he joined guitarist Scotty Moore and bassist Bill Black in 1954, adding the simple, strong beat that birthed Presley’s evocative sound. He became a member of Local 257 April 4, 1966. Fontana was born March 15, 1931, to Sam and Lena Lewis Fontana. He started playing drums in his high school band, and jamming with his cousin on band arrangements. After a stint in the U.S. Army in Korea, he started performing locally, eventually becoming a performer on Louisiana Hayride, where he was to meet his future bandmates Moore, Black and Presley. “Elvis and Scotty and Bill were making good music, but it wasn’t rock & roll until D.J. put the backbeat into it,” the Band’s Levon Helm said in a 2004 interview. “I learned the value of simplicity at the Hayride,” Fontana said in an interview. “I heard Scotty and Bill and Elvis one night and knew I couldn’t mess up that sound. 28 THE NASHVILLE MUSICIAN
That’s why I always play what I feel. If that won’t work, I just won’t do it again. I think the simple approach comes from my hearing so much big band music. I mixed it with rockabilly,” Fontana said. Fontana, who went on to play with Presley for 14 years, cited many early influences such as big-band drummers Gene Krupa and Buddy Rich. He was with Presley for his first successes; he played on over 450 recordings, including singles like “Blue Suede Shoes,” “All Shook Up,” “Hound Dog,” and “Jailhouse Rock.” He also appeared on camera in the Presley movies Loving You, Jailhouse Rock, and G.I. Blues. Fontana was part of Presley’s iconic The Ed Sullivan Show appearance as well as other TV shows, most notably the Presley “comeback” special in 1968. In the comeback special — which featured the band on a tiny stage surrounded by a live audience — Fontana used his sticks on a closed guitar case. That appearance would prove to be Fontana’s last with Presley, who began to use bigger bands on records, and utilize Las Vegas venues for performances.
After his work with Presley, Fontana became a sought-after session player in Nashville. He worked with country artist Webb Pierce and rockabilly star Gene Vincent. He recorded with Waylon Jennings, Dolly Parton, Steve Earle and others. He played on the Ringo Starr album Beaucoups of Blues. Along with Moore he was part of the 1997 Presley tribute album All the King’s Men, for which he and Moore received a Nashville Music Award for the song “Going Back to Memphis.” In 2001 Fontana and Moore played on Paul McCartney’s cover of “That’s All Right Mama”. In 2009 Fontana and Black were inducted into the Rock and Roll Hall of Fame in the sideman category — Moore had been inducted in 2000. In the same year, Fontana joined the Rockabilly Hall of Fame. Survivors include his wife, Karen Arrington; two sons, Jeff and David; and 10 grandchildren. A celebration of life was held June 18 at Woodlawn-Roesch-Patton Funeral Home and Memorial Park in Nashville, Tenn. Donations may be made to St. Jude Children’s Research Hospital in Fontana’s memory.
(l to r) Dan Hearn, Steve Sefsik, Ron Rudkin with Benny Goodman
Blue Miller (William F. Mueller) July 15, 1952 — Aug. 11, 2018 Guitarist, songwriter and producer Blue Miller (William F. Mueller), 66, died Aug. 11, 2018. He joined Local 257 in January 1993. The multi-talented guitarist was a session player for a host of artists over several decades, wrote hit records for Joe Diffie “Ships That Don’t Come In,” and “If It Don’t Come Easy” by Tanya Tucker, and won an ACM Award for Best New Vocal Group for his work in the Gibson-Miller Band. In addition, in 2001 he coproduced artist India Arie’s breakthrough multiple-platinum record Acoustic Soul and her third release Journey to India, which won a Grammy for Best R&B Album in 2003. Miller — whose father also played and taught guitar — began playing guitar for classmates in middle school. The Detroit native formed his first band, “Julia,” in high school. The group was for a period the backup band for Bob Seger — Miller also recorded with the artist in the ‘70s. Following this, he released two solo offerings, Wish Book and Wish You Were Here. After a move to Florida and another album released on Capricorn Records, he worked as a session player in Atlanta, Ga., and then toured with Issac Hayes. On his return to Nashville he played sessions for Albert King, Mel McDaniel, Hayes and others. Miller also lived in Chicago for a time, where he did jingle work for NutraSweet, Bud Light, and Taco Bell. In addition he created music for television documentaries, one of which — Who’ll Miss the Bus — resulted in an Emmy for him. After his return to Nashville in 1990 Miller continued his career as a songwriter and session player. Along with Dave Gibson he formed the Gibson-Miller Band; the group’s first album Where There’s Smoke resulted in five Top 20 singles and the follow-up, Red, White & Blue Collar produced two more. Gibson-Miller went on to win the ACM Award for Best New Vocal Group in 1994. After Gibson-Miller disbanded, Miller released a project entitled Kick in the Asphalt in 1996 as a promotional giveaway for the Winston Cup Race. His next solo album Blue followed in 2000. Over the next two decades Miller continued to write, produce and play a multitude of sessions. During his career he played guitar and added vocals on records for Vern Gosdin, Ty Herndon, Michael Bolton, Clay Walker, Mickey Newbury, Richard Marx, Confederate Railroad, Blake Shelton, Aaron Neville, India Arie, and many others. Among his composer credits are a cowrite with Neal McCoy on his hit “If You Can’t Be Good, Be Good At It,” and songs for Melissa Manchester, Gladys Knight, and Blackfoot. Miller also had cowriter, engineer, and musician credits on several India Arie albums. Miller’s career as a producer continued with records for Joe Robinson, Confederate Railroad and David G. Smith among others. Songwriter-producer Bobby Braddock commented on Miller’s passing: “I met Blue through Doug Johnson when I first started producing Blake Shelton. I used Blue as a harmony singer throughout my years with Blake, finding that Blue’s gritty voice, pulled back a little in the mix, gave a really nice edgy harmony to the lead vocal. I can’t think of a more well-rounded talent or a nicer guy than Blue…I don’t know anybody who didn’t like him.” Survivors include Miller’s wife, Beth Miekos Mueller. A celebration of life service was held Aug. 18 at the Harpeth Hills Funeral Home in Franklin, Tenn.
Dan Hearn July 22, 1934 — July 1, 2018 Local 257 life member Dan Hearn, 83, died July 1, 2018. He was a teacher, and a clarinetist with the Nashville Symphony for 10 years; he joined the Nashville Musicians Association in March 1970. In addition to clarinet, he played bass clarinet and saxophone. Hearn was born July 22, 1934 in Houston, Texas to the late Robert and Zelma Roberson Hearn. He grew up in Texas City, Texas, where he played in the Texas City High School band and with local dance bands. After graduation he attended Sam Houston State College and also spent two years with the U.S. Army Band in Seattle, Wash. Following his service he received a Bachelor of Music degree and a Master of Music degree from the University of North Texas. After teaching band for seven years in Texas public schools, he joined the faculty at Tennessee Tech University in 1967, teaching clarinet, sax, theory, and assisting the band director. He performed as principal clarinetist with the Bryan Symphony, and also played with the Cumberland Quintet at Tennessee Tech. His performances included a gig at Carnegie Hall and a tour of Europe. In addition to his time with the Nashville Symphony, he played with the Chattanooga and Knoxville, Tenn., symphonies. Hearn retired in 2001, but continued to play in local musicals, and at the Cumberland County Playhouse. He also still gave private lessons, and shortly before his passing played with the Big Band Sound. Former Local 257 Secretary-Treasurer Randy Ford played with Hearn in the NSO. He shared the following regarding their days playing together: continued on page 30
OCT – DEC 2018 29
FINAL NOTES “I sat next to Dan my first few years in the Nashville Symphony. He was an excellent musician and a gentleman, as well as a tremendous help to me as I started my playing career. He set an example for me by always being prepared. I never heard or saw him be unkind to anyone, but that doesn’t mean he suffered fools. In his quiet way, he was always honest with his opinions, but sometimes it took a few minutes to realize just how hilariously wicked his deadpan comments were. And he had a sense when to offer me a well-timed, supportive compliment, as well as advice for navigating the often-treacherous political waters within an orchestra. Dan left a lasting influence on his students at Tennessee Tech and everyone who played with him,” Ford said. Bassoonist James Lotz, Hearn’s colleague at Tennessee Tech, commented on his passing: “Dan was a great musician, colleague and friend. He loved music and teaching. We used to kid him about working harder after retirement than before because he taught dozens of students every week and played shows in Cookeville and Crossville and played in every community band in the area. I saw him right before he died and true to form we had a great time talking about music we loved and playing together in quintet and orchestra. Dan will be greatly missed by us all,” Lotz said. In addition to his parents, Hearn was preceded in death by one brother, Roy Hearn; and one sister, Vera Howe. Survivors include his wife of over 50 years, Eva Hearn; one son, Steven Hearn; one cousin and several nieces and nephews. Funeral services were held July 7 at Cookeville First United Methodist Church, with Dr. Martin Thielen and Rev. Tom Howe officiating. Family and friends served as pallbearers; honorary pallbearer were members of The Cumberland Quartet. Interment with military honors was held at Crest Lawn Cemetery. Memorial contributions may be made to the Music Scholarship Program at Cookeville First United Methodist Church, 165 E. Broad St., Cookeville, TN, 38501.
30 THE NASHVILLE MUSICIAN
continued from page 29
Andrew J (A.J.) McMahon
Andrew J. (A.J.) McMahon Oct. 21, 1948 — July 6, 2018 Life member Andrew J. (A.J.) McMahon, 69, died July 6, 2018. He was a keyboardist and songwriter who joined Local 257 in February 1970, but got his first union card in July 1966 at Local 266 in Little Rock, Ark., at the age of 15. The Chicago, Ill., native was born Oct. 21, 1948. He moved to Louisiana at 17 where he played Hammond B-3 with Jerry LaCroix and Gee Gee Shinn. By the age of 20 he had moved to Nashville and was recording singles with the likes of Doug Kershaw and Freddie Cannon. The following year he began playing with Mother Earth and writing with the group’s lead singer Tracy Nelson. Their collaboration would continue long after the group disbanded. Local 257 member Karl Himmel played with McMahon as Mother Earth’s drummer. “I remember his great personality and incredible organ playing! Playing the Fillmore with Mother Earth, taking a sip from a stranger’s cup, then Andy not knowing it was LSD. [It was a] great show, we pulled it off too! It’s been a while since I’ve seen Andy, and in two weeks we lost Robert Cardwell — another Mother Earth member. Nowadays when I see close friends I say ‘I love you,’” Himmel said. After his days with Mother Earth McMahon became an in-demand session player. He worked with Harlan Howard, Bobby
Bare, and then-newcomers Waylon Jennings and Billy Joe Shaver. Over the years he performed and recorded with a wide variety of artists including Boz Scaggs, Neil Young, JJ Cale, Earl Scruggs, Gary Morris, Eddie Rabbitt, Willie Nelson, Marshall Chapman and Jimmy Buffett. He worked in Nashville as well as in London, Los Angeles, San Francisco, Miami, Woodstock, Memphis and Muscle Shoals. His songwriting credits include tunes for Bonnie Raitt, Maria Muldaur, Clifford Curry, and Phoebe Snow, among many others. He cowrote “Step Out” with guitarist Jack Pearson, the title track for Pearson’s 1994 album. Pearson commented on McMahon’s passing: “Andy McMahon was one of a kind. We spent a lot of time together through the years writing songs, playing gigs, recording, and just hanging out. He was a very soulful player and singer and I learned a lot from him. He was a great friend and musician,” Pearson said. McMahon achieved sobriety in 1992 and maintained it the rest of his life. He released his own solo project Mek Man in 2002. McMahon was predeceased by his parents, William and Amy (Miller) McMahon; and one brother, Peter McMahon. Survivors include his longtime partner, Susan Schwab; and several cousins.
Judy Carrier Vreeburg
Judy Carrier Vreeburg June 23, 1942 — July 30, 2018 Life member Judy Carrier Vreeburg, 75, died July 30, 2018. The Massachusetts native was a renowned bluegrass singer, songwriter and guitarist who joined Local 257 in June 1981. She began her career as a teenager playing locally with Wynn Fay and the Ridge Runners, where she met her future husband and duet partner Vernon “Whitey” Carrier (1919-1976). The two played regional festivals as the Bluegrass Sweethearts, and regularly appeared on the Pioneer Valley Jamboree, a variety show hosted weekends on WREB in Holyoke, Mass. They also performed on television in New Hampshire for 12 years. Some of their many performances were released on an album called Pioneer Jamboree on the Jay-Vac record label. Carrier moved to Nashville in 1980 after the death of her husband. Soon after she recorded her first solo album — From the Berkshires to the Smokies — at Cumberland Sound Studios. She composed eight of the 11 tracks and said in a later interview that she wrote them with the “blood, sweat and tears of my life…and love.” Carrier enlisted some well-known musicians for the project including Bobby Osborne, who produced and played guitar,
Tater Tate on fiddle, Wynn Osborne on banjo, and Jack Tottle on mandolin. She appeared on Carl Tipton’s television show in Nashville and performed on the Grand Old Gospel Hour broadcast in 1981. In 1986 she toured the Netherlands where she met her second husband and duet partner Rens Vreeburg. The two married in Tennessee in 1988. They played the Midnight Jamboree several times, and also toured Europe four times. Additionally, she and her husband produced and hosted a local bluegrass festival called the Dutch Woodpecker Bluegrass Jamboree for six years. Together Carrier and Vreeburg recorded three CDs, You Go With Me, Spring Has Sprung in Dear Ol’ Dixie, and Oh Lord I’m Searching. Bluegrass chanteuse and Local 257 life member Kathy Chiavola was a friend of Carrier. She commented on her passing: “Judy Carrier was one of the sweetest, most generous friends you could ever imagine. She loved playing traditional country and bluegrass music as much as anyone ever. I am grateful for the memories and for the songs and recordings she left us,” Chiavola said. Memorials may be made in Carrier’s name to the Alzheimer’s Association, 478 Craighead St., Suite 200, Nashville, TN, 37204. continued on page 32 OCT – DEC 2018 31
FINAL NOTES continued from page 31
FUNERAL FUND BENEFICIARY LOCAL 257 MEMBERS: Please check to see that your FUNERAL FUND BENEFICIARY is listed correctly, and up to date. We can't stress the importance of this enough.
Doris June Froelich Jan. 25, 1922 — Aug. 9, 2018 Life member Doris June Froelich, 96, died Aug. 9, 2018. She was an accordion player who joined Local 257 in September 1992. Prior to that she was a longtime member of the Evansville, Ind., local which was absorbed by the Nashville Musicians Association in 1992. Froelich was born Jan. 25, 1922, to the late Maurice and Ailean Cunningham Grammer. She led an adventurous life, including work on a riverboat as well as raising a family. Known as a loving person with many friends, she was said to be a gifted cook, seamstress and crafter, and someone who was always there to listen. She was a member of St. Paul’s Lutheran Church and the oldest member of the Perry Heights 4-H club. Her children said that her legacy was “her undying love and affection to all those who were lucky to have known our beautiful mom, inside and out.” Survivors include two daughters, Linda Roos and Lesa Froelich; one son, Mark Froelich; one sister, Betty Southwood; two grandchildren; five great-grandchildren; one great-greatgrandchild; three nieces and one cousin. Private funeral services were held at Oak Hill Cemetery in Evansville, Ind. Memorial contributions may be made to the Vanderburgh County Humane Society or to the American Cancer Society. Condolences may be made online at www.pierrefuneralhome.com
Robert Allen McRoberts Sept. 30, 1935 — June 29, 2018 Keyboardist Robert Allen McRoberts, 82, died June 29, 2018. He was a life member of Local 257 who joined in April 1982. Survivors include his wife, Linda G. McRoberts. TNM
YOUR LOVED ONES ARE COUNTING ON YOU. IN MEMORIAM
Take a moment and ask the front desk to verify your funeral benefit beneficiary information. Please also check to see that we have your correct email address.
32 THE NASHVILLE MUSICIAN
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
Doris June Froelich
Thomas Haynes McKinney, III
Andrew J McMahon
William F Mueller
Judy Carrier Vreeburg
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Eric Gunderson GTR PIA BAS Whitney Reed Harrison (Reed Harrison) SNG VOC firstname.lastname@example.org Cell (917) 496-4632 Pam Hawk Cell (615) 305-3311 Glenn A. Hill, II (Glenn Hill) TBN email@example.com Cell (901) 491-2880
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David P Karns BAS VOC firstname.lastname@example.org Cell (615) 932-0016
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REINSTATED Mark Jeffrey Allen Vernon M Arnold James L Brantley Cole Burgess Gary L Burnette Carly Campbell Darrick Jerry Cline Jonathan Tyler Crone Dominic John Davis Rachael Davis Richard Brian Free Elaine Garton Frizzell Daniel Lenwood Groah Walter M Hartman Derek W Hawkes Bruce Hayes Dennis Lee Holt Phillip Taylor Houston Joel Hutsell Jefferson A Jarvis Dina M Johnson Rodney Allyn Ledbetter William Claude Marshall, III Anthony J Marvelli Kaitlyn Marie Raitz Calvin Lee Rogers, Jr David M Santos Robert S Sherrill Adam Carter Steffey William Trimarco Charlie L Vaughan Richard F Vito Bill L Warner Lewis Bryant Wells Jeff T White Andy Witherington
Preston James Watkins GTR VOC firstname.lastname@example.org Cell (615) 512-1340 TNM
JULY â€“ SEPT 2018 33
DO NOT WORK FOR
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. TOP OFFENDERS LIST Nashville Music Scoring/Alan Umstead - Solicitation and contracting of non-union scoring sessions for TV, film, and videogames Electronic Arts/Steve Schnur - Commissioning and promoting non-union videogame sessions These are employers who owe musicians large amounts of money and have thus far refused to fulfill their contractual obligations to Local 257 musicians. 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) 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 Casa Vega/Ray Vega Knight Brothers/Harold, Dean, Danny & Curtis Knight RLS Records-Nashville/Ronald Stone Region One Records RichDor Music River County Band/SVC Entertainment (unpaid demo conversion/pension) Robbins Nashville
Next General Membership Meeting Monday, Nov. 5, 2018 2 :30 p.m. 34 THE NASHVILLE MUSICIAN
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
HOLIDAYS 4Q18 VETERANS DAY Monday, Nov. 12 THANKSGIVING Wednesday, Nov. 21 at noon through Friday, 23 CHRISTMAS BREAK Thursday, Dec. 20 through Tuesday, Jan. 1, 2019 MARTIN LUTHER KING, JR. DAY Monday, Jan. 21, 2019
More than $200 Million Distributed to Musicians and Vocalists since 2014 Royalties Distributed To Musicians And Vocalists For Their Performance On Songs Played On Satellite Radio, Subscription Services, Webcasts, Other Digital Formats And Certain Music Performed On Film & Television Find Out If You’re Owed At:
OCT – DEC 2018 35
Nashville Musicians Association PO Box 120399 Nashville, TN 37212-0399 —Address Service Requested—
Nonprofit U.S. Postage PAID Nashville, TN Permit No. 648
R E A L E S TAT E .
IT’S NOT JUST
M I K E H AY N E S
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The Nashville Musician is the official publication of the Nashville Musicians Association, AFM Local 257. This issue features Kathy Mattea,...
Published on Oct 17, 2018
The Nashville Musician is the official publication of the Nashville Musicians Association, AFM Local 257. This issue features Kathy Mattea,...