The Nashville Musician - July - September 2014

REVIEWS:

Dolly Parton

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Official Journal of AFM Local 257 July– September 2014

C h ris M c D o n a l d

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J im R o o n e y

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H a rp He a ve n

Nashville Jazz Workshop

Elevating the Cool Factor in Music City

Time Traveler Ricky Skaggs

July–September 2014 1

contents Official Journal of the Nashville Musicians Association, AFM Local 257 | July—September 2014

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Announcements Details on the next membership meeting, scheduled for Monday, Aug. 18, 2014, plus minutes of past meetings.

State of the Local President Dave Pomeroy discusses details of the new Jingle Agreement, and gives members good news regarding many current Local 257 projects.

New Grooves Secretary-Treasurer Craig Krampf talks about the summer scene in Music City and the importance of reaching out to prospective members.

News Reports on the new inductees to the Country Music Hall of Fame, and Local 257 winners from Music Row Awards, ACMs and the CMTs.

11 Heard on the Grapevine The notable comings and goings of Nashville Musicians Association members.

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Ricky Skaggs

12 Gallery Member milestones and events.

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19 Feature: Nashville Jazz Workshop NJW brings classes, performers, streaming radio, and more to Music City.

22 Reviews Dolly Parton, Chris McDonald, Jim Rooney and Harp Heaven.

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Nashville Jazz Workshop

26 Jazz & Blues Jack Pearson goes virtual and Nashville jazz musicians gain new venues.

27 Recording Local 257 Recording Directory Steve Tveit gives the lowdown on how to fill out a time card.

Violinist Deidre Bacco retires, thank yous to committees and more.

30 Final Notes

we work with all types of artists: • Models • Actors • Professional Athletes • All Music Genres

We bid farewell to Weldon Myrick, Bobbe Seymour, Marjorie Rhoads, and James Justin “Bucky” Doster.

33 Member Status 34 Do Not Work For list BettyAnn Murphy 615-871-4767

Insurance Group

Warren Denney talks to Ricky Skaggs about reinventing the future and preserving the past.

28 Symphony Notes

PrOTecT YOUrseLf frOm LOss Of iNcOme DUe TO iNjUrY LeT Us shAre OUr kNOwLeDge wiTh YOU

2 THE NASHVILLE MUSICIAN

14 Cover story: Ricky Skaggs

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Dolly Parton

July–September 2014 3

Announcements Next General Membership Meeting Monday, Aug. 18, 2014

Official Quarterly journal of the nashville Musicians Association AFM Local 257

Publisher EDITOR managing editor ASSISTANT EDITOR CONTRIBUTING WRITERS

Dave Pomeroy Craig Krampf Kathy Osborne Leslie Barr Austin Bealmear Warren Denney Roy Montana Laura Ross Steve Tveit

CONTRIBUTING PHOTOGRAPHERS Tripp Ellis Donn Jones Craig Krampf Dave Pomeroy ART DIRECTION Lisa Dunn Design WEB ADMINISTRATOR Kathy Osborne Ad Sales Leslie Barr 615-244-9514 Local 257 Officers President Dave Pomeroy Secretary-treasurer Craig Krampf executive board Jimmy Capps Duncan Mullins Andy Reiss Laura Ross Tim Smith Tom Wild Jonathan Yudkin hearing board Michelle Voan Capps Tiger Fitzhugh Teresa Hargrove Bruce Radek Kathy Shepard John Terrence Ray Von Rotz Trustees Ron Keller Biff Watson SErgeant-At-Arms Chuck Bradley Nashville Symphony steward Laura Ross Office Manager Anita Winstead

Electronic Media Services Director assistant data entry Recording Dept. Assistant

Steve Tveit Teri Barnett Robert Sieben Lydia Patritto

director, live/Touring Dept. Leslie Barr and Pension Administrator Membership Coordinator & Rachel Mowl Live Engagement/MPTF Coordinator

The next General Membership meeting will be Monday, Aug. 18, 2014. Doors will open at 5:30 p.m. and the meeting will start promptly at 6 p.m. There will be president and secretary-treasurer reports, and discussion on a number of important issues. Please make plans to attend and take part in the business of your union.

Minutes of the Executive Board meeting March 20, 2014 Attending: President Dave Pomeroy, Laura Ross (LR), Duncan Mullins (DM), Jimmy Capps (JC), Tim Smith (TS) and Jonathan Yudkin (JY). Secretary-Treasurer Craig Krampf was absent due to a medical appointment.

President Dave Pomeroy called the meeting to order at 9:06 a.m.

Minutes of meeting, Feb. 24, 2014: A few language changes were suggested and so, it was also suggested that Krampf make the appropriate changes and send the minutes to the Board for approval via email.

There was no treasurer’s report.

President’s report Pomeroy sent out a survey to the membership to obtain feedback on several issues related to recording contracts. He received approximately 50 responses. The main purpose of this meeting was to get the Executive Board’s ideas, feedback and suggestions before taking these ideas to the AFM International Executive Board for discussion.

1. Creating a Limited Pressing Concert DVD scale: The only agreement currently covering DVDs is the AFM Concert DVD scale which is cost-prohibitive for many indie artists and small labels. There have been requests for an affordable alternative. Discussion followed.

2. Simplifying the Single Song Overdub Scale (SSOS) Agreement: Local 257 has had many complaints that the language of the Single Song agreement is too lengthy and complicated, which limits the use of this innovative scale. The SSOS Agreement is much more complicated than the Limited Pressing local agreement or the AFM Single Project Short Form. Pomeroy proposed to drastically simplify this language, so that this Agreement can be used more effectively. Discussion followed.

3. Create a one-hour Limited Pressing Scale like our one-hour Demo Scale. After some discussion, a consensus was reached to table this item.

4. Add an “Image Fee” surcharge to Demo and/or Limited Pressing studio sessions that are being filmed by the artist or employer. When an artist or employer wants to use footage of a Demo or Limited Pressing session for promo purposes, but not an entire song, there is currently nothing in place to compensate the players for being filmed. Discussion followed and the concept of adding a percentage of scale was agreed upon.

MSC to approve new members: LR and JC. Unanimously approved.

MCS to adjourn: JY and JC. Meeting adjourned at 10:18 a.m.

Member Services/Reception Laura Birdwell

@2014 Nashville Musicians Association P.O. Box 120399, Nashville TN 37212 All rights reserved.

nashvillemusicians.org 4 THE NASHVILLE MUSICIAN

Respectfully submitted, Craig Krampf

Announcements

Attention members:

FAQ for the AFM-Employer Pension Fund When you register on the Fund website — www.afm-epf.org: • You can view your annual covered earnings reports from 2000 to the present.

• You can view your interim covered earnings reports to double-check whether you have received pension contributions due to you for calendar quarters since your last annual covered earnings report. You will even get an email blast when a new interim report is ready for your viewing.

• You will soon be able to view your designated beneficiary(ies) at the AFMEPF website (You will still be required to fill out and send a signed and notarized application if you need to add or change beneficiaries.)

Note: Be aware that if there is no beneficiary(ies) on file with the AFM-EPF and you are vested and die before your benefit begins, with the exception of a legal spouse, no one will receive a death benefit.

• You can use the online estimator to see the approximate monthly benefit you would receive between the ages of 55 and 65, and you can also see what you would receive if sharing your benefit with a spouse or dependent. The estimator allows you to enter projected future contributions and can be used regardless of whether you have 1/4 year of vesting or are fully vested.

• You can sign up for electronic delivery of your annual covered earnings reports, pension documents and other notices rather than killing trees and spending money that could better fund your benefits.

To become a fully vested participant — • You only need to make $750 of “covered” wages (i.e. wages that receive pension contributions) to receive 1/4 year of vesting credit. (One year of vesting credit is only $3,000 of covered wages.)

• You will receive annual covered earnings reports from the AFM-EPF beginning in the year that you earn 1/4 year vesting credit and you will continue to receive an annual report once you are fully vested and beyond unless you incur a permanent break in service prior to becoming fully vested.

• You only need five full years of vesting credit to be guaranteed a pension benefit.

• While the majority of contributions are from collective bargaining work like recording, the Nashville Symphony, and the General Jackson, there is a contract called an LS-1 that will help you get pension contributions for weddings, parties, and other musical activities as a freelance musician.

C

huck

Why you might be denied a pension benefit • You become vested when you complete five years of vesting service including at least 1/4 year of vesting service after 1986. If you have no vesting service after 1986, different rules apply.

• If you had a number of consecutive years of “breaks in service” because you made less than $750 of covered wages during each of those calendar years you may not be vested.

• Once you have a permanent break in service any contributions received on your behalf are lost, even if you later become vested in the plan.

• If you no longer receive an annual covered earnings report, it is likely you have had a permanent break in service and will not receive a pension benefit.

• If no B form (AFM contract) – or equivalent remittance form, such as a signatory agreement – is filed for your work you may not be credited with pension contributions.

• If you have received at least 1/4 vesting credit and have received an annual covered earnings report (which will contain your pension ID number) register at www.afmepf.org for more information and to register for electronic delivery.

AFM Local 257 Holiday Closings Labor Day Monday, Sept. 1 Columbus Day Monday, Oct. 13

Bradley

Drums ♬ Percussion ♬ Programming ♬ Electronic Percussion

678-346-0032

chuck.bradley@hotmail.com

AFM 257 Member

w w w.chuckbradley.me July–September 2014 5

State of the Local

New Grooves

By Dave Pomeroy

By Craig Krampf

The events of the past few months have given me a fresh perspective on many things, including the understanding that life is short and unpredictable events can change the course of our lives at any moment. Every day on earth is a gift, and should be treated that way.

This job is one that never ends, and it is up to me to do my best to make decisions that have the greater good of our members in mind, while understanding that no one is perfect and that I cannot please everyone. I have learned to appreciate all of the things that DO get accomplished in any given day.

New improved agreements I recently returned from New York City after completing negotiations for a new Commercial Announcements — aka jingle — agreement. Led by AFM President Ray Hair, our team was informed, unified, and determined to improve this important contract. We achieved significant improvements in wages across the board, especially in Internet advertising. We agreed to create new eight and 52 week cycles that the industry wanted and bargained increases in other areas including pension, which is now the highest of any AFM contract at 16.5 percent. Local 257 had a significant increase in jingle work from 2012 to 2013, and we are seeing that trend continuing.

The AFM also recently completed a new Videogame Agreement with Microsoft, the first time we have negotiated a contract directly with a major employer in this important area. We 6 THE NASHVILLE MUSICIAN

“There has never been a more important time for all Nashville musicians to show support for our amazing symphony players.” are talking with other employers, and anticipate that other videogame companies will follow suit and be prepared to pay a fair wage. We have the capability of getting a lot more work in this field, but it is essential that we stick together and insist that if game companies want the best that Nashville has to offer, they must respect musicians and work under an AFM contract instead of paying lowball cash wages without pension or protections of any kind.

One of the things I have enjoyed most is creating agreements that address changing business models and the realities of new technology. The Demo to Limited Pressing Conversion scale allows independent artists and publishers to upgrade songs originally recorded as demos for a reasonable price, and gives them more flexibility for a number of uses. The Single Song Overdub Scale addressed the growing phenomenon of Internet file-based recording in home studios.

This is the only AFM scale that allows you to work at a per song scale ($100/song minimum, no maximum, with pension and benefits included in the total round number) and make your own pension contribution. Your input and feedback have been a big part of these initiatives, and I hope you will keep the ideas coming.

Help for club and touring musicians Local 257 assists casual and club musicians by passing along gig referrals to our members, who can promote themselves through our website. We helped convince the city to create Musician Loading Zones downtown, and we continue to help enforce the MLZs by passing on photos of taxi drivers who misuse them to the downtown police commander. I have appeared in court several times to help get unjust parking tickets to musicians dropped. We raised scales for the CMA Fest significantly two years ago and will work towards doing so again. All of these activities help us to identify potential new mem-

bers and demonstrate the value of what we do, such as helping connect them with members at our monthly jam session and other networking events.

We have vastly improved our rehearsal hall with a new PA, courtesy of our neighbors at SAE, and acoustical treatments courtesy of Auralex; it is being used now more than ever.

Touring musicians have long been the backbone of the live music industry, and we have learned to be more responsive to their needs. We are working with the FAA and DOT to finalize the new regulations for carrying instruments onto airplanes, and are also working with Congress to resolve the African ivory situation, as it applies to musicians.

Our Musicians Rights Card has been helpful numerous times when musicians are being asked to waive their rights on short notice. The more knowledgeable and proactive bandleaders and musicians are, the less chance you will be put in a compromising position, so let us help you help yourself.

Support our symphony players As I write this, we are at a critical juncture in Nashville Symphony negotiations.

There has never been a more important time for all Nashville musicians to show support for our amazing symphony players, who took a 15 percent pay cut last year due to the financial problems associated with the Schermerhorn Symphony Center building. I hope you will all show your support for our superb orchestra in any and every way possible in the coming months — and for years to come as well. They have given us their best, and they deserve the same in return.

Looking back, I am proud of the work we have done and the changes we have made to the Nashville Musicians Association over the past five years to transform our local, and the AFM as well, into an effective advocate and support system for musicians in chalTNM lenging times. Stay tuned.

“We are proud that we have averaged well over a hundred new members a year for the last five years and we are well on our way to that total this year.

It is really a matter of education.”

Greetings, brother and sister musicians.

It is that time of year again when thousands of people from around the world are visiting Nashville. You can see and feel a change as summer vacations begin at the end of May and people start appearing everywhere on Music Row and lower Broadway. People are walking the streets: Buses, vans and cars are everywhere, slowing traffic at all the music business buildings, honky-tonks, and various museums.

The roundabout at Demonbreun and 16th can become a terrifying experience for the “regulars,” because so many tourists are utterly confused by this traffic concept. Thinking about it now and saying with a little jest — maybe it all has to do with the naked people statue!

CMA Fest, Nashville and the music scene According to the Nashville Business Journal the Nashville airport “saw double-digit yearover-year growth in passengers during CMA Fest (up 11.2 percent with 66,607 passengers) and set a new daily passenger record (20,620 passengers), according to

screening data from the TSA.” From initial reports, CMA Fest’s attendance numbers were great and about the same level as last year, which was a record-breaking year. We have been reaching out to the non-union musicians on-site and when they pick up their checks, and have gained some new members.

Besides the current thriving music scene, there is no doubt that the ABC TV show Nashville has also contributed to the upsurge in tourists and new residents. Local 257 President Dave Pomeroy recently said in an AFL-CIO press release that he was “proud of the commitment this show has made to score the production in Nashville with union musicians who represent the very best of our local talent.” The show has been renewed for another season.

The press, both nationally and internationally, has been incredible as Rolling Stone calls Nashville the nation’s best music scene and a headline in The Guardian in London, England proclaims, “There are more thrilling new bands in East Nashville than anywhere else on Earth.” Recently, most major music

magazines and bloggers are mining the scene to bring news of Nashville to the rest of the country and the world.

Reaching out We know many of you have been reaching out to the non-union musicians who are new to town or have been here a while and just didn’t know about the AFM, and we certainly appreciate this a lot. Your efforts, coupled with the efforts of all of us here at Local 257, have led to some very productive results in gaining new members.

We are proud that we have averaged well over a hundred new members a year for the last five years and we are well on our way to that total this year. It is really a matter of education. We have found that in most cases, once young musicians gain some knowledge and realize that the union is a welcoming organization that is here to help and protect them, that a lot of new young players come aboard. Please continue reaching out — obviously, the new blood is our future.

Hope you and your family are doing well and having a very nice summer. TNM

July–September 2014 7

NEWs

WHAT DO LORETTA LYNN, KEITH URBAN, LARRY CARLTON, KINGS OF LEON, AND THE MUSICIANS OF THE NASHVILLE SYMPHONY HAVE IN COMMON?

Pahl First-time winner in the Music Row Awards

REVIEWS: ALIAS

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JIMMY CAPPS

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EASTON CORBIN

OFFICI A L JOURN A L OF A FM LOC A L 257 JA NUA RY– M A RCH 2013

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MIKE DALY

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TIME JUMPERS

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MARTY STUART

BAND WITHOUT BOUNDARIES

PUNCH

BROTHERS

JEFF COFFIN

Strikes Twice OVERCOMING ADVERSITY

Milsap and Wiseman New Members of cMHOF

Longtime Local 257 member Russ Pahl was a first-time winner in the Music Row Awards All-Star Musicians category for Steel Guitar. Other All-Star Musician honorees included Charlie Judge (Keys), IIya Toshinsky (Guitar), Jimmie Lee Sloas (Bass), Aubrey Haynie (Fiddle) and Greg Morrow (Drums).

The All-Star Musician Awards salute musicians in eight categories based on how many projects they contributed to that entered the Top 10 of Billboard’s Hot Country Album Sales chart during the preceding twelve months. Music Row started the event in 1989. The ceremony was held June 18 at BMI.

Shelton wins CMT Male Video of the Year Nashville Musicians Association member Blake Shelton added another award to his mantle after winning CMT Music Award honors for Male Video of the Year with “Doin’ What She Likes.” The ceremony was held June 4 at Bridgestone Arena.

8 THE NASHVILLE MUSICIAN

Ronnie Milsap and Mac Wiseman, both life members of the Nashville Musicians Association, are the newest members of the Country Music Hall of Fame. Milsap will be inducted in the Modern Era Artist category, and Wiseman enters in the Veterans Era Artist category. The third new member for 2014 in the Songwriter category is Hank Cochran.

Milsap started playing piano at age seven and played his first professional gigs in the early 1960s as a member of J.J. Cale’s band. By the late ‘60s Milsap had moved to Memphis where he worked as a session player and backup singer. His work included keyboards on the Elvis Presley hit “Kentucky Rain.”

He released his first album as an artist in 1970, and success followed throughout the ‘70s and ‘80s with a string of No. 1 records, crossover hits and awards including eight CMA awards and six Grammys. This year Milsap released his 31st album, which he describes as an homage to the music that inspired him.

Mac Wiseman started his musical studies at 18 when he attended the Shenandoah Conservatory of Music in Virginia. His first job in the business was with WSVA in Harrisonburg, Va., where he also played with local bands. Within a couple of years he had joined the Foggy Mountain Boys as guitarist and harmony singer. He also played with Bill Monroe’s Bluegrass Boys before he was offered an artist contract with Dot Records in 1951.

Wiseman later worked as head of Dot Records Country Division, and helped found the Country Music Association. This year Wiseman released a record with Merle Haggard, Vince Gill and The Isaacs. Wiseman was also the first inductee into the Shenandoah Conservatory of Music Hall of Fame in April.

In 1961 the CMA created its Hall of Fame to honor artists and industry professionals.

Urban and Swift ACM Awards Local 257 members Keith Urban and Taylor Swift brought home honors at this year’s ACM Awards, held April 6 in Las Vegas. Urban and Swift were featured in the Video of the Year, Tim McGraw’s “Highway Don’t Care,” and Urban was also part of the Vocal TNM Event of the Year – “We Were Us” with Miranda Lambert.

INTERVIEW Eddie Adcock | Pete Huttlinger | Jimmy Nalls

CD & BOOK REVIEWS: VINCE GILL & PAUL FRANKLIN • BRAD PAISLEY • JERRY KRAHN • LARRY BUTLER • STARDAY RECORDS

REVIEWS: Kathy MattEa • GuthRIE tRapp • RIcKy SKaGGS • EMMylou haRRIS & RodnEy cRoWEll • BoBBy BRooKS WIlSon

REVIEWS:

GaRth BRookS

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WIll BaRRoW

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GoRdon MotE

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BIlly CuRRInGton

felix cavaliere

Riffs on The Rascals OFFICIAL JOURNAL OF AFM LOCAL 257 JULY– SEP TEMBER 2013

Official JOurnal Of afM lOcal 257 January– March 2014

Offici a l JOurn a l Of a fM lOc a l 257 a pril– June 2013

Loretta Lynn

GUITARS GONE WILD

Jerry Reed Tribute GEORGE JONES 1931 - 2013

JANUARY–MARCH 2013 1

on life, love, and The PoweR of a song

oretta LLynn THE PATH WITH HEART

by Warren Denney

BoBBy Wood & don davis

write the books

LOCAL 257 MUSICIANS HELP ABC'S

JULY–SEPTEMBER 2013 1

kristofferson

Freedom, duty & the artist’s Way

steeldrivers pedal to the metal

Photo by russ harrington APRIL–JUNE 2013 1

January–March 2014 1

When Loretta Lynn was awarded the Presidential Medal of Freedom this past November in a ceremony held in Washington, D.C. at the White House, President Barack Obama was confirming what the country singer’s fans around the world already know — that she is an American original who has made her home a better, stronger place to live.

The award is the nation’s highest civilian honor, reserved for those who have done just that, either through contributions made to the country’s national interests, to world peace, or through significant cultural endeavors. In reality, Lynn qualifies on all fronts.

She took her place onstage among luminaries such as former president Bill Clinton, jazz musician and composer Arturo Sandoval, women’s rights activist Gloria Steinem, tastemaker Oprah Winfrey, former Chicago Cubs great Ernie Banks, and the late astronaut Sally Ride, among others. Sixteen civilians were so honored, and all have their own unique story, but few can rival the one lived by Butcher Holler’s own.

“That’s quite a deal, wasn’t it?” Lynn said recently, from her home near Nashville, referring to the award. “I couldn’t have dreamed something like that — I could have never dreamed I could have [even] been a singer, you know.”

Strange words, you might think, from the woman who was named the CMA’s Female Vocalist of the Year in 1967, 1972, and 1973, and who, in 1972, became the first woman to win the CMA’s Entertainer of the Year. Additionally, she and Conway Twitty were the CMA’s Vocal Duo of the Year in an amazing run

14 14 THE THE NASHVILLE NASHVILLE MUSICIAN MUSICIAN

A shoestring and sheer will brought her to Nashville. That, and the heart of a song.

continued on page 17

continued on page 16 JANUAry–MArCH 2014 15

THEY ARE ALL MEMBERS OF THE NASHVILLE MUSICIANS ASSOCIATION AND READ THIS MAGAZINE! Advertising in The Nashville Musician is a cost–effective way to reach professional musicians, high-profile artists and music business executives. ● Print circulation over 3000 ● Interactive version free online at nashvillemusicians.org and issuu.com ● Distributed at Summer NAMM each year to thousands of musicians ● Only Nashville publication that guarantees access to an exclusive demographic ● Great rates and online plus print packages available

TO PLACE YOUR AD, CALL OR EMAIL LESLIE BARR 615.244.9514 LESLIE@AFM257.ORG July–September 2014 9

Heard on the Grapevine

Heard on the Grapevine buzz Cason

Freeze receives award Longtime Local 257 member James Freeze received an award presented by the Lawrence County School System for those who have set admirable examples for future graduates. “I was so honored and surprised to be one of the recipients,” Freeze said. He joined the Nashville Musicians Association in 1969, and has been the bass player and backing vocalist for Bill Anderson since 1991. Shown in photo (l–r): Lawrence Country School Superintendent, Dr. Bill Heath and Freeze

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The Country Music Hall of Fame® and Museum is operated by the Country Music Foundation, Inc., a Section 501(c)(3) non-profit educational organization chartered by the state of Tennessee in 1964.

Vest and Garrish 2014 Inductees to the steel guitar Hall of fame Two Nashville Musicians Association life members — Jim Vest and Sonny Garrish — along with Joe Wright, have been named the 2014 inductees to the Steel Guitar Hall of Fame.

Vest moved to Nashville from Louisville in 1969, and became the leader of the Nashville Cats, a well-known band that performed at the Western Room in Printer’s Alley for over 18 years.

Vest has recorded with a multitude of artists including Waylon Jennings, Tammy Wynette, Vern Gosdin, George Jones, Willie Nelson, the Statler Brothers and many more. West is also a songwriter and a producer, and has also performed live on many television shows, as well as appearing in movies with Burt Reynolds, Ned Beatty and Lorne Greene.

Garrish came from a musical family, and was playing in his father’s band at age seven. By 15 he was playing steel guitar and singing. When he was 17, a standing gig at Hunter’s Lodge in Fairfax, Va., became the beginning of his path to Nashville.

The venue often brought in national acts, and Garrish met Bill Anderson’s bandleader, who offered him a job. That Nashville job in turn led to session work with many artists over the years including The Beach Boys, Clint Black, Eddie Rabbitt, Glen Campbell, Shania Twain, the Judds, Billy Ray Cyrus and B.B. King, among a host of others.

Plaques will be presented to the three inductees at the annual International Steel Guitar convention on Aug. 30 in St. Louis.

Buzz Cason honored at CMHOF Poets and Prophets series In July songwriter and AFM Local 257 life member Buzz Cason was honored in the Country Music Hall of Fame’s (CMHOF) Poets and Prophets series. The program honors songwriters who have made significant contributions to country music history.

Cason formed and fronted the Casuals, who backed Brenda Lee as one of Nashville’s earliest rock & roll combos; then went on to tour with acts that included Jerry Lee Lewis, Carl Perkins and Eddie Cochran. Then, billed as Garry Miles, Cason went solo and scored a pop hit with “Look for a Star.” After a stint with the Crickets, he returned to Nashville.

He cowrote “Everlasting Love” with Mac Gayden for Robert Knight early in his career, and three decades later he wrote a Top Five country hit, Martina McBride’s “Love’s the Only House.” His songs have been recorded by The Beatles, U2, Pearl Jam, Jan & Dean, and many

more. Beyond his songwriting versatility, Cason also sang back-up for Elvis Presley and Roy Orbison, produced Jimmy Buffet, and opened Creative Workshop studio in Berry Hill in 1970, activating the recording scene in that area.

At 74 Cason continues to record and perform; he has also released six albums in the last seven years.

Kristofferson cast as President Andrew Jackson

Local 257 life member Kris Kristofferson has been cast as President Andrew Jackson in an upcoming eight-hour miniseries, Texas Rising.

The program will detail the Texas Revolution against Mexico and the rise of the legendary Texas Rangers, and will air on the History Channel in 2015.

“There aren’t too many actors able to embody this character and the stature, strength and liberty to play the part,” said Leslie Greif, producer of the series.

When Kristofferson agreed to play the role “the set erupted in loud cheers and everyone was yelling,” Greif said.

TNM July–September 2014 11

Gallery

Gallery

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1. Ted Trediak celebrates receiving his 25-year membership pin by recreating Ernie Kovac’s legendary ‘Nairobi Trio’ with the help of Craig Krampf and Dave Pomeroy 2. Legendary drummer W.S. Holland, a life member of the Nashville Musicians Association, received his 50-year pin from Dave Pomeroy at the local.

Holland, an original member of Johnny Cash’s band, will be honored in his hometown of Jackson, Tenn., on Aug. 16 at a concert event commemorating his 60-year career. The festivities will be presented by the Tennessee Department of Tourism and a local radio station.

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4.

3. Bassist Toni Sehulster, a longtime member of the Jay Patten Band, celebrates getting her AFM life member pin.

4. Saxophonist, vocalist and bandleader Jay Patten gives the AFM a thumbs up after receiving his life member pin at the local.

12 THE NASHVILLE MUSICIAN

1.

1. Local 257 life member Leon Rhodes was honored as a Nashville Cat by the Country Music Hall of Fame. Rhodes’

Big Band to Bluegrass

credits include work with Ernest Tubb, 20 years in the Hee Haw house band and over 30 years as a member of the Grand Ole Opry staff band. Pictured (l-r) Bill Lloyd and Leon Rhodes

all true, all real

2.

2. AFM Local 257 life member Gene “Pappy” Merritts graced us with a tune after picking up his 50-year pin at the local.

TNM

www.tom shed.com July–September 2014 13

For Ricky Skaggs, it’s about time and space. He is a time traveler, after all. No other artist on the country music landscape can lay claim to having played with Bill Monroe, Flatt & Scruggs, and The Stanley Brothers — all before the age of 10 years old.

His story is well known. A child prodigy on the mandolin, from the hills of Kentucky, cut from the same cloth as those pioneers. Ricky Skaggs was born to do one thing, and that is to walk out on stage and burn it down. He is a pure picker who has been in the business for over 50 years, though he is still young. When Skaggs speaks of the old days and the giants of bluegrass, he can speak with authority because he was a part of it. And, when he speaks of the giants of country music today, he can speak with that same authority. He is a part of it.

He knows his unique place in the world, as one of the few performers who can truly straddle

14 THE NASHVILLE MUSICIAN

past and present — and as one who still stands at a high peak looking toward the future.

“It’s rare to have had the relationships,” Skaggs said recently from his office in Hendersonville. “And, they lasted on. With Bill, he was like a musical dad to me. We ate together, went to church together, he made that video ‘Country Boy’ with me. I think I was always trying to bridge the gap and bring those elders forward — so that people didn’t forget. I didn’t want people just to learn bluegrass through me, or from me, but wanted them to go to the old wells like Bill, and Carter and Ralph, and Lester and Earl, you know.”

In many ways, Skaggs was earmarked for this. Born in Cordell, Ky., he grew up in a household that played, and with parents who recognized who he would be. His father, Hobert, had given him his first mandolin at five years old, and moved them to Nashville in 1961 following a work accident in Paradise, Ky. continued on page 16

July–September 2014 15

As Skaggs’ new day continues to rise, he and wife Sharon – both 33-year members of Local 257 – are preparing to release a duets record, Hearts Like Ours, in September of this year.

Pictured left to right Buck White, Cheryl White, Ricky Skaggs and Sharon White

we would have the Beatles playing in one room and the Stanley Brothers playing at the other end of the house. I’d stand there loving both worlds. I did love them because they were new and different, but I could hear a thread that was coming across the ocean. I could hear the Stanley Brothers, I could hear the Louvin Brothers, and the Everly Brothers in John and Paul’s singing. I found out later, they were fans of that music.”

And later, following a show in D.C., Skaggs encountered a writer, Steve Price, who would help him take another step in his musical journey.

“The Country Gentlemen played at the Lone Star two nights a week,” Skaggs said. “I had bought the Hillbilly Jazz record and loved that, and Steve Price came up to me one night and said my playing sounded some along the lines of Vassar Clements and that sort of thing. He came back again and gave me a double record full of Django [Reinhardt] and Stephane [Grapelli], and that really blew the lid off my brain!

When I heard that rhythm — I heard that bluegrass in there and I heard those gypsy minor keys. You know its way different in that bluegrass was played in almost all major keys, although the Stanley Brothers did things in the ‘mountain minors,’ what I called them, and where there was no hard third played. It’s still a D, not a D-minor, but it’s a D without a hard third in it, and so you sing a minor around it and it doesn’t rub against it. It’s a different style.”

— no vision for later on. Except for Rick Blackburn at Epic. He absolutely did. He heard some demos that I had done when I was working with Emmylou and he signed me right then. It was that blend, and that mixture of country, where country radio would play it, but it had those elements that were bluegrass.

Those harmonies were right down the middle bluegrass.

“Those songs were just in your face — like you’d hear a trio at a festival. Mandolins and fiddles. It brought the steel guitar back. It was just a sound that hit hard and it changed so much in Nashville. You never know this is going to happen, or that is going to happen. But, it did.”

What happened was a string of monster records on Epic, beginning with Waitin’ for the Sun to Shine in 1981, which rose to No. 2 on the Billboard country charts. He and White were married that same year. Skaggs had conjured a new sound — still basically bluegrass, but without banjo — and he added drums and electric bass. The record yielded two No. 1 singles, his first, with “Crying My Heart Out Over You” and “I Don’t Care.”

Through 1986, with the release of Love’s Gonna Get Ya!, Skaggs owned five big-selling records. Three of those albums reached No. 1 on the country charts — Highways & Heartaches (which produced three No. 1 singles), Don’t Cheat in Our Hometown (three more No. 1s), and Country Boy (with its No. 1 title track). He had pulled off a seemingly impossible feat, in staying true to his past and blending that heritage into a new day.

He did not stay in D.C. long, and Skaggs moved back to Kentucky again, playing with J.D. Crowe’s New South, before forming his own band, Boone Creek, with Jerry Douglas. He was laying the groundwork for what was to come. In 1977, he replaced Rodney Crowell in Emmylou Harris’ Hot Band for a brief but potent stint, before moving back to Nashville again in 1980. Country music in those days was not a pretty sight. And, while Skaggs had remained true to his calling, he knew he would have to continue to develop. Skill and talent were not the issue — he was born to tear it up — it was the landscape. To grow, he would strike out on his own again.

“I felt like I was a fan of country music all my life and I had become really disenchanted with country radio,” Skaggs said. “It really left me flat, and I felt like I was a fan just like everyone else. Bluegrass and traditional country were on the outs. But I always felt that those were the instruments that captured the ear and hearts of people.

“The music execs in town at the time did not see it that way. All they could see was sales, and what was hot right then

Country fans had become Ricky Skaggs fans.

And, along with it, came a cascade of awards. He was named CMA’s Male Vocalist of the Year and its Horizon award winner in 1982; the coveted CMA Entertainer of the Year in 1985; and his band earned the CMA’s Instrumental Group of the Year for three years running, from 1983 – 1985. He and White were named the CMA’s Vocal Duo of the Year in 1987.

He has enough Grammys and IBMA awards to walk away as one of the most decorated musicians to ever come out of Nashville. Of course, that’s not in the script when you’re born to pick and sing like Skaggs.

He has returned to his bluegrass roots, at least in degrees, over the last two decades. He established his own Skaggs Family Records label in 1997. His initial release on that label, Bluegrass Rules!, was a Grammy-winning collection that took home the IBMA’s Album of the Year honors. His acclaimed band, Kentucky Thunder, continues to roll, and has garnered many IBMA Instrumental Group of Year awards.

continued from page 15

“My Dad was, in his heart, trying to get me on the Opry,” Skaggs said. “He made friends with the backstage guard and got us in one night. I got my mandolin out in that narrow hall, in the way of very busy traffic. Earl Scruggs happened to walk by, and stood there and watched me play. He started talking to my Dad — I think he was sympathetic to him because of Gary and Randy — and he asked him to bring me down for audition on the [Flatt & Scruggs] TV show.

“Well, I made the show, and when it came on, my mother tuned it in — it was our first TV — and I see myself walk out to play [on screen] and I take off running as hard as I could off into the bedroom, and got under the bed.”

Nashville can be tough, even on a seven-year-old. They lived in Goodlettsville, and East Nashville, on Meridian Street, before moving back to the family home in Kentucky. The family played churches, picnics and a few theaters.

When he was 15, Skaggs met guitarist Keith Whitley, a musical brother. They played around locally, with Whitley’s brother Dwight, and the two were impressive enough to be invited to open for The Stanley Brothers, and then to join their band, the Clinch Mountain Boys.

Of course, Whitley would go on to gain meteoric fame as a country artist before his untimely death in 1989.

“I grew up close to Keith,” Skaggs said. “ We met at a fall carnival. We’d put shows on at the schools. I’d play with my Dad. Keith was there with his brother, and we met under the stage. It was like we had known each other all our lives. We 16 THE NASHVILLE MUSICIAN

fell in and were buddies forever.”

He was playing with Whitley at the Bill Monroe Bean Blossom Bluegrass Festival in southern Indiana when his wife, singer Sharon White, first heard him. She was 16. Sharon, along with her father Buck, and sister Cheryl, form the great country and bluegrass group The Whites.

“They [Skaggs and Whitley] were the talk of the festival,” she said. “We were hearing about this young duet, and that they sounded just like Carter and Ralph, and all that, and we were in our campsite and heard them on stage and took off running to hear them. Everybody did. We watched the show, and that festival was a turning point in our lives.

“We were still living in Arkansas up until then, and we finally convinced Daddy we were ready to move to Nashville.

We made him put a ‘for sale’ sign in the yard right after Bean Blossom. That would have been in June, and in July we were booked at the festival in Kerrville, and Cheryl and I went up and introduced ourselves. I’d never done anything like that before,” White said.

It would be several years, and follow separate marriages for each of them, before they would get together again for good.

Skaggs went on to Washington, D.C., where he fell in with the band The Country Gentlemen. And true to form, he was honoring the music that had reared him. But something else was happening as well. He was evolving in his outlook, musically.

“I had an older sister bringing Beatles records into the house while I was still in Kentucky,” Skaggs said. “I told people

continued on page 18 July–September 2014 17

continued from page 17

Most recently, he was nominated for the Grammy’s Best Traditional Folk Album with Solo on the family label in 2010, and released the acclaimed Mosaic the same year, working with producer-writer Gordon Kennedy. As Skaggs’ new day continues to rise, he and wife Sharon – both 33-year members of Local 257 – are preparing to release a duets record, Hearts Like Ours, in September of this year, also on the family label.

“I want people to really be able to hear Sharon sing,” Skaggs said. “On her own, not just with the Whites, and she’s done so many great things with them and they’ve put out great records — but I want people to be able to hear her sing in this form. We’re both on it, either singing harmony with each other, or singing duet. We didn’t want to just make a George and Melba, or a George and Tammy record, although those were great. We’ve got two voices on this project that are sustainable voices, and we have the history. I really want them to hear her with a full band setting, with a steel guitar and drums, and piano and just a real country thing.”

“It may be different than other duet projects back in history,” White said. “That was a huge part of country music history back in the day. It was almost required. This is a little different. On some of these songs, we’re like three parts — we add the third and it’ll be one or the other of our voices. We’re two voices but sometimes there’s trio.” What Hearts Like Ours will contain is a passion and love for country music. The title track is a Marty Stuart and Connie Smith song. And, it doesn’t

hurt to have Ry Cooder sit in on a few.

And, for Skaggs, his journey only gets stronger. He feels his connections to the past, and his connection to a wellknown and deep faith, more than ever, and he continues to perform at a level few can match. It’s as if he lives in two worlds every day, more concerned with how his music touches people, than with success measured in the here and now.

“I still get the same charge when I walk out on stage,” he said. “I thank the Lord for allowing me to go out and play for everyone … and I pray that something will touch somebody’s heart. When you’re in it for those reasons, you can’t fail. It doesn’t have a thing to do with airplay or sales. That purpose doesn’t have anything to do with that. But when I hear the sound of the cash register ringing in heaven, then I know in my heavenly bank account that I’ve made another investment, and that somebody’s life has been touched. I know the Lord is gonna make a way.”

TNM

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By Ron Wynn 18 THE NASHVILLE MUSICIAN

Continues continued on page 20 July–September 2014 19

continued from page 19

th r) performing wi Thompson (cente y Ma Bo Drummer Chester o: phot d Lori Mechem Roger Spencer an

A performance in the Workshop’s Jazz Cave by visiting saxophone great Houston Person with the Lori Mechem Trio photo: Scott Hammaker

reputation as a center for both musical artistry and business acumen has been wellestablished over multiple decades.

While the city’s extensive histories in not just country but a wide range of pop styles in terms of performance, production, songwriting and engineering are quite known, there’s one idiom where Nashville’s prowess has often been recognized by insiders, but unknown to many other fans: jazz.

But since 1998, Music City’s importance as a jazz destination has steadily grown, thanks in large part to the efforts of the Nashville Jazz Workshop (NJW).

What began as a small entity housed inside a building on Lafayette with a handful of students, today occupies the entire Neuhoff Complex in East Nashville, and last year was tabbed by prestigious DownBeat magazine as one of the country’s Great Jazz Venues.

The husband/wife team of bassist Roger Spencer and pianist Lori Mechem started what was then the Nashville Jazz Institute (it became the Nashville Jazz Workshop in 2000). They envisioned it as a combination training site/advocacy center/ community base for jazz throughout the city and the region.

As detailed on their website, the Nashville Jazz Workshop’s mission was, and still is, threefold.

The first objective was to create and continue nurturing a workshop environment where jazz professionals pass on

their knowledge and experience in a journeymen/experience situation. The second was to establish classes for both players and non-players designed to help them improve either their playing prowess or knowledge of jazz, but in a manner commensurate with their abilities and interest. The third mandate involved presenting performances to promote community awareness and appreciation of jazz.

They’ve definitely succeeded on all three levels. From a teaching standpoint, the NJW has a first-rate faculty of acclaimed, working professionals who regularly play not just in town but around the country, yet still find time in their busy schedules to conduct classes for aspiring vocalists and instrumentalists.

Anyone who wants to learn from such top professionals as Beegie Adair, Chris West, Denis Solee, Rod McGaha, Bruce Dudley, Roy Agee, Kirk Whalum, or numerous others can sign up for any of the 18-20 classes offered during a standard six-week session.

The classes are reasonably priced, and installment payment options are available. The course names often mirror the specialties and expertise of jazz giants, with classes available spotlighting the music of Miles Davis, Horace Silver, Sonny Rollins, Art Blakey and many others. There’s also lab and ensemble classes, and students get the opportunities to perform in both live and teaching settings.

The NJW also has an array of classes designed solely for those who just want more knowledge about the music or its greatest performers. There are courses spotlighting individuals, genres, instruments, and periods.

[Editor note: NJW is one of the few jazz venues that makes it a point to use AFM contracts on all live performances, including pension contributions for all players.

The list of music pros who have taught or performed at the Workshop includes the likes of Jeff Coffin, Victor Wooten, Pat Bergeson, Chester Thompson, Beegie Adair, George Tidwell, Denis Solee, Rod McGaha, Andy Reiss, Paul Franklin, Pat Coil, and former Nashville resident Kirk Whalum. Students have included awardwinning producer Kyle Lehning, songwriters Byron Hill and Rick Carnes, and producers David Conrad and Tom Fouce. Local 257 President Dave Pomeroy has also been an enthusiastic supporter as well as a member of the NJW Advisory Board; he has taught at the Workshop and can often be found attending performances.]

20 20 THE THE NASHVILLE NASHVILLE MUSICIAN MUSICIAN

Trombonist Roy Agee (second from left) teaching an advanced ensemble photo: Scott Hammaker

Bassist Victor Wooten (far right) teaching a class on “The Groove,” assisted by drummer Derico Watson photo: Scott Hammaker

Another part of the advocacy mission involves the presentation and recording of jazz. The NJW’s Jazz Cave is a smaller version of a Village Vanguard or Five Spot, a listening/performance center aimed at giving topflight musicians the chance to perform before audiences interested in hearing them at their best.

The Jazz Cave has been the home to not only memorable moments from area performers, but some of the nation’s greatest players, among them Jeff Hamilton, Pete Christlieb and his wife Linda Smalls, swing/big band drummer Duffy Jackson (also a faculty member) and fellow ace musician and faculty member Chester Thompson.

The Jazz Cave doubles as the place for faculty/student recitals and performances, ongoing jam sessions and periodic recordings of live concerts. It’s also been the site for several outstanding local album sessions, most recently the fine duo work pairing pianist Mechem with vocalist Sandra Dudley. All of My Life spotlights the songs of the remarkable songwriting duo — and husband and wife team —Alan and Marilyn Bergman.

Everything — from the disc’s packaging and sound to the intimate, relaxed yet energetic performances — represent the same virtues of timeless and magnificent jazz that can be heard in the great records from landmark labels like Prestige, Riverside, Blue Note or Atlantic.

Plus the Jazz Cave’s the locale for the periodic Snap on 2 & 4 concerts, the ongoing Contemporary Jazz Performances series, and other showcase events that expand and continue the NJW’s inroads in the areas of advocacy/presentation.

Then there’s the center’s preservation and historic element. Thanks to the efforts of devoted fans Mark and Linda Edwards, the NJW houses a collection of over 5,000 classic discs covering the breadth and depth of jazz from its earliest days to the present.

The NJW teams with the Frist Center to present free

A lecture/performance in the “Jazz on the Move” series

by Jeff Coffin and his Mu’tet photo: Bo May

Vocalist Connye Florance in performance at the Jazz Cave photo: Graham Gerdeman

theme jazz concerts at various times during the year that highlight particular periods or movements. There have shows featuring the Miles Davis cool music period, Dave Brubeck’s historic quartet, and Charles Mingus’ workshop to highlight only a few. These are titled “Jazz On the Move,” and have become very popular Sunday afternoon fixtures.

Add an online presence that includes a 24/7 streaming service — Nashville Jazz Radio — that provides highlights of past events, updates on forthcoming concerts and classes and videos on both YouTube and Flickr, and the NJW is a hub for jazz interest and activity in cyberspace as well as real time.

But as a non-profit entity, the NJW’s survival and existence depends on public support. Fundraising is another part of the package, and there are many ways that jazz fans can support the organization. Each year the big celebration JazzMania helps keep things going, with the next one scheduled for Saturday, Oct. 25 in Franklin at The Factory. Featured performers include Annie Sellick and the Hot Club of Nashville, the Latin jazz band El Movimiento, and celebrity emcees Doyle and Debbie of “The Doyle and Debbie” show.

The NJW hosts other functions involving art exhibits and culinary events as well, and they work with area organizations, radio stations and arts groups to keep the jazz message alive and functioning.

It may not be as well known as Berklee or Juilliard, but the Nashville Jazz Workshop definitely has its own special place in the music’s glorious legacy, one that continues to expand in esteem and importance with each passing year.

Spencer and Mechem are always interested in feedback, ideas, etc. Fans can visit the NJW headquarters at 1312 Adams Street, or call at (615) 242-5999 or contact them via the website nashvillejazz.org for information on everything from individual classes and costs to upcoming events, ways to contribute, indeed anything and everything relating to jazz in the region.

TNM July–September 2014 21

The Nashville Musician Reviews

Dolly Parton Blue Smoke Sony Masterworks Everyone knows that Dolly Parton is bigger than life. So much talk today is about how artists need to build their brand to create multiple revenue streams. Parton wrote the book on that subject years ago, and has paved the way for others to follow.

You can also tell a lot about a person from the way they treat others. Parton has a long-standing reputation of treating everyone she meets with respect and dignity. That most certainly includes the musicians and engineers she records and travels with.

The title track opens the record and is about heartache and leaving on a train called Blue Smoke. It sets the stage perfectly for the songs that follow. From Randy Kohrs’ opening dobro lick the song pulls you in and takes you along for the ride. “Unlikely Angel” inspires hope, and like many of her songs, gives us all a small glimpse into what really drives her music and her life. Jimmy Mattingly weaves his fiddle in and around the song with great care and precision.

22 THE NASHVILLE MUSICIAN

Parton puts her own spin on Bob Dylan’s “Don’t Think Twice.” It’s hard to go wrong with Bryan Sutton on acoustic, Stuart Duncan on fiddle and Jim Hoke on harmonica. Dylan would be proud.

“You Can’t Make Old Friends” features Parton and her old friend Kenny Rogers singing together again. Face it, they sound great together and always will. It’s a song written by Ryan King, Caitlyn Smith and the great Don Schlitz; produced by Dann Huff and engineered and mixed by Steve Marcantonio. This song could make John Boehner cry.

“Home” makes you want to go home. Upbeat and fun and full of classic Parton lyrics and heart. Kent Wells cowrote the song with her, produced, and played on the track.This is a summertime song you can play driving down the road with the top down on your Mustang and the radio on stun.

Parton’s version of “Banks Of The Ohio” is haunting to say the least. I listened to several other versions of the song from Johnny Cash, Bill Monroe and Doc Watson which are all great. Parton brings her own voice to this song and helps you believe the story. The sparse musical arrangement is fitting and appropriate. Carl Jackson on backing vocals couldn’t be better.

“Lay Your Hands On Me” takes you to church. Michael Davis opens the song with B3 and then comes Dolly and the ‘choir.’ Is this what Bon Jovi was thinking when he wrote the song? Probably not — but she rocks it.

“If I Had Wings” is one of my favorite tracks — I’ve always been a sucker for the minor chords. With a “Wayfaring Stranger” feel and her insightful lyrics “One cannot predict the future/One cannot undo the past/But we can make the present useful/Build a future that will last.” Come on, that’s poetry! I might have to change my mission statement now or put that on my tombstone.

“Try” is a fitting way to wrap up this record. “Try to be the first to touch the mountain/And try to be the first to touch the sky/And try to be the one to make a difference.” Parton has done all of that and more. She is truly someone to draw inspiration from. Nashville should thank God for Dolly Parton each and every day.

– Steve Wayne

CHRIS MCDONALD JAZZ ORCHESTRA No Pews Required Constant Dreamer Two worlds collide in No Pews Required, and gospel and big band jazz may never be the same again. This project is a great example of the quality and versatility of Nashville’s jazz musicians and a testament to the artistic vision of Chris McDonald — whose innovative big band arrangements of traditional hymns and spirituals take the listener on a surprising and rewarding musical journey.

Longtime Local 257 member McDonald has been a respected arranger, composer and bandleader on the recording and performing scene in Nashville for many years. This is his seventh big band release, and the first on his own label. The excellent sound, courtesy of fellow Local 257 member Dan Rudin, is crisp, warm and balanced, which makes it possible to hear every detail of the finely nuanced arrangements. The album’s credits read like a “Who’s Who” of many of the top jazz players in Nashville, and the performances are outstanding throughout.

“Will The Circle Be Unbroken” kicks things off, literally, with a hard driving swing arrangement featuring ultra-tight ensemble lines with Barry Green’s punchy trombone and Pat Bergeson’s guitar soaring over the top, propelled by Bob Mater’s driving drums and Craig Nelson’s walking bass.

“Battle Hymn” is a shifting, multi-faceted soundscape that reveals new de-

tails with each listen.

The unusual Latin treatment of “Motherless Child” spotlights the super-tight rhythm section work of Nelson on bass, drummer Scott Williamson, and pianist Steven Kummer, as well as hot solos by Jeff Coffin on tenor, Green, and Steve Patrick. Patrick’s lead trumpet work is prominent throughout the record, and his credit humorously includes “all things Maynard.”

“Fairest Lord Jesus” is the first of three vocal tunes on the record, and the lush horn and string arrangement rises and falls around Gary Jeffrey’s passionate singing. The horn lines behind Bergeson’s harmonica segue perfectly into Green’s acrobatic trombone solo.

“What the World Needs Now,” is sung

by American Idol alumni Melissa Doolittle over a sophisticated arrangement that takes the pop standard to a whole new place. Vocalist Scat Springs gets way down to the nitty gritty on “Go continued on page 24

July–September 2014 23

The Nashville Musician Reviews

The Nashville Musician Reviews

continued from page 23

JIM ROONEY Down Moses” channeling Cab Calloway and Ray Charles while the band howls along with a bluesy Dixieland swagger, and Coffin seals the deal with a cage rattling baritone sax solo.

As the title suggests, “Little Brown Church In The Bayou” is a Louisiana flavored romp featuring Kummer, trumpeter Rod McGaha, Mark Douthit on alto sax and Roy Agee on trombone, all giving up the grease. “Gimme Dat!” is a playful take on “Give Me That Old Time Religion” with Jim Williamson’s trumpet and Doug Moffet’s tenor tearing the roof off.

“Were You There” sports a funky groove driven by Nelson’s thumbed electric bass, Paul Brannon’s wah-wah guitar, Williamson’s drumming, with interweaving trumpet and baritone sax.

The album closes with “Holy, Holy, Holy,” with the traditional melody being stretched out rhythmically and harmonically almost to the breaking point, and a sassiness to the phrasing. Pat Coil’s piano and Douthit’s sax transport the listener to a time and place far from the cathedral or the country church, but definitely “in the spirit.”

No Pews Required is a kaleidoscopic view of the intersection between gospel and jazz and the impressive results showcase McDonald’s arranging prowess and use of space, as well as his ability to write to the strengths of the excellent musicians he has chosen to interpret these tunes.

– Roy Montana

24 THE NASHVILLE MUSICIAN

In It For The Long Run | University of Illinois

Press As a performer, songwriter, booking agent, author, producer, and publisher, Jim Rooney has had a pretty amazing life and career, and In It For The Long Run captures his unique story in his own words, as only he could tell it.

Born and raised in Massachusetts, Rooney was a participant in the genesis of the Boston folk scene, and his passion for music led this Harvard educated renaissance man down a long and winding road that went through the Cambridge folk scene, the Newport Folk and Jazz Festivals, New Orleans, Woodstock, Ireland and Texas, as well as Nashville. His stories of the early days of folk, blues, country and bluegrass music paint a vivid picture of the stylistic and social convergence of the musicians, writers and performers who created what is now known as Americana Music.

Rooney’s musical odyssey brought him to Nashville in the mid-1970s, an interesting and unique time in Music City’s history. Through his long association with the creative circle surrounding the mercurial Cowboy Jack Clement, Rooney evolved from a songwriter and performer into a recording engineer and producer, and eventually became a partner with Allen Reynolds, Mark Miller and Terrell Tye in Forerunner Music, one of the most successful independent publishing companies in Nashville history.

The story of the rise, success and eventual sale of the company at the best possible time is worth the price of admission alone. But the Forerunner days are only one aspect of Rooney’s life and career, and through his eyes, the reader also gets to experience the deep personal and musical relationships Rooney forged with the many artists he has produced; including Hal Ketchum, Iris DeMent, and Local 257 members John Prine and Nanci Griffith. He has also been a mentor to many successful singer/songwriter/musicians including Local 257 members Pat Alger, Shawn Camp, and Pete Wasner.

In It For The Long Run is a story of a man who freely admits the mistakes he made along the way and embraces the seemingly random series of left turns and unexpected events that led him to Nashville and beyond. By the time one gets to the end of the book, it’s hard not to feel that you are traveling along with him. The ‘Life of Rooney’ is a fascinating tale with a hard-earned happy ending, and is a journey well worth taking.

–Roy Montana

HARP HEAVEN Live review A euphoric celebration of the harmonica took place at 3rd and Lindsley on May 27.

The full room held an appreciative audience enjoying four of Local 257’s finest proponents of the instrument showcasing their virtuosity and versatility.

Kirk “Jelly Roll” Johnson, known both for his work as a session player and as a popular live performer around town, opened the show with a set of tunes mostly from his solo CD, Songs From The Record World. His set included “Key To The Highway,” “Please Send Me Someone To Love,” and the jazz classic “Moanin’.”

He closed his portion of the show with a funky version of “Walkin’ After Midnight,” featuring his precise melodic phrasing, tasteful bends and killer tone.

Pat Bergeson was up next and opened his set with a stunning duo version of “I’m In The Mood For Love” with Chris Nole on piano. Bergeson’s long extended high note at the end brought the crowd to its feet. Bergeson is also known as one of Nashville’s top guitarists, and strapped it on to play a funky 4/4 version of “Tennessee Waltz.” He returned to the harp for a rubato interpretation of “Mona Lisa,” and wrapped things up with a sweet version of “Georgia On My Mind.”

Tim Gonzalez, who organized the show along with master of ceremonies John Haring, played a wide range of mostly original material touching on his diverse cultural roots. “Ruth’s Serenade” had a Latin groove with Gonzalez’ South American accordion-style playing providing a unique flavor, and the band ef-

Pat Bergeson, Charlie McCoy, Tim Gonzalez, and Kirk "Jelly Roll" Johnson backstage at 3rd and Lindsley before the show.

fortlessly slipped into a montuno groove reminiscent of Santana.

“Straight From The Heart,” a shuffle tune dedicated to his late brother, found Gonzalez’ playing emotional melodic lines with some funky vocalizations in the breakdown sections. He ended his segment with a beautiful solo version of “Amazing Grace.”

Closing the show was the one and only Charlie McCoy, who has probably played harmonica on more records than anyone in music history. The ageless McCoy was typically modest and self-effacing, and his hilarious intro to “Always On My Mind” had the crowd in stitches. Hank Williams’ “Cold, Cold, Heart” was given a soulful treatment with McCoy executing a breathtaking dive bomb at the end of the tune.

“Chattanooga Choo Choo” had a smoking arrangement, and “The Water

Photo: Ken Gray

Is Wide” was beautifully played by all concerned. McCoy’s rendition of “Orange Blossom Special” demonstrated his legendary technique and showmanship, including switching harps during the chorus and expertly conducting the band through the dizzying tempo acceleration.

A show-closing jam included guitarist Jack Pearson and Mickey Raphael, longtime harmonica player for Willie Nelson, teaming up with Johnson, Bergeson, Gonzalez and McCoy for a five-harp summit that rocked the house from top to bottom. Harp Heaven definitely achieved its goal of demonstrating the versatility and sheer musical expressiveness of this often overlooked instrument. The four amazing performers covered a wide range of styles, techniques and sounds, and left no note unplayed. Hats off to all concerned.

–Roy Montana TNM

July–September 2014 25

Jazz & Blues Beat

Recording

By Austin Bealmear

Jack Pearson creates online guitar academy I wish I had a nickel for every time someone calls my friend Jack Pearson a “guitar legend.” Since this is an accepted fact among musicians, I could make a career out of just collecting nickels. If you haven’t heard him, you should go to his website, www.jackpearson.com. The video clips, audio tracks, and long list of glowing testimonials tell the tale. In 1993, he was asked to sub for Dickey Betts on an Allman Brothers tour, and with virtually no rehearsal, Pearson was onstage wailing with ABB. Later, when Gregg Allman asked him to join Betts as a permanent band member Betts said, “Either we hire him, or I ask him for lessons!”

Read the on-site bio and you can sense the quiet, friendly soul behind Pearson’s resume and the range of his talent. His early days in Texas were spent with Lee Roy Parnell. Pearson also had his own blues band, The Nationals (with harmonica ace William Howse). His jazz credits include work with Buddy DeFranco and Groove Holmes; and he’s also played with artists such as Delbert McClinton and Jimmy Hall. Pearson is also a songwriter and producer, and more recently has added work on dobro, mandolin, and banjo. His talent gets raves like this one from CGP (Certified Guitar Player) Chet Atkins: “Jack Pearson — a very sophisticated guitar player.”

His newest endeavor is the Jack Pearson Guitar Academy, at www. jackpearsonguitar.com. Two years of effort went into accomplishing the site’s two goals. First, it would offer a convenient inexpensive way for all players to take lessons — from beginners to pros.

Secondly, the academy would feature ear training that goes beyond scales and written notes to the creation of melodic solos and how to support other musicians.

Through this online subscription service, anyone can take lessons from Pearson that utilize hundreds of videos, personal demonstrations, discussion forums, and other resources. New videos are added regularly and all material is available 24 hours a day. On the site Pearson says, “I love teaching and inside 26 THE NASHVILLE MUSICIAN

encore

you’ll find videos that show how I play, how I practice, and how I work on all the different techniques that it takes to play the variety of styles I do. There are videos for many different skill levels ... one may focus on one lick or a whole song.” Pearson already has subscribers from around the world, but you can do something they can’t — catch his current band in Nashville. One listen and I know you’ll be contributing to my collection of nickels.

New venues raise Nashville’s jazz profile The Cave at 600 Ninth Ave. South in the Gulch is a rocky, cellar-style bar and listening area that hosts special events with R&B and smooth jazz on weekends.

In association with Nashville Jazz Orchestra Director Jim Williamson, the club is scheduled to expand its offerings in early July. Williamson will be booking a variety of jazz-oriented styles.

Mondays will be dedicated to big bands, featuring the 17-piece NJO playing its own brand of contemporary swing — with occasional vocalists — on the first and third Mondays of each month. Other big bands covering the second and fourth Mondays will include groups led by drummer Duffy Jackson, a veteran of the Count Basie and Lionel Hampton bands, and trumpeter Tyler Mire, a recent arrival from the North Texas jazz program.

Tuesday nights will feature salsastyle bands, starting with groups like Lalo Davila & Friends, and El Movimiento. Wednesdays will be for horn bands — anything from bebop to funk. Tentatively scheduled are Big Jack Pearson

By STEVE TVEIT

Important tips for filling out a time card in the studio 1

1 Greasy, Pat Coil Sextet, 37214 (a combo of cats from Donelson), Chris West’s Junkyard Horns, and the Double A Octet. Hours for the night gigs will be about 7 to 9:30p.m. In addition, The Cave may be the only Gulch venue to offer live music for the weekday lunch crowd, with trios playing from 11:30 a.m. to 1:30 p.m. Monday, Tuesday, and Wednesday. For the current schedule, call The Cave at 567-5483.

Over in East Nashville, a new series called Second Sunday Jazz started in June at The Building, a private event space at 1008C Woodland St. A group called UnBound Arts, dedicated to the concept of creative collaborations between different kinds of art, has been presenting music and visual art on the third Thursday of every month. The Sunday concerts feature Donna Venardi and Friends — six jazz vocalists with a veteran rhythm section. The singers prevail from 1 to 3 p.m., followed by a jam session until 4 p.m., with food available from a bistro in 5 Points. Future event dates are Aug. 10 and Sep. 14. For details go to www.

TNM facebook.com/unboundarts.

Nashville Jazz Orchestra

2 2

3 3 4 4

5

6

5

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

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

• If there is ever a dispute about payment, Local 257 will have your back and work to ensure that you will be paid. If the paperwork is not handled properly at the time of the session, it will become more difficult to do this, so do yourself a BIG favor and take care of business on the front end — you won’t regret it!

TNM

At the very top of the card are boxes for the type of scale and session you are on.

The time card can be applied to recording, television/videotape, radio and jingles.

Make sure to get the correct company name and address when filling out a time card. Often when we receive a card we have to follow up to verify the billing and that can slow up the payment process. On the right hand side of section 2 it’s also very important to notate the leader, contractor, producer, artist and studio.

Next comes the session date and number of sessions along with start and end time for each session.

After signing your name and social security number please mark for any doubles, cartage, overtime and how many sessions you were on.

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

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

For more information please contact or come by the AFM Local 257 Recording Department and talk to Steve Tveit. Or, if you have questions you can call Steve at (615) 244-9514 or email steve@afm257.org Drop-box reminder You can drop off time cards after office hours in our drop-box. It’s on the left-hand wall near the back door of the local.

No checks or cash, please.

July–September 2014 27

Symphony Notes

Symphony Notes

By Laura Ross

“Over the past 32 years, NSO member Deidre Fominaya Bacco has made significant contributions to the orchestra. As she retires this July, we celebrate those contributions.”

Sometimes we take people for granted, especially when they’ve been around for a while. They contributed something to our lives but we’ve forgotten and moved on. I was reminded of this recently when we worked with an artist who has gained popularity twice in his lifetime. Yet when comparing him to other artists we worked with this season, most of us were unsure the concerts would sell.

Sedaka going strong He showed up at rehearsal wearing Bermuda shorts and athletic socks pulled half way up his calves and I’m thinking to myself “This is Neil Sedaka?” But as the week progressed I gained a whole new outlook and respect for this man in his mid-70s who has had a brilliant career.

He showed us that we needed to put aside prejudgments and bias, and instead admire his talent and showmanship.

Sedaka was a student at Juilliard and achieved mega-hit status by selling 40 million records, all before The Beatles came to the U.S. in 1963 and changed the face of rock & roll. He is a multiple Grammy award winner who reignited his career in the mid-1970s and continues to compose meaningful songs and compositions for piano and orchestra. Who knew? Plus, that familiar voice is still strong and his show is very entertaining. I have a newfound respect for Mr. Sedaka.

Violinist Deidre Bacco to retire The Nashville Symphony’s 78 musicians — we have a few vacancies — have been in the orchestra as brief as next season’s incoming section bassist Katherine Munagian and principal trombonist Paul Jenkins, to the 48-year tenure of 28 THE NASHVILLE MUSICIAN

principal timpanist Bill Wiggins. Some are familiar and recognizable, and some make quiet contributions and sacrifices for the orchestra. Some burn brightly, some go unrecognized, and still others burn brightly for a bit then dip back into anonymity.

Over the past 32 years, NSO member Deidre Fominaya Bacco has made significant contributions to the orchestra. As she retires this July, we celebrate those contributions. She began studying the violin at age five with her father — violin professor, composer, and conductor, Dr. Eloy Fominaya. At 13, she began playing with the South Arkansas Symphony, along side of her father’s university students. As the Cadék scholarship recipient at the University of Alabama, she studied with Myron Kartman for three years, and was then recruited to and graduated from Bowling Green University in Ohio.

Her first job with the Birmingham Symphony — now Alabama Symphony — followed in 1974. Eighteen months later, Bacco moved to California and for the next three years she performed with several orchestras and chamber groups, including the San Jose, Santa Rosa, Monterey, and Santa Cruz Symphonies.

She was concertmaster of the Hidden Valley Opera, and did an intensive oneyear residency studying with violinist Camilla Wicks.

In 1977, Deidre Bacco joined the Orquesta Sinfonica del Estado de Mexico in Toluca, Mexico, and it was here that she met Sam Bacco. “We married in 1981, our daughter was born in 1982 in Mexico City, and that fall we moved to Nashville. After living in Mexico for six years, I almost teared up as we played the Star Spangled Banner at the Italian Street

Fair,” Bacco said, recalling her first concert with the NSO. In November 1982 she won a tenure-track position in the orchestra, and eventually a core (full-time) position.

Deidre and Sam Bacco had been in the Nashville Symphony for two years when I joined the orchestra in 1984.

In those two short years, Deidre Bacco had already become an important part of the orchestra — one of the leaders and organizers of the orchestra’s social life that helped all of us all become a family. As a newcomer, her gracious and welcoming attitude was appreciated by many, me included.

Over the past 32 years, Deidre Bacco has served in a number of capacities – as a member of the Orchestra Committee; as a ROPA and ICSOM Delegate; as second violinist in a quartet with first violinist Mary Kathryn Parker (VanOsdale), violist Linda Alosco, and cellist Elaine Boda. She was also first violinist in the Nashville Symphony String Quintet that performed Deidre Bacco

Photo by Nick Dantona

in Davidson County and surrounding area schools for a number of years; and as the first musician representative for the Nashville Symphony Guild. “I helped with several Italian Street Fairs and became very active with the Guild’s education committee. The Guild was very interested in input from the musicians and welcomed the partnership.”

When Bacco and her husband joined the NSO, there were 11 married couples in the orchestra. The Tennessean did a feature article on a few of the couples, including the Baccos. Several couples were starting families, and many of the children grew up, playing together. She remembers “having our kids on blankets — with adult supervision, of course — in front of the orchestra in Centennial Park, dancing and enjoying the music together. They had to behave because mommies and daddies were watching from the stage!”

During the past three-plus decades, Deidre Bacco has a number of memories, some fond, some less so.

“The concert at Carnegie Hall in 2000 was magical. The NSO shutdown in 1988 was unsettling, as two incomes evaporated. Touring with Amy Grant was a real adventure. Amy was very impressive. On that first tour, she asked for a roster of the musicians in the orchestra; by the time the plane landed she knew every single person by name.

“2005 was a difficult year. Maestro Schermerhorn passed away in April, percussionist Joe Rasmussen in September, and I lost my mom in November. I was recently reminded by a photo of the concrete panels we signed that were placed on the roof of the concert hall by the crane right after Schermerhorn’s memorial service. I thought it was very sad that he never got to hear the sounds and music coming from his dream.”

One of the strangest concerts she remembers was at Opryland – the orchestra was spread out over three floors, ten rooms per floor, on individual balconies in the Cascades – Sam Bacco was in the center trying to keep the tempo and Schermerhorn stood on top of the gazebo conducting.

Deidre Bacco has also served the NSO by volunteering to perform chamber music at the Vanderbilt-Ingram

Cancer Center and Alive Hospice, and six years ago she and violinist Anna Lisa Hoepfinger started the W.O. Smith/NSO sponsored Suzuki Violin program at W.O. Smith Community Music School, which continues to grow each year.

The past few years have been difficult physically, due to overuse injuries, and Bacco was unable to perform during her final season with the orchestra. She has had several shoulder surgeries and is currently recovering from neck surgery. As the NSO’s schedule has become busier with two to three concerts — or more — and multiple programs being performed each week, we have said farewell to more than one musician because of illness and/or injury.

Deidre Bacco leaves many friends and a wonderful legacy of service to the NSO. She is looking forward to the next chapter in her life when she plans to enjoy expanding her teaching studio, performing chamber music and recitals with friends all over the world,

traveling, and spending more time with her granddaughter.

Transitions As the season winds down, thanks and acknowledgement are due to outgoing orchestra committee chair James Zimmermann (principal clarinet), and to Liz Stewart (section bass). This past season was filled with numerous and difficult issues but Zimmermann and Stewart, along with committee members James Button (principal oboe), Kevin Jablonski (section bass) and Gil Long (principal tuba), handled every issue in a professional manner. As ICSOM delegate and union steward, Brad Mansell and I also serve on the orchestra committee and the negotiating committee. Brad Mansell was recently re-elected to another two-year term as ICSOM delegate; Michelle Lackey Collins (section viola) and Keith Nicholas (section cello) formally join the orchestra committee in August. Negotiations continue, but the outcome is uncertain TNM with regard to salary restoration.

84 Musicians. 1 Amazing Sound.

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Biggest Band Your Nashville Symphony Live at the schermerhorn BUY TICKETS 615.687.6400 NashvilleSymphony.org

3 World Premieres. 93 Concerts. Tickets on sale july 25th.

July–September 2014 29

Final Notes

Weldon Myrick 1938–2014

“We lost a great musician, friend and good guy. Weldon Myrick left us for a better place.”

– Charlie McCoy

final notes Donna Fargo, Delbert McClinton, and the country-rock band Area Code 615 with Norbert Putnam, Mac Gayden and Wayne Moss. Later in his career his sessions included work with Alan Jackson, George Strait, Ronnie Milsap, Reba McEntire and many others.

Myrick backed a wide variety of musicians like Cat Stevens, Dan Fogelberg, Kris Kristofferson, Joan Baez, Elvis Presley and Ray Stevens, and was venerated by iconic musicians such as Keith Richards and Ron Wood of the Rolling Stones.

Charlie McCoy, who worked with Myrick many times, said “We lost a great musician, friend and good guy yesterday. Weldon Myrick left us for a better place.

I will always cherish the sessions we played together, the great work he did on my CDs, and his friendship. Prayers for Judi, who was the rock in Weldon’s life.”

One of Myrick’s bandmates, Wayne Moss, said the first time he met Weldon was on a Connie Smith session. “Nashville has never been the same since. He was a true Nashville Cat if there ever was one. His playing on ‘Why Ask Why’ on the 615 album continues to be my favorite of all of them. We’ll miss you, brother.”

Myrick was preceded in death by his parents, Lou Belle and Weldon Haskell Myrick; and first wife, Kitty. Survivors include his wife of 20 years, Judi; five children, Terri, Robert, Lisa, and Christopher Myrick, and Mia Collins; one sister, Margie McGee; six grandchildren, and two great-grandchildren.

Services were held June 6 at Harpeth Hills Memory Gardens Chapel in Nashville. In lieu of flowers, donations can be made to the Opry Trust Fund, 2804 Opryland Drive, Nashville, Tenn., 37214.

Bobbe Seymour 1939-2014

Steel guitarist Weldon Myrick, age 76, died Monday, June 2, 2014 in Nashville, Tenn. He joined the local in June 1963, and was a member for more than 50 years. Myrick, who played on countless hit records in a number of genres, was inducted into the Steel Guitar Hall of Fame in 1997. He was born in Jayton, Texas, and started playing at the age of eight on a steel guitar his older brother had left at home when he joined the Air Force.

In his online autobiography, he recalled starting to play with other local musicians in his teens, and even making records. “We’d sit for hours and make those little plastic records. The machine was a Rek-O-Kut,” Myrick said. When he was 13 he played for the first time on a local radio station, and was also performing at area gigs, as well as learning to play rhythm and lead guitar.

30 THE NASHVILLE MUSICIAN

Through an acquaintance with a Lubbock, Texas, disc jockey, Myrick began to rub elbows with Buddy Holly, Sonny Curtis and Johnny Duncan. He also had the chance to play on some of the traveling Grand Ole Opry shows that came through town.

His first trip to Nashville was in the early ‘50s, working with Waylon Jennings on a demo with a young singer named Hope Griffith. After he graduated from high school he played on a local TV show in Big Spring, Texas, and two years later returned to Nashville to record for Capitol Records. At this time Myrick was also employed as a police officer in Texas, a job he left in 1963 when he decided to move to Nashville with his wife Kitty and their two children.

He first worked with a comedian named Pap Wilson, and later with Bill

Anderson — which led to work with Connie Smith. Smith’s record “Once A Day,” was written by Anderson and featured Myrick’s soulful playing. Country Music Hall of Fame member Smith has credited Myrick with “creating the Connie Smith sound.”

In 1966 he became a staff steel guitarist for the Grand Ole Opry, a position he held until 1998. During his career he also released his own records as a singer and instrumentalist for Capitol, Dot, Mega, Decca, RCA, First Generation and Hilltop. His songwriter credits include tracks recorded by Buddy Holly, The Wilburn Brothers, and Jean Shepard, among others. His awards include a run of NARAS Super Picker Instrumentalist honors from 1974 to 1979.

Myrick recorded with numerous artists including Linda Ronstadt, Moe Bandy,

Steel guitarist Bobbe Seymour, age 74, died March 20, 2014.

Seymour was a life member who joined AFM Local 257 in 1969.

Born in New York in 1939, Seymour was from a musical family, that included an uncle who played steel guitar. He moved to Nashville after his service in the U.S. Air Force.

Seymour toured with over 30 artists, including Ferlin Husky, Jean Shepard, Stonewall Jackson, and Ray Price. Following this he focused on session work, and played on more than 2000 album tracks for artists like Trisha Yearwood, Steve Wariner, and Tracy Lawrence. Seymour is also well known for his Steel Guitar Nashville store, and for authoring many educational publications on learning steel guitar. His legacy includes work on numerous jingles, and seven film continued on page 32

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.

Every life has a story.

We showcase each one.

Our country music stars have fans visiting from all over the world.

Reserve your place with the stars

CALL

(615) 823-5010

HARpetH HiLLs

Memory Gardens Funeral Home & Cremation Center

HendeRsonviLLe

Memory Gardens & Funeral Home

West HARpetH Funeral Home & Crematory

CRestvieW

Life Member

Funeral Home, Memory Gardens & Cremation

05/19/2014

y

RobeRtson County

06/19/1963

06/02/2014

y

JoeLton HiLLs

08/29/1927

08/06/1956

06/22/2014

y

Memory Gardens

Marjorie J Rhoads

06/04/1931

03/30/1982

05/23/2014

N

Memorial Gardens

Jack Solomon

02/12/1943

07/24/1973

06/24/2014

Y

Name

Born

Joined

Died

James Justin Doster

11/25/1922

11/17/1942

Weldon Merle Myrick

04/10/1938

James Yeve Newman

Memorial Gardens

sumneR

AFamilyLegacy.com July–September 2014 31

Member Status

Final Notes continued from page 31

soundtracks, as well as 38 solo albums.

He was inducted into the Steel Guitar Hall of Fame in 2011.

Local 257 member Steve Hinson left this comment about Seymour on an online steel guitar forum: “Goodbye, Big S — you were an extremely funny cat who knew a lot about a lot of things, and could really play. I learned a lot from you, you were one of a kind.”

Marjorie Juanita Joines Rhoads 1931-2014

Rhoads was a lifetime member of the Nashville Songwriters Association and the CMA. She and her husband also founded CoDependents Anonymous of Middle Tennessee.

Survivors include her husband Forrest N. Rhoads, one son Forrest Neil Rhoads, Jr. of San Francisco; and one daughter, Deborah Rhoads, of Nashville.

A celebration of life was held on June 21 at AFM Local 257 in Nashville.

In lieu of flowers, the family asks that donations be made to animal rescue organization New Leash on Life, 507 Jim Draper Blvd, Lebanon, Tenn., 37087.

NEW MEMBERS

Trey E Bruce DRM GTR BAS PO Box 805 Franklin, TN 37065 Cell (615) 210-9285 Casey James Campbell FDL GTR MDN DBR ASX 1404 Wildlife Trail Kingston Springs, TN 37082 Cell (615) 517-8748 Jayson Floyd Chance (Jayson Chance) GTR VOC BAS 108 Shirley Drive Hendersonville, TN 37075 Cell (615) 308-5906

James Justin “Bucky” Doster 1922-2014

Nashville Musicians Association member Marjorie Juanita Joines Rhoads, age 82, died May 23, 2014 in Nashville, Tenn.

Born June 4, 1931 in Belton, Ky., Rhoads, from Muhlenberg County in Kentucky, was a singer who also taught herself how to play guitar at the age of 50.

Rhoads worked as a speech pathologist for Metro Public Schools for 28 years, and also taught at Tennessee State University for two years. Following her teaching career, Rhoads and her daughter Deborah performed professionally as The Country Rhoads for over 20 years at venues like Renfro Valley Barn Dance and many other locations throughout the Southeast; and had a Sirius radio program for several years. Rhoads was also a songwriter, and in addition designed clothing for Chet Atkins.

Rhoads was a double cousin to Merle Travis, who was from the same part of Kentucky. Her daughter Deborah said that Travis, who admired the girls’ “beautiful harmony” called her mother’s fingerpicking style “bumpy picking” and encouraged her to keep it up.

32 THE NASHVILLE MUSICIAN

James Justin “Bucky” Doster, age 91, died May 19, 2014 in Hendersonville, Tenn. Doster was a 71-year Local 257 life member who joined in November 1942. The left-handed trombonist grew up in Murfreesboro, where he played in dance bands through high school and college. He served in the Army during World War II and became first trombone with the 94th Infantry Division Band.

Following his discharge he moved to Nashville and played with the Nashville Symphony and the Owen Bradley Orchestra. He became a session musician in the ‘50s, playing on records for Brenda Lee and many others. He also toured with Glen Campbell, and was a member of the Bill Walker Orchestra on The Johnny Cash Show on ABC. Doster was also a music educator.

He completed his college education at Peabody, and was a band director in Huntsville, Ala., as well as Isaac Litton High School and East Junior High School in Nashville. Before retirement he also served as brass musical consultant for the Metro Nashville Public School System.

After retiring he played with The Establishment, a big band orchestra that donated proceeds to the Blair School of Music at Vanderbilt University.

Survivors include his wife, Bettye Doster; two daughters, Dana Luton and Jan Bennett; one sister, Justine D. Stutts; and four grandchildren.

A memorial service was held May

25 at Hendersonville Memory Gardens and Funeral Home. In lieu of flowers, contributions can be made in his name to the Doster Family Scholarship at LipTNM scomb University.

Local 257 members: Please check to see that your funeral fund beneficiary is listed correctly, and up to date.

We can't stress the importance of this enough.

Your loved ones are counting on you.

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

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

David Ross Cohen (Dave Cohen) PIA ORG ACC SYN KEY 3908 Ivy Drive Nashville, TN 37216 Cell (615) 512-2358 Kirsten Agresta Copely HRP PIA KEY 1508 Kinnard Dr Franklin, TN 37064 Cell (212) 851-6387 Michael J Cox (Michael McDaniel) HRM KEY SAX 831 Glastonbury Rd #2139 Nashville, TN 37217 Cell (206) 724-3504 Craig L Currier ARR PRC DRM 7230 Althorp Way - W3 Nashville, TN 37211 Cell (615) 400-5194 Eric T Flores BAS KEY ASX GTR PRC DRM 5047 Brevity Ln Nashville, TN 37220 Cell (614) 708-3062 Cara A Fox (Cara Slaybaugh) CEL PIA VOC 1536 Celebration Way Nashville, TN 37211 Hm (615) 521-4190 Garen L Gueyikian (Garen Gueyikian) PRO 903 14th Ave South Nashville, TN 37212 Cell (732) 778-5600

Jonathan Shaefer Hamby KEY P O Box 128472 Nashville, TN 37212

Steve Alan Peavey GTR MDN BJO STL DBR 205 Knolls Place Nashville, TN 37211 Cell (615) 429-1265

David Alexander Harris (Alex Harris) GTR 1805 Boscobel St Nashville, TN 37206 Cell (615) 926-9196

Jared Andrew Rex PIA CEL CLA 542 Fatherland St Apt #5 Nashville, TN 37206 Cell (717) 437-6066

Evan Hutchings DRM PRG BAS KEY 553 Rosedale Ave #121 Nashville, TN 37211 Hm (479) 651-5299

Joel Lee Sanders (Joel Sanders) GTR BAS 3300 West End Avenue, #101 Nashville, TN 37203 Cell (479) 879-6000

Trey Kevin Ivey KEY 1014 Beverly Ln Spring Hill, TN 37174 Hm (706) 878-9674 Scott Lander GTR 305 Bonnavue Dr Hermitage, TN 37076 Cell (615) 440-3376 Steve Porter Leslie GTR 1004 Todd Preis Dr Nashville, TN 37221 Cell (615) 598-0426 Ethan Tyler Mattingly FHN IFL 1925 Abiff Rd Burns, TN 37029 Cell (615) 604-3175 Hm (615) 412-3174 Michael Melvin Olekshy (Mike Olekshy) GTR BAS KEY 802 Lancaster Way Nashville, TN 37212 Hm (323) 717-3132 Kenneth John Olson, III (Kenny Olson) GTR VOC PRO BAS 3846 Bay Valley Road Williamsburg,, MI 49690 Cell (248) 766-4958 Brad Douglas Paisley GTR Martin, Allbee & Assoc, Llc P.O. Box 158659 Nashville, TN 37215 Hm (615) 383-1161

Michael John Shimshack (Mike Shimshack) GTR BAS PIA KEY 716 Riverview Drive Franklin, TN 37064 Cell (646) 263-6157 Hm (615) 567-6239 Jacqueline Maxine Stanwood (Jackie Stanwood) GTR 595 Pigeon Hill Road Steuben, ME 04680 Cell (207) 664-8927 Hm (207) 266-9489 Tyler Maxwell Summers SAX CLA FLT PIA GTR VOC 5104 Indiana Ave Nashville, TN 37209 Hm (615) 720-6866 REINSTATED

Brad C Albin Rahsaan Jelani Barber Stephen H Bassett Brian Richard Bonds Larry L Borden Alison Hilary Brown Steve Callahan Walter C Carter, Jr Ron Chancey Jasen Lee Cordiero Wendell Terry Cox Troy Anthony Engle Sonny F Garrish Daniel Lenwood Groah Chip Henderson Stonewall Jackson, Jr Stonewall Jackson Dina M Johnson James Edward Johnson Tom Kirk Mary Helen Law Todd Vincent Lombardo

Michael Todd Parks Louie E Roberts Matthew C Rollings Charles Lloyd Rose Michael John Shimshack Herb Shucher Terry Klenner Smith Eric Brice Stephens Timothy J Thompson James Travis Tritt Christopher Tyrrell Michael C. Valeras Bernard Walker William James Wallace Garry West Michael Robert Whittaker Justin G Williamson Kevin Brent Williams Terry Wayne Williams

RESIGNED

Mark Jovanovich D Wilson Ochoa EXPELLED

Howard S Adams, III Timothy Wayne Akers John M Arnn Kelly Back Rebecca Rose Baumbach Kent D Blanton Spencer Todd Campbell Clint Allen Carothers Lewis Paul Deckelman Tonya Latish Dunn Kyle Everson Robert A Hajacos Dean Hall Adrienne Harmon Marcus Hill Dennis Lee Holt Jeremy Ross Holt Heather Dawn Humphrey Mark F Johnson William Robert Mason, Jr Christopher Kyle McNeese David L Miller Ryan Oliver Murphey Jimmie Ray Murrell Dean Pastin Dayvee Zadig (Dvz) Gintaras Drake Sanborn Joseph Smyth, III Joshua Williams Derek Wayne Wolfford Derek Bryson Wyatt

July–September 2014 33

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

TOP OFFENDERS LIST RecordingMusicians.com – Former Local 257 members Alan and Cathy Umstead are soliciting non-union recording work through this website and elsewhere. Do not work for them under any circumstances without an AFM contract.

Jim Owens Entertainment – we are currently in litigation with Owens regarding various shows recorded under TNN Agreements that he has obtained and licensed to other parties without proper payment to musicians. We hope to resolve this matter in the near future.

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

Positive Movement/Tommy Sims (multiple unpaid contracts and pension from 2007 CeCe Winans project. Sims has made several payments, but still owes a considerable sum under the legal judgment we obtained against him.)

Terry K. Johnson/ 1720 Entertainment (unpaid contracts/unauthorized sales - Jamie O’Neal project) Beautiful Monkey/JAB Country/Josh Gracin Eric Legg & Tracey Legg (multiple unpaid contracts) Ray Vega/Casa Vega Quarterback/G Force/Doug Anderson Rust Records/Ken Cooper (unpaid contracts and pension) Revelator/Gregg Brown (multiple bounced checks/unpaid contracts) HonkyTone Records – Debbie Randle/ Elbert West UNPAID CONTRACTS AND PENSION Accurate Strategies, Inc. Adagio Music/Sam Ocampo Wayd Battle/Shear Luck 34 THE NASHVILLE MUSICIAN

Beautiful Monkey/JAB Country Bottled Lightning/Woody Bradshaw Bull Rush, Inc/Cowboy Troy (unpaid demo upgrade – making payments) Casa Vega/Ray Vega Cat Creek Publishing Chez Musical/Sanchez Harley Compass Productions - Alan Phillips and David Schneiderman Daddio Prod./Jim Pierce (making payments) Summer Dunaway Field Entertainment Group/Joe Field Goldenvine Prod./Harrison Freeman Golden Vine/Darrell Freeman Greg Holland Home Records/David Vowell Hot Skillet/Lee Gibson (unpaid contract/limited pressing signature) Mark Hybner Kyle Jacobs Katana Productions/Duwayne “Dada” Mills King Craft, Inc./Michael King Ginger Lewis Line Drive Music Lyrically Correct Music Group/Jeff Vice MCK Publishing/Rusty Tabor MPCA Recordings/John Titta Mark McGuinn Marty McIntosh Miss Ivy Records/Bekka Bramlett (unpaid upgrades) MS Entertainment/Michael Scott Multi-Media Steve Nickell One Shot Management Anthony paul Company Quarterback/G Force Music/Doug Anderson RLS Records-Nashville/Ronald Stone Region One Records RichDor Music/Keith Brown River County Band/SVC Entertainment (unpaid demo conversion/pension) Robbins Nashville Round Robin/Jim Pierce (unpaid contract – making payments) Shauna Lynn Shear Luck Productions/Wayd Battle Shy Blakeman Singing Honey Tree Sleepy Town/David Lowe Small Time Productions, Inc./Randy Boudreaux Sound Resources Prod./Zach Runquist Mark Spiro Spangle 3/Brien Fisher Sterling Production Mgmt/Traci Sterling Bishir Tough Records/Greg Pearce (making payments) Adam D. Tucker Eddie Wenrick

Jimmy Collins Comsource Media/Tommy Holland Conchita Leeflang/Chris Sevier Ricky D. Cook Coyote Ugly/Jeff Myers Data Aquisition Corp./Eric Prestidge Derrin Heroldt FJH Enterprises First Tribe Media Matthew Flinchum dba Resilient Jimmy Fohn Music Rebecca Frederick Goofy Footed Gospocentric Tony Graham Jeffrey Green/Cahernzcole House Randy Hatchett Highland Music Publishing Honey Tree Prod.

Engelbert Humperdinck In Light Records/Rick Lloyd Little Red Hen Records/Arjana Olson Malaco Pete Martinez Maverick Management Group Mike Ward Music (pension/demo signature) Joseph McClelland Tim McDonald Joe Meyers Missionary Music Jason Morales (pension/demo signature) O Street Mansion OTB Publishing (pension/demo signature) Tebey Ottoh Reach Ministries Ride N High Records Ronnie Palmer Barry Preston Smith Jason Sturgeon Music Nathan Thompson Roy Webb Michael Whalen 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 Chris Lindsey Heaven Productions Stonebridge Station Entertainment Straight Shooter Music

UNPAID PENSION ONLY Audio RX July–September 2014 35

Nashville Musicians Association PO Box 120399 Nashville, TN 37212-0399 —Address Service Requested—

Nonprofit U.S. Postage PAID Nashville, TN Permit No. 648

NASHVILLE

MUSICIANS AFM LOCAL 257 We put the music in Music City Next General Membership Meeting Monday, Aug. 18, 2014 6:00 p.m.

36 THE NASHVILLE MUSICIAN