The Nashville Musician — January - March 2021

REVIEWS: GEORGE MARINELLI • THE STEELDRIVERS

ZOOM MEMBER MEETING FEB. 25

OFFICIAL JOURNAL OF AFM LOCAL 257 JANUARY – MARCH 20 21

The proof is in the pickin’

LOCAL 257 ELECTIONS JAN – MAR 2021 1

2 THE NASHVILLE MUSICIAN

CONTENTS Official Journal of the Nashville Musicians Association, AFM Local 257 | JANUARY - MARCH 2021

4 6 7 8 10 14

ANNOUNCEMENTS Details on the upcoming member meeting Feb. 25 on Zoom, meeting minutes and more.

STATE OF THE LOCAL Dave Pomeroy discusses the ongoing projects that are moving forward despite the restrictions of the pandemic, AFM 257 elections, and more.

IN THE POCKET Secretary-Treasurer Vince Santoro talks about how members can make sure pension checks are received promptly.

NEWS Details on the Local 257 election held last December.

HEARD ON THE GRAPEVINE The comings and goings of Local 257 members.

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

NASHVILLE UNLIMITED

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RECORDING Steve Tveit details the process for correct completion of the time card, which ensures speedy payments.

18 COVER STORY: JENEE FLEENOR The first female CMA Musician of the Year — for two years running — talks to Warren Denney about the spark that brought her to Nashville, standing on the shoulders of her many musical heroes, songwriting, and how it feels to break a very longlasting glass ceiling.

24 REVIEWS New releases from George Marinelli and The

10 18 JENEE FLEENOR

SteelDrivers.

26 SYMPHONY NOTES Bassist Kevin Jablonski talks about the latest news regarding the Musicians of the Nashville Symphony.

27 JAZZ & BLUES Vinyl is undergoing a big renaissance, and Austin Belmear is here for it. A rundown of the best shops in town, plus updates on local jazz and blues.

28 FINAL NOTES We bid farewell to Ray Pennington,

Leonard Morton, J.T. Corenflos, Michael Douchette, Cleo “Buddy” Jones, and Steve Douglas Gibson.

33 MEMBER STATUS 34 DO NOT WORK FOR LIST COVER PHOTO: MITCHELL FRANZ

GEORGE MARINELLI

24 JAN – MAR 2021 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

EXECUTIVE BOARD ALTERNATES HEARING BOARD

TRUSTEES SERGEANT-AT-ARMS NASHVILLE SYMPHONY STEWARD OFFICE MANAGER ELECTRONIC MEDIA SERVICES DIRECTOR ASSISTANT RECORDING/ELECTRONIC MEDIA DIRECTOR, LIVE/TOURING DEPT. PENSION ADMINISTRATOR AND MPTF COORDINATOR MEMBERSHIP ADMINISTRATIVE AND RECORDING ASSISTANTS

Dave Pomeroy Vince Santoro Kathy Osborne Leslie Barr Austin Bealmear Warren Denney Kevin Jablonski Olson Johnson Kathy Osborne Dave Pomeroy Vince Santoro Steve Tveit Rick Diamond Mickey Dobo Donn Jones Dave Pomeroy Vince Santoro Lisa Dunn Design Kathy Osborne Leslie Barr 615-244-9514 Dave Pomeroy Vince Santoro Jerry Kimbrough Alison Prestwood Biff Watson Laura Ross Steven Sheehan Tom Wild Jonathan Yudkin Rick Eckhardt Casey Brefka Michele Voan Capps Tiger Fitzhugh Teresa Hargrove Kent Goodson Sarah Martin McConnell Dave Moody Paul Ossola Bruce Radek Biff Watson Steve Tveit Kevin Jablonski Laura Birdwell Steve Tveit Christina Mitchell Paige Conners Teri Barnett Leslie Barr

Nashville Musicians Association | AFM Local 257, AFL-CIO Minutes of the Executive Board Zoom Meeting Oct. 8, 2020 PRESENT: Vince Santoro(VS), Dave Pomeroy(DP), Laura Ross(LR), Tom Wild(TW), Jonathan Yudkin(JY), Steven Sheehan(SS), Jerry Kimbrough(JK).

ABSENT: Steve Hinson(SH), Andre Reiss(AR).

President Pomeroy called the meeting to order at 10:36 a.m.

MINUTES: Minutes from July 24, 2020 Zoom executive board meeting were approved online as amended. LR, SS. PRESIDENT’S REPORT: The following issues were discussed: 1. TV and video discussions are currently paused.

2. Rehearsal hall use still on hold.

SECRETARY-TREASURER’S REPORT: Santoro distributed financial reports and fund balances.

MSC to approve Secretary-Treasurer report. JK, JY. 1. Our CPA Ron Stewart says we should expect a payroll tax credit of $35,000 which will help our bottom line immensely.

2. Entry door security is not an issue since we’re closed entirely to the public. We will delay investigating a possible maglock installation until next year.

3. Rehearsal hall is still closed due to COVID-19 safety issues.

4. Should our IT administrator, Gary Goode, decide to retire in the future, we should look into hiring an email management or IT company.

AGENDA: Proposal submitted for 2021 Annual Dues structure.

2021 REGULAR MEMBER ANNUAL DUES $170.00………………Local Dues 66.00………………AFM Per Capita 42.00………………Funeral Benefit Assessment 3.00………………Emergency Relief Fund $281.00………………Total without voluntary contributions 3.00………………Emergency Relief Fund (voluntary) 2.00………………AFM Tempo Fund (voluntary) $286.00………………TOTAL 2021 DUES REGULAR MEMBERS (INCLUDING $5 VOLUNTARY) 2021 LIFE MEMBER ANNUAL DUES $ 70.00………………Local Dues 50.00………………AFM Life Member Per Capita 42.00………………Funeral Benefit Assessment 3.00………………Emergency Relief Fund $165.00………………Total without voluntary contributions 3.00………………Emergency Relief Fund (voluntary) 2.00………………AFM Tempo Fund (voluntary) $170.00………………TOTAL 2021 DUES LIFE MEMBERS (INCLUDING $5 VOLUNTARY) MSC to approve proposed annual dues structure. LR, TW. Unanimously approved.

MSC to adjourn. JY, TW. Meeting adjourned at 12:01 p.m.

Sarah Weiss Dalaina Kimbro Savannah Ritchie

@ 2021 Nashville Musicians Association P.O. Box 120399, Nashville TN 37212 All rights reserved. nashvillemusicians.org

4 THE NASHVILLE MUSICIAN

The next Local 257 General Membership Meeting will be held virtually Thursday, Feb. 25, 2021, by Zoom teleconference at 5:30 p.m. On the agenda are officer reports and discussions on a number of important issues. If you need instructions on how to join the virtual meeting with Zoom, please call the local at 615-244-9514.

Nashville Musicians Association | AFM Local 257, AFL-CIO Minutes of the Executive Board Zoom Meeting Dec. 16, 2020 PRESENT: Vince Santoro(VS), Dave Pomeroy(DP), Laura Ross(LR), Tom Wild(TW), Jonathan Yudkin(JY), Steven Sheehan(SS), Andre Reiss(AR).

ABSENT: Jerry Kimbrough(JK), Steve Hinson(SH).

President Pomeroy called the meeting to order at 10:34 a.m.

MINUTES: Minutes from Oct. 8, 2020 Zoom EB meeting were approved online as amended. LR, SS.

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

PRESIDENT’S REPORT: The following issues were discussed: 1. Most recording is being done safely, with some obvious exceptions.

2. RFD has refused even a “good faith” reduction on their debt.

3. Symphony will receive $500 per week for 30 weeks.

4. CMA Time Life DVD set has generated more musician money totaling $25,000.

5. With the appointment of John Drake as police chief, Lower Broadway issues will have someone who listens.

6. Jackson Symphony has as many as 10 Nashville symphony members.

President Pomeroy called meeting to order at 2:12 p.m.

SECRETARY-TREASURER’S REPORT: Santoro distributed financial reports and fund balances. MSC to approve Secretary-Treasurer report as amended.

AR, JY. 1. We finally received the payroll tax refund of $37,600.00 that Ron Stewart, our CPA, put in for.

2. Roof maintenance has had its first of two checkups. The final one will be summertime.

3. Tennessee has now entered a critical period in that new COVID-19 cases here are tops in the U.S. Now is not the time to relax any guidelines.

AGENDA: 1. Orchestra Negotiating Committee members to receive same annual dues reduction as Executive Board members for 2021 in exchange for their work. MSC to approve, LR, TW. 2. MSC to waive non-preferential convenience fee for Bi-Annual Payment Plan for 2021. DP, AR. 3. MSC to approve moving suspension date forward to March 1 in accordance with AFM pandemic policy.

DP, LR. MSC to adjourn. LR, AR. Meeting adjourned at 12:29 p.m.

Nashville Musicians Association AFM Local 257, AFL-CIO Minutes of the 4th Quarter Zoom Membership Meeting Nov. 5, 2020 PRESENT: Byron House, Rich Eckhart, Paul Tobias, Matt Davich, Deborah Loach, Bob Mater, Chuck Tilley, Mike Brignardello, Alison Prestwood, Joe Hudson, Jeff Dayton, Matt Morris, Seph Allen, Biff Watson, Paul Ossola, Terry Dunn, John Root, Sarah Martin McConnell, Casey Brefka, Deano Brown, Steve Nathan.

EXECUTIVE BOARD PRESENT: JY, TW. HEARING BOARD PRESENT: Teresa Hargrove, Kent Goodson, Tiger Fitzhugh.

PARLIAMENTARIAN: Bill Wiggins

Minutes from Aug. 20 Membership Meeting were displayed and discussed.

PRESIDENT’S REPORT: 1. Finished videotape negotiations.

2. SRLA negotiations continue, including possible adjustments to the rates for the use of tracks onstage.

3. Lower Broadway progress has been hindered

by COVID-19 upheaval.

4. We are pursuing payment for the use of John Prine's music being used at the Democratic National Convention and expect payment soon.

5. Local 257 office is in full operation with doors closed to public.

SECRETARY-TREASURER REPORT: 1. We will begin our bi-annual roof inspection early in December with the return visit coming in May or June.

2. Our exclusive group health insurance plan is up and running for 2021. If you have health care needs call RJ Stillwell at Sound Healthcare. 615-256-8667.

3. Rehearsal hall use is still on hold.

4. Donations to our Crisis Assistance Fund are being added up until we reach an amount that can be distributed to meaningfully impact those in need.

MSC to approve Secretary-Treasurer report. Jeff Dayton, Paul Ossola.

AGENDA: 2021 Annual Dues proposal (Executive Board: favorable) and wage scale item.

MSC to discuss wage scale change. DP, VS. Proposal of language in wage scale change. DP, Rich Eckhardt.

Proposal to appoint five-person committee to work with Local 257 live director to establish criteria. Sarah Martin McConnell, Casey Brefka.

MSC to create three-person committee. Sarah Martin McConnell, Jason Howard.

Unanimously approved.

MSC to approve entire amendment with “Sunset Clause” in effect to July 31, 2021. Unanimously approved.

ANNOUNCEMENTS Nashville Musicians Association AFM Local 257, AFL-CIO Minutes of the Nomination Meeting Nov. 5, 2020 >> NOTE: Nominating member initials or name follows each candidate name NOMINATIONS FOR: TRUSTEE: Bruce Radek – DP (elected by acclamation) Biff Watson – VS (elected by acclamation) SERGEANT-AT-ARMS: Steve Tveit – TW (elected by acclamation) DELEGATES: Tiger Fitzhugh – Tiger (elected by acclamation) Laura Ross – TW (elected by acclamation) Tom Wild – TW (elected by acclamation) HEARING BOARD: Tiger Fitzhugh – Teresa Hargrove (elected by acclamation) Kent Goodson – Kent Goodson (elected by acclamation) Teresa Hargrove – TH (elected by acclamation) Sarah Martin McConnell – SMM (elected by acclamation) Dave Moody – KG (elected by acclamation) Paul Ossola – VS (elected by acclamation) Michele Voan Capps – DP (elected by acclamation) EXECUTIVE BOARD: Casey Brefka – CB Rich Eckhardt – Jeff Dayton Jerry Kimbrough – TW Alison Prestwood – Mike Brignardello Laura Ross – TW Steven Sheehan – SS Biff Watson – BW Tom Wild – John Root Jonathan Yudkin – JY SECRETARY-TREASURER: Vince Santoro – Jason Howard (elected by acclamation) PRESIDENT: Dave Pomeroy – Seph Allen (elected by acclamation)

MSC to discuss annual dues proposal. DP, Jason Howard.

Call the Question: Bill Wiggins.

Vote to approve proposed annual dues.

Unanimously approved.

ELECTION COMMITTEE: Seph Allen Jason Howard (Secretary) Devin Malone (Chair) John Root Chuck Tilley Roy Vogt Mark Weber

MSC to adjourn meeting. Biff Watson, TW. Meeting adjourned at 3:19 p.m.

MSC to adjourn – Jerry Tachoir, CB Nomination meeting adjourned 3:24 p.m.

TNM

JAN – MAR 2021 5

STATE OF THE LOCAL

BY DAVE POMEROY 2021 is finally here at last! A “New” Year should be just that — a reset, not only for the calendar, but for ourselves and the world around us. We certainly have our work cut out for us.

An uncertain timeline of recovery from the pandemic has put so much on hold, and the music industry is faced with the reality that major areas of our economic model have all but shut down. Musicians who depended on touring and live gigs to make a living are having to find new ways to bring in some money somehow, and the ripple effect is real. So much has turned upside down in so many ways in this unprecedented time of paradigm shift, but I still hold out hope that ultimately, new opportunities will come out of these challenges.

Our obvious desire to move forward should be balanced by an understanding of the need to look back and learn from the past, with an increased awareness of the needs of people other than ourselves. This time of isolation has also made us realize how special in-person gatherings of people are, and that music makes it more special. This has been true for centuries. Whether you are together with friends or strangers, you can share a common love of music that transcends all barriers of language and culture. We all look forward to bringing that wonderful experience back safely as soon as we can.

Soldiering on

Our staff has worked really hard behind closed doors to keep things rolling as we try to get as much money out the door to musicians as possible. Recording was not hit quite as hard by the pandemic, and has always been a big part of our business model here in Music City. Despite all the challenges, we were somehow able to pay out nearly $8 million in wages in 2020, down only about 25 percent from a typical year. This was due to many factors, including smaller rhythm dates and increased home recording, re6 THE NASHVILLE MUSICIAN

We are all in this together, and those are not just words. Let’s put our thoughts, ideas and energy together. use of previously recorded TV material, and countless streaming events. We have been working with the AFM to codify and simplify new streaming agreements, including those connected to the Music Performance Trust Fund, which has grants available for musicians in cooperation with cosponsors willing to act as employers at no cost.

Music has always had the ability to bring people together, and also help lead the way to much needed change in our culture and our country. Diversity and equality are both topics that are on the minds and hearts of many these days, not only the media, but also to many real people in the real world.

At a time where division seems to be everywhere, music and musicians can make a difference. Despite those who would stereotype us, Nashville has never just been about ONE kind of music. It’s all here — country, blues, gospel, rock & roll, classical, bluegrass, R&B, Americana, you name it.

New Year, new landscape

The opening of the National Museum of African American Music in January in the heart of downtown Nashville — after years of collective effort by so many — is an exciting moment. Music City is the perfect place to celebrate so much great American music, and congrats to Henry Hicks and everyone involved. I can’t wait to check it out.

It also makes me feel good to have the wonderful Jenee Fleenor, first female recipient of the CMA Musician of the Year Award, on the cover of this issue of The Nashville Musician. I first met Jenee when she was 19 and playing with the great bluegrass singer/ songwriter/artist and Local 257 member Larry Cordle and his band Lonesome Standard Time. I was filling in for Terry Eldredge, who had been in a car accident and played some shows with them. She impressed me then, and has continued to grow as a musician, singer, and songwriter ever since. Her resume speaks for itself, but her career is also an ex-

ample of the “nice person finishes first” syndrome. It really does make a difference how you treat people, and she is a great example of someone who knows how to handle herself in a wide variety of musical and employment situations. Whether it’s a club gig, TV show, or arena tour, she gives her all.

The Nashville Symphony is now on a weekly stipend we negotiated after five months of furlough while we prepare to begin negotiations with Symphony management for the ‘21-‘22 season. Musicians are doing what they can to help each other survive, and management continues to raise funds as well. 257 members Matt Rollings and Kristin Wilkinson independently arranged and recorded a beautiful version of “America the Beautiful,” featuring an all-star lineup of singers and 10 members of the NSO. They have generously designated this as a charitable recording that will go into the symphonic portion of the NMA Crisis Assistance Fund, which we created to help musicians in need, and will be distributing funds in the near future.

Congratulations and thanks to our new AFM 257 officers, and to all those who are remaining in office, we appreciate your service. The Executive Board and Hearing Board will be engaging each other and you, our members, more than ever before as we move forward. Communication is essential, and a shared purpose in making things better for everyone. We are all in this together, and those are not just words. Let’s put our thoughts, ideas and energy together.

Last point: Now more than ever, it is essential to protect your intellectual property.

When you work without a contract, what you make that day is all you will ever make. When you are on an AFM contract, your work continues to generate revenue from now on. Our door is open to anyone who wants to treat musicians with respect and pay them accordingly. I am proud of the work we are doing on behalf of all Nashville musicians, and appreciate every one of you. TNM

IN THE POCKET

Direct deposit can help with timely check receipt

T

here is a lot of uncertainty going on in the world, and it is understandable that the status of the AFM Employers' Pension Fund remains a concern for many of us. However, with the change in administration in Washington, there is already legislation being put forward to help funds like ours stay solvent. We will be urging all of you to contact your DC reps to support this legislation, which would greatly reduce or eliminate any potential cuts to pension benefits.

I received numerous calls in early January from members who had not gotten their most recent pension check on time. I know this can be very concerning, especially for those older members who rely on it to make ends meet. This is even more troubling, once again, due to the pandemic’s effect on members’ lives.

If you have questions of this nature you can call us here at the local. We are always prepared to help you as best we can. But I want to make it clear that Local 257’s main duty in regard to pension is simply to make sure the pension fund contributions that we’ve negotiated — separate from players’ rates when working under our agreements — go to the proper account in New York. Your actual account and the details of vestment, benefit, and distribution process is a private affair between the AFM-EPF office and you.

We are not privy to any other information.

Luckily, our relationship with the pension fund is made pleasantly workable by having a direct line of communication with two very capable and understanding folks there. Vinni LoPresti has provided us with her direct phone number, 212-284-1285, and an email address, vlopresti@afmepf. org, which has come in handy since their office is currently closed due to the pandemic.

Her second in command is Gary Lubliner, whose phone number is 212-284-1289; gary@afmepf.org.

If a member calls me about pension questions, I can try to illuminate many things, since I have taken my pension already and completed the paperwork necessary to get that process started. But it’s important to note that every person applying will have different lifestyle and family intricacies that will impact their benefit distribution, and the decisions to be made are included in the two-step process.

My recent conversations with LoPresti in regard to our members’ issues with ontime delivery of their checks have given me some insight as to how we can help the fund do its job. The most salient of which is to

Make sure and apply for direct deposit of benefit checks. make sure and apply for direct deposit of benefit checks. Pretty simple, really, to grok why, especially when we’ve all surely noticed that the post office is having a hard time with prompt mail delivery of late. Why add to their workload if we can simply look at our bank online to confirm receipt? After hearing the plight of numerous members about not getting their checks I can say I’ve not missed even one, and they’re always on time due to direct deposit.

LoPresti also reiterated that all the necessary forms are on their website at AFMEPF.org once you sign in as a participant.

Click on “Participant” in the top banner. In the drop-down menu choose “Applications and Forms” and you’ll find the direct deposit form there. If you want to apply to begin to receive your benefit, click on “Pension Application – Part 1: Preliminary Information Form.”

Don’t be confused that they only list a Part 1 form. You won’t see Part 2 be-

BY VINCE SANTORO

cause only after the pension office receives your Part 1 application and any additional items needed to complete that step, will they send you Part 2 and instructions as to how you’ll complete the process. If you want direct deposit, complete the direct deposit form before you’re finished to ensure against mail problems.

I am aware that the pandemic has mucked up just about every facet of life right now, and it can begin to feel like there’s no end in sight. But I also see progress toward a viable vaccine program taking shape. That, along with continued mask use and social distancing, will bring us eventually back to a type of normal that we can all finally find comfort in.

We need to stand with each other to confront these issues and know that enduring them selflessly is the only sensible TNM way forward.

Pension Fund Questions?

For more information contact: Vinni LoPresti 212-284-1285 vlopresti@afmepf.org Gary Lubliner 212-284-1289 glubliner@afmepf.org

JAN – MAR 2021 7

NEWS

Dave Pomeroy and Vince Santoro re-elected by acclamation to new three-year terms Local 257 officers Dave Pomeroy and Vince Santoro were re-elected by acclamation Nov. 5 during the nominations meeting that followed the fourth quarter general membership meeting. Pomeroy begins his fifth term as president, and Vince Santoro begins his third term as secretary-treasurer.

Pomeroy commented on his re-election.

“I am honored to be elected for a fifth term as AFM 257 president. Nashville is in a unique position to show the world how to rebuild the music industry, and we look forward to getting everyone back to work safely

as soon as possible. I also must acknowledge our retiring parliamentarian, Ron Keller. Thank you, Ron, for your dedication and many decades of service to Local 257," Pomeroy said.

Also elected by acclamation — as they faced no opposition — were nominees for Local 257 Hearing Board Paul Ossola, Sarah Martin McConnell, Tiger Fitzhugh, Michele Voan Capps, Teresa Hargrove, Dave Moody and Kent Goodson.

Sergeant-At-Arms Steve Tveit, trustees Biff Watson and Bruce Radek, and convention delegates Tiger Fitzhugh, Tom Wild, and

LOCAL 257 EXECUTIVE BOARD SWEARING IN

Laura Ross were also elected at the meeting by acclamation.

The only candidates on the ballot this election cycle were those running for Local 257 Executive Board.

An election committee was nominated and approved by the membership at the nominating meeting as per Local 257 bylaws. The election committee is responsible for gathering candidate bios, having ballots printed and mailed to members, and counting ballots on the designated election day, which was Dec. 2.

Election committee members were John Root, Roy Vogt, Seph Allen, Devin Malone (chair), Jason Howard (secretary), Mark Weber, and Chuck Tilley.

LOCAL 257 2020 ELECTION RESULTS: Total ballots mailed: 2148 Total ballots cast: 375 Total votes: 2058 Disqualified ballots: 25 Returned ballots: 8

2020 LOCAL 257 EXECUTIVE BOARD MEMBERS AND NUMBER OF VOTES RECEIVED: Alison Prestwood — 303 Jerry Kimbrough — 268 Laura Ross — 265 Biff Watson — 243 Steven Sheehan — 241 Jonathan Yudkin — 237 Tom Wild — 224 LOCAL 257 HEARING BOARD SWEARING IN

Alternates Rich Eckhardt — 170 Casey Brefka — 107 Officers and board members were sworn in by Parliamentarian Bill Wiggins using Zoom teleconferencing Jan. 15.

Bill Wiggins

8 THE NASHVILLE MUSICIAN

NEWS PRESIDENT AND SECRETARY-TREASURER SWEARING IN

SARGEANT-AT-ARMS STEVE TVEIT SWEARING IN

"Nashville is in a unique position to show the world how to rebuild the music industry, and we look forward to getting everyone back to work safely as soon as possible.”

— Dave Pomeroy

HOLIDAYS LOCAL 257 WILL BE CLOSED ON MONDAY, FEB. 15 FOR PRESIDENTS’ DAY. TNM

JAN – MAR 2021 9

HEARD ON THE GRAPEVINE

(l-r) Kevin McKendree, Guthrie Trapp, Dave Pomeroy, Josh Day, and John Oates

21ST ANNUAL NASHVILLE UNLIMITED CHRISTMAS BENEFIT CONCERT

10 THE NASHVILLE MUSICIAN

It looked a little different, but the end result was the same — an evening of unique, excellent music by some of Nashville’s finest musicians — all performing to raise money for Room In The Inn, an organization that provides shelter, food, and a host of other resources to Nashville’s homeless community.

The concert, which is held at Christ Church Cathedral in downtown Nashville, was taped without an audience on December 10, 2020. Performers included Local 257 members Kathy Mattea, Jeff Coffin, Guthrie Trapp, Pat Coil, Charlie McCoy, Dave Pomeroy, John Oates, Don Schlitz, Jon Vezner, and many others. The event raised $26,200 this year, and has brought in more than $489,000 for Room In The Inn over its 21-year run.

Prep for staging the event was complicated by the pandemic, and included extensive COVID-19 testing of crew, and a precise day-of schedule that allowed for no more than one act to be in the building at a time. The event — which aired the following week on YouTube — was filmed by a sevenperson crew with full production, in addition to the three-person sound crew.

The organizer and host of the event, Dave Pomeroy, talked about the reason he became in-

volved with Room In The Inn, and the unusual nature of this year’s staging.

"In 1992, when I was getting ready to release the Blue Christmas EP, I wanted it to be a charity fundraiser. When I heard about Room In The Inn and met the founder, Father Charles Strobel, I knew I had found the right cause. I have been honored to raise money for them ever since.

In 2000, we moved the show to Christ Church Cathedral and renamed it “Nashville Unlimited Christmas,” a reinvention of the “Nashville Unlimited” radio show I did for WPLN in 1999. This has been an amazing chance to demonstrate the diversity of our musical community, and we have raised nearly $500,000 over the years. Thanks to everyone who has taken part on this show over the years especially my longtime co-host Don Henry and percussionist Sam Bacco, who I've been making Christmas music with since 1989.

Our collective efforts have made a real difference in the lives of those who are in need through no fault of their own. I want to give a special thanks to our sound and film crews, led by Dave Sinko and Brad Hall, respectively. They did an amazing job," Pomeroy said. www.roomintheinn.org.

HEARD ON THE GRAPEVINE

(l-r) Chris Walters, Viktor Krauss, Jordan Perlson, Jeff Coffin

Kathy Mattea

DONATIONS BENEFIT ROOM IN THE INN "This has been an amazing chance to demonstrate the diversity of our musical community, and we have raised nearly $500,000 over the years."

— Dave Pomeroy Pat Coil

Percussionist Sam Bacco

Dave Pomeroy, Don and Stacey Schlitz

TNM

JAN – MAR 2021 11

HEARD ON THE GRAPEVINE

NASHVILLE JAZZ WORKSHOP

The Nashville Jazz Workshop has been soldiering on through the nearly year-long pandemic, dealing with not only a cessation of live events, but also a move to their new location on Buchanan Street. Founded in 1998 first as the Nashville Jazz Institute, it has kept its mission alive with virtual classes, YouTube concerts, and other streaming content.

NJW Cofounder and Artistic Director Roger Spencer

The NJW efforts have not gone unnoticed, and on Jan. 8 the organization was recognized with a proclamation day from Metro Council. A framed plaque of the proclamation was presented by Jefferson Street United Merchants Partnership CEO Sharon Hurt to NJW cofounder and Educational Director Lori Mechem. Metro Council enumerated some of the countless contributions NJW has made to broaden the musicial education of Nashville, and lift up the strong jazz community that has long been a significant part of the city.

Original plans called for a 2020 reopening of the facility, but due to the pandemic the opening is now slated for the spring of 2021. “Thank you Sharon Hurt! We love you and are so excited to get into our new home!” Mechem said.

DOLLY PARTON

Dolly Parton celebrated her 75th birthday Jan. 19, but age has not made a dent in either her tireless work to help others, or her continually growing discography. She has funded the Imagination Library — which furnishes books to children— for decades, 12 THE NASHVILLE MUSICIAN

and in 2019 she made headlines when she gave generously to fire victims in the Gatlinburg, Tennessee area. In 2020 — less than a month after COVID-19 became part of the world’s reality — she was making yet another larger-than-life donation.

The iconic singer-songwriter gave $1 million to help fund Moderna’s COVID-19 vaccine, which was released in December to the public. "I felt like this was the time for me to open my heart and my hand and try to help," she said in an appearance on NBC’s Today.

Parton released Holly Dolly Christmas in 2020, her 47th solo record. It’s her third Christmas album — and it peaked at No. 1 on the Billboard Top Country Albums chart, becoming her eighth to achieve that status.

because I love Nashville and what I do here, the passion and positivity comes through.

Sixty to 90 minutes later, they are fired up, ready to take on the world! I would always think, ‘I should really figure out a way to bottle this somehow to help more folks,’” Metko said.

Metko said offerings include programs that give strategic advice on skills like effective auditioning and how to boost social media numbers, plus the soft skills of mindset, attitude, and “how to keep your head in the game in our challenging and ever-changing industry.”

Check out Metko’s Facebook group here: Facebook/MusicCity101

MATT ROLLINGS AND KRIS WILKINSON

Musicians helping musicians — that is the inspiration behind Grammy award-winning producer and pianist Matt Rollings’ and arranger Kris Wilkinson's stunning new version of “America the Beautiful,” featuring Amy Grant, Keb’ Mo’, Trisha Yearwood, The War and Treaty, and 10 members of the Nashville Symphony. Musicians everywhere

SCOTT METKO

Drummer Scott Metko has launched a website with information and resources for musicians trying to grow their Music City careers.

Musiccity101.net has a video blog of success tips, classes, and webinars with live interactive chat. Metko has also formed a private Facebook group — Music City 101 Community — to help musicians network.

Metko talked about how he developed his idea for the service.

“This happens to all of us: People find us on social media or through Local 257.

Someone moves to town and their friend back home tells them they need to look us up when they get here. When these people find me, I remember all of those who helped me when I got to town in ’04. So, I buy them lunch or we have a drink. I give them some tips about how this town works and what their next move might be. And

Kris Wilkinson and Matt Rollings

have been hit hard by the pandemic, but especially symphonic musicians, who face special problems related to the complications inherent in large group gatherings.

Musicians of the Nashville Symphony were first furloughed July 1, 2020, with full-time work on hold until the beginning of the new season, set for September 2021. Proceeds from the sale of the single will directly go to the Nashville Musicians Association Crisis Assistance Fund and will be distributed to musicians in need of financial assistance.

Click HERE to purchase. TNM

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BECOME AN AFM LOCAL 257 MEMBER Open to all music industry professionals. Call Sound Healthcare & Financial for more information.

JAN – MAR 2021 13

GALLERY

National Museum of African American Music

14 THE NASHVILLE MUSICIAN

The long-awaited National Museum of African American Music opened Jan. 30 with weekend self-guided tours from 11 a.m. – 4:30 p.m.

Additional days will be added this spring. Go to nmaam.org for more info.

GALLERY

Musicians of the Nashville Symphony volunteers with Musicians Mission of Mercy

1.

Musicians of the Nashville Symphony volunteered with Musicians Mission of Mercy in September. (l-r) Laura Ross, Michelle Collins, Leslie Fagan, Kelsey Lamb, Matt Abramo, Anna Lisa Hoepfinger, John Maple, and Jeremy Williams.

2.

1. Steel guitarist and life member ZEKE KING holds his new pin

commemorating 50 years in the AFM. 2. Guitarist WILLIAM "TIGER" FITZHUGH proudly displays his life

member pin.

LI

R FE M EMBE JAN – MAR 2021 15

RECORDING

You can download a time card from our website at www.nashvillemusicians.org. Once you’ve got it filled out you can then email it to contracts@afm257.org for processing. Please be sure to fill out each time card as follows: • At the top of the card are boxes for the type of scale and session. The time card can be applied to recording, television/videotape, radio and jingles.

• Make sure to get the correct company name and address when filling out a time card.

Often when we receive a card, we have to follow up to verify the billing, and that can slow up the payment process. Having the correct address, contact person, phone number and email helps speed it along so everyone gets paid quicker.

• For demos, the time card is the signatory agreement. Please make sure the employer or employer representative signs the card. For all other scales, we need current signatory agreements in place for the pension to be properly allocated. Bandleaders will be contacted to help get the proper documents if our attempts repeatedly fail.

IMPORTANT TIPS FOR FILLING OUT A TIME CARD

• Next comes the session date and number of sessions, along with start and end time for each session. After signing your name and social security number, please mark for any doubles, cartage, overtime and how many sessions you were on.

• The final area is for correct song titles and length in minutes for each song. This is very important for potential upgrades and new use.

• You can bring the completed time card to the Local and put it in the dropbox outside the back door, or take a picture of the time card and email it to contracts@afm257.org.

As you know, recording "on the card" protects the musician and the employer in a variety of ways: 1. It establishes a fair pay scale and a pension payment for all musicians on the session.

2. If the recording is used in another medium such as film, television, or a commercial it will ensure that musicians receive a New Use payment.

3. If there is ever a dispute about payment, Local 257 will have your back and work to ensure that you will be paid.

If the paperwork is not handled properly at the time of the session, it will become more difficult to do this, so do yourself a big favor and take care of business on the front end — you won't regret it.

TNM

16 THE NASHVILLE MUSICIAN

JAN – MAR 2021 17

PHOTO: KATIE KAUSS

“MY PARENTS NEVER SAT ME DOWN AND SAID, ‘THIS MIGHT BE HARD FOR YOU TO BREAK INTO, BECAUSE YOU’RE A WOMAN.’ THAT WASN'T EVEN A QUESTION. IT WAS MY DREAM, AND I WAS GOING TO GO FOR IT.”

18 THE NASHVILLE MUSICIAN

“I ALWAYS WANT TO BE A BETTER MUSICIAN, AND I FEEL LIKE ALL MY HEROES ENCOURAGE ME TO BE JUST THAT.”

BY WARREN DENNEY

J

enee Fleenor is a giver. It’s her obvious nature. She does not crave the spotlight, but rather constantly craves to play — and write — good music. That desire is at the heart of her success as a multi-instrumentalist, primarily with the fiddle, and the driving force that has led to her being named the Country Music Association’s Musician of the Year two years running.

Fleenor is the first woman to have earned that distinction, in 2019, and the first fiddle player so awarded in two decades.

Since arriving in Nashville in 2001, she has spent countless hours in the studio recording with an endless roster of Nashville artists, including Blake Shelton, Reba, Trisha Yearwood, Trace Adkins, Rascal Flatts, Ashley Monroe, Terri Clark, Don Williams, Jon Pardi, Cody Johnson — you get the idea. Fleenor has been a longtime member of Blake Shelton’s band, and has toured with many of those for whom she’s recorded, including Shelton, Clark, Martina McBride, and Aerosmith’s Steven Tyler.

She’s also performed regularly with the house band on NBC’s The Voice.

As Fleenor’s name has grown in peer recognition, so too has her own recognition of self. And, in 2020, a year so restrained by the effects of Covid-19, she may have

discovered more about music than ever before — its healing power, and her own place within it. She and her husband both experienced their own bouts with the virus last year, forcing her to miss the CMA Awards show which so honored her.

She accepted the award, at times tearfully, via her own home video, in which she listed so many of her influences and peers who have allowed her career to flourish. It was a bittersweet moment for a musician who thrives on live performance.

“I know in my career where I am,” Fleenor said recently, from her home just outside Nashville. It was the holidays, but she was nonetheless feeling the disappointment of being unable to attend the event. Still, she leaned on the hope that lives on in this whole sordid mess.

“I’m just playing and listening to a lot of records anyway, but so many musicians I’ve talked to are saying it’s been the busiest year they’ve had. So much music is getting people through this.

“I know that touring is shut down right now, so some people only have the choice to record. But, my God, the songs that are flowing out of people, the writers who I’ve talked to — and I love to write myself.

Things have become really focused.”

The life of a touring and recording musician demands a sacrifice in the

service of others, leaving little time for self-reflection. You have to make a living, after all. But, in a year like no other, Fleenor found that time. She thought about her influences, and the road to her historic recognition.

“I think this year I really had a minute to think about it [winning the CMA award],” Fleenor said. “And I just named off probably 20 or 30 — and I could have named off 130 — musicians that have impacted my life so much. And a lot of them have passed on, but a lot of them I work with today.

“I always want to be a better musician, and I feel like all my heroes just encourage me to be just that.”

Her fiddle playing can range from the joyous to the fierce, to the supple and melodic. Witness the broad range of her collaborations. Her musical foundation includes a childhood filled with classical training, though she has flourished as a country, bluegrass, and yes — rock & roll — fiddler. Fiddle players are perhaps the most misunderstood musicians on the spectrum, from preconceived notions of instrument and identity. For instance, the devil’s been known to play the fiddle. continued on page 20

JAN – MAR 2021 19

continued from page 19

And, to play well, you must have an innate perspective or some understanding of folk, country, bluegrass, jazz, blues and pop, rock and classical. In other words, a unique relationship with the American musical psyche.

She grew up in northwest Arkansas, in Springdale, which placed her in heavy bluegrass country. The Ozarks, though, have seen it all, and she worked within a plan, one which would potentially land her at Juilliard, on her way to becoming classical violinist. Endless lessons and real commitment were required.

“Well, I grew up playing classical, if you know anything about me,” she said. “I played classical all the way up until I moved to Nashville, and my job was to practice an hour a day [outside of lessons]. I couldn’t go see my friends, I couldn’t do sleepovers, I couldn’t go to the mall, until I practiced an hour a day.

“My mom really wanted me to perfect my playing the violin. Her dream for me was to go to Juilliard and become a classical violinist. But it was my dad playing Bob Wills records in the background that I remember hearing, and Merle Haggard, and Ray Price.

It was Bob Wills coming through, though.”

As she continued to grow, she became more drawn to country music, and her musical reach began to extend. She learned fiddle tunes as early as age five, took to dressing like Mark O’Connor, and was hired at age 11 as a member of the house band with the Little Ole Opry in West Fork, Arkansas.

“I cut my teeth there,” she said. “They hired me to be in the house band and they 20 THE NASHVILLE MUSICIAN

“I COULD HAVE EASILY GONE TO BRANSON. I LOVE TO PLAY LIVE. I REALLY DO. BUT I KNEW I WANTED TO GO WHERE THEY MADE THE RECORDS I’D HEAR ON THE RADIO.” have people shuffling through there all the time. There I am. I’m a kid, just trying to hang on and play these songs that I didn’t know. And, there are so many great bluegrass players in northwest Arkansas — so many great players.

“So, I grew up going to all kinds of bluegrass festivals, and I was in a bluegrass band out of Missouri — First Impression. I definitely cut my teeth on bluegrass.”

She knew, even then, what she wanted.

Her world in music became less abstract, more tangible.

“It was probably around the same time, when I was 11 or 12, that I stepped into the studio for the first time,” she said. “I don’t know — there was a spark. Every time I’d step in the studio, it’s this fire in me, I just love it so much. I specifically remember hearing my fiddle come through those headphones — it might have been washed in reverb — I don't know. It was a magical experience, and I will never forget that.

“I’d just tell myself, ‘I want to go wherever

they do this.’”

She was on the country music trail. Or, maybe it was finding her. Her parents were supportive, acting as drivers and chaperones, and as she worked and discovered more elements of the bedrock country sound, particularly that of the pedal steel guitar, the more it opened up to her. That’s how she wound up playing with legendary steel player Ralph Mooney, and other musicians, when she was 15 or 16, in a hotel room filled with cigarette smoke and a bottle of whiskey making the rounds. She wasn’t old enough to partake of either, but she certainly took in the history and the music.

“I mean I had all these musical heroes,” Fleenor said. “And he was one. I was in that room — it was just kind of crazy. My parents were always there when we’d go to rehearsals. I remember rehearsing and jamming with Ralph Mooney in that room. It was so thick with cigarette smoke, and they’re passing around the whiskey bottle.

“They were playing all these cheating songs that are just so real — and that I didn’t really get — I was just so in love with the sound of country music. I’ll never forget it.”

And, as she reckoned with her fast-approaching future, Branson, Missouri might have easily beckoned. It’s less than 100 miles away from Springdale, but for Fleenor, one city alone stood apart from the others.

“I could have easily gone to Branson,” she said. “I love to play live. I really do. But I knew I wanted to go where they made the records I’d hear on the radio. And for me, it's always been about the challenge of being a better

musician, and playing with musicians that are better than me, to push me. I’ve just always enjoyed that. Everyone in Springdale knew I was moving to Nashville to be a fiddle player.”

At 18, she moved to Nashville to attend Belmont College, and began what would be a magical run. The kind of story that keeps musicians of every stripe coming to town, dream in hand. Within two weeks of her arrival, she walked into the bluegrass mecca Station Inn, to hear Larry Cordle and Lonesome Standard Time. Brandon Rickman, who would go on to become the lead singer in the Lonesome River Band, was a member of Cordle’s band at the time. He was also a Missourian who had jammed with Fleenor growing up, and after recognizing her, had the presence of mind to ask if she’d brought her fiddle.

“I’m sitting there in the chair, and he’s, like, ‘What are you doing here?’” she said.

“I told him I was going to school at Belmont, and he said ‘Get your fiddle — you’re going to play for Larry in the back in just a minute.’ I grabbed my fiddle, and away I go.

I didn’t know it, but Larry was looking for a fiddle player.

“So, I went back there and played, and I passed an audition I didn’t even know was taking place. Within about a month or two, I was playing on the Grand Ole Opry with Larry. It still blows my mind.”

So began the career that would break some new ground for women. Even today,

it’s hard for Fleenor to entirely get her head around it. People are watching her, whether she feels it or not, and aspiring young women have a stake in her success.

“I do forget that sometimes,” she said.

“Until people remind me. Like, yesterday I was doing sessions and there was only one other woman there, and she was the artist for a later session. Sometimes I’ll think about it, and catch it, like, ‘This is kind of crazy.’

“I’ve always said the proof is in the picking. And, I’m just fortunate I never saw it as an obstacle, and my parents never sat me down and said, ‘This might be hard for you to break into, because you’re a woman.’ That wasn't even a question. It was my dream, and I was going to go for it.”

It’s no small feat. Even today. And, the inspiration she provides can work both ways.

“Yeah, it does,” Fleenor said. “I’ve had so many young women reach out to me saying how I’ve influenced them, and how encour-

“THE SONG WILL TELL YOU WHAT TO PLAY. YOU HAVE TO HEAR THE LYRICS, BECAUSE IT REALLY WILL TELL YOU WHAT TO PLAY.”

aging it is for them. I get emotional thinking about it. Some who’ve told me that they’ve had a hard time breaking into it. They might have been in a band scenario, and were given a hard time.

“A sweet, young girl reached out to me recently, and was a part of a religion that wouldn’t allow her to play a musical instrument. That broke my heart. She ended up leaving her religion, and she played the fiddle. I wanted to teach her, so we did some Zoom video lessons. It breaks my heart for someone not to be supported, but I love being able to do something. It brought her so much joy.”

And, there are those women whom Fleenor has counted as heroes, herself. The great Wanda Vick, a groundbreaking fiddle player in her own right, was one.

“I would watch Wanda Vick on those TNN shows [Music City Tonight and Prime Time Country],” she said. “I was so serious then. She’s such a fantastic player, and she’s always smiling when she plays. You know, when you’re playing classical, you’re usually not aiming up at the camera. I look at videos of myself from those days and I was so serious.

“Honestly, seeing Wanda playing on that show, was a turning point for me. I needed to learn how to bring myself to the people, and to smile when I’m playing. Draw people continued on page 22

JAN – MAR 2021 21

(l-r) Beau Tackett, Blake Shelton, Jenee Fleenor

in. It’s all part of performing. Of course, Wanda is such an amazing musician. Her heart is right there, and she’s such an inspiration for me.”

Count Tammy Rogers, fiddle player and founding member of the SteelDrivers, fiddle player and singer Jennifer Wrinkle, piano player Catherine Marx, steel guitarist Donna Hammitt, and bassist Alison Prestwood as other contemporaries whom Fleenor admires.

“I remember seeing Tammy Rogers and Jennifer Wrinkle with Reba,” she said. “That really stood out to me — these amazing musicians up there with Reba. Of course, I love Tammy to death. And, Donna Hammitt is the only woman steel player I would ever see. She really made an impression with me because she played with Bill Anderson.

“There’s not a ton of us, that’s for sure.

I’ve connected a lot with Alison [Prestwood] in the studio. She’s a fantastic player.”

Fleenor plays some guitar and mandolin, when called upon, to augment the fiddle, and to stay versatile. She picked up the guitar while touring with Martina McBride, and has played mandolin with Terri Clark, among others. She views herself somewhat as a utility infielder, if needed. Life on the road can clarify those needs.

“I started working on the mandolin and guitar about the same time,” she said.

“The Martina gig really made me a better guitar player.”

The pandemic, of course, has upended the touring aspect of Fleenor’s life, as with everyone. She’s been a member of Shelton’s band for seven years, a gig that overlapped 22 THE NASHVILLE MUSICIAN

originally with her touring in McBride’s band, and more recently she had balanced dates primarily between Shelton and Steven Tyler commitments. Her work on The Voice changed, in that she recorded tracks remotely this season.

“I haven’t been on the road this whole year [2020],” Fleenor said. “And, I kind of get antsy. I want to go see places, and I love to go to a city and just walk around. I love that part of the road. I miss it.”

The altered landscape has its advantages, though, allowing her to write more. It is an element that, over the years, has become a prominent part of her identity. She has songs recorded by Shelton, Reba, Dolly and The Grascals, Gretchen Wilson, Montgomery Gentry, Del McCoury, and others.

“I started songwriting at the tail end of the Terri Clark gig,” she said. “I had been inspired, I think, working with Larry Cordle, and hearing all those amazing songs. I remember hearing him play new songs, and I literally would not know what he was singing about. As a musician, I would always listen for the fiddle, or the steel guitar, or the mandolin break, or whatever. It wasn’t computing. I was like ‘What’s wrong with me?’

“But, once I really got it, something clicked. I was, like, ‘Oh my gosh, it’s all about the song.’ Being a session musician, I always say the song will tell you what to play.

You have to hear the lyrics, because it really will tell you what to play.”

Her first cut was “I Am Strong,” recorded

by Dolly and The Grascals, and nominated for the IBMA’s Song of the Year.

“It was a song written for children,” she

Blake Shelton and Jenee Fleenor

“[SINCE THE PANDEMIC] I HAVEN’T BEEN ON THE ROAD. I KIND OF GET ANTSY…I LOVE TO GO TO A CITY AND JUST WALK AROUND.” said. “It was specifically written for a girl with cancer. And all I had cared about was touching her life, and this song was so simple and just so delicate. I don't know — it was a God thing. I mean, it dropped from the sky. But of course, hearing Dolly Parton sing it back to you. Wow.” Also, given the creative force which courses within her, it’s no surprise that Fleenor records her own music. She put out Listen to the Woman in 2011, and last year, began to release her own singles. “Fiddle & Steel,” cowritten with Phil O’Donnell and Buddy Owens, and “Good Ol’ Girls” were two that gained considerable traction on streaming platforms.

“I felt like there was something needed — it wasn’t a choice,” she said. “I needed to produce something.”

It is that sentiment which defines Fleenor.

Music is who she is. She has no choice. TNM

JENEE'S ROAD RIG FOR FIDDLE

PETERSON TUNER VISUAL SOUND VOLUME PEDAL LR BAGGS ALIGN REVERB FISHMAN AURA FISHMAN V-300 PICKUP

PHOTO: KATIE KAUSS JAN – MAR 2021 23

GEORGE

REVIEWS

Self Made Fool WingDing Records

MARINELLI As guitarist with Bonnie Raitt since 1993 and as an original member of Bruce Hornsby & the Range for many years before that, George Marinelli’s place is cemented in the pantheon of important and successful guitarists. Meanwhile, he has recorded at least seven solo albums and his latest, Self Made Fool, is a marvelous culmination of his development as an artist. I’ve enjoyed the opportunity to live with his new release for the last week or so and am delighted to share a few thoughts about it.

First, I want to mention that all proceeds generated by sales of the collection of nine songs will go to Habitat For Humanity. Wonderful decision!

All vocals and instruments on Self Made Fool were performed by Marinelli alone, which makes attribution a cinch but I’d be remiss if I didn’t give kudos to his drumming and bass playing. He’s a world-class guitarist, for gosh sakes! The grooves are solid while still playful and free in every style and every track on the record.

“King Of Your Despair” shows Marinelli’s deft guitar layering and precision — they fit together like a glove. The drums tumble like 24 THE NASHVILLE MUSICIAN

early Charlie Watts, whose bandmate Keith Richards would be right at home playing that rhythm part.

I hear a lot of influences in these songs — Joe Jackson, Hendrix, Steely Dan, reggae, etc. — but Marinelli’s own toolbox is overflowing. He has seamlessly built a distinct musical personality drawing from many disparate sources. “Living Like Kings” is a playful exposé of civilization’s decline, effectively using vocal octaves in the B-section, some backwards guitar and a searing electric solo to drive home the point. A dirty little “Streamline” guitar tone breaks up just right to put some grit on top of a funky rhythm feel. The title track, ballad “Self Made Fool”, takes a melancholy look at a dumb-ass dude’s blindness to just how lucky he had it. The slide solo is reminiscent of another George — I hear Harrison’s dexterity and mournful tone. Clearly, The Beatles play an important role in Marinelli’s artistic sensibility and expression.

Even the way Marinelli brings darkness into the picture is uplifting. “Done With Down” tracks depression all the way to a Phoenix-like redemption. The fingerpicking

here is an aural expression of that relief and rebirth. A cover of a Brian Auger tune, “Happiness Around the Bend,” has Marinelli’s octave vocals again, and the plucky bass and single-note guitar figures bubble along as he tickles toes by randomly staying off the downbeat. I love that!

Some lyric double entendre on “Hard Time For Easy Money” pokes in and out of a reggae groove while Marinelli’s guitar follows suit. The crook in this tale gets his due.

A couple instrumentals round out the record, “Theme From Ben Casey” and Irving Berlin’s “What’ll I Do,” the former letting Marinelli riff over a 5/4 time signature, and the latter has him weaving mandolin and highstring guitars around a beautiful melody to close the album.

You want to hear cool songs with great guitar and vocals, featuring one of our most accomplished American musicians while contributing aid to some needy folks in our country? Go to georgemarinelli.bandcamp. com and check out Self Made Fool. It will surely make you want to explore some of the earlier recordings in his discography as well.

– Vince Santoro

REVIEWS The SteelDrivers’ latest album Bad for You captures a great band at yet another creative peak spurred on by change. Longtime members Tammy Rogers (fiddle/vocals), Richard Bailey (banjo), Mike Fleming (bass/vocals), and Brent Truitt (mandolin) are joined by their newest member, lead vocalist and guitarist Kelvin Damrel. From the downbeat, the distinctively edgy acoustic sound they have become known for is in fine form, and Damrel’s expressive voice fits in perfectly. Throughout the album’s 11 songs, they effortlessly combine a variety of influences from old-time music, blues and rock & roll, and make it all work.

Their instrumental interplay and dynamics are capable of a wide range of emotions, and the original songs, 10 of which were cowritten by Rogers, live up to the considerable skill sets of these excellent players and singers.

The album opens with the swampy title track, and there is no mistake from the insistent groove, soaring vocals, and slowly building energy that the SteelDrivers remain at the top of their game. Truitt’s mandolin and Rogers’ fiddle drive the train to its final destination with Fleming’s bass stoking the engine room. “The Bartender” is a darkly tongue-in-cheek tale of the man who sets ‘em up. The passion of Damrel’s pleading vocal on “12 O’ Clock Blues” is matched by Bailey’s intense banjo fills and stunning solo. “I Choose You,” written

by Rogers and Thomm Jutz, sounds like an instant classic, not to mention a wedding song for decades to come. Damrel’s compelling vocal is right on the money and Rogers’ fiddle solo kicks it up a notch before a vocal breakdown builds to a perfect ending.

"THE STEELDRIVERS ARE ONE OF THE GREAT ACOUSTIC ENSEMBLES OF OUR TIME. "

“Mama Says No”, written by Bailey, is the album's only instrumental, with his banjo is the only instrumental on the album, with Bailey’s banjo, Truitt’s mandolin, and Rogers’ fiddle taking turns leading the way while Damrel contributes some fine acoustic guitar picking as well.

The moody and spooky “Innocent Man,” features guest harmonies from John Paul White, and digs deep into the protagonist’s uncomfortable selfexamination. “Lonely and Being Alone” cowritten

by Rogers and Verlon Thompson, is pure country soul. The album closes with “When a Heart Breaks.” The track rises and falls with Fleming’s spacious bass lines that give everything room to breathe — something he does throughout the entire record. Bailey nails the solo, and the bluesy sway of lead and harmony vocals takes the album to a perfect ending.

The SteelDrivers are one of the great acoustic ensembles of our time. They have quietly amassed a solid following of fans, affectionately known as Steelheads, who eagerly await the band’s return to the road — and I am sure the band does as well. In the meantime, this is some mighty fine listening.

— Roy Montana TNM

The SteelDrivers Bad for You Rounder Records

TNM

JAN – MAR 2021 25

SYMPHONY NOTES

BY KEVIN JABLONSKI

T

here’s no way to sugarcoat it. The year 2020 was not a good one for the Nashville Symphony or its musicians. But with the beginning of a new year, there are hopeful signs of a brighter future.

In December, AFM Local 257 came to an agreement with the Nashville Symphony Association (NSA) to end the furlough of the Musicians of the Nashville Symphony. The musicians began receiving a $500 weekly stipend on January 3, 2021, and since then we have been working with the NSA again in a flexible and creative way to pursue our common mission.

Making music remains our biggest priority and goal, but there are also other ways we are working together with the symphony management during this exceptional time. The musicians are participating in educational initiatives, engaging with the community in virtual events, and developing a comprehensive safety plan in conjunction with symphony staff which will enable us to return to our beloved concert

hall. The agreement provides health insurance benefits for the musicians for the duration of the agreement, which culminates on July 31, 2021. Due to the short-term nature of the deal, negotiations between symphony management and musicians will continue with the goal of reaching a new agreement before the start of the 2021-22 season. There is still a long road of recovery ahead, but we hope this agreement is a first step back to normalcy.

During the 6-month furlough last year, the Musicians of the Nashville Symphony were busy working on their own to organize events to serve the community and simultaneously raise money to support themselves.

In October, we performed in person for a live audience for the first time during the pandemic in a series of outdoor concerts on consecutive Sundays. A socially distanced ensemble of about a dozen string players visited three different sites in our middle Tennessee community. We are grateful to Lebanon First United Methodist Church, First Presbyterian Church of Nashville, and the Town of Ashland City for hosting these performances. Despite uncertain weather conditions on all three dates, many people still came to listen, and everyone had plenty of room to spread out and enjoy the music.

Our concert series with St. George’s Episcopal Church is still going strong, and we are glad to be continuing those monthly concerts. Even with our new agreement with the Symphony, the musicians will still complete the St. George’s series as planned through May. Unfortunately, we had to post-

Musicians of the Nashville Symphony perform at First Presbyterian Church of Nashville Oct. 18, 2020.

pone our November concert due to a positive coronavirus test among our musicians, but we plan to reschedule the program as soon as possible. Check out stgeorgesnashville. org/inexcelsis for upcoming concert dates and other information.

This past fall, the musicians also participated in a monthly volunteer opportunity run by Musicians Mission of Mercy.

Several symphony players joined the effort to help sort, pack, and distribute food to the community, especially targeting the hard-hit musicians of Nashville. NSO bassist Matt Abramo was one of the volunteers who helped load boxes of food into the recipients’ cars, and he related how important and beneficial it was for these people. “They seemed to really be in need, and they definitely appreciated it,” Abramo said. “It was good to be with my colleagues doing this work together.” Abramo mentioned he was able to take a few extra boxes of food home with him to give to some of his neighbors, who are also musicians in need.

Since the beginning of January, our fundraising efforts have changed due to our re-employment with the Nashville Symphony. We are no longer raising money for our financial aid fund, which provided direct financial assistance to the musicians. We received many generous donations to this fund during the furlough, and we want to sincerely thank everyone who gave such meaningful contributions. We also ran a merchandise campaign at the end of the calendar year, where people bought t-shirts, sweaters, mugs, masks, and more with the logo and branding of the Musicians of the Nashville Symphony. All proceeds went directly into our financial aid fund to benefit the musicians. To see how you can best support us now, please visit our website musiciansofthenashvillesymphony.org.

The Musicians of the Nashville Symphony started an e-newsletter in September, and a team of musicians has been curating wonderful articles, news, and even cartoons about our latest activities. The issues go out monthly, and we plan to continue with these efforts, so feel free to subscribe on our website to keep up with the latest.

All in all, we are glad to see 2020 in the rearview mirror. We’re looking forward to a happier, brighter, and more music-filled 2021, and we wish the same for all of you!

TNM

26 THE NASHVILLE MUSICIAN

2020

2020, what a year! And just as a ray of hope arrives with a new year, suddenly we have a car bomb on Second Avenue, a riot in Washington D.C., and record numbers from COVID-19. Among our downtown casualties was BB King's Blues Bar, already closed because of the pandemic. No word on future plans.

With the concert, club, and studio scene still largely shuttered, maybe this would be a good time to pull out some of those old records and enjoy the classic sounds that have kept us musicians inspired for so long. So, after a short review of the current live scene, we'll note some places you can go to hang out and pick up a few hot sides you missed the first time around.

JAZZ & BLUES BEAT

Aliquo. In April you can dig the Percussion Ensemble, the Guitar Ensemble, and maybe some version of their spring Jazz Festival.

From its new location on Buchanan Avenue the Nashville Jazz Workshop is also continuing its six-week sessions of classes live via Zoom. nashvillejazz.org The Blair School of Music at Vanderbilt currently has no jazz or blues in its livestream schedule. At the W. O. Smith Music School all lessons are via Zoom.

BY AUSTIN BEALMEAR

Clubs

At the City Winery downtown, country meets jazz this spring. Asleep at the Wheel presents its classic Western swing in two shows on March 4. Mandolin virtuoso David Grisman leads a trio for two shows April 3. Rudy's Jazz Room in the Gulch is completely shut down. They are asking for donations to support them until they can be-

David Grisman

gan presenting artists again. Carol Ann's Home Cooking Cafe on Murfreesboro Pike is still advertising blues jam sessions Tuesday nights, and they host Tennessee Rhythm and Blues Society events. Bourbon Street Blues and Boogie Bar is still rockin' but they only schedule one month ahead.

Schools

At the Middle Tennessee State University School of Music, all live concerts remain cancelled. Spring concerts and recitals will be livestreamed only. In March go to their website for the Jazz Ensemble I and II, and a saxophone recital that includes Don

Vinyl venues

Like so many other businesses, local record stores are doing what they can to stay open, and this would be a good time to patronize these important components of our music scene. Masking and social distancing required. For my money, the best jazz and blues collections of records, CDs, videos, and books are at The Great Escape, with three locations: West Nashville, Madison, and Murfreesboro. They are open Wednesday-Sunday and they offer separate inventories through an online store and an eBay store. www.thegreatescapeonline.com. Phonoluxe Records Music & Movies on Nolensville Road is keeping its regular schedule of Friday-Sunday; good jazz and blues stock. www.facebook.com/ phonoluxerecords.

Third Man Records on Seventh Avenue has some classic blues on its own label's high-quality vinyl. Open every day, noon - 6 p.m., www.thirdmanrecords.com.

Alison's Record Shop on Davidson Drive is open Thursday-Sunday. This small space

is now limited to three customers at a time, but they have a separate online inventory and an eBay page. They also sell audiophile turntables and other equipment. www.alisonsrecordshop.com.

Over in East Nashville you can really get the music spirit in the church building that is now Grimey's New & Preloved Music.

Open Tuesday-Saturday. Recorded in-store band performances can be viewed on their website, where you can also rent films on music! www.grimeys.com. A few blocks southwest is Vinyl Tap at Porter Road and Greenwood. Open Wednesday-Sunday, it's also a neighborhood bar where you can enjoy local and regional craft beer while looking through the new and used vinyl. www. vinyltapnashville.com. Another few blocks south is The Groove, an old house on Calvin Avenue, also open Wednesday-Sunday.

Masks available if you forget yours, www. thegroovenashville.com.

"Just take those old records off the shelf."

TNM

JAN – MAR 2021 27

FINAL NOTES

Ray Pennington Dec. 22, 1933 – Oct. 7, 2020

S

ongwriter, producer, artist, multiinstrumentalist and Step One Records founder Ray Pennington, 86, died Oct. 7, 2020. The writer of Waylon Jennings’ 1974 hit “I’m A Ramblin’ Man” was a 55-year member of the Nashville Musicians Association who joined the local Oct. 1, 1965.

He was born Ramon Daniel Pennington Dec. 22, 1933 in Clay County, Kentucky. His performing life began with a Western swing band in Ohio, and by 1958 he had debuted the single “Three Hearts in a Tangle" as an artist on King Records. In 1961 that same song, cowritten with Sonny Thompson, became a No. 2 hit for Roy Drusky. Pennington added production to his talents working with the Stanley Brothers, Hawkshaw Hawkins and others.

Pennington moved to Nashvlle in 1964 and began work at Pamper Music. By 1966 he had two top-10 singles for Kenny Price — “Walking on New Grass” and “Happy Tracks.” His success as an artist also continued; he signed with Capitol Records in 1966 and had another top-40 single with “I’m a Ramblin’ Man.” More successful singles followed, and in 1970 Pennington debuted his first album — Ray Pennington Sings for the Other Woman — released on Monument Records. In 1971 he joined RCA Records where he produced records for Willie Nelson, Billy Walker, Norma Jean, and other artists. In 1980 his duo with Jerry McBee — Bluestone — charted with “Haven’t I Loved You Somewhere Before.” His songwriting success continued 28 THE NASHVILLE MUSICIAN

with a No. 1 hit for Ricky Skaggs, 1984’s “Don’t Cheat in Our Hometown.”

Pennington signed Ray Price to his newly formed label Step One Records in 1984, and garnered 12 charting singles in five years.

Clinton Gregory continued the label’s success in the ’90s. Other artists on the roster included Faron Young, Charlie McCoy, Gene Watson, The Kendalls, and Hank Thompson.

Steel guitarist Steve Hinson talked about the affect a track Pennington produced had on him.

‘He will have my eternal gratitude for producing “Whiskey River,” (by Johnny Bush) as good a shuffle as was ever created. I used to skip school and go to Faye’s Lounge in Warner Robins so I could listen to the single on the jukebox — that record lit a fire under me that will never go out,” Hinson said.

Buddy Emmons joined Pennington to

“Ray Pennington was one of the most talented people I’ve ever met. He was gifted in music as a songwriter, singer and producer, but he was also gifted in business and he really knew how to treat people."

— Doyle Dykes form The Swing Shift Band, which released several albums on Step One, including the 1984 debut Swingin’. The group charted with "(Turn Me Loose and) Let me Swing" in 1988. The label shut its doors in 1998, but Pennington continued to produce artists on several indie labels.

Known locally as “Pop,” Pennington was known for far more than his extensive career in music. He was well known for his cheerful attitude, and love of simple pleasures. Family members said he loved being on the farm, and fishing with his grandchildren.

Guitarist Doyle Dykes talked about Pennington’s help early in his own career.

“Ray Pennington was one of the most talented people I’ve ever met. He was gifted in music as a songwriter, singer and producer, but he was also gifted in business and he really knew how to treat people. Ray Pennington gave me a chance in Nashville by putting me on his Step One record label. Once things took off for me and I had an offer to go with BMG, he consented and encouraged me to go if it would better my career. Ray and his assistant Lesley Elliot also opened the door for me on the Grand Ole Opry as a solo artist for which I am so very grateful. I feel I owe Ray a debt that I will never be able to pay. However, I also feel his reward in heaven will be great because of the way he treated other folks in his journey here on earth. Ray Pennington was a wonderful man indeed,” Dykes said.

Pennington was preceded in death by one brother, Ronnie Pennington; and two sisters, Sarah Leathie Miller and Roann Gaston.

Survivors include his wife of 62 years, Charlotte; three children, Lynn, Sharon, and Julie Ray Pennington; one sister, Elsie Boyer; five grandchildren; and 10 great-grandchildren.

No public service is planned. The family respectfully requests donations to the following fire departments: Shackle Island Volunteer Fire Department, Hendersonville Fire Department, Station 1 Fire Department, White House Fire Department, Cottontown Volunteer Fire Department, and Millersville Fire Department. If monetary donations aren’t acceptable, the family asks that a meal be donated to the firefighters.

FINAL NOTES

Leonard Hugh Morton, Sr. Sept. 10, 1927 - July 12, 2020 Arranger, jazz keyboardist, and educator Leonard Hugh Morton, Sr., a 60-year life member of the Nashville Musicians Association, died July 12, 2020 at the age of 92. He joined Local 257 June 30, 1960.

He was born Sept. 10, 1927 in Chicago, Illinois to Benjamin and Geneva Morton. He attended the Chicago Conservatory of Music, and served in the 118th Army Ground Forces Band. After military service he attended Tennessee State University, where he was a member of the jazz band, and graduated with a Bachelor of Science degree, followed by a Master of Science degree — both in Music Education.

While in college, Morton began to perform with his trio at area venues, including a threeyear stint at the iconic New Era Club on Charlotte Avenue, as well as gigs at a variety of historic Jefferson Street venues, including Club Del Morocco, Prices Dinner Club, Brute Hayes, Brown’s Hotel, Club Baron and Vanilla Wafer. In 1966, as other areas began to more frequently welcome Black musicians, Morton’s trio began a nine-year run at Nero’s Cactus Canyon in South Nashville.

He began his career as an educator at Wilson County High School in Lebanon, Tennessee, and then served as director of bands at Cameron High School in Nashville from 1961-69.

When he left Wilson County High School in 1957, the City of Lebanon declared a Leonard Morton Day as a thank you to the teacher and to celebrate his passion for music instruction.

Morton went on to serve as the supervisor of music for elementary schools in Nashville, and in 1978 he became the first Black director of music education for Metropolitan Nashville Public School District.

Woodwind player and music educator Johnny Duke commented on Morton’s passing.

“When we lost Leonard Morton, we lost a great musician and a great person. I knew Leonard both as a fellow band director and as a fellow performing member of Local 257. He was director of the Cameron High School band when I directed the band at Cohn High School. I was fortunate to be able to hire Leonard to play piano on many small band jobs that I booked during the ‘50s and ‘60s. He was a pure joy to work with, always with a positive attitude, impeccably dressed, and on time. He played great chords and solos on any tune you could name — all with a great smile and sense of humor. My condolences to his family. I hope to unite with Leonard one day in that great band above,” said Duke.

Morton was a life member of the Alpha Theta Chapter of Kappa Alpha Psi Fraternity, Inc., which he joined as a college student in 1949. He became chairman of the group’s national music committee in 1979, forming and directing choirs. He also scored songs for the international music project of the organization, and served as vice polemarch and polemarch of the Nashville alumni chapter. Morton received the Elder Watson Diggs award from his fraternity in 2001. He was also recognized by the Alpha Delta Omega Chapter of Alpha Kappa Alpha Sorority, which established the Leonard Morton Scholarship in gratitude for Morton’s fundraising assistance. He was also honored by the Pearl Cameron Community Choir. He was an active member of Clark United Methodist Church in Nashville.

Morton was preceded in death by his parents; and one sister, Ardell Cruiksank. Survivors include his wife, Willa Morton; one son, Leonard H. Morton, Jr.; one daughter, Shauneille Elaine Morton; two grandchildren; two great-grandchildren; several nieces and nephews; a large loving family; and a host of friends.

Funeral services were private due to COVID-19 restrictions, and were held July 17 at Greenwood North Cemetery.

Jerry Troy (J.T.) Corenflos Nov. 6, 1963 - Oct. 24, 2020 Guitarist Jerry Troy (J.T.) Corenflos, 56, died Oct. 24, 2020. Universally respected for his inventive playing, and beloved for his soft-spoken, gentle nature, Corenflos was a lifelong musician who played on 75 No. 1 records, in addition to touring work. He joined the Nashville Musicians Association March 5, 1982.

Corenflos was born Nov. 6, 1963 in Terre Haute, Indiana to Jerry and Alice Corenflos.

He was exposed to music from the start — his father was a musician, and his mother worked for a time at a Columbia Records plant. When Corenflos was 10 his father took him to the local music conservatory for lessons, but the guitar teacher there said there was nothing he could teach him. As a preteen he was already playing out at local venues with his father, and by 1977 he had started a band with friends.

The auspicious beginning of his professional career came in 1982 when he moved to Nashville to play guitar with Jean Shepard, and performed on the Grand Ole Opry his first night. He finished high school later that year, and continued to work with Shepard.

Following that first gig, he toured with Joe Stampley for seven years, and played in a band with David Lee Murphy called The Fantastic Blue Tick Hounds. continued on page 30 JAN – MAR 2021 29

FINAL NOTES

J.T. Corenflos continued from page 29

At the beginning of the ‘90s Corenflos made the decision to come off of the road, and pursue full time session work. He applied the same methods to break into session work he had used when he honed his preteen chops by playing every live performance he could. “It was like starting over again, playing every Jam night, Writer night, showcase club, casual gig, beer joint and dive bar I could find, not to mention trying to get studio work too. During this period of taking whatever studio work I could get my hands on, I met a lot of other really great players, aspiring songwriters, artists and producers. In fact, I still work with a lot of those same people today,” Corenflos said.

Guitarist Derek Wells talked about recording with Corenflos.

“If you ever worked with J.T., even just once, you knew how special his gift was. As a player, his ‘voice’ on the instrument was unique and inspired. As a peer, he was one of the most consistent and reliable personalties in any room on any day. He showed up every session and delivered above and beyond, while being the nicest guy there — and he made it all look easy,” Wells said.

In 1992 Corenflos made an album with a band called Palomino Road for Capitol Records, but the bulk of his time was spent on session work, and his efforts paid off as the master scale calls began to multiply. Just a few of the countless artists Corenflos worked with include Alan Jackson, Tim McGraw, Luke Bryan, Toby Keith, Martina McBride, Rascal Flatts, George Jones, Carrie Underwood, and George Strait to the Doobie 30 THE NASHVILLE MUSICIAN

Brothers, Bob Seger, and Sheryl Crow.

Fellow guitarist Kenny Vaughan talked about meeting Corenflos.

“I first heard J.T. on a recording over at the old Moondog Studios in West Nashville nearly 30 years ago, and was blown away by his brilliant guitar playing. When I met

“If you ever worked with J.T., even just once, you knew how special his gift was. As a player, his ‘voice’ on the instrument was unique and inspired.

As a peer, he was one of the most consistent and reliable personalties in any room on any day. He showed up every session and delivered above and beyond, while being the nicest guy there — and he made it all look easy,” — Derek Wells him in passing a few weeks later at a studio over in Berry Hill, I was surprised to see that he was just a kid, at least a decade younger

than myself, as he played like an old seasoned pro. Such a sweet and thoughtful young fellow.

J.T.’s perseverance through several daunting diseases and accidents in the last decade has been impressive, as well as inspirational. I’m so sad that he’s gone, and my heart goes out to his son Jacob. In my mind, J.T. is still the kid that I first met 30 years ago,” Vaughan said.

Corenflos was known for playing a blue Telecaster guitar with a 1984 contoured alder Joe Glaser body and the V-shaped neck from a late 1956 Fender Esquire. He released a solo album in 2015 titled Somewhere Under the Radar, composed of 12 instrumental songs showcasing his electric guitar playing.

Corenflos received 13 nominations for ACM Guitarist of the Year, an award he won in 2012. He was consistently honored with Music Row’s Top 5 Guitarist awards, and was inducted into the Wabash Valley Musicians Hall of Fame in March of 2020.

He performed at the annual Terre Haute Symphony Orchestra Christmas concert in December of 2019, just as he’d done in 2017.

A capacity audience filled Tilson Auditorium on the Indiana State University campus both times, country music fans alongside veteran symphony patrons.

Keyboardist Jim “Moose” Brown talked about the passing of his friend.

“J.T. Corenflos was a quiet and gentle man, and my great friend since the mid-1980s. His wit was quick and dry. He loved to laugh and he cherished life, even in the midst of unimaginable turmoil and pain. He was a great guitar soloist, but he was quite possibly the best rhythm session player to come through Nashville in the last 40 years. I don’t say that lightly, this town has seen the best in the world. Outside of Reggie Young I can’t think of another player who had J.T.’s pocket and tone, it was always honest, pure and fitting of the song, whether it be rock, country, retro, etc., and he always understood his musical role. He had a Midwestern work ethic — the first to arrive and the last to leave. He had the kind of fire that only comes with a burning desire to fulfill your purpose in life. R.I.P. old friend, I’m proud I got to be a small part of your journey,” Brown said.

Survivors include his son, Jacob; one sister, Cathy Hunt; one brother, Steve; his longtime girlfriend Annabeth Robinson; and extended family members. Due to COVID-19 limitations, two Celebration of Life Services were held Oct. 30 in Woodlawn-Roesch-Patton's Dignity Hall.

Billy Gibbons and Michael Douchette

Michael William Douchette May 7, 1955 – Dec. 4, 2020 Multi-instrumentalist Michael William Douchette, 65, died Dec. 4, 2020. Over the course of his career, he performed with many artists — including seven years on the road with Tammy Wynette — and worked 40-plus years as a sought-after studio musician. Douchette joined Local 257 April 30, 1974.

He was born May 7, 1955 in Portsmouth, Virginia, to the late William "Sheriff Tex" and Betty Douchette. His father cowrote “BeBop-A-Lula” with Gene Vincent, and later became a promoter with Monument Records in Nashville. Michael’s first instrument was the harmonica, but he soon added pedal steel, dobro, guitar, and piano. At 19 his professional career began with a harmonica overdub for Ronnie Prophet. In addition to touring with Wynette, Douchette performed with George Jones, Charlie McCoy, and Ronnie McDowell.

He also worked with Alabama, Clint Black, Earl Thomas Conley, Vern Gosdin, Faith Hill, Loretta Lynn, Ray Price, Bonnie Raitt, Linda Ronstadt, Randy Travis and many other artists. He also served as an A&R director for Homeland Entertainment’s Monteagle label.

Douchette was in the house band for the 2014 Musicians Hall of Fame induction, an experience he called one of his greatest as a

performer. During the event he backed up Peter Frampton, Buddy Guy, Will Lee, and Billy Gibbons — who gave him several solos.

Producer Ron Oates commented on Douchette’s passing.

“My heart has been saddened since hearing that Mike has passed. [He was] a wonderful, positive influence on everyone plus a stellar musician. I was blessed to be able to hire Mike on uncountable recording projects over the years. The first ones to come to mind are country legend, Vern Gosdin, and R&B legend, Maurice Williams.

Yes, R&B. Mike’s talents weren’t locked into any particular genre. Mike will certainly be missed by many whose lives were touched along the way,” Oates said.

Family members noted Douchette’s love and devotion to his family and his church, his strong faith, and his kindness and sincerity.

He was a regular Sunday performer at the Cornerstone Church in Madison, Tennessee.

Guitarist Tom Wild talked about working with Douchette.

"Mike was a dependable, accomplished multi-instrumentalist. His quick wit, ready smile and talent were always a plus — in the studio or live. He was a friend and, as they said back in the day, a 'good hand', Wild said.

Survivors include his wife of 25 years, Lisa Douchette; three daughters, Erica Miller, Leah Taylor, and Samantha Dukes; four sons, Daniel Douchette, Adam Franklin, Benjamin Douchette, and Michael Douchette; 14 grandchildren; one sister, Elizabeth Glynn; and several nieces, nephews, and cousins.

A celebration of life was held Dec. 9 at Cornerstone Church, with burial following at Hendersonville Memory Gardens. Memorials may be made to a Go Fund Me set up by the family.

Michael Douchette

FINAL NOTES

Cleo “Buddy” Jones Nov. 10, 1933 – Nov. 11, 2020 Cleo “Buddy” Jones, 87, died Nov. 11, 2020.

He played bass and rhythm guitar, and toured with Rex Allen, Sr. Jones joined Local 150 in 1970 in Springfield, Missouri, which became a part of Local 257 in 1999. He was a life member of the American Federation of Musicians.

He was born Nov. 10, 1933 to Ralph and Anna Carsten Jones, the youngest of eight children. He grew up on the family farm in Nixa, Missouri, and graduated from Clever High School in 1951. On Nov. 10, 1978, he married Clara Wolfinbarger. The couple shared a love of country music, travel, and St. Louis Cardinals baseball. Jones worked as a lab technician for Mid-America Dairymen for years as well as performing.

In addition to his long AFM membership, Jones was a Shriner, and belonged to the Abou Ben Adhem Temple in Springfield, Missouri. Friends and family remembered his kind heart, deep love of family, and joy of living life.

His years on the road as part of Allen’s Men of the West band are documented at the Rex Allen Museum in Wilcox, Arizona.

Jones is preceded in death by his parents; his brothers and sisters; and his wife, Clara.

Survivors include one daughter, Sheri Duncan; one son, Perry Wolfinbarger; four grandchildren; eleven great-grandchildren; five greatgreat-grandchildren; and numerous nieces, nephews, and close friends.

Graveside services were held Nov. 21 at Delaware Cemetery in Nixa, Missouri, with Jamie Bilyeu officiating. Memorial donations in the memory of Buddy and Clara Jones can be made to Riverdale Baptist Church, P.O. Box continued on page 32 1571, Nixa, MO 65714 JAN – MAR 2021 31

FINAL NOTES

continued from page 31

Gibson graduated from FreedHardeman University, and received a law degree from the University of Texas. He was a lawyer by profession, but also became a preacher, and pursued that calling his entire adult life as well.

Steve Douglas Gibson Nov. 17, 1959 – Nov. 12, 2020 Steve Douglas Gibson, 60, died Nov. 12, 2020. He was a guitarist and songwriter who joined Local 257 Oct. 27, 1977.

He was born Nov. 17, 1959 to the late Curt and Mary Gibson. His father played on the Grand Ole Opry, and passed interest in music to his son. Gibson graduated from Freed-Hardeman University, and received a law degree from the University of Texas. He was a lawyer by profession, but also became a preacher, and pursued that calling his entire adult life as well. Gibson was known by friends and family as a lifelong student who enjoyed reading and research. He was a sports fan, and was

a highly skilled chess player — he was the Tennessee Junior Chess Champion in 1974 as well as being nationally ranked. Gibson was also a big fan of the Andy Griffith Show, and a member of the rerun watcher’s club.

Family said he would often find parallels in daily life to a particular episode of the show.

Survivors include three sons, Curtis Gibson, James Gibson, and Matthew Gibson; as well as a host of extended family and friends. A celebration of life service was held Nov. 20 at the Green Hill Church of Christ in Mt. Juliet, with burial following at Spring Hill Cemetery.

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

Stan Beaver

03/30/1949

08/02/1967

01/02/2021

Jerry Troy Corenflos

11/06/1963

03/05/1982

10/24/2020

Michael W Douchette

05/07/1955

04/30/1974

12/04/2020

Y

Tony Farr

10/13/1937

10/13/1970

01/07/2021

Y

Steve D Gibson

11/17/1959

10/27/1977

11/12/2020

Alan R Javorcky

01/07/1939

06/11/1984

12/31/2020

Y

Cleo H Jones

11/10/1933

04/03/1999

11/11/2020

Y

Hubert Brad Lewis

12/07/1932

09/24/1964

12/29/2020

Y

Jeffrey Bryan Lisenby

05/24/1955

02/06/1987

01/07/2021

Douglas D Moffet

08/15/1960

07/21/1983

01/27/2021

Donald Lewis Teague

06/25/1935

07/19/1974

12/30/2020

32 THE NASHVILLE MUSICIAN

Life Member Y

Y

MEMBER STATUS

NEW MEMBERS Rebecca Michele Abrahams Thomas Rhett Akins, Jr Kurt Michael Allison John J Arrucci Brandon Bostic Bruce A Christensen Charles J. English Ashby Frank Eric Lee Freely Michael Gluszak Paul D Hollowell David Elliott Pinkston Carolyn E Simmons Janet M Stegall Jon Scott Wright

REINSTATED Timothy Joseph Allen Richard M Brannan, Jr Alexander Cole Diamond Gary M Dooms Michael M Durham Darin Lee Favorite Jesse Vernon Frasure Colleen I Phelps Robert S Sherrill Ted Tretiak Kevin Brent Williams

LOCAL 257 MEMBERS: Please check to see that your

FUNERAL FUND BENEFICIARY is listed correctly, and up to date.

We can't stress the importance of this enough.

YOUR LOVED ONES ARE COUNTING ON YOU.

TNM

HOLIDAYS LOCAL 257 WILL BE CLOSED MONDAY, FEB. 15 PRESIDENTS’ DAY.

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

Take a moment and ask the front desk to verify your funeral benefit beneficiary information.

Please also check to see that we have your correct email address.

JAN – MAR 2021 33

DO NOT WORK FOR

DO NOT WORK FOR The “Do Not Work For” list exists to warn our members, other musicians and the general public about employers who, according to our records, owe players money and/or pension, have failed to sign the appropriate AFM signatory documents required to make the appropriate pension contribution, or are soliciting union members to do non-union work. When you work without the protection of an AFM contract, you are being denied all of your intellectual property rights, as well as pension and health care contributions.

TOP OFFENDERS LIST RFD-TV – We have filed a Federal lawsuit against RFD-TV for non-payment of rerun payments to musicians for the Marty Stuart Show, Ray Stevens’ Caba-Ray, and The Statler Brothers Show for the years 2019 and 2020. We have every expectation that we will win this legal challenge and obtain payments with late fees added.

Nashville Music Scoring/Alan Umstead - solicitation and contracting non-union scoring sessions for TV, film and video games. Musicians who work for them are being denied appropriate wages and all intellectual property rights.

Electronic Arts/Steve Schnur - commissioning and promoting non-union videogame sessions and exploiting musicians' intellectual property for his own gain.

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

• • • • • • • • • •

Terry K. Johnson/ 1720 Entertainment (unpaid contracts/unauthorized sales – Jamie O’Neal project) Ed Sampson (producer) & Patrick Sampson (artist) (multiple unpaid contracts/ unauthorized sales) Revelator/Gregg Brown (multiple bounced checks/unpaid contracts) Beautiful Monkey/JAB Country/Josh Gracin Eric Legg & Tracey Legg (multiple unpaid contracts) Ray Vega/Casa Vega Quarterback/G Force/Doug Anderson Rust Records/Ken Cooper (unpaid contracts and pension) HonkyTone Records – Debbie Randle (multiple unpaid contracts/pension) Jeanette Porrazzo

UNPAID CONTRACTS AND PENSION Knight Brothers/Harold, Dean, Danny & Curtis Knight River County Band/SVC Entertainment (unpaid demo conversion/pension) UNPAID PENSION ONLY Comsource Media/Tommy Holland Conchita Leeflang/Chris Sevier Ricky D. Cook FJH Enterprises Matthew Flinchum dba Resilient Jeffrey Green/Cahernzcole House Randy Hatchett Missionary Music Jason Morales (pension/demo signature) OTB Publishing (pension/demo signature) Tebey Ottoh Ride N High Records Jason Sturgeon Music AFM NON-SIGNATORY PHONO LIST We do not have signatory paperwork from the following employers — pension may have been paid in some cases, but cannot be credited to the proper musicians without a signatory agreement in place. If you can provide us with current contact info for these people, we will make sure you get your proper pension contribution for your work.

604 Records Heaven Productions Stonebridge Station Entertainment The Collective TNM

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The next Local 257 General Membership Meeting will be held virtually Thursday, Feb. 25, 2021,

by Zoom teleconference at 5:30 p.m.

34 THE NASHVILLE MUSICIAN

HOLIDAYS LOCAL 257 WILL BE CLOSED MONDAY, FEB. 15 PRESIDENTS’ DAY.

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