The Nashville Musician — January-March 2023

4 ANNOUNCEMENTS Details on the upcoming member meeting March 2 on Zoom, minutes and more.

6 STATE OF THE LOCAL Dave Pomeroy talks about current Local 257 business and the importance of solidarity.

7 BETWEEN THE NOTES Secretary-Treasurer Will Barrow discusses the diversity of Nashville and Local 257.

8 NEWS Details on the induction of Ray Stevens, Vince Gill, and Marty Stuart and the Fabulous Superlatives to the Musicians Hall of Fame.

10 HEARD ON THE GRAPEVINE

The comings and goings of Local 257 members.

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

16 COVER STORY: STEVE WARINER Being one of the only five CGPs (Certified Guitar Player) Chet Atkins ever designated would be a career topper for any guitarist. But Steve Wariner has never stopped exploring art in all its facets, as he tells our writer Warren Denney in this fascinating story of a modern day Renaissance Man.

22 REVIEWS Will the Circle be Unbroken shattered stereotypes and heralded a new musical era that blurred the lines between genres. On the auspicious 50th anniversary of the album’s release, a group of incredible musicians joined Nitty Gritty Dirt Band members to celebrate the almost unheard-of impact of that record. In another beloved live event, Nashville Unlimited Christmas presented its yearly fundraiser concert for Room In the Inn. It’s the 23rd year for the holiday tradition, which benefits the longtime homeless shelter. Read the details here.

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SYMPHONY NOTES Melinda Whitley discusses the importance of solidarity, and the vital and fundamental understanding that the whole is greater than the sum of its parts.

27 JAZZ & BLUES Austin Bealmear offers an update on local jazz and blues as live music at schools, clubs, and festivals begins to re-emerge.

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FINAL NOTES We bid farewell to Jerry Allison, Ray Edenton, Ron Keller, Jerry Arnold, Terry Choate, George Puckett, Levi Clayton Head, Charles “Buster” Kendrick, Walter Riley King, and Herschel Sizemore.

STEVE WARINER

Official Journal of the Nashville Musicians Association, AFM Local 257 | JAN — MAR 2023

MUSICIANS HALL OF FAME INDUCTION

WILL THE CIRCLE BE UNBROKEN 50TH ANNIVERSARY

Cover Photo: Jim McGuire

OFFICIAL QUARTERLY

AFM LOCAL 257

PUBLISHER EDITOR

MANAGING EDITOR

ASSISTANT EDITOR

CONTRIBUTING WRITERS

Dave Pomeroy

Will Barrow

Kathy Osborne

Leslie Barr

Austin Bealmear

Warren Denney

Melinda Whitley

Roy Montana

Kathy Osborne

Dave Pomeroy

The next Local 257 General Membership Meeting will be held Thursday, March 2, 2023, by Zoom teleconference at 5:30 p.m. Bylaw amendments to codify electronic meetings and hybrid meetings as a permanent option for general membership, executive board, hearing board, and committee meetings will be presented. See below for Amendment details. Following the regular meeting, a nominating meeting will be held to name an interim secretary-treasurer to fill the remaining months of Vince Santoro’s term until the next scheduled Local 257 regular election in December. This action is necessary in order for the Local 257 delegation to be complete at the upcoming AFM Convention in June. If you need further instructions on how to join the virtual meeting with Zoom by computer, cell, or landline phone, please call the local at 615-244-9514.

Proposed electronic and hybrid meeting amendments to the Local 257 Bylaws:

CONTRIBUTING PHOTOGRAPHERS

ART DIRECTION

WEB ADMINISTRATOR AD SALES

LOCAL 257 OFFICERS PRESIDENT

SECRETARY-TREASURER

EXECUTIVE BOARD

Leslie Barr

Mickey Dobo

Donn Jones

Dave Pomeroy

Lisa Dunn Design

Kathy Osborne

Leslie Barr

615-244-9514

Dave Pomeroy

Will Barrow

Jerry Kimbrough

Alison Prestwood

Biff Watson

Laura Ross

Steven Sheehan

Tom Wild

Jonathan Yudkin

1. Placement: Article 1, as new Section 25C for Executive Board

(Insert new language) 25 C. By unanimous consent of all participants prior to the beginning of a meeting, the Executive Board may conduct its meetings via remote electronic technology or as a hybrid format, provided that the conduct of such meeting conforms to the policy of the AFM International Executive Board governing local union electronic meetings. Unanimous consent for electronic board meetings may be obtained from the board members via email or other means.

2. Placement: Article 1 Section 30 (Hearing Board)

EXECUTIVE BOARD ALTERNATES

HEARING BOARD

Rich Eckhardt

Casey Brefka

Michele Voan Capps

Tiger Fitzhugh

Teresa Hargrove

Kent Goodson

Sarah Martin Mc-

Connell

Dave Moody

Paul Ossola

(Insert new language) Add to end of Article I, Section 30. By unanimous consent of all participants prior to the beginning of a meeting, the Hearing Board may conduct its meetings via remote electronic technology or as a hybrid format, provided that the conduct of such meeting conforms to the policy of the AFM International Executive Board governing local union electronic meetings. Unanimous consent for electronic board meetings may be obtained from the board members via email or other means.

3. Placement: Article VII, Section 1 (Membership Meetings)

(Rename Section 1 Section 1A, add new sections 1B and 1C to Section 1) Membership meetings may be held in person at one location, or via remote technology, or as a hybrid format, at the discretion of the Executive Board or President.

TRUSTEES

SERGEANT AT ARMS

NASHVILLE SYMPHONY STEWARD

OFFICE MANAGER

ELECTRONIC MEDIA SERVICES DIRECTOR

RECORDING/ELECTRONIC MEDIA

Bruce Radek

Biff Watson

Steve Tveit

Melinda Whitley

Savannah Ritchie

Heather Smalley

Paige Conners

Sarah Swensen

Cassandra Tormes

Billy Lynn

( Add new section to section 1) 1B. Meetings conducted via electronic technology must conform to the policy of the AFM International Executive Board governing local union electronic meetings. Every member shall be so advised in the meeting notice, and reasonable provisions shall be made to accommodate those members who may have difficulty with the technology utilized (e.g. alternative means of access or participation, accommodations such as clear instructions, resource-sharing with other members, community access points).

( Add new section to section 1) 1C. The Board shall create special Standing Rules, subject to adoption by the membership, to govern how the remote meetings will be run. This includes how to be recognized, how to make motions, how to moderate discussion, and how voting, whether by voice, show of hands, or secret ballot — live or electronically — will be conducted. These Standing Rules shall have the same force as these bylaws, and shall be in effect at each remote electronic meeting unless amended later by the membership.

DIRECTOR, LIVE/TOURING DEPT. & PENSION ADMINISTRATOR AND MPTF COORDINATOR

MEMBERSHIP

Leslie Barr

William Sansbury

@

JOURNAL OF THE NASHVILLE MUSICIANS ASSOCIATION

4. Placement: Article VIII, new Section 5 (Standing Rules for Electronic Meetings) The President, or his/her designee shall preside at all electronic meetings of the Association and Executive Board and maintain order therein; put all motions to a vote when seconded; be ex-officio member of all committees or boards, and shall only have a vote in the case of a tie. During electronic meetings the President shall act as moderator and mute all attendees to maintain order. Attendees may be recognized to make a motion, second a motion, or speak on a matter by raising a hand. After attendee is recognized, they will be unmuted, identify themself by full name, and

1. if making a motion, state the motion in full.

2. if seconding a motion shall identify themselves by name and specify the motion being seconded.

3. If speaking on a matter, make their statement. Following the statement, the speaker shall yield the floor to the chair.

4. Voting shall also be conducted by a show of hands or by voice. Secret ballots shall be submitted anonymously via a third-party platform with a link attendees may click to vote. All actions during electronic meetings will be recorded by the Secretary-Treasurer. All electronic meetings may be recorded by the Local for archival purposes.

Rename and move existing Article VIII, Article 5 to Article VIII, Article 6.

5. Placement: Add to Article XV Section 5 (Election Committee) (Insert new language after “a Chairperson and Secretary ”) By prior authorization of the Executive Board, the election committee may conduct its meetings via remote electronic technology or as a hybrid format, provided that the conduct of such meetings conforms to the policy of the AFM International Executive Board governing local union electronic meetings. Unanimous consent for electronic or hybrid committee meetings may be obtained from the committee members via email or other means.

Presented to the Board by President Dave Pomeroy Feb. 13, 2023

Board Recommendation: Favorable

HOLIDAYS

PRESIDENTS’ DAY Monday, Feb. 20

GOOD FRIDAY April 7

MEMORIAL DAY Monday, May 29

JUNETEENTH Monday, June 19

Nashville Musicians Association AFM Local 257, AFL-CIO Minutes of the Executive Board Zoom Meeting Dec. 2, 2022

Present: Will Barrow (WB), Dave Pomeroy (DP), Tom Wild (TW), Jonathan Yudkin (JY), Alison Prestwood (AP), Jerry Kimbrough (JK), Biff Watson (BW), Laura Ross (LR), Steve Sheehan (SR), Casey Brefka (CB)

Absent: Rich Eckhart

President Pomeroy called the meeting to order at 8:32 a.m.

Minutes: Minutes from Sept. 19, 2022 were not read.

President’s Report:

1. We are working towards getting as many national AFM touring acts as possible to be signatory under a national Live Engagement agreement, as per the 2019 Convention Resolution from Local 257. This would create work dues revenue for Locals around the country, and being administered by the AFM would make it much more efficient. Perhaps partially due to the pandemic, this concept has not been acted on thus far by the AFM.

2. We are considering making our quarterly magazine digital only in the first and third quarters, and available in print in the second and fourth quarters.

3. Details of a Downtown Connect meeting were discussed.

4. We recently received payments from Ryman hospitality, and RFD is sending money owed through our court settlement also.

5. We are considering raising live scales in the second quarter of 2023.

6. We will communicate to the federation and to the 2023 AFM Convention our belief that there should be no work dues on demos, which are not negotiated or administered by the Federation.

Secretary-Treasurer Report:

We are adding to our Wednesday offerings at the rehearsal hall two nights a month of classes in songwriting. These will be taught by accomplished songwriter and educator Steve Leslie, and will be free, open to the public, and the first and third Wednesdays of the month from 7-9 p.m.

Discussion:

Biff Watson discussed his involvement with the RMA, and its importance as a legitimate voice within the AFM about SRLA agreements.

Laura Ross — We need to address the fact that beginning in January, there is nothing in the bylaws about holding board meeting via Zoom.

Casey Brefka inquired about the possibility of a monthly payment plan for dues. DP articulated the problems and pitfalls of doing a monthly plan.

The meeting was adjourned at 9:18 a.m.

BY DAVE POMEROY

Change is inevitable. The evolution of the music business is tied to technology, as are the changing ways that music is created and consumed. To state the obvious, just as some things have gotten simpler, some things are more complicated. Big media companies have become distributors more than creators, and independent artists can achieve big successes without needing a label to run, or ruin, their careers for them. It can be a wild goose chase at times, trying to figure out who really is the responsible party for paying musicians for a session or a New Use. We have been concentrating on closing as many loopholes in the process as we can, and we are making significant progress. As the “rules” of the music business, both formal and informal, have shifted over time, it can be easy to lose track of the initial reason we became musicians – to create, enjoy and share the experience of music.

As Local 257 celebrates its 120th anniversary as the only organization looking out for Nashville’s professional musicians, our mission is clearer than ever before. Respect for musicians and creators is at the heart of what we stand for, and by working together for the greater good, we have been able to accomplish far more than any one of us could do alone. Our numbers for 2022 show that we are back and slightly ahead of our pre-pandemic numbers. Nashville became Music City because of the organic ecosystem of mutual respect between employers and creators. We owe it to ourselves and each other to keep this tradition of cooperation and honesty going. This is the Nashville Way, and it is our strength.

Outreach, negotiations, and legislation

We are active in our music community near and far in many ways. Our engagement with organizations like Leadership Music and the Nashville Chamber of Commerce, our

advocacy with various branches of Metro Nashville government, our Tennessee state legislators, and AFM support of national legislation in D.C. all make an impact. We are lobbying in support of the American Music Fairness Act, which has just been re-introduced in Congress. This important legislation would finally give artists, backup musicians and singers the AM/FM terrestrial radio performance rights they have all over the world except for few countries — Iran, North Korea, China, and, believe it or not, the U.S. We need to get off that short list and correct this more than 70-year injustice. This will free up hundreds of millions of dollars in foreign royalties currently being withheld from American musicians.

We recently completed (SRLA) Sound Recording Labor Agreement negotiations in New York City with the record labels. The pandemic lengthened the process, and the contract had been in a mutually agreed upon extension. Because of the delays and the drastic changes in process and economics of the music industry brought on by the pandemic, we were able to negotiate a six percent raise in the first year of the threeyear contract followed by two three percent raises in the second and third year. We also gained H&W increases in years two and three. The new contract will go into effect the Monday after ratification by those who made at least $3400 total under the SRLA from April 1, 2020 to March 31, 2022. We also codified an increase in rates for streaming performances, and made the point consistently that we need the cooperation of the labels and payroll services to make sure that musicians are paid properly AND promptly.

What is the Music Performance Trust Fund?

The Music Performance Trust Fund provides invaluable financial support for musicians to perform free events in schools, nursing homes and community centers. We help to find co-funding sponsors and venues, and were able to create $160,000 of work for musicians in the past two years despite the challenges of the pandemic. These performances connect us to our community, and provides invaluable artistic inspiration and encouragement to the musicians of the future in our schools. It also provides work for musicians who may not be as active as they once were. The MPTF program has been in place for decades, and has always been

funded by the record labels. As physical sales declined, so did the funding for MPTF and the Special Payments Fund. In our previous SRLA Agreement, we negotiated a tiny percentage of worldwide record label streaming revenue which is not tied to any specific intellectual property to help rebuild these important funds. This revenue also helps bolster the AFM Pension Fund, which we should all feel good about.

Help your union grow

We are seeing a steady influx of new members, getting a lot of work on the card coming in, and increasing our efforts to collect outstanding payments. However, there are still those musicians who haven’t gotten the memo that we are the only organization here to help them get paid in increasingly challenging times. These nonmember musicians don’t realize that the scale wages, benefits, and more, all come from of the negotiating power of the AFM. This year, we are going to be working hard on recruitment, and will be asking for your help to reach out to those who are working under our contracts but haven’t gotten around to joining us yet. Tell your nonmember peers that the stronger Local 257 is —the more of us who “get it” — and the more we work together, rather than just looking out for ourselves, the more power we have to change the direction of the future in a positive way. There is no other place like Nashville on earth, but let’s not forget how we got here — by looking out for each other.

Finally, I would like to take a moment to acknowledge Ron Keller’s decades of service to Local 257. R.I.P. Ron, and thanks for everything you gave to all of us.

Dave Pomeroy, Ron Keller

We celebrate and embrace diversity

One of the great things about the “New Nashville” is that the city, it’s stellar pool of musicians and the music they make are becoming more diverse every day. Great players, writers, singers, artists — in many mediums — and other human beings, are moving here from all over the country and world. They bring fresh perspectives, grooves, languages and experiences that add to the already colorful mosaic that is Music City. Here at Local 257, we are excited about this change, and are striving to diversify as the city does, and to welcome new members from all over. And we are creating ways to present the music and vibe that these folks embody.

In the fall we started a monthly World Music Workshop in our Local 257 rehearsal hall, and it’s been very cool and well attended. We’ve presented music from Brazil, Nigeria, Latin America and India so far. All

for most of us, it is — but as something we are passionate about, that gives our lives meaning and purpose, and brings an invaluable service to the community and world.

BY WILL BARROW

the presenters have been members, though they don’t have to be, and the events are open to the public. In the coming months, we’ll feature music from Ireland, China, and other places. The workshops will be on the second Wednesday of each month for the foreseeable future, from 6 to 8 p.m., and I hope you can come to one soon.

At one recent workshop, Nigerian Sunny Dada played with his band, AfrokokoRoots, bringing the Afro beat vibe and spirit of Fela Kuti. He also told harrowing stories of imprisonment, violence and traveling the globe playing his music. He believes that music creates and perpetuates healing, peace and unity. And surely, music is what brings all of us together, not just as a vocation — though

Members can partake of the rich musical cultures taking root in Nashville by going out to hear live gigs in the area at places like Plaza Mariachi on Nolensville Road. Plaza presents live music from all over Latin America almost daily, including performances by members like Yamil Conga and Alison Brazil — recent workshop presenters — and Giovanni Rodriguez. Giovanni’s superb Latin jazz group, Doce Manos (12 hands) does a steady Monday night gig at Rudy’s Jazz Room. In this one group, you’ll hear musicians from Cuba, Venezuela, Columbia and the Dominican Republic, and they really bring the “sabor” (flavor)! The Nashville Jazz Workshop also features performances by world music groups, like the one we did there recently with my Brazilian band, Tudo Bem (Everything’s Cool). Those who are interested in Irish music can check out the weekly session at Quinn’s Pub in Franklin, and the regular gigs at McNamara’s in Donelson. Festivals such as Celebrate Nashville present music and dance from places like Africa, Greece, the Middle East and Asia. These are just a few of the places that are featuring live world music on a regular basis, and new venues and events are coming into the mix all the time.

Why world music? Personally, I find that checking out world music has a profound influence on my playing, songwriting, composing and on my enthusiasm for music in general. In it, I find new grooves, harmony, rhythms, instruments, languages, vibes and musical sensibilities. Singing in Portuguese is a different experience for me than doing so in English. Debussy was inspired by the Balinese Gamelan orchestra — he heard and wrote a wonderful piano work, Pagodes, based on it. Burt Bacharach was profoundly influenced by the bossa nova, as was jazz when Stan Getz recorded

with Joao Gilberto. The Beatles became intrigued with Indian music and culture, and used the sitar on their records, as did many artists in the 60’s and 70’s.Paul Simon found inspiration in South African music, and some of his greatest work was a direct result of it.

Ry Cooder fell in love with traditional Cuban music, and then did us all a huge favor by bringing us the Buena Vista Social Club record and movie. Great musicians have always embraced music from around the globe. The American history of music, and Nashville’s history as well, are pretty diverse in and of themselves, and yet there is a world of music beyond our shores, and it is vast, beautiful and inspiring!

We love that many of these musicians are coming here, and bringing the vibe and spirit of these cultures, and that many of them are choosing to be part of our musical community at the local. If you meet any of these folks who aren’t yet members, please mention the AFM, what we do for our members, and how much we would love to have them join us. Here’s to the growing diversity of Nashville, its music and musicians and AFM Local 257!

FREE Wednesday Workshops at Local 257

Songwriting with Steve Leslie

Musician-Songwriter

2022 INDUCTEES

THE MUSICIANS HALL OF FAME AND MUSEUM

The Musicians Hall of Fame and Museum inducted its class of 2022 Nov. 22, which included several of Local 257’s finest. Ray Stevens, Vince Gill, Marty Stuart and the Fabulous Superlatives — Chris Scruggs, Harry Stinson, and Kenny Vaughan, were all honored during the Nashville ceremony held at Municipal Auditorium. They were joined by inductees Billy F. Gibbons, Don McLean, Fabulous Superlative sound engineer Mick Conley, engineer George Massenburg, and producer James William Guercio.

The ceremony was hosted by Phil Vassar, and also honored CEO and Musicians Hall of Fame founder Joe Chambers, who died in September 2022. Chambers’ vision for the museum as a place to honor musicians and other creators who have made an enormous impact, with exhibits, shows, and Hall of Fame inductions, came to fruition over many years of diligent effort, in the midst of downtown Nashville’s almost inconceivable reinvention. The unique facility features rare instruments and other significant memorabilia. Chambers’ wife, Linda, has now taken on CEO duties. The evening included Local 257 President Dave Pomeroy’s remarks about Joe Chambers, and the special relationship between the AFM and the MHOF, plus many other warm mentions of Chambers as well as a performance in his memory of the song “Heaven.” The show also included music by Gill, Stevens and Stuart, along with Local 257 members Rodney Crowell, Steve Wariner, and Wendy Moten, among others.

Legendary multi-instrumentalist and artist Ray Stevens was inducted by MHOF’s Jay McDowell, who noted the spectrum of creativity represented by two of the songwriter’s compositions –“The Streak,” and “Everything Is Beautiful,” — both of which Stevens performed at the event. “I came here to be a musician, not to be a star,” Stevens said after his induction. “Along the way I wrote and recorded some hits, so it kind of took me away from the studio scene. But I spent a lot of time in the studios as a musician, arranger, and producer, so this is quite meaningful to me.”

Photos: Royce DeGrie and Karen Moore

Steve Wariner and the MHOF band

Gill was inducted by Rodney Crowell, who also performed Gill’s hit “Liza Jane.” As the recipient of a host of awards and honors over his long career, Gill talked about the singular significance of becoming a member of the MHOF.

“As a kid, I didn’t stand in front of the mirror with a hairbrush thinking I was going to be Elvis. I had my head down, I wanted to be like Scotty Moore, his guitar player. Then it was Buck Owens’ guitar player, then I wanted to be a harmony singer. I was never that interested in being up front. So, getting this induction tonight feels like maybe a fairer and more honest representation of who I’ve always seen myself as,” Gill said.

Stuart and the Superlatives were inducted by fellow artist Steve Miller, who also sat in with them during their performance at the event.

“It’s a strange feeling because I just get up and go to work every day and that’s the truth,” Stuart said after his induction. “And then, there are these mountaintops along the way. I heard somebody say one time that everybody likes to get a gold star in Sunday school and that’s a good way to put it. It’s wonderful to be recognized and I’m really, really happy to share it with the Superlatives, that’s the beauty of this one.”

Superlatives bassist Chris Scruggs talked about joining the MHOF.

“This is one of those career pinnacle type of accolades. I can’t think of any greater recognition as a musician than to be inducted into the Musicians Hall of Fame

and there is no group of guys I would rather go in with than Marty and my Superlatives brothers. Jay McDowell informed me that I am the youngest individual ever to receive this honor and that makes me feel greatly humbled when I look at some of the other names gathered on those hallowed walls. I guess the only thing to do now is to go earn it,” Scruggs said.

Superlatives guitarist Kenny Vaughan said “We had a blast! What a show! What a night! What an honor!”

Superlatives drummer Harry Stinson said. “I feel extremely lucky to be honored within such a Hall of excellence alongside the Funk Brothers, Double Trouble, the Swampers, the Wrecking Crew and all the rest. I thank the Nashville music community as the best and most supportive in the world and hope the Superlatives inspire other artists and musicians to achieve the very best in themselves.”

All of the Local 257 inductees are starting busy years. Gill just finished a new not-yet-released album with steel guitar great, Paul Franklin, showcasing Ray Price’s music. He has also been writing songs for his own new record, due out in 2023. Marty Stuart will have a new album out in March. He celebrated 30 years as a member of the Grand Ole Opry Dec. 26. Stevens continues writing songs and performing at his Ray Stevens CabaRay Showroom in Nashville.

“The Musicians Hall of Fame is a special place and tells the story of the musicians behind the stars, as well as the stars whose musical expertise transcend all barriers. AFM Local 257 members Ray Stevens, Vince Gill and Marty Stuart and his great band, The Fabulous Superlatives, are all amazing representatives of our Nashville musician community, and all deserve this honor and our respect for all they have given us,” Pomeroy said.

THE VANDERBILT UNIVERSITY BLAIR BIG BAND

The Vanderbilt University Blair Big Band, directed by Ryan Middagh, was named a top four finalist for their performance at the 3rd Annual Jack Rudin Jazz Championship held Jan. 14-15 at the Lincoln Center in New York City. The honor earned the band the right to perform in the concluding evening program. The group received awards for Outstanding Trombone Section and Outstanding Trumpet Section, and an individual award went to Jonathan Salcedo for Outstanding Trombone Solo.

THE PETE HUTTLINGER FUND FOR ADULT CONGENITAL CARDIAC RESEARCH AT VANDERBILT UNIVERSITY MEDICAL CENTER

The fourth annual For Pete’s Sake concert, benefiting The Pete Huttlinger Fund for Adult Congenital Cardiac Research at Vanderbilt University Medical Center, was held Feb. 5 at City Winery Nashville.

Huttlinger was a renowned guitarist and composer who, throughout his life and career, dealt with rare complications from a congenitally defective heart. He died Jan. 15, 2016, at the age of 54. He was a 31-year member of the Nashville Musicians Association.

Wynton Marsalis, Artistic Director for Jazz at Lincoln Center, personally selected the Blair Big Band to participate in the weekend of workshops, performances and competitions.

“I’m very proud of our students and this incredible recognition,” said Middagh, who is an associate professor of jazz at Blair School. “It’s a testament to their hard work, the collaborative environment among our music faculty, and the spirit of creativity and discovery in our Vanderbilt community.”

On hand to perform and honor their late friend were Local 257 members John Oates, John Cowan, Guthrie Trapp, Bryan Sutton, and Jim “Moose” Brown. Other performers included Jim Messina, Teea Goans, Jack Schneider, Christie Lenee, Mark Sganga, and Don Sampson.

The Pete Huttlinger Fund for Adult Congenital Cardiac Research supports the training and research of cardiologists specializing in the care of adults with congenital heart disease. The fund was created by Huttlinger’s wife, Nashville publicist Erin Morris Huttlinger, and his long-time cardiologist, Dr. Frank Fish.

“This fund was launched not long after Pete passed away,” Huttlinger said. “So many of his fans followed us through several years of health issues and they were always eager to offer of themselves emotionally and financially. I wanted to create a home where those donations could be directed and put to a very specific use. Pete was an incredibly generous guy and often gave of his time and money. I know that he would want to give back to help further research for treatments of an affliction that plagued him since birth.”

“I’m very proud of our students and this incredible recognition.”

ALAN JACKSON

Local 257 life member Alan Jackson was awarded the 2022 CMA Willie Nelson Lifetime Achievement Award at the organization’s yearly event, held Nov. 9 at Bridgestone Arena.

The award is given to an iconic artist who has achieved international prominence through performances, sales numbers, and humanitarian efforts — and who has had continuing impact over the course of their career. Jackson has released over 20 albums and collections, nine of which went multi-platinum. He’s had 35 No. 1 hits, sold almost 60 million records, and won a host of awards.

During his acceptance speech Jackson talked about his love of country music.

“Country music has been real good to me and I fell in love with it when I was a young man…I really love the instruments, the steel guitars and the fiddles and things like that that gave it such a unique character to me and made it its own…and I love the lyrics and the songs and the artists and the melodies and the harmonies. It’s just a real American music to me.”

He also thanked his wife, Denise, and said that he’s “not always the easiest person to love, but she’s hung in there and helped me through hard times and we share great times. The good and the bad, the happy and the sad. We’ve survived a lot.”

Previous recipients of the CMA Lifetime Achievement Award include Local 257 members Johnny Cash (2015), Dolly Parton (2016), Kris Kristofferson (2019), and Loretta Lynn (2021).

“Country music has been real good to me and I fell in love with it when I was a young man. It’s just a real American music to me.”

NJW All Stars

NJW All Stars performed at Nashville Jazz Workshop's Jazzmania fundraiser Oct. 22, at The Factory in Franklin.(L-R) Lori Mechem, Emmanuel Echem and Rahssan Barber. Not pictured: Roger Spencer, Andy Reiss and Marcus Finnie

AFM MEMBER PINS

1. Woodwind specialist Dewayne Pigg wearing his new 50-year member pin proudly.

2. Bassist and guitarist Bob Norman on stage with his 25-year pin.

3. Multi-instrumentalist and entertainer Shoji Tabuchi celebrates receiving his life member pin.

4. Trumpet player and keyboardist John Humphreys showing off his life member pin.

5. New life member John Fumo with his restored “balanced action” 1937 New York Bach — a gift from his uncle Ralph Bari, a professional trumpet player who lived and worked in Detroit.

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AFM MEMBER PINS

6. Longtime Charlie Daniels Band drummer Ron Gannaway, chills out in the Local 257 rehearsal hall with his new life member pin.

7. Drummer Leonard Kindig displays his new life member pin.

8. Bassist Ron Jones, who played with Charlie Pride for many years, digs his new life member pin.

9. Trumpet player Stuart Naylor, wearing his new life member pin.

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Cheekwood

The Harvest at Cheekwood event featured Nashville Musicians Association members in jazz quartets performing on seven consecutive Sundays. The concerts were held at Cheekwood Gardens from Sept. 18 through Oct. 30, 2022. (not pictured Andy Reiss Quartet) Pat

Ryan Middagh Quartet: (l-r) Bruce Dudley on keyboard, Middagh on baritone sax and bassist Jon Hamer

Tudo Bem (l-r) Guitarist Jerome Degey, drummer Chris Brown, bassist Giovanni Rodriguez and Will Barrow on keys and vocals

Coil Quartet: (l-r) Pat Coil on keyboards with Jacob Jezioro on bass.

Les Sabler (l-r) Kenny Zarider on keyboard, bassist Tim Smith and guitarist Les Sabler

Chester Thompson Quartet (l-r) Chris Walters on keys, vocalist Roz Thompson, drummer Chester Thompson and bassist Jacob Jezioro

12 Manos: (l-r) Keyboards Kenny Zarider, Rodriguez, vocalist Daniel Enrique, Cordero, and Claude Cailliet on trombone

Giovanni Rodriguez & 12 Manos: (l-r) Giovanni Rodriguez on bass and vocals, and Yosany Cordero on congas

Steve WARINER Portrait of an Artist

here is an earnest power in Steve Wariner’s creative force. This is a gift. The understanding of who he is. But that earnestness is not to be confused with the routine, because Wariner’s music over the years has proven to be anything but the everyday, rather it is a reflection of his state of being — earnest in his need to create.

Into a career that has bridged five decades, he has been honored in most every corner of the musical world, for his work as a performer, musician and vocalist, and as a songwriter. Wariner is recognized by his peers across all the popular musical spectrum for his prowess. He has recorded twenty-one albums, earned fourteen No. 1 hits, which include thirty Top Ten singles, four Grammys, three gold records, four CMA awards, three ACM awards, a Christian Country Music Association award, and two TNN / Music City News awards. He

by Warren Denney

has been inducted into the Musicians Hall of Fame, the Nashville Songwriters Hall of Fame, the Kentucky Music Hall of Fame, and importantly, designated by Chet Atkins as a “Certified Guitar Player,” or CGP, one of only five in the world. And, there are more honors, too numerous to list.

His song “Holes in the Floor of Heaven,” cowritten with Billy Kirsch, earned both CMA and ACM Song of the Year honors in 1998. Among his top compositions are Garth Brooks’ “Longneck Bottle,” Keith Urban’s “Where the Blacktop Ends,” and Clint Black’s “Nothin’ but the Taillights.” He has written songs recorded by Bill Anderson, Kenny Rogers, the Statler Brothers, Alabama, Conway Twitty, Don Williams, the Del McCoury Band, and others outside the country realm. But, even now, he says he’d do it for nothing.

“When I was young, my dad [Roy] had a band, and I always aspired to be like him,” Wariner said recently, from his home. “I wanted to play out with my dad. I want to get in on some of this. He had a regular job, but to me it was just a fire that you had. I couldn’t wait. We’d play as a kid. I’d play VFWs and American Legions with my dad, or a New Years show here or there — just local little things.

“He’d pay me a little money. But I didn’t even care. I would’ve done it for nothing anyway. It’s just a fire. It’s the same today.”

This is the earnestness, and the understanding of himself. Wariner is built to make music. He has to play. And, that creative force is not restricted to music alone — he has become known for his visual art, as well.

“It’s like my music,” Wariner said. “There’s so many parallels with art and music … I’m going to be doing this, whatever, whether I’m getting paid or not. It’s the same with my art. I’m going to be doing it because it’s just this innate thing I have in me. I mean, I actually sit here and tell [my wife] Caryn, ‘Well, I’m going to go out [to paint]. I don’t know what I’m doing, but I’m going out there and put paint on something.’ I did today, I just came in. I’ve got paint all over my hands.

“I do that with a guitar. On some days I just go out and work in the studio, and I’ll see it there. I’m going to go work on my music and I’ll just have to write something. It’s just a burning thing. Jerry Reed told me once about being asked who he admired. He said ‘I don’t really follow anybody. All I do is just be myself, and I just go play. I just play what I think sounds cool and sounds good.’ I admire that. Just be me … He didn’t chase anything. You could listen to his records and tell that. He wasn’t chasing anybody. Everybody was chasing him.”

Wariner is referring to honesty. He trades in it. And, even though the landscape can be tricky, an artist will put his or her best work down only when being honest with themselves. It’s an absolute space.

“You don’t have to worry about it,” he said. “If you write a killer song, it’ll find its way to somebody, or if you record a great guitar part, or whatever. A lot of people are chasing stuff, rather than just being yourself. And by the way, Jeff Beck [who died in January] — there’s a guy who didn’t chase anybody. I got cold chills just now. He was so innovative and just unbelievably talented. Just a genius, man. This is what I’m talking about.

“I think about it a lot. [Art and music] is a circle, really. It’s all about expressing … I’m not an abstract person that just throws paint. But I was looking at my painting today and trying to make this really say something, speak to somebody with some power and some depth. I think about it, and I could be talking about music or art.

“That’s right-brain stuff, man. We’re all from that. So many musicians. Eric Clapton went to art school. It’s all connected. I was at Chet’s once, and he showed me some of Merle Travis’s artwork. He was an unbelievable artist — one of the most incredible cartoonists I’ve ever seen.”

“The guitar is what I use to reinvent myself,” he said. “If I go back and start learning something on guitar, then I’m applying it. I can’t really explain it. It just helps me think outside the box and reinvent things.”

Wariner was born in Noblesville, Indiana, and raised in Russell Springs, Kentucky. His family, in particular his father’s talent, musical perspective, and the way he lived his life, informed Wariner’s core sensibility at an early age.

I’m not an abstract person that just throws paint. But I was looking at my painting today and trying to make this really say something, speak to somebody with some power and some depth. I think about it, and I could be talking about music or art.

“I feel really fortunate that I was raised in a family that was musical,” he said. “Especially my dad. I was so lucky that my dad and my uncles were so freaking talented. He was one of twelve kids, and they all played. Harmonicas. Fiddles. Guitars. It was just unbelievable …

“I remember going to this kid’s house, maybe when I was in the third or fourth grade. I remember looking around his house and realizing it was so neat. It’s sterile. I was looking around for all the guitars and fiddles, and stuff. And, it clicked that not every house was like mine. I really had thought everybody was like that — their families were all crazy and played music.”

Even then, he recognized who he was. His home, his environment, opened his world.

“I’m so grateful for that because my dad was so openminded,” Wariner said. “We would watch the Ozzie and Harriet TV show when I was a kid, and Ricky Nelson. My dad told me to check out James Burton, and it was the first time I ever heard a string being bent — like raised up and bent. Telecasters. Forget about it. Like, holy! And, my dad picked up on that. We would listen to records, and he’d point out Chet Atkins, or Paul Yandell. He’d play a Johnny Cash record, and point out what Luther Perkins was playing.

“My uncle Jimmy was a lot younger. He was more like an older brother, and he was so cool. He played twangy. He loved Waylon Jennings. He loved the West Coast and Merle Haggard and got me into Bakersfield. And, my dad listened to the Grand Ole Opry when we were kids. I got all the dose of that at an early age. And I loved it.

“That’s why it meant so much to me, being a member of the Opry. Man, it meant the world to me getting to play it, and still getting to play it, but with my dad being there when I was

inducted. My mom and dad hanging out with Grandpa Jones and Chet Atkins. It was awesome. He got to live it through me, kind of.”

Even with all the musical underpinning of his youth, a life in music is never a guarantee. Chance presents. Risk is taken — or not. For Wariner, the chance presented came in the form of Dottie West. She heard him performing at the Nashville Country Club in Indianapolis and convinced him to play bass guitar in her road band. He was seventeen. Off he went, completing his high school work by correspondence, and receiving a higher education money couldn’t buy. West encouraged him to join the union. The gig lasted three years, and brought Wariner suddenly inside a deep Nashville community. Porter. Dolly. Jerry. Chet.

These were abstract names to him before, and now they were flesh and blood. And, in the early 1970s, Nashville was a different place. Flesh and blood was where you found it. He laughs, recalling those fundamental days in this town, and his first trip with his father and older brother to the city, and to Music Row.

“We drove to Nashville,” Wariner said. “We’d driven through once, but I’d never really been here. And it was Nashville in 1971. We’re driving around and there was a guy my dad knew whose nephew played guitar for Billy Walker, the Opry star. He lived out in Hendersonville. We had his number — and that’s all we had. We were just driving around Music Row. I didn’t even have my driver’s license. We pulled right into the parking lot at RCA, and thought we might see Chet. Studio B was on my right, and Studio A was straight ahead.

“Being a member of the Opry meant the world to me getting to play it, and still getting to play it, but with my dad being there when I was inducted. My mom and dad hanging out with Grandpa Jones and Chet Atkins. It was awesome. He got to live it through me, kind of.”

Chet Atkins

Glen Campbell

Bill Monroe, Waylon Jennings

“I walked up the door at A to peek in. I opened it and Porter and Dolly are standing just inside the lounge taking a break. I mean. Mack McGaha is there. I thought they’d run me out, but they invited me in. I just shut the door real fast and got out of there! I told Porter about it later, and he loved it, and cracked up. But that was what it was like then. It was Dolly and Porter cutting one of their duet albums. And it was probably Chet, or Bob Ferguson producing.

“I drove down Music Row a couple days ago, and it hurt my heart, man. I’m not being negative. Time, it just moves on — it marches and evolves. We move on. But it just made me long some for the way it used to be. I loved the way it was. Back then it was more of a town than a city.”

And back then, with Dottie West, he plugged right into the life. She brought him to the Opry. He was on television. He found himself on records, notably on her hit with “Country Sunshine” in 1973. Her encouragement to get his affairs in order, get his union card, proved fortuitous.

“I’m a teenager,” he said. “ … I’m going to have to get my own little apartment. Suddenly, you’re thrown into that, and it’s the commerce part of the art. I love that art, but I don’t care about the commerce part so much. Just let me go play.”

And, play he did. He exuded confidence, in the ways that only the blissfully young can produce. He was being himself. Wariner first met Chet while he was touring in Europe with West. He was eighteen and the tour was the first time he’d ever flown on a plane. He was fighting a nasty cold, with running nose, the works. He met Atkins, who had joined them for the last leg of the tour, in London at Wembley Stadium, and

“I was already writing songs when I was about fifteen. Then, I started really trying to write songs. I played a few for Chet { later} , and he liked my writing. We cut some stuff early on.”

though Wariner was starstruck and ill, it was the beginning of a well-documented relationship.

“I mean, I thought I was good back then,” Wariner said. But I looked around, and I knew there was so much talent here. I always thought I could do it. I really did. I had the confidence. I would listen to records, and think ‘I could sing that. I could do that.’ I really did have that confidence.

“Yeah. I was already writing songs when I was about fifteen. Then, I started really trying to write songs. I played a few for Chet [later], and he liked my writing. We cut some stuff early on. I would go to his house and play them … Chet was doing a home studio way before it was even a thing there. Nobody had home studios. He would push me to try anything.”

Wariner believes he and Chet bonded because of common connections in their backgrounds.

“Chet and I got along because we had the similar backgrounds — that Appalachia kind of upbringing — and you know we weren’t really alike, but I got him and he got me because we were from poor families … I could relate to him when we would talk about family. It was a camaraderie thing — a brothers-in-arms thing.

Garth Brooks

Brian May

Brice Long

Kent Blazy

“But it was Paul Yandell who really made it [Chet] happen for me. I played on a session with him when I worked with Bob Luman. The first songs I had written that were ever recorded were songs that Bob took in the studio. It was 1976, and [Bob] asked me to play bass on the session. So, I find myself in the House of Cash being produced by Johnny Cash. Larry Londin was on drums and Paul Yandell was playing electric. Waylon Jennings came in and played some acoustic guitar … Paul heard my songs and said ‘Get me some songs.’ He took them to Chet. That’s how it really started.

“I told Chet I’d love to sign up with him and make a record at RCA. That would be a dream. He told me he was stepping away from producing, and I can’t believe I said this, and I didn’t really know him at this point, but I said ‘No, Chet. I want you to produce me. I want you to do it.’ He smiled, and took me in. He said he could cut a couple of songs. I guess it was dumb youth … I had some nerve, man, to say that, because it’s not my nature to be that way. Yeah, dumb youth.”

It worked, dumb youth notwithstanding. Now, almost fifty years later, Wariner continues the life for which he was made. He plays the Opry. He’s not touring much, but he is writing, always. He released a Christmas album in 2021. He paints.

“I’m just being creative,” he said. “I was asked the other day to produce an artist, and I’ll think about that — I’m just taking things in, weighing them out. I’m doing the stuff that’s making me smile. That’s what I do.”

Steve’s RIG

• 1987 Joe Glaser custom Telecaster style w/ B bender

• 2009 Jeff Senn Pomona Telecaster style guitar

• 1959 Gretsch (Reissue) Chet Atkins Country Gentleman

• 1954 Fender Telecaster

• 2015 Gibson Hummingbird acoustic

• 1997 Kirksand Custom Made Classic Electric

• 2014 Martin 000021 acoustic

• 1976 Fender Stratocaster

• Various Takamine SW341 models

• Xact Tone Solutions (XTS) pedalboard with:

o XTS Pegasus boost

o Hotcake overdrive

o TC Electronic stereo chorus

o MXR carbon copy delay (X2)

o XTS Percission Multi Drive

• 1965 Fender Deluxe Reverb amplifier

• Celestion greenback speaker

• All cables and capos are Planet Waves

• Thumb picks are the small size by Jim Dunlop

• D’Addario strings

“I’m doing the stuff that’s making me smile.”

Live Review

50th Anniversary of Will the Circle Be Unbroken CMA Theater

The second of two sold-out shows at the CMA Theater celebrating the 50th anniversary of the Nitty Gritty Dirt Band’s groundbreaking album Will the Circle Be Unbroken was a memorable night of music and remembrance. That album was a crossroads of musical styles and cultures, as a band of West Coast hippies joined up with iconic superstars of country music like Roy Acuff, Merle Travis, Maybelle Carter, Doc Watson and Earl Scruggs, and brought two worlds together. Other great musicians and artists on the original project were Jimmy Martin, Vassar Clements, Norman Blake, Junior Huskey, and Pete “Brother Oswald” Kirby.

Dobro master Jerry Douglas was the host and opened the night with an eloquent story of his long connection with the Dirt Band. He then welcomed founding and current band members Jeff Hanna and Jimmie Fadden, and former band members Les

Thompson and John McEuen, all of whom were on the Circle album, to the stage. The stellar supporting cast included current NGDB band members keyboardist Bob Carpenter, and multi-instrumentalists Jaime Hanna and Ross Holmes, joined by Stuart Duncan on fiddle and mandolin, Charlie Cushman on banjo and guitar, and Mike Bub playing acoustic bass.

In addition to the band members, many of the night’s lead vocals and acoustic guitar were handled wonderfully by Trey Hensley. A series of guest vocalists sang throughout the show including John Cowan, Carlene Carter, and Matraca Berg, along with John Carter Cash and family. Video and photo montages from the original sessions at Woodland Studios were shown on the back screen, giving a splendidly surreal visual to the music, which lived up to the spirit of the original project.

“That album was a crossroads of musical styles and cultures, as a band of West Coast hippies joined up with iconic superstars of country music like Roy Acuff, Merle Travis, Maybelle Carter, Doc Watson and Earl Scruggs, and brought two worlds together.”

(l-r)L-R Charlie Cushman, Jaime Hanna, Trey Hensley, John Carter Cash, Carlene Carter, John Cowan, Jeff Hanna, Matraca Berg, Bob Carpenter, Grace June Cash, Ana Cristina Cash, Stuart Duncan, Jerry Douglas.

The concert highlighted both the ageless quality of this incredibly influential album, and the multi-generational connection between traditional songs and new interpreters. Dirt Band stalwarts guitarist/vocalist Jeff Hanna and drummer Jimmie Fadden on harmonica and vocals sounded great as always, and McEuen and Thompson picked right up where they left off. Hanna and Fadden read a sweet letter from longtime member Jimmy Ibbotson, who was unable to attend. The support crew, especially Douglas,

Cushman, Duncan, and Bub, all brought their A-game to the proceedings throughout the night. Not surprisingly, the uber-talented Trey Hensley did a great job on songs originally sung by Jimmy Martin and others, and nailed the acoustic guitar parts as well. An unexpected surprise was multi-instrumentalist Stuart Duncan taking on Acuff’s lead vocal in “Wreck on the Highway” with great enthusiasm. Cushman nailed both Earl Scruggs’ guitar and banjo styles, and his “Soldier’s Joy” banjo duet with McEuen and Bub, who kept the band in the pocket throughout the night, was spot on.

It was a great night of music and good vibes — there was a lot of love in the room for the performers onstage and in the videos, and the legacy of this iconic album. It felt like a larger version of the famous picking parties Earl Scruggs used to host at his house on Franklin Road. I feel sure that those great musicians who are no longer with us, such as Earl, Gary, and Randy Scruggs, Maybelle Carter, Jimmy Martin and Merle Travis were looking down at the CMA Theater with joy and enthusiasm. What they and the Nitty

Gritty Dirt Band did 50 years ago has had some serious staying power, and the music lives on. Kudos to all involved, and especially to Jeff Hanna and Jimmie Fadden for keeping the Nitty Gritty Dirt Band alive and well for more than a half-century.

— Roy Montana

continued on page 22

(l-r) Mike Bub, John McEuen, and Charlie Cushman

Jeff Hanna and Jimmie Fadden

(l-r) Les Thompson, Mike Bub, John McEuen, Jaime Hanna, Charlie Cushman, Stuart Duncan, John Cowan, Bob Carpenter, Jerry Douglas, Jeff Hanna, Ross Holmes, Jimmie Fadden.

Live Review

23rd Annual Nashville Unlimited Christmas

Christ Church Cathedral

The 23rd annual Nashville Unlimited Christmas benefit concert for Room in the Inn was an uplifting night of holiday music featuring a wide variety of Music City’s finest performers. The beautiful Christ Church Cathedral was full with over 400 in attendance, and raised more $10,000 at the door, and an additional $2000 online. This annual collective effort to help Nashville’s homeless has now raised over $500,000 for the selfless work of Room in the Inn, which has changed countless lives for the better.

The concert is organized by bassist Dave Pomeroy, who hosted the night’s festivities with acclaimed singer-songwriter Don Henry. After a rousing introduction by Richard Wineland, Pomeroy opened with his song, “I Wish It Could Always Be Christmas,” followed by a solo bass piece, “Grateful,” that he dedicated to all those who have passed this year. Cohost Don Henry cracked the audience up with his song, “Ho Ho Ho, (I Can’t Take No More)” accompanied by Pomeroy and his longtime collaborator, Nashville Symphony percussionist Sam Bacco. Next up was John Knowles, C.G.P. (Certified Guitar Player, a rare honor bestowed by the late Chet Atkins) who played a beautiful medley of Christmas songs including “Little Town of Bethlehem” and “Deck the Halls” on classical guitar.

Country Music Hall of Famer and Grand Ole Opry member Don Schlitz sang two of his Christmas originals, “I Trust You” and “Like A Baby” with his wife Stacey singing sweet harmony vocals.

The stylistic diversity continued with pianist Will Barrow, reinventing the Harry Belafonte classic “Mary’s Boy Child” with a pulsing calypso beat. Awesome rhythmic support was added by drummer Marcus Finnie, Cuban émigré Marlon Aguilar on bass, and Bacco on percussion. The always outstanding Steve Wariner, also a C.G.P., accompanied by Pomeroy, fiddler Jimmy Mattingly, and pianist Randy Hart, played two beautiful originals — “Our Savior Is Born,” and the upbeat “Christmas in your Arms” — and closed with a gorgeous version of “The First Noel.” Cowboy music legends Riders in the Sky performed a hilarious “Let It Snow” Christmas medley, “Corn, Water, and Wood,” and “Here Comes Santa Claus” to the delight of the crowd, as Santa made an appearance and danced through the building.

“This annual collective effort to help Nashville’s homeless has now raised over $500,000 for the selfless work of Room in the Inn.”

(l-r) Jerry Douglas, Emmylou Harris, Sam Bacco, Maura O’Connell, Alfreda, Regina, Ann McCrary

Nashville natives and gospel music stars The McCrary Sisters — Regina, Ann, and Freda — performed a gentle swaying arrangement of “O Come O Come Emmanuel,” backed by guitarist Phil Hughley, drummer Dre Williams, Pomeroy and Barrow. The sisters brought down the house with a funky version of “Go Tell It on the Mountain” followed by a high energy gospel raveup treatment of “Joy To the World.” Led by pianist Ted Wilson, The Nashville Jazz Ensemble, featuring Don Aliquo and Roger Bissell on sax and trombone, Jacob Jezioro on bass and Bob Mater on drums, played very cool swinging arrangements of “We Three Kings” and “Joy to the World,” showcasing the skills of some of Nashville’s finest jazz musicians.

The angelic Emmylou Harris closed the show as only she could do. She brought along two special guests, dobro master Jerry Douglas and Irish vocalist Maura O’Connell. Pomeroy, Barrow, and Bacco backed them on a trio of songs from Harris’s classic holiday album “Light of the Stable,” including the title track, the gentle, uplifting “There’s A Light,” and the sweet Celtic ballad “Golden Cradle.” The show closed with a shimmering finale of “Silent Night,” — O’Connell singing an acapella verse in Gaelic, followed by Harris, with Douglas and the McCrary Sisters joined by the full host of musicians and singers. A splendid time was had by all.Thanks to everyone involved in this great collective effort to celebrate the season by helping others. That’s how we do it in Nashville.

— Roy Montana TNM

“Thanks to everyone involved in this great collective effort.”

Riders in the Sky (l-r) Joey Miskulin, Woody Paul, Ranger Doug Green, Too Slim Labour

Don and Stacey Schlitz

John Knowles

Will Barrow, Marlon Aguilar, Marcus Finnie, Sam Bacco

Nashville Jazz Ensemble (l-r) Jacob Jezioro, Bob Mater, Don Aliquo, Roger Bissell Not pictured: Ted Wilson

BY MELINDA WHITLEY

Ikeep being reminded of how corporate the symphonic industry is becoming. In my last article, I wrote about the organizational structure of the Musicians of the Nashville Symphony, and how that interfaces with our own management. Since then, some symphony musicians have told me that before they won their job, they had no idea what kinds of things happened behind the scenes in an orchestra of this size, not to mention the unique challenges they might encounter. Today I’d like to take a look at one type of challenge we’ve been facing, especially this year.

With so much varied music activity in our city, it’s easy to believe we foster a general inclusiveness, but is that really true? Here in Nashville, we have our own well-worn music traditions and industry practices that are constantly honored for their deep history and longevity. The symphonic industry is no different.

In order to maintain traditions and industry practices, new musicians have to know they exist and then choose to honor them. This doesn’t happen by accident. Not only do we have to teach them to new colleagues, but we have to include them actively on the team. None of us advanced in our careers with only a few technical or historical presentations to internalize on our own time, or by being left alone to figure things out. If you ask most of us how or why we became, and continue to be professional musicians, we’ll likely tell you about being inspired by the working relationships we experience.

But we can just as easily become uninspired. We can feel excluded or marginalized, even downright unwelcome. Those feelings are not limited to one group of people like the new members of an ensemble. They can just as easily be felt by others overwhelmed by change. In my recent study of systems theory, I’ve learned that too much change or stress can destabilize a system and cause seemingly unrelated problems. In our workplaces, we have federal laws protecting employees from many types of discrimination. Some orchestras like Nashville, also have a human resources department, and with the agreement of our union, establish workplace policies that address other behaviors often appearing in stressful times. These laws and policies can go a long way towards promoting professionalism and self-awareness.

However, it’s normal under stress to react from an emotional place. When we, as an industry, face extra-scarce resources, the competition for those resources can distract us and cause us to forget the importance of our individual professionalism and self-awareness, both on and off the stage. That’s not an excuse, but it’s normal human behavior.

Sometimes in order to grow as a group, we need to feel discomfort. We need to look at our own behavior and allow others to do the same in a supportive environment. Our industry is not the only one experiencing a massive change in personnel. “The Great Resignation” we’ve all heard about has hit our city hard. The hospitality and food industries have especially suffered. The entire music industry has taken a big hit too. From artists to managements, our ensemble is no different. We’re slowly coming back from a very difficult time, but right now, we have so many openings on stage, that this moment is full of issues we’re not accustomed to handling.

We can’t produce concerts with lots of vacant chairs. Someone has to be in those seats producing that large orchestral sound or we cease to be a full orchestra. We have very detailed, bargained-for contract language about how an audition must be executed in order to fill a position permanently. We’re proud that our process in Nashville is a leader in our industry for fairness and the reduction of bias throughout the process, but that doesn’t help us fill multiple vacancies quickly.

It used to be that an orchestra experienced very few vacancies in a season. Due to events outside our influence, we currently have many openings and we can’t possibly fill them quickly enough to ignore the effects on our ensemble. We have one large section in the orchestra with six vacancies, including major leadership roles. That’s unprecedented. Some smaller sections have had to perform regularly with only one-third of their members being permanent musicians. This is not normal for us and I don’t know of ensembles in other genres that perform regularly when missing so many key personnel.

Like other orchestras, we’re lucky in Nashville that the pool of qualified musicians interested in performing with us is so deep. We’re fortunate to have filled our large and unusual number of empty chairs with many long and short-term temporary players. We’re lucky that performing with us gives those musicians something they want and need as well. It’s a complementary relationship and all relationships sometimes need a little extra care.

“We are stronger together” is an idea that has stood the test of time. Remembering to take a moment in stressful times to seek professionalism and self-awareness helps us all to safeguard the strength of our togetherness. Not only do these practices deepen our connections with each other, but they cross the proverbial fourth wall to our audiences and wider communities. They strengthen our performances and the workings of all our professional music organizations, even the AFM.

“We are stronger together” is an idea that has stood the test of time.

verybody’s trying to figure out if the COVID-19 pandemic is over or making a comeback, and if the economy is about to collapse or recover. Either way, most musicians’ lives and careers have been significantly compromised over the last two years. My own observation is that those most negatively affected are the “casual” artists, the ones who practice their art any place they can find, without support from managers and record labels, or an income stream from CDs and clothes with their names on them. They have to get up every day and look for the next gig. And the number of those gigs has not returned to pre-pandemic level. So, let’s see what I found for this quarter.

Schools

At MTSU’s School of Music in Murfreesboro, their annual Illinois Jacquet Jazz Festival will be April 1. Band performances and clinics will be held all day in the Wright and Saunders Music buildings starting at 9 a.m., featuring school bands and major guest artists. The final concert at 7:30 p.m. presents internationally renowned drummer Adam Nussbaum. For information contact James.Simmons@mtsu.edu.

Belmont University School of Music presents 50 Years of Jazz with a pair of concerts: their Alumni Band on Feb. 24 at 7:30 p.m., and a rare appearance by outstanding saxophonist Chris Potter on Feb. 25 at 7:30 p.m., both in the new Fisher Center. The Jazz Strings perform March 1 at 10 a.m. in Massey Auditorium, and March 27 pianist Bruce Dudley’s Double Quartet (a jazz quartet plus fourstrings) take over McAfee Concert Hall at 7:30 p.m. Info at cmpaevents.belmont.edu.

Concert halls

At the Schermerhorn Symphony Center the Nashville Symphony plays George Gershwin’s jazz-infused composition “American in Paris” at 8 p.m. Feb. 23, 24, and 25. Then look for Aaron Diehl’s piano trio on April 2 at 7:30 p.m. Banjo virtuoso Béla Fleck continues his adventure with jazz, Indian music, and who knows what else with his buds Edgar Meyer on bass and Zakir Hussain on tabla drums April 19 at 7:30 p.m. Info at nashvillesymphony.org. Get down at the Ryman Auditorium with some blues and soul. Grammy-winning vocalist Gregory Porter appears Feb. 22 at 7:30 p.m. Guitarists Susan Tedeschi and Butch Trucks bring their Tedeschi Trucks Band into the hallowed hall for three nights, Feb. 23, 24, and 25 at 8 p.m., followed by blues guitar legend Buddy Guy March 18 at 8 p.m. Info at ryman.com/event

Clubs

BY AUSTIN BEALMEAR

Jazz up your Valentine’s Day early with a picturesque drive to Centerville for the Annual Molly Bates Valentine’s Banquet Friday, Feb. 10. This combination dinner and concert includes a catered meal at 6 p.m. and three sets of jazz starting at 7 p.m. by the Daniel Bey Trio (woodwinds, guitar, bass). The venue is Molly’s Place — a cozy speakeasy-type cellar below street level at 407 W. Public Square, Centerville, 37033. Look for the Bates building next to a Shell station and walk down the drive between the building and the gas station. Entrance is behind the building. Dinner reservations must be made by Feb. 8, or just come for the concert. For information and reservations, text 931-994-2013.

On Tuesday, Feb. 14, Rudy’s Jazz Room presents a really fine vocalist, Stephanie Adlington, in a Valentine’s Day production of classic and offbeat songs called “Our Love is Here to Slay.” Adlington is a veteran talent definitely deserving wider recognition. Choose from two shows, 6 p.m. and 9 p.m. On Feb. 24 and 25, pianist Martin Bejerano, who teaches at the well-known University of Miami jazz school, showcases his Cuban-American trio at 8 p.m. Info at rudysjazzroom.com

You can hear more of Stephanie Adlington with her regular trio at Sambuca, usually on Sunday evenings or Saturday brunches. Vocalist Dallas Starke also does some of the Saturdays and Sundays. For specific dates go to sambucanashville.com.

And finally…

Thanks to sponsorship by the Nissan corporation, at the National Museum of African American Music (NMAAM) you can now immerse yourself in American musical heritage without charge on Nissan Free Wednesdays the first Wednesday of every month. Hours are 10 a.m. to 5 p.m. The entrance is at 5th and Broadway, and you can take advantage of the union’s parking discount at the McKendree garage one block north. Info at www.nmaam.org

Do you have a high school student interested in playing jazz? The Nashville Youth Jazz Ensemble is a community-based, nonprofit dedicated to nurturing the love of jazz among young people. Band members rehearse Sunday afternoons during the school year, present two or more concerts each semester at various locations, and sponsor the NYJE Jazz Fest each year in Hendersonville. NYJE Director is veteran jazz educator Dr. Richard Ripani. To learn more, go to nashyouthjazz.org.

See you out there.

Chris Potter

cowrote “Peggy Sue,” “Well…All Right,” and “Think It Over.” In fact, “Peggy Sue” was initially called “Cindy Lou” but was retitled after a girlfriend of Allison’s. His tom-tom part on the song was typically atypical, and not the only time Allison explored new rhythm territory. On “Not Fade Away” he beat time with a cardboard box in an homage to Bo Diddley, and in “Well…All Right,” he only played cymbals.

Jerry Allison

Drummer and songwriter Jerry Ivan Allison, 82, died Aug. 22, 2022. He was a founding member of the Crickets, and his unique playing style had an undeniable impact on the budding rock & roll scene of the late ‘50s. Allison was a life member of Local 257 who joined March 29, 1977. He first joined the Amarillo, Texas, local in 1956.

Allison was born Aug. 31, 1939, in Hill County, Texas, to J.D. “Buddy” Allison and

Louise Ferguson Allison, and raised in Plainview and Lubbock. He met Buddy Holly in junior high school, and while teenagers they formed a band in 1955, originally a threepiece that included bassist Joe B. Mauldin. Their first gigs included dates at local roller rinks, and at Lubbock’s Cotton Club. The young musicians avidly listened to the R&B they heard on Black radio stations, along with Elvis Presley and Bill Haley. Allison quotes other early influences as Gene Krupa and Charles Connor, who drummed for Little Richard and appeared in a 1956 movie musical called The Girl Can’t Help It. Holly and Allison were mesmerized by the film. “We must have watched it seven or eight times,” Allison later said. Like Paul McCartney and John Lennon, who were similarly obsessed with the landmark film, Allison and Holly were determined to write their own tunes for their band.

The following year the Allison and Holly cowrite “That’ll Be the Day,” brought the band worldwide attention. The two also

Ray Edenton

Nov. 3, 1926 – Sept. 21, 2022

Legendary A-Team guitarist Ray Quarles Edenton, 95, died Sept. 21, 2022. He played on a multitude of sessions for artists spanning the musical gamut — including artists from Neil Young to Patsy Cline. He was a

69-year life member of Local 257 who joined Jan. 3, 1953.

He was born Nov. 3, 1926, in Mineral, Virginia, to the late Tom and Laura Edenton, and was the youngest of four children. He first

In addition to his work with the Crickets, Allison had a solo hit with a novelty song called “Real Wild Child.” Holly played guitar on the 1958 release. The Crickets parted ways with Holly that year, and for a time worked with other lead singers. In 1959 Allison and Crickets guitarist Sonny Curtis moved to Los Angeles where they worked as session players. The Crickets worked unbilled as backing musicians for an Everly Brothers tour in 1960, and appeared under their own name in 1964. In 1987 Allison appeared in The Real Buddy Holly Story, which was produced by Paul McCartney. In 1974, Allison played on the Waylon Jennings record This Time. He also played on Johnny Rivers’ L.A. Reggae in 1972, and added percussion to J.J. Cale’s 1976 album Troubadour. The Crickets performed for the final time in 2016, at the Surf Ballroom in Clearlake, Iowa, where Holly last performed the night of his death.

Allison was a 2007 inductee into the Musicians Hall of Fame, and was also honored at the Music City Walk of Fame. In 2012 the Crickets were inducted into the Rock and Roll Hall of Fame. “That’ll Be the Day” was inducted into the Grammy Hall of Fame in 1998 and placed in the U.S. government’s National Recording Registry in 2005.

In addition to his parents, Allison was preceded in death by one brother, James D. Allison. Survivors include his wife of 54 years, Joanie; and numerous friends and fans. A celebration of life is planned for the future.

learned to play banjo ukulele, and by the age of six was joining his brothers, who played guitar and fiddle, at square dance gigs. After serving in the army during WWII, he joined a local band called the Rodeo Rangers that played dances in the area, and also performed on the radio. Two years later he became the bassist for the Korn Krackers, led by guitarist Joe Maphis. In 1949 he went to work for WNOX in Knoxville, Tennessee, but tuberculosis sidelined him, and

Jerry Allison, right, with Buddy Holly, center, and Joe B. Mauldin appearing on the BBC television show "Off the Record" during their UK tour in 1958. Photograph: John Rodgers/ Redferns

he spent 28 months in a VA hospital recovering. After his health returned, he moved to Nashville in 1952.

Edenton found work as an acoustic guitarist on the Grand Ole Opry, and began to cultivate his session work. Although he played several instruments, he generally provided rhythm guitar in the studio, but had notable lead guitar work on plenty of recordings as well. He had already played on Red Kirk’s Mercury recording of “Love Sick Blues” in 1949, but his first work on a hit record came in 1953 on the Webb Pierce single “There Stands the Glass.” He went on to play on 26 of Pierce’s 27 charttopping records, along with work on “Wake Up Little Susie” and “Bye, Bye, Love,” for the Everly Brothers, Roger Miller’s classic “King of the Road,” and lead guitar on “Singing the Blues” for Marty Robbins.

Edenton was known for his alternate guitar tunings. His “high third” tuning, where only the third string (G) is tuned one octave higher, and the other strings remain in standard tuning; and the “high string” tuning in which only the first and second strings (E and B) remain in standard tuning and strings three to six (G, D, A, E) are tuned one octave higher.

Over his monumental career he played on a staggering 15,000-plus sessions. The list of records he played on is practically endless, and includes work for luminaries like Julie Andrews, Sammy Davis Jr., Elvis Presley, Johnny Cash, and the Beach Boys. Edenton once said “Everybody in the world came here [Nashville] and we recorded with all of them. You might do a pop session in the morning, and bluegrass in the afternoon, and rock & roll at night. People often ask me about session musicians and why, back in

those days, only a few people made all the records. It was several things. You had to learn real quick. You had to adapt real quick. And if you couldn’t do that, you couldn’t do sessions!”

In 2007 Edenton was inducted into the Musicians Hall of Fame as a member of the storied A-Team.

Edenton was preceded in death by his parents and siblings. Survivors include his wife, Polly; one son, Ray Q. Edenton, Jr.; one daughter, Ronda Hardcastle; his dog, LeRoy; and many friends.

Interment was in his hometown church cemetery in Mineral, Virginia. Donations in his memory may be made to Trinity Baptist Church, Care of Secretary Alice Knight, 518 Daniel Road, Louisa, VA  23093.

RONALD EUGENE KELLER

Dec. 29, 1938 – Aug. 10, 2022

golfer, he and his family moved to Nashville in the ‘70s where his music career continued. He played a multitude of sessions for artists including Kenny Rogers, Jerry Lee Lewis, Dolly Parton, Percy Sledge, Boots Randolph, B.J. Thomas, and many others. He continued playing jazz, and became a charter member of the Nashville Jazz Machine.

In midlife Keller decided to change course in his career, and became a certified financial planner for the next 30 years. After retirement from the financial planning field, he traveled the world with his wife, Ann, and continued to enjoy life to the fullest. Keller played an important role as a member of his union local, acting as a trustee, parliamentarian, and respected adviser for over 30 years.

“Ron Keller was an outstanding musician and a great human being. At a time of great internal turmoil within the AFM, in his role as Local 257 parliamentarian, he never took sides, and never lost sight of the big picture. His passion and joy were a great inspiration to many of us,” Dave Pomeroy said.

Trumpet player and longtime Local 257 parliamentarian and trustee Ronald Eugene Keller died Aug. 10, 2022. He joined the Nashville Musicians Association July 6, 1977.

He was born Dec. 29, 1938, in Indiana, and was given a saxophone by his parents when he was 10 years old, but he switched to trumpet at 13, saving his money and buying the instrument himself. Three years later he was leading his own jazz band, and he performed with the Indianapolis Symphony a year later. After high school he studied music at Indiana University, and launched his professional career on tour and in the studio with the Stan Kenton Orchestra.

The next stop for Keller was New York City, where he pursued a career as a freelance musician. Over the next decade he performed and recorded with artists like Frank Sinatra, Buddy Rich, and Liza Minelli. He also played New Year’s Eve concerts with the legendary Guy Lombardo Band.

Following a stint in North Carolina as a pro

In addition to his parents, he was preceded in death by one daughter, Ann Terry Keller Swartz. Survivors include his loving wife of 62 years, Ann E. Keller; one daughter, Lisa D. Castro; one son, Dallas F. Keller; one brother, Frederick J. Keller; and five grandchildren.

A celebration of life service was held Aug. 15 at Emmanuel Lutheran Church. Interment followed at Hermitage Memorial Gardens. Donations may be made to trinityhope.org

continued on page 30

Ray Edenton

Ann and Ron Keller

continued from page 29

JERRY PAUL ARNOLD

May 31, 1936 – July 31, 2022

Drummer and educator Jerry Paul Arnold, 86, died July 31, 2022. He was a veteran of the legendary WSM Morning Show, and also played on Pop Goes the Country and Nashville Now He was a life member of the Nashville Musicians Association who joined Local 257 May 10, 1963.

He was born May 31, 1936, in Chester County, Tennessee, to W.D. and Margie Arnold, and raised in Jackson, Tennessee, where his career path was influenced by his band director. After high school Arnold graduated from Murray State University, then spent two years in the U.S. Army before moving to Nashville, where he received a master’s degree in education from Tennessee State University.

Along with his regular performances on air, Arnold served in the Metro School System as a band director, advisor, teacher, and school administrator. He was noted for being an “old school” no-nonsense teacher. Friends remembered his willingness to help anyone in need, and his love of jazz, especially “straight ahead jazz.” He owned an extensive jazz music collection, and his travels with his wife, Pat, to jazz festivals and cruises were said to be the highlight of his life. Arnold also enjoyed home construction projects, and entertaining friends and family. He was a member of St. David Episcopal Church in Nashville and after moving to Columbia, South Carolina, became a member of St. John’s Episcopal Church.

Survivors include his loving wife, Pat; two daughters, Ronnie Dimig and Paula Cherry; one brother, Frank Arnold; five grandchildren; and four great-grandchildren.

Funeral services were held Aug. 6 at St. John’s Episcopal Church. Memorials may be made in Arnold’s name to an Alzheimer’s research center or a children’s music program.

GEORGE PHILLIP PUCKETT

April 29, 1945 – Aug. 6, 2022

Bassist George Phillip Puckett, 77, died Aug. 6, 2022. He was a life member of the Nashville Musicians Association who joined Local 257 in

1999, and first joined the AFM in Springfield, Missouri, in 1959.

He was born April 29, 1945, in Cabool, Missouri, to Lee Phillip and Elaine Gladys Puckett. Pucket had two brothers, David and Mike Puckett. After high school he studied music education at the Kansas University in Lawrence. While there, he met and married his wife, Barbara Joan Rundle. After graduation he worked at Central Junior High, and later became a real estate agent. Later in his career he went on to become the director of education for the Kansas Association of Realtors. In 1985 he became the executive vice president of the Kansas Restaurant and Hospitality Association in Wichita, Kansas. After retirement Puckett worked parttime as a substitute teacher, and fully retired in 2017.

Survivors include one daughter, Michelle Christ; one son, Sean Puckett; and three grandchildren. Services were in the care of Downing & Lahey East Mortuary.

TERRY DEAN CHOATE

July 7, 1954 – Sept. 13, 2022 Steel guitarist, producer, and music business executive Terry Dean Choate, 68, died Sept. 13, 2022. He was a life member of the Nashville Musicians Association who joined Local 257 May 17, 1984.

Choate was born in Alleghany County, North Carolina, July 7, 1954, to Marie C. Thompson and the late Charles Dean Choate. He started his career as an announcer at WCOK in Sparta, North Carolina, during which time he became friends with Del Reeves. After graduation from Appalachian State University, he moved to Nashville and went to work for publishing company Tree International. He quickly moved from songplugger to music manager and demo producer. During his tenure at Tree, he also performed audio engineering duties for records by Bobby Braddock and other Tree writers.

In 1984 he became A&R manager for Capitol Records. Choate also did occasional

session work — he played steel on records for Marie Osmond and John Conlee. In 1987 he was promoted to director of A&R for Capitol and EMI America, where he grew the roster to include New Grass Revival, Tanya Tucker, Dobie Gray, Dan Seals, Barbara Mandrell, Kix Brooks, Don Williams, Suzy Bogguss, and others. He presided over the label’s move into rock music with the addition of acts like The Questionaires, Walk the West, and Jason and The Scorchers. In 1990 Choate left Capitol and became an independent record producer; he would go on to produce records for The Time Jumpers, Teea Goans, and multiple albums for the Gatlin Brothers.

Choate also served as vice president of the Nashville chapter of the Recording Academy, NSAI board member, and chair of the Nashville Songwriters Foundation. In addition to his membership in AFM Local 257, he was a member of the ACM and the Nashville Entertainment Association.

Survivors include his wife, Cheri Choate; two stepsons, Ceran Maples and Nathaniel Maynard; his mother, Marie C. Thompson; one brother, Sam Choate; two nieces; and a host of friends in North Carolina and Nashville. A celebration of life was held Sept. 17 at Grandview Memorial Funeral Home in Sparta. Memorials may be made to American Diabetes Association, PO Box 7023, Merrifield, VA 22116-7023.

LEVI CLAYTON HEAD

Sept. 6, 1934 – June 24, 2022

Songwriter and musician Levi Clayton Head, 87, died June 24, 2022. He was a life member of the Nashville Musicians Association and played guitar and bass. He joined AFM Local 257 Feb. 22, 1988.

Head was born Sept. 6, 1934, in Atlanta, Georgia, to Doyal and Grace Head, and grew up with four siblings. He served in the U.S. Army from 1957-59 and then worked 25 years for General Motors. After his retirement he began a new career driving as a heavy-load escort until 2016.

He was an active church member, and played music throughout his life with various bands. He played on the Grand Ole Opry stage as a member of the Stella Parton Singers, and had his own recording studio. He was inducted into the Atlanta Country Music Hall of Honor in 1998 and the Hall of Fame in 2009. He also worked at the organization as a staff member and for many years led a jam session that took place prior to the awards ceremo -

nies. Over his career Head recorded his own sacred and secular music, and in 2017 released Every Now and Then, produced by fellow Local 257 member Jim Lusk.

In addition to his parents, Head was preceded in death by two daughters, Darlene Harber and Patty Connell; two brothers, Doyal and Gene Head; and one sister, Elizabeth Wheeless. Survivors include three daughters, Rhonda Medlin, Susie DeShields, and Jamie Head; one son, Levi Cameron Head; one sister, LaTrelle Wallace; seven grandchildren; and many great-grandchildren.

A celebration of life service was held July 30 at Calvary Baptist Church in Greenbrier, Tennessee. Donations may be made in his name to St. Jude Children’s Research Hospital.

CHARLES “BUSTER” FRANKLIN KENDRICK

March 9, 1939 – Sept. 21, 2022

Guitarist Charles “Buster” Franklin Kendrick, 83, died Sept. 21, 2022. He was a life member of the Nashville Musicians Association who joined Local 257 April 11, 1975.

Born March 9, 1939, in Mecklenburg County, North Carolina, he was the son of the late John Burl and Reola Wall Kendrick. After a chance encounter with Red Foley following the artist’s performance in Shelby, North Carolina, Kendrick became drawn to the idea of playing music. His mother and father were both musicians — his father was a guitarist and his mother played the accordion — and Kendrick began to play at an early age. By the time he was in high school he had been in several local bands. After graduation he attended Gardner Webb University in Boiling Springs, North Carolina.

Kendrick moved to Nashville after college, where he worked for Grey Line tours and began to make connections in the music business. Kendrick got a job driving for Dottie West, and played acoustic guitar during her Grand Ole Opry appearances. He would go on to drive for Shelly West, Don

Williams, and others. He continued driving for Phil Toney Tours after moving back to Shelby. Kendrick was a 32nd degree Mason, Past Master of the Cleveland Lodge 202, a Shriner, and a member of the Pleasant Hill Baptist Church. He was the receipient of the 2013 Heritage Bridge Award presented to accomplished artists in the Shelby area.

Survivors include his loving wife of 63 years, Priscilla Panther Kendrick; two daughters, Karla Johnson and Angie Clark; one son, Phil Kendrick; one sister, Carolyn Putnam; seven grandchildren; and one great-grandchild.

Funeral services were held Oct. 2 at Pleasant Hill Baptist Church with the Rev. Andrew Corley and Dr. Cal Robertson officiating. Memorials may be made to St. Jude Children’s Research Hospital or The Shriners Children’s Hospital.

HENRY EZEKIEL “ZEKE” KING III

Aug. 14, 1941 – May 25, 2022

Steel guitarist Henry Ezekiel “Zeke” King III, 80, died May 25, 2022. He was a 50-year life member of the Nashville Musicians Association who joined Local 257 Sept. 29, 1970.

He was born Aug. 14, 1941, in Christian County, Kentucky, to the late Herman Henry King and Julia King Pryor. He was a lifelong farmer, who also toured with Johnny Paycheck in 1970 and ’71. After the singer’s death in 2003, King reminisced about him in an interview. “He was a great singer, one of the greatest in the business. He was a boss, but also a good friend. We were just good buddies.” King said he favored Paycheck, who called him “little brother.” This led to a prank the two pulled onstage one night.

“I could do a pretty good impersonation of Johnny. So, I put on his suit and he put on mine and went out onto the stage. I started singing. Johnny played steel guitar. We made it through about eight bars before the crowd shouted at us,” he said. King also performed with singer-songwriter Wayne Kemp.

In addition to his parents, King was preceded in death by two daughters, Joy Diane King Guier, and Karen Elizabeth King Brown; one son, Henry Ezekiel King III; and one sister, Julia “Sugarpie” King. Survivors include his wife of 64 years, Joy King; his stepsister, Peggy Cunningham; four grandchildren; and

two great-grandchildren.

Funeral services were held May 28, 2022, at Hughart, Beard & Giles Funeral Home in Hopkinsville, Kentucky, with the Rev. Dr. Brandt Lyon officiating. Burial followed in Riverside Cemetery. Memorial contributions may be made to the Olivet Baptist Church or a favorite charity.

WALTER KING

Feb. 8, 1951 – July 19, 2022

Woodwind specialist, arranger, conductor, composer, and educator Walter Riley King, 71, died July 19, 2022. He was a life member of the Nashville Musicians Association who played with B.B. King for over 35 years, and was the last band director for Goodlettsville High School. He joined Local 257 July 16, 1974.

He was born in Lexington, Mississippi, Feb. 8, 1951, to Barnel King and Chetwyn Rodgers. He was the oldest of 19 children, and spent his early childhood on his grandfather’s fame in Bartlett, Tennessee. After graduation from Barrett’s Chapel High School, he attended the Berklee School of Music and Tennessee State University. While at TSU he became a member of the marching band and also belonged to the music fraternity Phi Mu Alpha Sinfonia. He became known as “Heart Attack” because of his antics while pledging the frat. Because of that Walter was affectionately called ‘Tack’ or ‘Heart Attack’ by many who knew him in Nashville. After college he taught as a band director before devoting himself to playing music full time.

Over the course of his career King performed with Lena Horne, The Temptations, The Dells, Gladys Knight, Dr. John, U2, The Nancy Wilson Orchestra, Nelson Riddle Orchestra, and the Muscle Shoals Horns. He performed on the Grand Ole Opry, and also was the music arranger conductor with the

continued on page 32

B.B. King Orchestra on The Tonight Show King lived in Omaha, Nebraska, for a time and while there served as guest conductor for Omaha Youth Symphony. King also performed with The Tyrone Smith Revue, Jimmy Church Band and many others.

After King’s passing, a friend remembered him as “a fine musician, teacher and human being,” who once said “if you know all of your scales and understand basic rhythms you should be able to play anything in front of you.” In addition to music, King enjoyed golf and fishing, and was a third-degree black belt in karate. He was a member of ASCAP and SAG-AFTRA, along with his 48-year life membership in AFM Local 257.

Survivors include his devoted life partner, Dr. Brenda King; three sons, Walter Burns, Christopher King, and Brandon King; six grandchildren; one aunt, Modie Faye King Henry, one uncle, Dr. Charles Rodgers; stepmother, Dr. Mary Alice Rodgers; three brothers, William Byrd, Cornelius Wilson, and Randall Williams; five sisters, Rita Simon, Patricia Wilson, Classie Cameros, Janie Burris, and Helen Gipson; two paternal brothers, Dr. Curtis Rodgers and Elder Chetwyn Rodgers; and two paternal sisters, June Rodgers-Calhoun and Kimberly Pete.

Funeral services were held July 30 at Mt. Nebo Baptist Church in Nashville. Interment followed in Greenwood Cemetery in Goodlettsville.

HERSCHEL SIZEMORE

Aug. 6, 1935 – Sept. 9, 2022

Mandolinist, composer, and author Herschel Sizemore, 87, died Sept. 9, 2022. He was a life member of the Nashville Musicians Association who joined Local 257 Oct. 24, 1979. In addition to a multitude of live performances, he played on records for a long list of bluegrass bands, and released several solo offerings and instructional works.

He was born Aug. 6, 1935, in Sheffield, Alabama, to Claude and Rebecca Dennis Sizemore, and grew up in Leighton. His mother was a self-taught guitarist, and Herschel was playing by the age of seven. He heard Bill Monroe on the family’s battery-operated radio, and was drawn to the mandolin even more when the eight-year-old attended the Grand Ole Opry with his parents and saw Monroe perform live. His brother sent a mandolin home while in the army, and Sizemore’s future career was launched. He played with fiddler Hugh McCormick after learning some chords, and got his first paying job when he was 14, playing at area dances with Ned Campbell & the Sunnyside Playboys.

He went on to play with the Dixie Gentlemen and toured with the group throughout the Southeast, also playing at regional radio stations. Under the name The Blue Ridge Mountain Boys, the band recorded two albums, and then became The Dixie Gentlemen, and recorded an album for United Artists. After that band dissolved, Sizemore played with Bobby Smith & the Boys from Shiloh. Sizemore would play with many bluegrass artists and bands including Jimmy Martin, the Shenandoah Cut-Ups (with whom he worked

on several albums), Curly Seckler, and others. He released a record with his own band, The Country Grass, in the ‘70s. In the late ‘70s he worked with Del McCoury’s Dixie Pals.

He recorded a solo album while with McCoury called Bounce Away, noted for what became termed the Sizemore roll, a technique John Lawless called “a pause in a vocal melody when played on the mandolin… like the way a banjo would use a forward roll…He employs a cross-picking pattern across several strings while holding a chord in place to keep the eighth-note rhythm going without emphasizing melody notes.” The record contained the Sizemore composition “Rebecca” which was named for his mother and became a classic in the genre.

In the ‘80s Sizemore played with the Bluegrass Cardinals, recorded a second solo album, and went on to form the Herschel Sizemore Band. Two more albums followed in the early aughts, as well as a longrunning 3-day instructional event for bluegrass players held in Roanoke, Virginia. He also released a transcription book and instructional DVD. Over the course of his lengthy career, he performed many times on the Grand Ole Opry

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.

Physical issues curtailed Sizemore’s busy schedule in 2011, although he continued to work as his health allowed. The DVD Herschel Sizemore: Mandolin in B: A Tribute to a Bluegrass Legend, was released in 2013. In 2018 he was inducted into the Alabama Hall of Fame. In addition to music, Sizemore loved fishing.

Sizemore was preceded in death by his brothers and sisters; one granddaughter, and one great-granddaughter. Survivors include his wife of 68 years, Joyce Sizemore; two daughters, Charlotte Bishop and Tamba Agee; one son, Lee Sizemore; ten grandchildren, ten great-grandchildren; and one greatgreat-grandchild.

Funeral services were held Sept. 15 at Simpson Funeral Home in Roanoke, Virginia, with interment in Blue Ridge Memorial Gardens. Memorials may be made to Gentle Shepherd Hospice in Roanoke.

“if you know all of your scales and understand basic rhythms you should be able to play anything in front of you.”

Benjamin P. Sims Jeff P Siptrott Harold E Skelton, Jr

K Skye Erin Slaver Kent Slucher William L Smithson Janet M Stegall Alan Stoker Tamara Marie Stroud Zander M Sugarman Bobby W Terry, Jr George Tidwell Jonathan Marc Trebing Daniel Truman Robert Joe Turley, III Daniel Lewis Vaughan Ted Wagner Craig Ryan Watson

B Weitnauer

W Whalum Bryan Shelton White Donald Lloyd White

Marshall White Mark Wayne Whitehead

James Whitman William Monroe White, III Dana Keith Williams Lynn Williams Edward J Wilson Andrew Whitten Wright Michael Younger G Maxwell A Zemanovic

Theresa S Zick

REINSTATED Peter Glen Abbott Ashton A Angelle Timothy E Atwood

David Mark Baldwin Ronald Franklin Block

Cremaine A Booker Troy Lee Boswell

Richard Allen Boyer

Richard M Brannan, Jr

Andrew P Byrd

Carly Campbell Michael Ray Carter

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

Tommy Sims dba Positive Movement

Sims remains in contempt of court judgements from 2012 and 2022. He still owes more than $300K to musicians from a 2008 gospel project. Despite many promises he has only paid a fraction of what he owes.

Nashville Music Scoring/Alan Umstead – solicitation and contracting non-union scoring sessions for TV, film and video games. Musicians who work for them without an AFM contract 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) One small payment has been made towards this debt.

• 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

• Mike Barrios (unpaid live performance wages)

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