The Nashville Musician — January - March 2018

REVIEWS: CHRIS STAPLETON • TYMINSKI • DAVID FRIZZELL • GUTHRIE TRAPP • CHRIS MCDONALD

OFFICIAL JOURNAL OF AFM LOCAL 257 JANUARY – MARCH 2018

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ADAIR THE

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ELECTS NEW OFFICERS

JAN – MAR 2018 1

2 THE NASHVILLE MUSICIAN

CONTENTS Official Journal of the Nashville Musicians Association, AFM Local 257 | JANUARY — MARCH 2018

4 6 7 8 10 12 16

ANNOUNCEMENTS Details on the next membership meeting to be held Tuesday, Feb. 27, and meeting minutes.

STATE OF THE LOCAL President Dave Pomeroy talks about the storied beginnings of AFM Local 257 – 115 years ago — and why it’s still true that “The Buck Starts Here.”

NEW GROOVES Secretary-Treasurer Vince Santoro fills in membership on some long-awaited updates to the Local 257 building.

HEARD ON THE GRAPEVINE The notable comings and goings of Nashville Musicians Association members.

NEWS Complete results of the Local 257 election, information on the new health care plans for members, and more.

6

LOCAL 257’S MILESTONE 115TH BIRTHDAY

GALLERY We recognize member milestones as well as other events and honors.

COVER STORY: BEEGIE ADAIR Warren Denney sits down with the jazz pianist to talk about her incredible life story and international career — which is still going strong, and proving beyond a doubt that swing is still the thing.

22 REVIEWS A wide-ranging assortment of CDs from Chris Stapleton, Tyminski, David Frizzell, Guthrie Trapp, and Chris McDonald.

26 RECORDING Steve Tveit helps you answer the eternal question: Where’s my money?

28 SYMPHONY NOTES Laura Ross looks back on the

1988 symphony shutdown in the first of a two-part series.

29 JAZZ & BLUES A roundup of shows and other

16

BEEGIE ADAIR

happenings in the jazz and blues community.

30 FINAL NOTES We bid farewell to Mark Selby, Leon Rhodes, and Rolland Puckett.

33 MEMBER STATUS 34 DO NOT WORK FOR LIST COVER PHOTO: GRAHAM GERDEMAN

22

CHRIS STAPLETON JAN – MAR 2018 3

ANNOUNCEMENTS

OFFICIAL QUARTERLY JOURNAL OF THE NASHVILLE MUSICIANS ASSOCIATION AFM LOCAL 257

PUBLISHER EDITOR MANAGING EDITOR ASSISTANT EDITOR CONTRIBUTING WRITERS

CONTRIBUTING PHOTOGRAPHERS

ART DIRECTION WEB ADMINISTRATOR AD SALES LOCAL 257 OFFICERS PRESIDENT SECRETARY-TREASURER EXECUTIVE BOARD

HEARING BOARD

TRUSTEES

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 Mickey Dobo Tripp Dockerson Lisa Dunn Donn Jones Dave Pomeroy Laura Ross Vince Santoro Steve Tveit Lisa Dunn Design Kathy Osborne Leslie Barr 615-244-9514 Dave Pomeroy Vince Santoro Jimmy Capps Steve Hinson Jerry Kimbrough Andy Reiss Laura Ross Tom Wild Chuck Bradley Michele Voan Capps Tiger Fitzhugh Teresa Hargrove Kent Goodson Dave Moody Kathy Shepard John Terrence Bruce Radek Biff Watson

SERGEANT-AT-ARMS

Steve Tveit

NASHVILLE SYMPHONY STEWARD

Laura Ross

OFFICE MANAGER ELECTRONIC MEDIA SERVICES DIRECTOR ASSISTANT DATA ENTRY RECORDING DEPT. ASSISTANT DIRECTOR, LIVE/TOURING DEPT. AND PENSION ADMINISTRATOR MEMBERSHIP COORDINATOR/RECEPTION MPTF COORDINATOR/RECEPTION

Anita Winstead

Steve Tveit Teri Barnett Christina Mitchell Paige Conners Leslie Barr Laura Birdwell Sarah Bertolino

@ 2018 Nashville Musicians Association P.O. Box 120399, Nashville TN 37212 All rights reserved. nashvillemusicians.org

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NEXT GENERAL MEMBERSHIP MEETING TUESDAY, FEB. 27, 2018 The next Local 257 General Membership meeting will be Tuesday, Feb. 27. Doors will open at 1:30 p.m. and the meeting will start promptly at 2 p.m. There are no bylaw amendments on the agenda, but there will be president and secretary-treasurer reports, and discussion of other important issues. Please make plans to attend and take part in the business of your union.

Nashville Musicians Association AFM Local 257, AFL-CIO Minutes of the Executive Board Meeting Oct. 26, 2017 PRESENT: Vince Santoro(VS), Dave Pomeroy(DP), Tom Wild(TW), Laura Ross(LR), Beth

Gottlieb(BG), Jonathan Yudkin(JY), Chuck Bradley(CB).

ABSENT: Jimmy Capps(JC), Mark Johnson(MJ), Andre Reiss(AR).

President Pomeroy called the meeting to order at 8:38 a.m.

MINUTES: Minutes from July 17, 2017 were distributed.

MSC to approve as amended. JY, CB. President’s Report: The following issues were discussed: 1. Opryland Hotel/General Jackson 2. New Single Song Overdub Scale contract is simpler — “How To Use” video is online 3. iHeart Radio Festival in Austin still has not paid up but should pay soon 4. Upcoming home-studio discussion with Metro council members TREASURER’S REPORT: Santoro distributed financial reports and fund balances. He

reported the following: 1. We have accepted Accurate Air’s proposal and now await a bid on the electric component of the install, which has a target date of Dec. 11-15, 2017.

2. The skylight install is set for Nov. 1-2 by Don Kennedy Roofing.

3. RJ Stillwell is working on establishing a group health policy for entire membership.

MSC to approve Sec-Treasurer report. LR, TW. MSC to accept new member applications. LR, TW. Motion to adjourn. JY, BG. Meeting adjourned at 9:06 a.m.

DO WE HAVE YOUR CURRENT

EMAIL ADDRESS?

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

ANNOUNCEMENTS

Nashville Musicians Association AFM Local 257, AFL-CIO Minutes of the Membership Meeting Nov. 8, 2017

RECORDING AT HOME?

PRESENT: Sam McClung, Bob Stevens, Jason Howard, Shane

Adams, Mark Weber, Rich Eckhardt, Danny Rader, Justin Ostrander, Seph Allen, Jerry Kimbrough, Bob Mater, Jason Campbell, Miles McPherson, Devin Malone, Steve Hinson, Derek Wells, Carl Miner, Dave Cohen, Roy Vogt, David Dorn, Paul Chapman, Thomas Prince, Chuck Tilley.

Check out the new "How to use the AFM Single Song Overdub Scale” instructional video on the Nashville Musicians Association YouTube channel!

HEARING BOARD PRESENT: Michele Capps, Teresa Hargrove,

Kent Goodson, Tiger Fitzhugh.

EXECUTIVE BOARD PRESENT: Jerry Tachoir, Chuck Bradley,

Jimmy Capps.

OFFICERS PRESENT: Vince Santoro, Dave Pomeroy, Steve Tveit.

Meeting was called to order at 2:13 p.m.

PRESIDENT’S REPORT:

1. True group health care is being established exclusively for Local 257.

2 Membership drive from Dec. 1 - Mar. 31 3. A list of nonmembers and expelled members will be circulated to existing members.

4. Video coming that will easily explain the Single Song Overdub Scale.

5. Using tracks for live performance is now included in the SRLA Phono agreement with the major record labels.

6. Our local is helping the Austin local get iHeart payment.

7. Three percent upgrade on Opry still needs detail work.

8. Overdue work dues have decreased but still a major concern.

TREASURER’S REPORT:

1. Skylight installation went very well.

2. Accurate Air has won the contract to install new HVAC in Cooper Hall. The electric contract for that install has yet to be determined.

3. American Income Life has ceased their Accidental Death and Dismemberment policy with Local 257. Having been associated with us, on and off, for more than 20 years, they were unable to make enough profit to justify their outlay to beneficiaries. During the company’s time with us our members’ beneficiaries have realized some $40-50K making the loss of their loved ones a bit easier to digest. We appreciate having had their help for the time they were able to offer it.

MSC to approve Sec-Treasurer report. BG, TF.

Holiday

CLOSINGS PRESIDENT’S DAY Monday, Feb. 19, 2018

Nashville Musicians Association AFM Local 257, AFL-CIO 2018 Annual Regular Membership Dues

Local Dues:....................................................154.00 AFM Per Capita:.............................................. 66.00 Funeral Benefit Fund Assessment:.....................70.00 Local 257 Emergency Relief Fund (ERF):.............3.00 Total:......................................................... $293.00 Local 257 ERF (voluntary):..................................2.00 AFM Tempo Fund (voluntary):..............................3.00 Total Annual Dues with voluntary $5............. $298.00

Nashville Musicians Association AFM Local 257, AFL-CIO 2018 Annual Life Membership Dues

Local Dues:(33% of regular member dues)........52.00 AFM Per Capita:...............................................50.00 Funeral Benefit Fund Assessment......................70.00 Local 257 Emergency Relief Fund (ERF)...............3.00 Total:..........................................................$175.00 Local 257 ERF (voluntary):..................................2.00 AFM Tempo Fund (voluntary)...............................3.00 Total Annual Dues with voluntary $5...... $180.00 Annual dues proposal was discussed.

MSC to approve proposed annual dues for 2018. Derek Wells, Jason Howard.

Unanimously approved.

MSC to adjourn. TF, JT. Meeting adjourned at 2:52 p.m.

TNM

GOOD FRIDAY Friday, March 30, 2018 JAN – MAR 2018 5

STATE OF THE LOCAL

BY DAVE POMEROY

The Buck Starts Here – for 115 years and counting!

Dec. 11, 2017 marked the 115th anniversary of the founding of the Nashville Musicians Association, AFM Local 257. It’s hard to imagine what being a musician in Nashville was like in 1902, but it must have been something bigger than their own individual ambitions that brought President Joe Miles together with six fellow Nashville musicians to found Local 257 and serve as our first executive board.

The endeavor united them with the rapidly growing AFM’s 256 other locals. The Athens of the South, as Nashville was known back then due to its prestigious educational institutions, would eventually become known to the world as Music City. Since then Nashville has changed dramatically in so many ways, and will continue to do so for the foreseeable future, but one thing remains constant: this is a place where professional musicians come to be able to make a living. To coin a phrase, the buck starts here.

From the Grand Ole Opry to the Nashville Symphony, Music Row to home studios, The Nashville Network, CMT and the TV show Nashville, Local 257 has been there every step of the way. We are now the third largest local in the United States, and are still growing. The creation and monetization of intellectual property has been Nashville’s strong suit for more than a century, long before there was a name for it. Depending on their skill set, determination, and timing, musicians who come to Music City have a variety of opportunities to break things open in a bigger way as well. Although the surroundings and circumstances may have changed 6 THE NASHVILLE MUSICIAN

over the years, many opportunities still exist for those who come to Music City to try their luck in the music industry.

These days the lines are not so strictly drawn between session players, self-contained bands and touring musicians, and almost anything can happen. You can be a sideman, songwriter, band member, engineer, producer, label owner, publicist and everything in between. Multiple smaller revenue streams are the new reality, and AFM not only helps you protect your work for the future, we help you not leave money on the table on the front end.

As I start my fourth term as your president, I can look back on the past nine years and see a lot of things we have accomplished, but also look forward to what we can do together to show the world – and the people and companies who employ musicians — what can be accomplished when musicians stick together. It is certainly a challenge to be a nonprofit labor union in a right to work (for less) state like Tennessee, but we have not only persevered, we have prospered. We have made many changes

mention of how to handle violations of this outdated clause. Our work has resulted in hundreds of thousands of dollars being paid to musicians for this type of use. Because of our success with this concept, payment for the use of studio tracks onstage is now part of the SRLA contract with the labels, which will enable us to collect even more. Our new Blue Cross Blue Shield group health care plan created with Sound Healthcare has garnered a lot of publicity and has brought in a big influx of new members and is saving our members considerable amounts of money.

We have a lot to feel good about, but there is always room for improvement. There are still those who promote Nashville as a nonunion recording center and invite big companies to come here and take advantage of musicians because of Tennessee’s right to work laws. Many of you have turned down this work, and continue to do so, which is much appreciated, but by itself, doesn’t solve the problem. As long as other players are willing to accept substandard pay and giving away all of their intellectual property, it is a challenge to turn this trend around,

“The creation and monetization of intellectual property has been Nashville’s strong suit for more than a century, long before there was a name for it.” to modernize our operations, increase communication with our members and our community and be more efficient in our work methods. We have the best team we have ever had in place, and everyone in the office pulls their weight and then some. I want to thank all of our past and present Local 257 officers and board members for their service to the cause of respect for musicians.

We negotiate many local and national contracts and obtain improvements for our members. Here’s a couple of examples: Last year’s Grand Ole Opry negotiations led to the biggest raise in Opry history, with YouTube videos and Sirius XM broadcasts paying for the first time ever, and putting more money in the pockets of musicians. Over the past few years, we developed a payment method for the use of studio tracks onstage, something that was previously prohibited in the SRLA aka phono contract, but without any

but we have done it before. With your support, we will continue to call out those who are taking advantage of musicians. These companies and the people who facilitate this work know better, but they would rather put YOUR money in their pocket rather than respect the musicians they hire by paying them fairly. We will be concentrating on solving this problem, but the real power lies with you, our members.

There are still those who don’t “get it,” and want to know why they should be an AFM 257 member. I can go on and on about any of the many reasons, but YOU have the power to change these peoples’ minds and send them our way. Anyone can come talk to us about anything, and we will be honest and respect their confidentiality. We will do all we can to inform and protect all our members as we continue to grow. Here’s to TNM a great 2018 and beyond!

NEW GROOVES

BY VINCE SANTORO

W

ith 2018 fast approaching, a quick look at the physical events that have occurred recently here at the AFM Local 257 building reveals a whirlwind of activity. We tackled two huge issues of maintenance. The new year will see our building enter its 41st year of existence wearing some stylish new clothes, after years of knuckling under to the ravages of time, and normal wear and tear.

The first biggie is the skylight. When it was originally installed in 2001, it was probably top of the line, but skylight technology has come a long way since, and the local can now boast that its new hat will be better suited, design-wise, to our needs. The old one did not shed water very well and that eventually led to leaks, which eventually led to caulk buildup — and that eventually led to the runoff paths being undermined to the point of dysfunction. We have some embarrassing “before” photos of the lobby area filled with scattered punch bowls and coffee cans arrayed to catch the weather as it laughingly entered our workplace. When actual chunks of plexiglass began falling on our heads, we

“The new year will see our building enter its 41st year of existence wearing some stylish new clothes, after years of knuckling under to the ravages of time, and normal wear and tear.” knew it was getting dangerous.

Now, those days are gone. The new structure is gabled with “hip” style ends to give it a pyramid look and water doesn’t stay on it long enough to cause trouble. The glazing is diffused and creates a soft natural light to fill the lobby.

The other upgrade that has taken place has to do with the rehearsal hall’s HVAC system. I call it a system but what has existed in there barely qualifies as one. We simply had AC and no heat! I don’t know why it was set up this way, but we’ve used space heaters to squeak by and that has been a very inefficient and clumsy solution, at best.

This space heater approach is not the only thing that impelled us to action. We also were made aware that the old unit that provides the A/C to the hall would soon be costing us more than $1500 to recharge with refrigerant. It also was sized so big (10-ton) that when it ran, it cooled so fast that humidity was a real problem. Some of you may have noticed the dehumidifiers in the hall that ran constantly in spring and summer.

After consultation with professional

HVAC folks we priced a replacement that would solve both problems. We settled on installation of three ventless units, arrayed to triangulate the room and provide constant temperature and humidity control, yearround. These units, wall-mounted and quiet, sense the load on the room continually and respond to that load accordingly. With the change of seasons they will direct A/C high and heat low, by shifting louvers to aim the flow where it should. This install has just been completed and there’s already a muchimproved climate in Cooper Hall.

These changes to our union building didn’t come without some disruption. The skylight put the office in construction mode for about a week, but we powered through. The HVAC install was pretty much the same, since none of our members could use the hall for rehearsals. I know we all will enjoy how these upgrades affect the day-to-day operations necessary in both the office and the hall, but I also should mention that there are inevitable challenges that come with the maintenance of a building of this vintage. We will face them as TNM they arise.

JAN – MAR 2018 7

HEARD ON THE GRAPEVINE

JEFF COOK

Jeff Cook, founding member of the supergroup Alabama, was inducted into the National Fiddler Hall of Fame during a Nov. 17 concert in Tulsa. Midway through the group’s performance, the set was interrupted so Bob Fjeldsted, president of the Hall of Fame, could come onstage and surprise Cook with the presentation.

Cook said he was shocked by the honor. “I’ve been considered a lot of things but a fiddler is not one of them.

I just never thought I would be going into a fiddler’s hall of fame,” he said. Cook, who played other instruments first, started on guitar in a band when he was 13, and plays guitar for Alabama, which he formed with his cousins Randy Owen and Teddy Gentry. He said he taught himself how to play fiddle, and learned during club gigs in Myrtle Beach, S.C. — on-the-job training, Cook said.

Alabama manager Tony Conway said Cook has been the band’s fiddle player for 40 years. “At every concert, whether you have 60,000 or 12,000 or 5,000, when he hit the fiddle, that’s when the place goes crazy,” Conway said. “That’s when everybody starts buck dancing.”

Cook said his own “Mt. Rushmore” of fiddle players would include Ricky Skaggs, Charlie Daniels, Jim Buchanan and Mark O’Connor. He also mentioned that his biggest Vince Gill guitar influence is James Burton. Cook, recently diagnosed with Parkinson’s disease, has stepped away from fiddle but continues to play guitar with the band.

At the Tulsa show Cook told the audience, “God is great, and I give him the praise and the glory for allowing me to play music all those years. Thank you so much.”

VINCE GILL

Legendary artist Vince Gill is well known for his songwriting, singing and consummate guitar playing — as well as his great commitment to community service and other charitable endeavors. He was honored with the CMA Foundation Humanitarian Award Nov. 29 during a reception at the Country Music Hall of Fame and Museum. CMA CEO Sarah Trahern said Gill “defines the word humanitarian, and we’re thrilled to present him with this award, which has only been awarded twice before.”

Gill is the most-awarded artist in CMA history — he’s won 18 awards including Song of the Year four times. He was inducted into the Country Music Hall of Fame in 2007, and is also a member of the Grand Ole Opry.

In 25 years, Gill’s charity golf tournament — The Vinny Invitational — has raised over $7 million, and he has lent his talent to countless other charities and organizations including “All For The Hall”, American Heart Association, Boys & Girls Clubs, Make-A-Wish Foundation, Second Harvest and many more, not to mention his generosity to Local 257’s own Emergency Relief and Flood Funds.

8 THE NASHVILLE MUSICIAN

Jason Isbell Jeff Cook

“In 25 years, Gill’s charity golf tournament — The Vinny Invitational — has raised over $7 million.”

The CMA Foundation Humanitarian Award is given to an individual who has served as a humanitarian through community leadership, financial support, personal volunteerism and advocacy. The individual recognized has evidenced commitment to worthwhile causes that are important to the Country Music Association and the country music community.

JASON ISBELL

Jason Isbell became the 14th Artist-in-Residence at the Country Music Hall of Fame and Museum in December. The program honors an artist credited with contributing a significant body of work to the canon of popular music. The Grammy-winning singer-songwriter and his wife, Amanda Shires, were featured in three intimate and unique performances in the museum’s CMA Theater.

The residency program was established in 2003 and is supported

by Carter Vintage Guitars. Past honorees have included Cowboy Jack Clement, Earl Scruggs, Tom T. Hall, Guy Clark, Kris Kristofferson, Jerry Douglas, Vince Gill, Buddy Miller, Ricky Skaggs, and Alan Jackson.

RHONDA VINCENT

Bluegrass singer-songwriter Rhonda Vincent was honored in November with induction into the Missouri Music Hall of Fame. Vincent, born in Kirksville and raised in nearby Greenton, Mo., entered the national stage almost two decades ago, when the Wall Street Journal called her the new “Queen of Bluegrass.” However, her career started long before, when she started performing with her family band, The Sally Mountain Show. The multi-instrumentalist started playing drums at the age of six,

HEARD ON THE GRAPEVINE

DOTTIE WEST TRIBUTE AND ERF FUNDR AISER

and soon added mandolin, fiddle and guitar. The band toured extensively, and Vincent gained national recognition after a win on the TV program You Can Be A Star, which included a record contract.

Vincent has won multiple awards during her career, including over a dozen from the International Bluegrass Music Association —including Entertainer of the Year in 2001, and Rhonda Vincent another dozen-plus from the Society for the Preservation of Bluegrass Music. She has also garnered several Grammy nominations, and was the inaugural recipient of the Bluegrass Star Award, presented to her by the Bluegrass Heritage Foundation in 2010.

David Frizzell and Shelly West

DOTTIE WEST TRIBUTE RAISES THOUSANDS FOR ERF A Dottie West tribute concert held Oct. 18 at Third & Lindsley raised more than $6550 for the Local 257 Emergency Relief Fund. The event was hosted

by Jeannie Seely — and a host of musicians performed, including many AFM 257 members who played with West over the years. The Gatlin Brothers, David Frizzell, Jimmy and Michele Voan Capps, Dug Greives, Steve Hinson, Paul Franklin, Eddie Bayers, Larry Franklin, Kenny Sears, Tim Atwood, Danny Davis, and Randy Smith were among those who played.

“A special thank you goes to Roxane Atwood for her hard work in promoting the show and maxing out the contributions from those who came to support the great cause of the ERF, which helps our members in times of need. We also appreciate Springer Mt. Farms for donating $2000. This money will help keep the ERF going,” AFM Local 257 President Dave Pomeroy said.

The ERF fund was established in 1992 by former Local 257 President Vic Willis. The fund is replenished each year with a portion of annual dues. TNM

Steve Hinson, Jimmy Capps, and Dug Greives play in the house band.

Steve and Rudy Gatlin with Michele Voan Capps

JAN – MAR 2018 9

NEWS

ELECTION RESULTS <

A group of newly-elected officers were sworn in Jan. 10 at the local. Executive board members present were (l-r back) Steve Hinson, Jerry Kimbrough, Tom Wild, Jimmy Capps, Laura Ross, alternates Danny Rader, and Steven Sheehan. Seated are SecretaryTreasurer Vince Santoro and President Dave Pomeroy. Not present for the photo were executive board members Andre Reiss, Chuck Bradley and alternate Jonathan Yudkin.

EXECUTIVE BOARD: Jimmy Capps (93 votes) Laura Ross (93 votes) Steve Hinson (72 votes) Andre Reiss (71 votes) Jerry Kimbrough (68 votes) Tom Wild (64 votes) Chuck Bradley (54 votes) Local 257 President Dave Pomeroy and Secretary-Treasurer Vince Santoro were unopposed and therefore re-elected by acclamation Nov. 8 at the nominations meeting that followed the fourth quarter membership meeting. Pomeroy will begin his fourth term in office in January 2018, and Santoro will start his second term.

“I am gratified and honored by the confidence of the Local 257 membership, and I promise to uphold our mission — to see that all musicians are respected and protected, now and in the future. We are in a great position to take things up to the next level for all our members,” Pomeroy said.

Santoro also commented on his re-election. “Thank you to the members of Local 257 for your support. Dave and I will continue to work to make sure our union is strong and always ready for the challenges (and rewards!) the next three years will bring,” Santoro said.

Also running unopposed and/or elected by acclamation were seven candidates for the hearing board, three Local 257 delegates to the AFM National Convention, two trustee candidates, and one candidate for Sergeant-at-Arms.

Ballots to select the Local 257 Executive Board were mailed to the membership in November by the Local 257 Election Committee, and were counted on Dec. 11. The election committee is selected at the nominating meeting and is charged with following AFM election protocol, administering the voting process and counting votes at the local.

Out of a total membership of 2190, 133 ballots were returned, with 16 disqualified, primarily due to signatures in wrong places or some other voting rules infraction. Ballot returns were low in number, but not unusually so — considering president, secretary-treasurer, and all other positions except the executive board had unopposed candidates. “Obviously, the total number of votes cast was less than it could have been, and hopefully next time more people will participate in this very important process,” Pomeroy said.

Santoro said “We commend those members who participated in the election, especially the election committee members who dove into the process with earnest effort and got the job done in a timely manner. We congratulate all those elected, and look forward to working with them as our local moves into 2018 and beyond.”

All new board members, delegates, and other officers will be sworn in and begin new three-year terms in January 2018.

10 THE NASHVILLE MUSICIAN

Jonathan Yudkin (52 votes) alternate Steven Sheehan (51 votes) alternate Danny Rader (42 votes) alternate HEARING BOARD: Michele Voan Capps Tiger Fitzhugh Kent Goodson Teresa Hargrove Dave Moody Kathy Shepard John Terrence AFM CONVENTION DELEGATES: Laura Ross Tom Wild Steve Tveit TRUSTEES Bruce Radek Biff Watson SERGEANT-AT-ARMS Steve Tveit ELECTION COMMITTEE Devin Malone (Chair) Shane Adams (Secretary) Jason Howard Roy Vogt Seph Allen Mark Weber Chuck Tilley

NEWS

HEALTH INSURANCE

New year brings membership drive and group health insurance plan

Dave Pomeroy and RJ Stillwell

“The rates are very competitive and better than most options out there.”

AFM Local 257, working with our longtime health insurance advocate, RJ Stillwell and his company Sound Healthcare, introduced in December three Blue Cross Blue Shield group health insurance plans available to members in good standing. The plans are ACA compliant — one bronze, which is HSA qualified, and two silver plans.

“The rates are very competitive and better than most options out there and this is a nationwide network,” AFM Local 257 President Dave Pomeroy said. “This is something we have been working on for a long time that has finally come to fruition.”

To find out more about the plans please contact RJ Stillwell at Sound Healthcare.

Have your Local 257 member ID number ready when you call. The phone number is 615-256-8667. You may also visit soundheathcare.org for more information.

A-TEAMERS REUNITE: Jerry Kennedy, Ray Edenton, Harold Bradley, and Bob Moore (l-r) smile for the camera at the Musicians Hall of Fame on Jan. 2, Bradley's 92nd birthday.

They were there for the first in a series of photo shoots of AFM 257 studio musicians.

Local 257 is also offering a reduced rate to join or reactivate during the membership drive in progress now through the end of March, 2018. New and returning members can now waive the initiation and reinstatement fees, making the 2018 dues for new members $293, or $298 including a $5 voluntary contribution to the AFM 257 Emergency Relief Fund and AFM Tempo Fund.

The combination of the 2018 membership drive and the new health care plan makes this the perfect time to invite your nonmember professional peers to become a part of the Nashville Musicians Association — the greatest musicians in the world. As our numbers increase, so does

our voice, but it takes your help. Please reach out today to someone who needs to become a part of Local 257, and help us move the professional musicians of Nashville into a bright future.

CONTACT

RJ Stillwell at Sound Healthcare 615-256-8667 or visit soundheathcare.org Have your Local 257 member ID number ready when you call.

>

TNM

JAN – MAR 2018 11

GALLERY

3.

4.

1. JERRY KENNEDY deep in discussion with JOE CHAMBERS of 1.

the Musicians Hall of Fame during the recent dedication of the facility’s theater, now renamed the Jerry Kennedy Theater.

2. The Special Olympics organization came by to visit and thank Local 257

members with a commemorative plaque following the organization’s fundraising event. Our musicians made many generous donations of items for auction. (l to r) CHRISTIAN MCCORMICK (Marketing and Development Coordinator), AMY PARKER (VP of Marketing and Development), DAVE POMEROY, CHRISTOPHER LACEY (Athlete Ambassador), JERRY KIMBROUGH, VINCE SANTORO. 3. CHUCK MEAD performs songs from the storied history of RCA

Studio A at the ceremony celebrating the lighting of its new sign.

2.

12 THE NASHVILLE MUSICIAN

4. Singer-songwriter and award-winning guitarist MAC MCANALLY

was honored with the CMHOF Nashville Cat event in September.

GALLERY

1. RUDY GATLIN, guitarist, vocalist, and

member of the Gatlin Brothers band celebrates receiving his life member pin with Dave Pomeroy.

2. Guitarist DAN SCHAFER (left) and VINCE SANTORO celebrate his AFM

life member milestone.

3. Guitarist TIGER FITZHUGH relishes

receiving his 25-year pin.

4. Drummer PAUL SCHOLTEN, proprietor 4.

1.

of County Q studio, happily hits the 25year member mark.

5. MIKE “COOKIE” JONES, a nice guy

who plays a mean steel, gets his AFM life member pin.

6. DAMON SEALE, owner of Seale

Keyworks in Franklin, Tenn., proudly displays his life member pin.

5.

2.

7. Guitarist MIKE WALDRON receives his 25-year pin from DAVE POMEROY.

6.

3.

7.

< The Local 257 rehearsal hall was

upgraded with new heating and air units in December, (visible on the walls above the filing cabinets) which should provide much improved humidity and temperature in the room. continued on page 14 JAN – MAR 2018 13

GALLERY continued from page 13

RAY STEVENS and a host of Local 257 musicians perform at the opening of his new performance venue, CabaRay.

Nashville

UNLIMITED CHRISTMAS RAISES MORE THAN $8400 FOR ROOM IN THE INN 1.

2.

1. Kids of all ages, including MICHAEL DOSTER, consulted with Santa before

the holidays.

2. Daniel and Lillian Tashian’s brood chat

with Santa.

The Nashville Jazz Orchestra, led by JIM WILLIAMSON, headline the 18th annual “Nashville Unlimited Christmas” benefit concert. Hosted by DAVE POMEROY at Christ Church Cathedral, this year’s show raised more than $8400 for Room in the Inn. 14 THE NASHVILLE MUSICIAN

1.

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By Warren Denney

IN FULL

swing

It swings or it doesnâ&#x20AC;&#x2122;t.

The song is the thing, and there are times when it just falls in place, smoothly, like it was meant to be. A perfect construction with space to work. Jazz pianist Beegie Adair has forged a career that swings, and has fallen together naturally, like a lifelong song.

beegie

ADAIR Beegie Adair Trio at Carnegie Hall

16 THE NASHVILLE MUSICIAN

It is reflected in her approach to the Great American Songbook, living inside the standards, much of which is contained in the thirty-six records she has produced for Green Hill Music. Adair is fortunate enough to do what she was born to do — honor and interpret the song, and the music.

“Pretty much, I grew up playing,” she said recently, from a restaurant in downtown Franklin, near her home. “My folks were musical. They didn’t do it for a living, but they both had good ears. I had access to good teachers, and I just loved all kinds of music when I was growing up. My dad and I used to play “San Antonio Rose” and things like that.

“But when I got to college, there were all these guys coming back from the Korean War, and I was young. I went to college at sixteen. They were older and had been in the war, played in U.S. Army bands. And I met these guys, and they were pulling a band together. The saxophone player came into the lounge one day, where I was playing by myself, and he said, ‘You play by ear?”

That was at Western Kentucky University, in Bowling Green, Ky., just 60 miles north of Nashville. The young teenager from Cave City, Ky., was learning on the fly.

“It was like an apprenticeship. We worked together all four years with a lot of other guys, in various bands. I learned from them like I was learning from a teacher, all the bands did.”

That apprenticeship would ultimately lead her to Nashville, and beyond, though she had no clear plan.

“My best friend in college was Michael Longo, a piano player who went onto New York and became very famous,” Adair said.

“He wound up with Dizzy Gillespie for 15 years. Anyway, when we graduated, I was going to come down here and go to Peabody continued on page 18

continued on page 18 JAN – MAR 2018 17

continued from page 17

[College] to get an advanced degree, which I never did. He was going to New York, and he put in a word for me in Nashville.

“Carl Garvin had an eight- or ten-piece band, like a country club band here. Mike gave me his number and I called him when I got down to school, and he was a real happygo-lucky guy. Everybody loved him. He was like, ‘Well, if Mike says you’re okay, I know you’re okay. Saturday night, nine o’clock, such-and-such country club.’ I worked with him off and on until he died.”

Garvin was a jazz trumpeter, likened to Chet Baker by Adair. In addition to his own band, he would sit in often with the Waking Crew band on the popular WSM Radio show — a show that featured a parade of talent.

Adair would soon find herself on the crew, sitting in with the likes of Hank Garland.

“Oh man, he [Garvin] was so good,” she said. “He sounded like Bobby Hackett on those Jackie Gleason records from the 1950s — just a beautiful, clear tone and everything. He was one of my mentors — one of those old guys, then. His first gig when he was 17 was to go to the 1939 World’s Fair and play with Jack Teagarden. Not so bad.

He was one of the best musicians I ever met, and he knew every tune in the world.”

Through Garvin, she was not only learning the music, she was finding work.

“He did all the writing for his band. He was a musical genius, I think, and he worked on the Waking Crew and the Noon Show, and all that stuff. I got into that group of people — the people that he worked with in his band. They kept throwing me gigs.”

Adair, now 80 years old, may not have known it then, but she was braving a trail, one that would eventually lead to international recognition and sold-out performances at Carnegie Hall, of all places. Then, it

18 THE NASHVILLE MUSICIAN

was a matter of survival — a young woman, a sideman, trying to find secure footing in Nashville. Now a life member, she joined Local 257 in June of 1957.

“I think about this a lot, and I still don’t know,” she said. “I just feel like I was always in the right place at the right time. I didn’t have a plan, so much as I just wanted to play the piano. I think I was always excited when I got a really good gig. It was a long time before I was able to select what job I wanted to take.”

By the early 1960s, Adair worked as a secretary for Paul Wyatt at the new Capi- “I think about this a lot, and I tol Records building, to make still don’t know, I just feel like ends meet. The label was riding the success of Faron I was always in the right place Young and Ferlin Husky, and had moved Wyatt to Nash- at the right time. I didn’t have ville instead of continuing to send producers from Los An- a plan, so much as I just wanted geles. Adair, who admits she had no real secretary skills at to play the piano. I think I was the time, met many of Nashalways excited when I got a ville’s music movers.

“I actually did something really good gig. It was a long I’ve never done before,” she said, laughing. “He [Wyatt] time before I was able to select advertised for a secretary.

I was freelancing and doing what job I wanted to take.” stuff, I just made an overt effort to get in touch with him, because I didn’t know him, and I had a couple friends that did. I spent five dollars of my lunch money to send a messenger to his hotel with an introductory thing. He called me in an hour, and we had lunch the next day.

He hired me. I got to meet Ken Nelson and all those guys from L.A. that would come in.

I faked my way through shorthand, I was a good typist, so that helped, and I had a good memory. And, when I left, he told me I was

(l-r) Billy Adair, Morris Palmer. and Beegie Adair in early ‘80s.

The Beegie Adair Trio at a release party for The Real Thing CD recorded live in 2012 at NJW. Photo Gregory Byerline

the best secretary he ever had.”

Songwriters would come in, sit on Wyatt’s desk and everyone would listen to the songs, including Adair. It was subtle, golden experience.

“There were a lot of the songwriters that came to see him in 1962, and some were the young songwriters that are now titans,” she said. “Jerry Reed was in our building all the time. He’d sit on the floor and say, ‘Hey honey, listen to this.’ He’d sit on the edge of the desk. Ray Stevens, Harlan Howard, and Hank Cochran would come in all the time. I made out like a bandit at Christmas. These guys would bring me presents because I was the gatekeeper for Paul.”

Wyatt got her work, too.

“He hired me a couple of times,” Adair said. “One day, he was recording one of our artists, and they had the Anita Kerr Singers singing background, Anita was in the hospital — she was sick or in the hospital. He came in — kind of a last-minute thing — because I think they thought she was gonna be okay, and had to find another singer that can fit. So, we went through a list of singers, and I made some phone calls and everybody was busy. So, he looked at me and said, ‘Hire you. Hire yourself.’ So I did about half of an album with him, and I’ve never heard it since then.”

Of course, her future was with the keys.

She left the job in 1963, and her name was cropping up in different circles. Chet Atkins, among others, had taken notice. She received a call to play with Eddy Arnold at the CMA Awards show.

“Yeah, I just started getting better gigs,” Adair said. “I remember the first time I got called for the country music thing, that great extravaganza that they have now,” Adair said.

“I got called to play a portion for Eddy Arnold, I guess after I’d been playing for six, seven years here. It was like, ‘Wow, Eddy Arnold!’ I had been a big fan of his since I was a kid. It was just one gig, and he played three songs, but it was something to write on the resume — things just kept happening.”

She became a bona fide session musician, working at WSM-TV and Radio for several years, and on The Johnny Cash Show from 1969-1971. Adair would ultimately accompany an endless list of legendary performers, including Atkins, Dolly Parton, Lucille Ball, Steve Allen, Dinah Shore, Mama Cass Elliott, Peggy Lee, and perform in live shows with Perry Como, Henry Mancini, Wayne Newton, and other luminaries. She stayed very busy, and met her late husband, musician, producer, teacher, and advocate Billy Adair, in 1971 in a rock & roll band.

“It was some guys from Peabody,” she said. “It was a ten-piece band that did a lot of Blood, Sweat and Tears and Chicago. Like a rock rhythm section, and four horns. He was the guitar part. We were friends. We kind of played for ourselves, actually, and we played clubs around town. It was a good band.”

The two were integral members of the Nashville jazz community and remained married until his death in 2014. Billy was a well-known advocate and multi-instrumentalist, who notably taught jazz studies and served as department chair of jazz and folk music at Vanderbilt University’s Blair School of Music.

But, what would prove to be the backbone of her career began in 1990 with the cutting of her own record, Escape to New York, recorded in New York and produced by old friend Mike Longo.

“He [Longo] arranged for the studio and he got me the bass player and drummer,” Adair said. “They were very high-end people.

He did a lot of the work that I wouldn’t have known how to do. All I had to do was show up. We made that whole record in one afternoon, in about three and a half hours, and I had never met either one of them before.

That’s the kind of musicians they were.”

In Nashville, she had her own trio, with different configurations of players, including her husband, but when bassist Roger Spencer moved to Nashville in 1988, and drummer Chris Brown showed up in 1992, her lasting combination was set.

“They were real professionals already when they moved here,” Adair said. “Roger’s one of those people that knows every tune in the world. I never had to teach him a tune. Both of them are so cognitive of what’s going on.

“Literally, Chris watches me. We set up what they call the Oscar Peterson setup, where this is the piano and Roger’s right there continued on page 20

JAN – MAR 2018 19

continued from page 19

and the drummer’s right here. Chris sees my hands on the keyboard, and I test him every once in a while, something like that, and he’s always got it. He’s hearing it, too. Roger is just so intuitive. He always plays the right note, exactly the right note. So I think I’ll keep him.”

The trio played F. Scott’s, a local Nashville club for ten years, becoming an organic unit.

“We just started feeling more seasoned, because we played once a week,” she said. “And I didn’t make a set list. We’d just go to the bandstand and we’d do it off the cuff. I called it my paid rehearsal gig. What it did was make us really sound like a unit, and we still do now.”

Together, they embarked upon the Green Hill Music journey, resulting in her catalog of records that are interpretations of the Great American Songbook, compilations, classics presented under the umbrella of different themes, sometimes focusing on the work of legendary artists. That body of work has sold 1.5 million records worldwide, giving her a global recognition. And, the power of that recognition led to performing to those sold-out audiences in Carnegie Hall in each of the past two years.

“They billed it as — the jazz people billed it as — the first Nashville jazz trio to play at Carnegie Hall, period,” Adair said. “Strangely, we got zero publicity in town here. No one really knew about it. Then, last January, we played two nights at the PizzaExpress in London and sold that out.”

She spent substantial time in 2017 playing the Nashville Jazz Workshop, various Steinway Piano Galleries throughout the country as an honored Steinway Artist, and occasional festivals. She is a top-selling jazz artist in Japan, and continues to be welcomed warmly in New York. The trio is often joined by vocalist Monica Ramey, and they opened 2018 again with two nights in London at the PizzaExpress.

Her musicianship and ability to translate melody separate Adair from the pack, thriving and improving still. Bassist Spencer, whose resumé includes having worked with Rosemary Clooney and Rita Moreno, sees the trio as family.

“When we do performances, sometimes she’ll be talking to the audience and she’ll say, ‘Playing with these two guys is like family. They know what I’m gonna do before I do it,’” he said. “It’s true. It’s like a family. And like with Chris Brown, she says, for instance, ‘He hears around corners. He knows where I’m going before I even get there.’

“The trio has given me a platform to perform the Great American Songbook and all these great tunes, but even more, to refine them and to make sure that we’re playing them the way they were intended to be played by the writers. We pick and choose and put together our rendition, our interpretation of the song.

It’s rewarding.”

Brown has insight into why it works, and what makes Adair’s approach so attractive to the listener.

“A trio is a perfect vehicle for expression,” he said. “It’s the space. The fact that she is such a melodic player — her stuff is so beautiful, really, just swinging and never overstates. She gets to the essence of the song through her playing.

“The song is the whole thing with her. Everything that’s really the truth of the song. That’s what she brings.” TNM

Adair with jazz icon Marian McPartland in 2009 during her second appearance on McPartland’s long-running syndicated NPR show, Piano Jazz.

20 THE NASHVILLE MUSICIAN

Beegie Adair is an endorsed Steinway & Sons artist.

Beegie Adair at LSI Studios in 1977

Photo Allen Clark Beegie Adair trio: (l-r) Roger Spencer, Beegie Adair, Chris Brown

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REVIEWS

Chris STAPLETON CHRIS STAPLETON FROM A ROOM, VOL. 2 MERCURY

From the beginning of his career with The SteelDrivers and through his evolution into an acclaimed and successful solo artist, Chris Stapleton’s music has resonated with an honesty and passion that is often hard to find these days. His “overnight” success in the wake of his 2015 CMA Awards performance with Justin Timberlake put him on the radar of the music mainstream, but also came as no surprise for those who already were well aware of his music. Without compromising his integrity, Stapleton has managed to break through the constraints of “commercial” country music to a much broader audience, and thus far has held up under the pressure that a quick ascent to stardom can bring.

In a time of computer driven, one-player-at-a time recording technology, Stapleton’s refreshing no-frills approach to making records yields superb results on his latest effort, simply titled From A Room, Vol. 2. Like its predecessor, it was recorded at historic RCA Studio A and coproduced with Dave Cobb, with Stapleton on acoustic and electric guitars, Cobb on acoustic guitars and percussion, J.T. Cure on upright and electric bass, Derek Mixon on drums and Stapleton’s wife Morgane on harmony vocals and tambourine.

The album captures the sound of an artist and band in comfortable surroundings, free to stretch their musical boundaries, play with dynamics and soul, and above all express themselves.

The album begins with a simple acoustic guitar figure that evolves into the Kevin Welch song “Millionaire,” which Stapleton devours with an infectious energy that sets the stage for the emotional and musical journey to come. “Hard Livin’” goes straight to pumped-up Waylon Jennings territory, complete with a phaseshifted electric guitar that drives the tune along. “Nobody’s Lonely Tonight,” cowritten with Mike Henderson, combines a deep R&B groove, bittersweet lyric and a slow melody that gives Stapleton’s 22 THE NASHVILLE MUSICIAN

expressive voice and lead guitar playing a chance to shine. “Trying to Untangle My Mind” keeps the Memphis/Muscle Shoals vibe going, with Mixon and Cure laying down a solid swampy groove.

“A Simple Song” brings a folk vibe with upright bass and hand drums, and Morgane’s harmony vocal fits Chris’ yearning voice like a glove. The gentle mood abruptly shifts as the next track, “Midnight Train to Memphis” jumps the track with heavy guitar riffs, high-register bass fills and relentless tom-toms. The album closes with “Friendship,” the only song besides the opener that Stapelton did not write or cowrite, but as he does with Welch’s “Millionaire,” he makes this ode to real friends his own.

The album goes from one extreme to another and back again to great effect, allowing Stapleton’s sincere and emotion drenched voice to direct the proceedings, no matter what the setting. Cobb’s spare production leaves plenty of room for the songs to dictate the sounds rather than the other way around. Chris Stapleton continues to carve out his own unique niche in the world of modern country and roots music. By simply being true to himself, he has more to say than most, and an authenticity that cannot be denied.

— Roy Montana

REVIEWS

Tyminski TYMINSKI SOUTHERN GOTHIC MERCURY

Multi-instrumentalist Dan Tyminski is a 14-time Grammy winner and a three-decade member of the legendary Alison Krauss band – Union Station. An even wider audience has heard him as the singing voice of George Clooney in the film Oh Brother Where Art Thou? And in 2013 he accepted the invitation of Swedish EDM artist Avicii to sing “My Brother,” which became a global hit, scoring millions of downloads.

For Southern Gothic — his first solo album —he is using the moniker “Tyminski.” It’s hard not to compare the stripped-down identity with the raw lyrical honesty of this record. And make no mistake: This is not a bluegrass record, or even a rootsy Americana offering.

From the first notes of the title track it’s clear Tyminski is boldly exploring new territory — and successfully fusing R&B, rock, and the darker shades of bluegrass with the very 21st century sound of shimmery EDM and pop music. Local 257 project members include his producer Jesse Frasure and some fine musicians, including Jimmie Lee Sloas, Ilya Toshinskiy, Miles McPherson, Derek Wells and Charlie Judge.

Tyminski talked about his expanded musical sense in a recent interview. “It still blows me away when I hear new sounds that go together, and work. I am fascinated by that…I’m a real acoustic guy. I grew up and played bluegrass music, so to be able to branch out and blend that music with what the world has to offer today is fascinating and thrilling,” he said.

Beyond the masterful blending of styles and genres, a striking feature of this record is the very interesting lyrical content. Tyminski cowrote every track, assisted by Frasure and a host of gifted writers, including Sarah Buxton, Ashley Monroe, and Kyle Fishman among others.

Music and words together conjure up a very real place — and it’s all there in this conflicted town. God and Satan play equal roles, and the human struggle to navigate life with all its promise and regret is drawn in full color. From the title track: “Black bird on the old church steeple Spanish moss hanging in the setting sun Every house has got a Bible and a loaded gun We got preachers and politicians ‘Round here it’s kinda hard to tell which one Is gonna do more talking with a crooked tongue” There is powerful poetry here that reflects on the true nature of small Southern towns — and the human heart.

There are impossible choices — and the potent mixture of good and bad that is simply a part of everyone. Sin and sainthood are mixed up here in a steaming caldron of salvation and drugs, sex, regret, and temptation. It’s all woven together in a swirling synthesis — and it works.

The record covers a lot of ground sonically, from the swampy grooves of the title track to the insistent driving beat of the pop-ish “Wailing Wall,” yet Tyminski’s bluegrass roots wind around everything from melodic hooks to tasty instrumental touches. Standout “Hollow Hallalujah” smoothly weds power pop, a fluid banjo figure and a ghostly chorus. This is an insistent and curiously addictive recording. Several listens in, it continues to reveal a depth not that common in today’s music.

Southern Gothic is a true album, meant to be listened to as a whole, according to the artist. “Just open up and be ready to take the journey the album offers. It was important to us to try and create a piece of work meant to be listened to as an entire album. I hope people can absorb it like that,” Tyminski said. ­— Kathy Osborne continued on page 24 JAN – MAR 2018 23

REVIEWS continued from page 23

Guthrie Trapp Life After Dark Guthrie Trapp Records

Guitar slinger and educator Guthrie Trapp has carved out a unique niche for himself in a city known for guitar players. He tours, does sessions, plays live gigs around town, teaches, and in what little time he has left over, makes his own records. His latest is Life After Dark, which showcases his wide range of influences and command over various genres.

He is joined by a number of his regular musical cohorts, including drummer Pete Abbott, bassist Steve Mackey, and keyboardist William “Jimmy” Wallace.

The album starts with Taj Mahal’s “Buckdancer’s Choice,” with a New Orleans groove, a slight nod to Chet Atkins, and an extended coda that sails away into the sunset with some Knopfler-esque licks over Abbott and Mackey’s nimble groove and Wallace’s organ riding the waves. Next up is the blues chestnut “Walkin’ Blues,” the first of two tunes featuring the great Jimmy Hall on vocals and harmonica. The variety continues with the country classic, Don Gibson’s “Oh Lonesome Me” featuring Charlie Worsham, with Michael Rhodes on bass, Greg Morrow on drums and Jeff Taylor on accordion. “Commodity” is an ethereal guitar instrumental that ebbs and flows, co-written with Rhodes and Abbott, with Matt Rollings adding organ.

Trapp digs down into some serious gospel blues in “Nobody’s Fault but Mine,” with vocals by Danny Flowers, Bekka Bramlett, and the McCrary Sisters. Trapp’s slide guitar comes straight from the Delta, and Kevin McKendree on keys, Glen Worf on bass, and Fred Eltringham lay down a serious groove under the passionate vocals of Flowers, Bramlett, and the McCrary’s. “Crossing the Bridge” is a Trapp original showcasing his bluegrass side, with the stout backing of Sam Bush on mandolin, Stuart Duncan on fiddle, Todd Lombardo on acoustic rhythm guitar, and Mike Bub on acoustic bass.

Vince Gill is a guest on the country classic “You’re Still on My Mind,” along with Paul Franklin on pedal steel. Trapp’s original “Shag Rug Burn,” has a ‘60s surf vibe, and “Serengeti Spaghetti” features Jeff Coffin twinning 24 THE NASHVILLE MUSICIAN

the convoluted melody and following an extended Trapp solo with a soaring solo of his own. “On the Run” has a New York vibe and the tight unison licks between Trapp, Rhodes, and Rollings are spot on, with killer solos by Rollings and Trapp. The album closes with Bramlett singing “I’m So Lonesome I Could Cry” like no one else can.

Guthrie Trapp continues to find new musical paths to explore — Life After Dark is a great example of his ability to jump from one genre to the next and make it seem effortless. This record should send more than a few guitarists scurrying to the woodshed to catch up on the latest hot licks of the man from Florabama.

— Roy Montana

Chris McDonald

A Big (Band) Swinging Christmas!

Constant Dreamer

Trombonist/arranger/ composer Chris McDonald has been making excellent large ensemble recordings in Nashville for a long time, and his latest Christmas outing is no exception. His arrangements flow with a natural swing, with melodic counterpoint lines darting in and out, and he uses space and dynamics to great effect, a nearly lost art these days.

The album opens with a bang with a swingin’ take on “Joy to the World” featuring solos by trombonist Barry Green, trumpeter Rod McGaha, and saxophonist Mark Douthit. Bassist Craig Nelson and drummer Bob Mater drive the uptempo “Hark the Herald Angels” and Jeff Coffin and Jim Williamson blow great solos while Pat Coil comps tastefully and the horns punctuate the reharmonized melody. “Rudolph the Red Nosed Reindeer” gets a revamped bluesy treatment with Roger Bissell’s trombone and Douthit’s soprano sax taking the rides. “Let there Be Peace on Earth” is the first of two vocal tunes featuring Matt Belsante, and the electric piano and horn counterpoint lines back his earnest vocal with liquid precision.

“The Holly and the Ivy and the Bones” is an intriguing McDonald holiday original with a descending riff, punchy melody, jungle drums, and a trio of wild trombones courtesy of Green, Bissell, and Roy Agee. “Angels We Have Heard on High” is a lush, mid-tempo arrangement featuring a gravity-defying piano solo by Coil and a classic Count Basie ending. “Deck the Halls” is full of punchy ac-

cents and swinging upright bass and drums, and guitarist Lindsey Miller tears it up on the closer, “The First Noel”.

Engineered and coproduced with Dan Rudin, this album features many of Local 257’s finest players and is highly recommended for anyone who wants to spruce up their holiday jazz collection. It will increase your “cool yule” factor exponentially.

— Roy Montana

David Frizzell

Barnyard Christmas Nashville America Records It’s not easy to come up with a new twist on the Christmas story, but David Frizzell’s new album, Barnyard Christmas, does just that. He retells the story of the birth of Jesus through the eyes and ears of the animals who witnessed the birth of Christ. This imaginative album concept has appeal for kids and Christmas music lovers of all ages, and includes a cartoon booklet detailing the different characters, including ‘Lil’ Burro, who brought Joseph and Mary to Bethlehem, Troy the Mule-headed Mule, and Larue, one of the camels who brought the Three Wise Men to the manger.

Recorded at Hilltop Studios, the playing is tight and tasteful throughout. Frizzell’s expressive baritone voice is front and center, and is backed by an excellent studio band, led by Harold Bradley, and includes Jimmy Capps and Darren Smith on guitars, Hargus “Pig” Robbins and David Hoffner on keys, Perley Curtis on steel and dobro, John Marcus on bass and Eric DiNenna on drums. The Martin Family Circus is featured on background vocals, and David’s brother Alan Frizzell joins in as one of two twin sheep on the humorous “Pete and Repete,” who debate over which one saw Jesus first.

“Ali Baba” features an exotic electric sitar intro and Middle Eastern feel on the verses before resolving into a straight country feel for the chorus. Frizzell wrote the entire record, and in particular, “Bethlehem” stands out as a Christmas song that could become a standard.

As you might expect from someone with the family tradition of David Frizzell, this album is undeniably country to the core, but is not your typical Christmas album either.

Frizzell is a longtime animal rights supporter, and sales from the album benefit Music City Animal Rescue. For anyone who loves animals and has kids (or grandkids) this is a fun holiday listening experience.

TNM — Roy Montana

PROGRAMS AT THE HALL SUPPORTING DYLAN, CASH, AND THE NASHVILLE CATS: A NEW MUSIC CITY EXHIBIT CLOSES FEBRUARY 18, 2018 February 4: Film Screening: Old Crow Medicine Show: 50 Years of Blonde on Blonde: The Concert (2017) February 11: Musician Spotlight: Mac Gayden: Guitar February 18: Film Screening: The Johnny Cash Show: New Nashville Sounds (1971) February 18: Musician Spotlight: Norbert Putnam: Bass UPCOMING SIGNATURE SERIES PROGRAMS Feburary 21: Louise Scruggs Memorial Forum honoring Cindy Mabe March 3: Poets and Prophets: Salute to Songwriter Lori McKenna April 14: Nashville Cats: Salute to Accordian Player Joey Miskulin Visit CountryMusicHallofFame.org/Calendar for details

#PressPlayRecord • @CountryMusicHOF • Downtown Nashville SUPPORTED BY: Family Programs are funded in part by The Bonnaroo Works Fund of The Community Foundation of Middle Tennessee; Epiphone; Fender; Gibson Foundation; Metropolitan Nashville Arts Commission; Nashville Parent; National Endowment for the Arts; and Tennessee Arts Commission. Technology Partners: Cisco; NewTek; Personal Computer Systems, Inc.; and Promethean.

JAN – MAR 2018 25

RECORDING

“Waiting 30, 60 or 90 days to get paid is not fun.

Here are some suggestions that may help.” and stress you have to wait 30, 60 or 90 days to get paid — or in some cases get completely stiffed — and it is not fun. We have some suggestions that may help.

BY STEVE TVEIT

WHERE’S MY MONEY? Being a professional musician is not easy.

Sure, it’s glamorous running from studio to studio in the rain — resetting your gear each time, being creative, brilliant and funny on every session, pretending the artist and/or song is good — but all that can take a toll. However, you are the boss of you, the big cheese, CEO, CFO, COO, CXO, CIO, XOXO — depending on whether or not you’re married.

But far too often, after all that work

Call us to make sure we have a current signatory in place for the employer

Please make sure the session is on the card and that a signatory is in place.

If the employer doesn’t have a current signatory agreement we can help get that straightened out.

Ask the right questions before the session Whether you are the band leader or not it’s always good to ask the right questions before taking the gig. Ask if being paid direct at the session is an option for independent projects.

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Alert us immediately before or after a session with any potential concerns

We’ve seen and heard it all: A financial backer goes missing, the producer ends up in the hospital, the mother of the artist goes nuts after daughter claims she didn’t know musicians need to be paid for their services. The father of another artist went bankrupt immediately after the session and claimed he would pay everyone once his amazing son sold enough CDs and downloads — we are still waiting.

We have been successful getting judgments against local producers but it’s a long and arduous process. Trying to sue people from out of town is both difficult and expensive to pull off. We’ve had multiple issues with the blame being passed around for the session either not being paid on time or at all. If the call to book players is instigated by a studio or producer they are ultimately responsible for getting everyone paid.

Turn in timecard within 72 hours of the session

It seems crazy, but there have been occasions when timecards have lounged around for days or weeks in someone’s car before they land at the local. Make sure that all your session timecards get turned in promptly.

Remember who initially called and booked you on the session

If the session is for a major label or publisher then we know payment will be forthcoming. Making sure the cards are turned in within 72 hours of the session really helps. We can now email most of the label and publishers contracts and that speeds up things up a lot. TNM TNM

We hope this information is helpful and as always please call with any questions or concerns. The sooner we know about a problem the sooner we can try to sort things out.

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SYMPHONY NOTES

BY LAURA ROSS

M

usicians joining the Nashville Symphony in the mid-1980s were told the orchestra would soon achieve major status. Music Director Kenneth Schermerhorn and Assistant Conductor Amerigo Marino, both recently engaged, had backgrounds conducting major orchestras. Those of us who joined in 1984, however, found ourselves on strike months later because those promises were not being met.

In 1987 an attempted renegotiation of the final year of the contract — when 23 musicians were upgraded to full-time (core) status to increase the size of the core orchestra to 70 of 86 positions — was abandoned when Dennis Bottorf succeeded Ralph Mosely as NSA board chair. The contract had been “backloaded” with most of the financial increases occurring in the final season; the base core salary was $17,500. The 1987-88 season began as anticipated with a record fundraising effort by the Nashville Symphony Guild’s Italian Street Fair.

Feb. 3, 1988 press conference at Local 257 after musicians receive letters of termination. (L-R) front row: attorney John Schulman was hired by Local 257 to represent the orchestra in anticipation of bankruptcy filing, English horn/3rd oboe and NSPA orchestra committee chair Dewayne Pigg, and violist and union steward Michael Karr; back row: violinist Deidre Bacco, 2nd flute Ann Richards, and violist Mary Helen Law. 28 THE NASHVILLE MUSICIAN

orchestra committee received the first “negotiating” proposal from the board – a freeze in 1988-89, followed by increases of 2.5, 3.5 and 4.5 percent — but the final two years were based on revenue sharing, with no guarantees. Three days later, Executive Director Matt Maddin’s orchestra address devolved into a 45-minute grilling by the musicians; he never addressed the orchestra again. By the end of January 1988, musicians heard about a series of emergency board meetings, including one Jan. 26, in which a task force was appointed to address the $400,000 cash flow crisis. During a meeting of the musicians on Jan. 31 letters of termination were distributed, and a vote rejecting a new management proposal that would immediately cut musician salaries by 26-percent along with additional Nashville Symphony Players Assembly (NSPA) concert at Green cuts of $215,000 in the 1988-89 Hills Mall two days after orchestra shutdown, Feb. 7, 1988. Norma season. Additional votes expressed Rogers, piccolo soloist; Brian Groner, conductor; (L-R) bassists Jack Jezioro and Nathan Kahn; cellist Betsy Furth; bassoonists (standing “no confidence” in Matt Maddin’s right) Chad Cognata and Cynthia Estill. leadership, and directed the board to get back to fundraising.

Feb. 3, 1988 the full board voted 38 in Black Monday favor of shutting down the orchestra on Feb. In August 1987 the Dow Jones Industrial Av5, with three against (two elected musicians erage was at an all-time high of 2,722 points. on the general board and one board memThe market dropped 3.8 percent (95.46 ber – Susan Russell). Musicians learned the points) Oct. 14, and another 2.4 percent (58 news in the press, with the headline “Nashpoints) Oct. 15. That same day, a series of ville Symphony Halts Performances.” The fiincidents occurred that began affecting world nal concert of the Nashville Symphony’s 42nd markets — two supertankers were struck by season, conducted by Amerigo Marino, was Iranian missiles two days in a row, and the performed Feb. 5, 1988 in Andrew Jackson London market was closed Friday, Oct. 16, Hall at the Tennessee Performing Arts Center due to the Great Storm of 1987. The Dow lost (TPAC). The encore that evening was Samuel 108.35 points ending the week at 2,246.74.

Barber’s Adagio for Strings.

The U.S. retaliated for the attacks on its Thanks to Jobs With Justice and an tankers Oct. 19, 1987 by shelling an Iranian anonymous donor, the concert was repeated oil platform in the Persian Gulf. Markets bethe next evening at TPAC. The New York gan dropping in Hong Kong, followed by the Times headline read “Nashville Musicians London and European markets. In the first 30 Defy Order to Cancel Season.” Four days minutes of trading in the U.S, the market lost later, Kenneth Schermerhorn returned to 136 points. At the end of the day, the U.S. the U.S. from a tour behind the Iron Curtain realized what is still the single largest one-day with the Hong Kong Symphony to find the percentage decline in the history of the Dow orchestra locked out. Feb. 13 the orchestra – 22.61 percent from 2,46.74 to 1,738.74 performed a pops concert with the Symphony points, which was a drop of 508.04 points.

Chorus that was conducted by Schermerhorn The U.S. did better than most; by the end and Marino. Don Hart’s specially-requested of October New Zealand’s market lost more arrangement of “How Do You Keep the Music than 60 percent of its value, London (26.45 Playing,” was premiered and days later repercent), Spain (31 percent), Australia (41.8 corded for our public service announcements percent), and Hong Kong (45.5 percent).

(PSAs). This was Marino’s final performance; he died a few months later.

What happened next {Part Two of this piece will be printed The orchestra’s contract was supposed to in the second quarter 2018 issue of The expire Aug. 31, 1988. All fundraising was TNM Nashville Musician.} suspended until January. On Dec. 14 the

A new orchestra member recently said he found the orchestra’s bargaining history (from an orientation document I send to all our new musicians), to be very interesting. Because the 30th anniversary of the NSO shutdown (and bankruptcy) is upon us, I thought I’d revisit that particular period. Much of this information can be found in a timeline created for the 1988 ROPA (Regional Orchestra Players’ Association) conference that was hosted by Local 257 during the lockout. HERE IS PART 1 OF THE STORY.

As

a new year starts, I want to thank Local 257 for including a column like this in the magazine.

Nashville may be at one of the most diverse and inclusive moments in its history, and union representation should certainly be at the forefront.

While event promotion is not the primary mission of The Nashville Musician, I would like this column to cast as wide a net as possible. But the limited number of issues [four editions per year] makes that difficult. Only institutions with big venues and bigger budgets seem able to book acts three months or more in advance; which makes it look as if I often ignore small venues, nonprofits, and artist’s individual projects.

This brings up an old problem with cultural diversity in the arts that I see getting worse.

Presenters sticking to what is normally a response to hard times: “Playing it safe.” Book names everyone knows or get events that can be tied to something known. Like 7-UP calling itself the “uncola.” The problem is circular.

People can’t demand what they don’t know about, and if only the known gets promoted —well, there you are. Public radio is fading, Pandora makes playlists for us, kids are glued to their cell phones, and the cultural landscape drifts further into repetition and sameness.

But what if we demanded the unknown?

Especially professional musicians. Go to your favorite venues. Ask for unique bookings. Ask that they include something new or different with regular bookings. Let them know about some friend that is doing something different.

Start your own Art Crawl — once a month take a group to something totally unfamiliar.

Hey Mayor, maybe this town needs more street performers, instead of a soccer stadium.

JAZZ & BLUES BEAT

BY AUSTIN BEALMEAR

Cyrille Aimee

The Marcus Roberts Trio

Victor Wooten

Arturo Sandoval

At the Schermerhorn

Talk about familiar. Even in 2018 is there a bigger brand in show business than Frank Sinatra? The latest Sinatra wannabe, Steve Lippia essays the icon’s classics in Simply Sinatra with the Nashville Symphony, Friday, March 2 at 8:00 p.m. And check out the video clip on the Schermerhorn website, the band is all Nashville cats.

How do you sell a traditional jazz piano trio?

A program of the most well-known composer in the US — George Gershwin of course. Gershwin’s Greatest Hits says it all. The Marcus Roberts Trio (Jason Marsalis and Rodney Jordan) joins violinist Carolyn Wann Bailey and the Nashville Symphony for “Rhapsody

Eric Johnson

Marcus Roberts

in Blue” and “Porgy and Bess” and more. April 19 at 7:00 p.m., April 20 at 8:00 p.m., and April 21 at 8:00 p.m.

For jazz with a Latin tinge, what could be a more sure-fire choice than virtuoso trumpeter Arturo Sandoval, who was a big hit here back when the Symphony still played Jackson Hall at TPAC. His current sextet takes the stage May 4 at 8:00 p.m. For info and video clips go to www. nashvillesymphony.org

At the City Winery

Spring brings in a quartet of jazz and bluesoriented string slingers at this downtown venue. After 15 years in the music business, Eric Johnson finally hit the big time with the 1990 release of Ah Via Musicom generating platinum plus sales and a Grammy-winning single. His signature violin-like sound and virtuoso technique have kept him a major influence on other guitarists ever since. Johnson returns to the music of that album with the original side men March 21 at 8:00 p.m.

Nashville’s own Victor Wooten shows how much territory an electric bass can cover when he plays the Winery with drummer Dennis Chambers and saxist Bob Franceschini March 28 at 8:00 p.m. This will be a master class in fusion jazz.

Guitarist Stanley Jordan stunned the jazz world in 1985 with a virtuoso technique of tapping the strings instead of plucking. His stillunique sound allows him to remain a worldtraveling performer three decades later. On April 13 at 8:00 p.m. Jordan will share the billing with another unique performer, French vocalist Cyrille Aimee. From her beginnings as a teenage street and gypsy café-singer to her current status as recording artist and master class instructor, Aimee has perfected a spontaneous improvising style combining jazz, gypsy, Brazilian, folk, and even acting techniques.

At the age of 66, guitarist Robben Ford is the old man of the group, with 35 albums and five Grammy nominations to his credit. He is also the most blues oriented. His current band hits the boards May 2 at 8:00 p.m. For info and TNM video clips go to www.citywinery.com JAN – MAR 2018 29

FINAL NOTES

Leon Rhodes March 10, 1932 — Dec. 9, 2017

L

egendary guitarist Leon Rhodes, a 57-year member of the Nashville Musicians Association, died Dec. 9, 2017 at the age of 85.

He moved to Nashville in late 1959 to play with Ernest Tubb’s Texas Troubadours, and joined AFM Local 257 in 1960. Rhodes was famous for his immaculate style — melodic, jazz-influenced, and performed with both incredible accuracy and blinding speed.

Rhodes was born March 10, 1932, and grew up in Dallas, Texas. He was from a musical family and was playing guitar by the age of 10. When he was 16 he was performing on “The Big D Jamboree,” a country music radio program in Dallas. Rhodes also recorded in Texas during the ‘50s with Lefty Frizzell and Ray Price.

In a 2011 interview with The Nashville Musician, Rhodes said that before his career as a professional musician, he played pro softball with a Dallas team in several world tournaments — and played drums, as well as occasional guitar in a local band in his spare time. The group performed in local clubs, and often as the opening act at the Longhorn Dance Hall. At one of those dates in 1959 Rhodes was playing guitar, when Tubb’s steel guitarist Buddy Emmons and Jack Drake, his bassist, heard him 30 THE NASHVILLE MUSICIAN

play. Soon after they offered Rhodes a job in Tubb’s band. “I said, ‘Wait a minute, I’m not a guitar player, I’m a drummer!’ The first gentleman said, “No, man. You’re not just a guitar player, you’re THE guitar player!”

Rhodes said.

Although Rhodes initially turned them down, he eventually accepted the offer after he agreed to play a 15-day tour, and discovered the thrill of playing next to Emmons. “I played a couple of wild choruses, but when it came time for the steel solo I backed off and glanced at him [Emmons] and he took off. In all my life, I had never heard such steel playing! He was playing like me! I couldn’t hardly sleep that night…I called my daddy and said ‘Pack up all my stuff, I’m moving to Nashville!”

Emmons said in an interview that the Troubadours had been having guitar player troubles. “When I heard Leon I perked right up. He blew my mind, and a lot of people’s minds. He was an absolute joy to work with, and always kept me on my toes with that speed thing he had going,” Emmons said.

During his nearly seven years with Tubb, Rhodes was on the road up to 300 days a year.

He also worked in the studio with Tubb, and recorded some of his own instrumentals with the band, including “Honey Fingers,” which became his nickname. In 1967 he joined

the Grand Ole Opry house band, with whom he played for nearly 25 years. Additionally, Rhodes was a longtime performer on Hee Haw, and a prolific session player — recording for a host of artists including Roy Orbison, George Jones, Loretta Lynn, Steve Wariner, The Whites, Waylon Jennings, Nancy Sinatra, Andy Williams, and Debbie Boone. He also toured with Marty Stuart and Porter Wagoner.

He was named a Nashville Cat by the Country Music Hall of Fame in 2014, and retired later that year.

Rhodes was self-taught, and said he didn’t know one note from the other. “Basically, you’ve got to sleep with the guitar, and I did that. I just hung in there with it.

Bottom line, it’s a God-given talent that He gave me, and I guess I had the fingers to do it,” Rhodes said.

“Leon was a very humble and modest man of great faith, with a keen sense of humor, and always quick to deflect a compliment and give others credit instead. The instrumental videos he made with the Ernest Tubb band are incredible examples of his artistry. Every time I heard him play, I could hear his joy, and his love of music,” AFM Local 257 President Dave Pomeroy said.

“I’m a simple guy,” Rhodes said. “I like being a sideman, and I don’t want to be a star.

I’m just happy to play with anyone who wants me to play with them. I’ve been blessed.”

Rhodes was preceded in death by his parents, James and Mary Rhodes; two brothers, Arthur Ray and Earl Robert Rhodes; and two grandchildren.

Survivors include his wife of 53 years, Judi; five daughters, Diane Williams, Tonja Polk, Tara Story, Tammy Scragg, and Tandy Raynes; three sons, Todd, Leon and Tag Rhodes; 25 grandchildren, and 17 great-grandchildren.

Funeral services were held Dec. 12 at the Hermitage Funeral Home and Memorial Gardens in Old Hickory, Tenn. Memorials may be made to Alive Hospice.

“Leon was a very humble and modest man of great faith, with a keen sense of humor, and always quick to deflect a compliment and give others credit instead.”

— Dave Pomeroy

FINAL NOTES

Mark Otis Selby Sept. 2, 1956 — Sept. 18, 2017

Kenneth Rolland Puckett Jan. 1, 1939 — July 3, 2017

Guitarist, songwriter, artist, and producer Mark Otis Selby, 61, died Sept. 18, 2017. He wrote a number of songs with blues-rock artist Kenny Wayne Shepherd, including the 1997 17-week No. 1 single, “Blue on Black,” which was also Billboard magazine’s 1998 rock track of the year. He was known as a world-class guitarist, touring and recording with Kenny Rogers, Wynonna Judd, B.B. King, Jeff Beck, Jimmy Hall, and many others. He also performed with his wife, songwriter Tia Sillers — with whom he cowrote the Dixie Chicks Grammy-winning 1998 breakthrough hit, “There’s Your Trouble.” Selby joined Local 257 in January 2000, and prior to that was a member of Local 169 in Manhattan, Kan. Born Sept. 2, 1956 in Enid, Okla., Selby went on to attend Fort Hays State University in Kansas, where he earned degrees in music composition and classical guitar.

He said his guitar playing was influenced by Eric Clapton as well as a host of blues players. Selby started touring Kansas in the ‘80s, and once said “There’s hardly a stage or flatbed trailer in the state I haven’t performed on at least once.” By 2000 he had relocated to Nashville.

Fellow guitarist and artist Michael Spriggs commented on Selby’s passing. “I had the sincere pleasure of working with him a few times — why, I don’t know — as Mark never ever needed another guitar player. He was a fabulous musician, not to mention singer and writer. His incredible accomplishments speak for themselves — that kind of talent can never be replaced. Truly a loss to our community.

RIP Mark Selby.”

Over his career, Selby released several records on Vanguard and ZYX Records, including More Storms Coming, Nine Pound Hammer, Blue Highway, and his last release, 2017’s One Night with Mark Selby.

In 2016 Selby — known as “MOS” by his closest friends — was inducted into the Kansas Music Hall of Fame. He and his wife were also longtime members of the Nashville Songwriters Association International where they did advocacy work for the group — including traveling to Washington D.C. to perform for elected officials.

Survivors include his wife, Tia; and his music family, Brent and Janel Maher, Diana Maher, and Rick Brantley. A memorial concert and celebration of life was held at City Winery Oct. 19. Performers included Kenny Wayne Shepherd, Lee Roy Parnell, Joe Robinson, Gretchen Peters, and many others. All proceeds from the concert went to MusiCares, and the family has requested that any additional memorials be directed to MusiCares, which provides financial assistance and other forms of aid to professional musicians.

Life member Kenneth Rolland Puckett, 78, died July 3, 2017. He was a keyboardist who joined AFM Local 257 in September 1977.

Born Jan. 1, 1939, Puckett grew up in a musical family, the youngest of four siblings. He was a 1959 graduate of Oberlin College in Columbus, Ohio, and received his master’s degree in performing arts from Northwestern University in Evanston, Ill. He toured widely in the United States and in Europe.

He was a member of Hillcrest United Methodist Church, and instrumental in the development of the church’s organ and hand bell programs.

Puckett also installed his own beloved Steinway grand in the sanctuary several years ago for the church’s use, and directed that it be given to Hillwood after his death. The church’s musical director, Michael CastellawVaughn, spoke about Puckett’s love of music.

“Chopin was his love and Rolland was truly a Chopin scholar. He could discuss music in depth, and how it should be played; he knew the strengths and weaknesses of composers; and he was knowledgeable about instruments — how they are made and how they should be cared for.”

In addition to his devotion to music, Puckett enjoyed walking outdoors and reading, and was interested in many subjects including electronics, history, sociology and psychology. He was also known for his great love of his friends, and his cat.

Survivors include his two sisters, Maryellen Puckett, and Sara P. Hodges. Services were held July 7 at Hermitage Memorial Gardens. TNM

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

Name

Born

Joined

Died

Life Member

Michael A Leech

09/26/1941

10/09/1972

12/12/2017

Y

Leon Rhodes

03/10/1932

08/19/1960

12/09/2017

Y

John Ray Sechler

12/25/1919

06/03/1953

12/27/2017

Y

“Chopin was Rolland’s love and he was truly a Chopin scholar. He could discuss music in depth, and how it should be played; he knew the strengths and weaknesses of composers.”

– Michael Castellaw-Vaughn JAN – MAR 2018 31

MEMBER STATUS NEW MEMBERS Michael Douglas Adduci OBO EHN Charles W Ainlay (Chuck Ainlay) GTR chuckainlay@gmail.com Cell (615) 400-7580 Thomas Rhett Akins (Rhett Akins) GTR francine@vaden.biz Joye Michelle Alcott (Michelle Alcott) GTR PIA BAS UKE FHN

Mark Caldwell BAS VOC GTR Ashley Noel Campbell BJO VOC legina@oneilhagaman.com Anthony Wayne Castle (Tony Castle) PIA KEY tonycastle@me.com Cell (615) 308-6915

Jennifer Destiny Ansell PRO jendestiny@me.com Cell (323) 816-1634

Claudia Lorraine Church VOC sjackson@wilestaylor.com Cell (615) 242-2727

Robert Douglas Arthur (Rob Arthur) KEY PIA wurliboy1@gmail.com

Brenda F Clark PIA scorekeeper.tn@gmail.com

John S Barron, Jr (Barron Entertainment Jay Barron) DBR EHN STL jaybarron2@gmail.com Cell (615) 604-8825 Kimberly Louise Beihl VOC GTR kim@rhythmcitychurch.com Cell (615) 202-2563 Stuart Laurence Berk Cell (617) 699-0770 Kristin Black (Kissy Black) VOC GTR kissyblack@lotosnile.com Cell (615) 310-1894 Suzy Bogguss (Suzy Crider) GTR Casey Brefka TPT COM ARR casey.brefka@gmail.com Cell (330) 338-5420 William Warren Brent, Jr (Warren Brent) VOC Mark David Bright GTR KEY MDN PRC Charles J Brocco GTR ENG PRO goldtop70@gmail.com Cell (615) 804-4891 Anthony Brown VOC

32 THE NASHVILLE MUSICIAN

William John Cakmis GTR cakmis@live.com Cell (615) 478-9294

Daniel Weston Cohen GTR MDN STL dc1973yo@gmail.com Justin Edward Cortelyou cortaudio@mac.com Cell (818) 415-4033 Kenneth Scott Craig VOC kennecraig@gmail.com Cell (615) 545-5059 William S Crain (Billy Crain) DRM GTR KEY PIA wscrain@comcast.net Karen D Cronin karen@cronincreative.net Cell (615) 298-4962 Joshua M Cross GTR Corey Justin Crowder VOC lauren@team-tristar.com Cell (770) 710-1447 Patrick Jay Culley TBN BAS GTR Perley Robert Curtis (Perley Curtis) DBR GTR BAS perleycurtis@yahoo.com Cell (615) 496-4201 Brian George Czach DRM brian@brianczach.com Cell (646) 382-3385

Jay Buchanan VOC GTR BAS PRC jaybuchanan1@yahoo.com

Eric Blair Daly (Blair Daly) PRO SNG ERICBLAIR@COMCAST.NET

Lori Susan Burger PIA shwipp@gmail.com Cell (615) 364-8110

Megan Davies GTR PIA VOC megandaviesmusic@gmail.com

Kailey Holly Dickerson whitney@oneilhagaman.com Dean Dillon GTR Cell (615) 481-8544 Eric Joseph Dinenna DRM PRC Marty Dodson GTR VOC martydsongs@gmail.com Glen Wyatt Earp (Wyatt Earp) VOC GTR wyattearpla@gmail.com Cell (310) 266-0632 Michael English PIA Cell (615) 383-1161 Autumn Heatherly Farrell VOC Samuel Ely Fein VOC sfein@songwritersguild.com Cell (615) 424-1422 Frances Claire Fitzgerald VOC PIA Margaret Helen Fitzgerald PIA VOC Carol Ann Ford VOC GTR Darrell Paul Franklin GTR Douglas Lee Frasure DRM PRC dougfrasure@yahoo.com Cell (615) 477-5154 Katharina Maria Gauss Angela K Gentry VOC Jeanne Lynn Glaser PRO VOC GTR PRC lynneglaser@me.com Cell (615) 631-4999 Matt Goodwin DRM Cell (615) 383-1161 Kevin Griffin GTR PIA Robert Patrick Hamrick (Bobby Hamrick) GTR PRG BAS Jaxon Thomas Hargrove GTR jaxonhargrove@gmail.com Cell (913) 967-9252 Derek W Hawkes TBN TPT hawkes.derek@yahoo.com Cell (469) 426-6282

Kevin Dale Haynie BJO GTR khaynie.banjo@gmail.com Cell (615) 415-6062 David H. Hodges VOC cindy@team-tristar.com Bernard G Holland (Ben Holland) VOC GTR Sarah Elizabeth Hooker (Beth Hooker) GTR VOC FLT Cell (615) 473-6452 Matthew Ray Houck GTR patrick@psbmgmt.com Cell (212) 246-6433 Jon Randall Howard II PIA VOC jonhoward@me.com Cell (917) 628-6711 Porter Carlton Howell GTR porterchowell@yahoo.com Joe G Hudson GTR joehudson01@att.net Cell (270) 977-0409 Joseph R. Huffman (Joey Hufffman) ORG PIA KEY GTR joey_huffman@mac.com Michael Jason Isbell (Jason Isbell) GTR Dennis James Johnson CLA FLT VOC dennis@dennisjj.com Cell (615) 429-7072 Angela F Kaset (Angela Kaset) GTR KEY ORG PIA SYN babymiss7@aol.com Cell (615) 210-6479 Robert Patrick Kearns BAS VOC GTR

Ben Kitterman DBR PST Cell (317) 417-3438 David R. Kiviniemi DRM PRC musicworldjam@aol.com Cell (615) 427-2915 Randy Alan Kohrs BAS DBR GTR MDN STL VOC randykohrsmusic@comcast.net Cell (615) 497-3286 Thomas M Krueger FDL HRM GTR tom@tomkrueger.com Cell (917) 363-4567 Burney Joseph Lamar VOC Cynthia Oman Leu VOC cleuk7@aol.com Cell (615) 714-1337 Lisa Kirk Levine DRM PIA VOC Cell (513) 673-4856 Jimin Lim VLN Christopher Marsh Lindsey (Chris Lindsey) GTR BAS KEY chrislindsey@me.com Cell (615) 414-3290 Paul M Marshall COR VOC pmmarsh@mindspring.com Cell (615) 714-6654

Jeffrey A. Meloen (Jeff Meloen) DRM PRC jeffmeloen@gmail.com Cell (931) 801-4205 Glenn Mollette GTR FDL VOC Cell (812) 457-2605 Kari Lynn Nelson FLT VOC Tammy McKinney Nicholls VOC Elijah Forrest O’Connor GTR VOC forrestoconnor@gmail.com Kate Lee O’Connor VOC VLN kateleeoconnor@gmail.com Bancroft O’Quinn, Jr PIA Cindy Owen GTR cindy@givenentertainment.com Cell (615) 972-9531 Jeffrey Dell Parsons (Pig) GTR Cell (615) 417-7444 James David Pfeffer (Jamie Pfeffar) BAS GTR VOC Cell (615) 238-4252 Linda Carol Plummer VOC

Josh D Matheny DBR GTR VOC LPS MDN BJO STL dobrojosh@hotmail.com

Mark Poiesz DRM drums102@yahoo.com Cell (717) 645-2365

Maureen C. McArdle VOC mcmcardle13@gmail.com Cell (661) 618-2713

Kaitlyn Marie Raitz CEL kaitlyn.raitz@gmail.com

Michael Lynn McCall VOC PIA Cell- (615) 594-9192

Regina Gale Raleigh Jennifer M Raudman GTR VOC BAS

Matt E McClure (Rooster Tail Production) KEY GTR matt@mattmcclureproductions.com

April N Richards (April Hyde) BAS aprilhyde@yahoo.com Cell (615) 509-1669

Jacquire Brown King, II PRG GTR BAS KEY

Mary Elizabeth McFarland (Ebie McFarland) VOC Cell (615) 495-5491

Julian N King, III TPT PRC PRG KEY jnking3@me.com Cell (615) 300-4767

Roderick D McGaha TPT rodmcgaha@mac.com Cell (615) 598-0912

Diane R Richey-Haupt (Diane Richey) VOC PIA diane@richeypromo.com Cell (615) 482-2545

Robert Lee Kinkead (Bob Kinkead) VOC bkinkead@kinkeadentertainment.com Cell (615) 456-4753

Evyn Wright Mellichamp VLN PIA evynmellichamp@gmail.com Cell (615) 955-0283

Paul S Kim (Nashville Symphony (New 2nd Vln)) VLN ferras.m91@gmail.com Cell (425) 444-9129

MEMBER STATUS Sylvia Roberts VOC sylvia@sylviaroberts.com Cell (615) 522-2250 John E Rogers (Johnny Rogers) GTR BAS VOC johnny@rogersritual.com Cell (765) 434-7282 Michael Anthony Rose BAS mikerose95@yahoo.com Cell (786)3 17-2782

Shanna Strassberg GTR Cell (615) 714-1837 Peter Bruce Strickland VOC pbstrickland@me.com Cell (615) 554-5100 Tamara Marie Stroud VOC Barry Wayne Sulkin GTR MDN DBR HRM Cell (615) 426-0006

Leslie H Rouffe VOC leslie@songlinesmusic.com

Stephen Harrington Tolman (Steve Tolman) stevetolman@earthlink.net

Chris A Ruleman (Chris Andrews) VOC

James David Vancleve (Jim Vancleve) FDL MDN VLN jimvancleve@gmail.com Cell (615) 513-0803

Nancy Elizabeth Russell VOC Richard P Schell (Rick Schell) DRM PRC VOC drumschell@comcast.net Cell (615) 804-3085 Stephen Benjamin Schweidel (John Schwyberg) GTR steve@cvamgt.com Cell (615) 351-8905 Peggy Lawson Severs VOC Christopher Martin Shepard GTR chrisshepard@me.com Cell (631) 800-4499 F Reid Shippen (Robot Lemon, Inc) KEY PRC VOC DRM Cell (615) 300-3946 Caroline Dalon Smith VOC PIA Darran G Smith (Road Dog Touring, Inc.) GTR darransmithproductions@ gmail.com Cell (615) 485-9003 Tristen C Smith GTR VOC tristensmith92@gmail.com Cell (615) 946-2323 Shane R Stapleton VOC

James Michael Robbins (Jimmy Robbins) GTR PIA BAS PRG VOC BJO MDN mdixit@grfllp.com

Larry Robert Stessel VOC lstessel@bellsouth.net Cell (615) 969-4079

Margaret Bradford Roberts VOC sylvia@sylviaroberts.com Cell (615) 678-9190

Richard Joseph Stillwell (Rj Stillwell) PIA GTR rj.stillwell@soundhealthcare.org Cell (615) 585-7678

Troy Allen von Haefen GTR John Frank Walker (John Walker) GTR BAS johnfrankwalker@gmail.com Cell (615) 305-8279 Mark Monroe Weber GTR BAS MDN BJO mark@markwebermusic.com Cell (512) 923-5121 Kyle Whalum BAS kylewhalum@me.com Jesse Keith Whitley GTR VOC paige@vaden.biz David Charles Whitworth VOC PIA Steven J Williams (Steven Williams) GTR PIA Stephanie Lynn Willis VOC Danielle Rebecca Wilson missdanielle10@gmail.com Colette Elaine Wise VOC GTR REINSTATED Max T Barnes Marcus Edward Finnie Douglas J Kershaw Keith H Landry Clay B Mills Cameron Jaymes Montgomery David Clark Neal Eric R Paul Danny Roberts TNM

JAN—MAR 2018 33

DO NOT WORK FOR The “Do Not Work For” list exists to warn our members, other musicians and the general public about employers who, according to our records, owe players money and/or pension, have failed to sign the appropriate AFM signatory documents required to make the appropriate pension contribution, or are soliciting union members to do nonunion work.

When you work without protection of an AFM contract, you are being denied all of your intellectual property rights, as well as pension and health care contributions. Every nonunion session you do harms your AFM Pension.

TOP OFFENDERS LIST RecordingMusicians.com - Alan and Cathy Umstead are soliciting nonunion recording work through this website and elsewhere. Do not work for them under any circumstances without an AFM contract.

Steve Schnur, Worldwide Music Executive for the videogame company Electronic Arts, is commissioning and recording non-union sessions in Nashville for his company’s hugely successful franchises. EA declared $4.3 billion in net revenue in fiscal year 2015 and despite many promises made, he still refuses to work under AFM contracts or negotiate in good faith. We will continue to work towards resolution.

These are employers who owe musicians large amounts of money and have thus far refused to fulfill their contractual obligations to Local 257 musicians.

Positive Movement/Tommy Sims (multiple unpaid contracts from 2007) Terry K. Johnson/ 1720 Entertainment (unpaid contracts/unauthorized sales - Jamie O’Neal project) Beautiful Monkey/JAB Country/Josh Gracin Eric Legg & Tracey Legg (multiple unpaid contracts) Ed Sampson & Patrick Sampson (multiple unpaid contracts) Ray Vega/Casa Vega Quarterback/G Force/Doug Anderson Rust Records/Ken Cooper (unpaid contracts and pension) Revelator/Gregg Brown (multiple bounced checks/unpaid contracts) HonkyTone Records – Debbie Randle (multiple unpaid contracts/pension) UNPAID CONTRACTS AND PENSION Sydney Lett (partial payment received) Casa Vega/Ray Vega Knight Brothers/Harold, Dean, Danny & Curtis Knight RLS Records-Nashville/Ronald Stone Region One Records RichDor Music/Keith Brown River County Band/SVC Entertainment (unpaid demo conversion/pension) Robbins Nashville

Next General Membership Meeting Tuesday, Feb. 27, 2018 2 p.m.

34 THE NASHVILLE MUSICIAN

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UNPAID PENSION ONLY Comsource Media/Tommy Holland Conchita Leeflang/Chris Sevier Ricky D. Cook FJH Enterprises First Tribe Media Matthew Flinchum dba Resilient Jimmy Fohn Music Rebecca Frederick Goofy Footed Gospocentric Tony Graham Jeffrey Green/Cahernzcole House Randy Hatchett Highland Music Publishing In Light Records/Rick Lloyd Little Red Hen Records/Arjana Olson Maverick Management Group Mike Ward Music (pension/demo signature) Joseph McClelland Joe Meyers Missionary Music Jason Morales (pension/demo signature) O Street Mansion OTB Publishing (pension/demo signature) Tebey Ottoh Ride N High Records Ronnie Palmer Barry Preston Smith Jason Sturgeon Music AFM NON-SIGNATORY PHONO LIST We do not have signatory paperwork from the following employers — pension may have been paid in some cases, but cannot be credited to the proper musicians without a signatory agreement in place. If you can provide us with current contact info for these people, we will make sure you get your proper pension contribution for your work.

604 Records Heaven Productions Stonebridge Station Entertainment The Collective TNM

JAN â&#x20AC;&#x201C; MAR 2018 35

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