The Nashville Musician — July - September 2018

PHOTOS: VIOLINS OF HOPE • GREAT DAY IN NASHVILLE 2 • REVIEWS: BUDDY GREENE • MIKE DALY • DIERKS BENTLEY

OFFICIAL JOURNAL OF AFM LOCAL 257 JULY – SEP TEMBER 2018

JOHNOATES AND A RIVER THAT LEADS HOME

JULY – SEPT 2018 1

2 THE NASHVILLE MUSICIAN

CONTENTS Official Journal of the Nashville Musicians Association, AFM Local 257 | JULY — SEPTEMBER 2018

4 6 7 8 10 12 16

ANNOUNCEMENTS Details on the next membership meeting to be held Tuesday, Aug. 14, and meeting minutes.

STATE OF THE LOCAL President Dave Pomeroy on the essential nature of the connections between diversity, inclusion, technology and music.

NEW GROOVES Secretary-Treasurer Vince Santoro discusses the local’s commitment to recycling, and why it is a part of solidarity.

A GREAT DAY IN NASHVILLE PART 2

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

12

NEWS Election “2.0” results and a Lower Broadway update.

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

COVER STORY: JOHN OATES Warren Denney talks to him about his journey from roots music to Philly Soul, and back again.

22 REVIEWS Three cool cats and their latest projects: New

records from Buddy Greene, Mike Daly, and Dierks Bentley.

26 SYMPHONY NOTES Laura Ross looks back on the

16

NSO season and discusses the negotiations for the new symphony contract.

27 JAZZ & BLUES A roundup of shows and other happenings in the jazz and blues community.

JOHN OATES

28 FINAL NOTES We bid farewell to Randy Scruggs, Ronn Huff, Ronnie Prophet, John Green, Kenny O’Dell, and Samuel Hollingsworth.

33 MEMBER STATUS 34 DO NOT WORK FOR LIST COVER PHOTO: SEAN HAGWELL

22

REVIEW: BUDDY GREENE JULY – SEPT 2018 3

ANNOUNCEMENTS

OFFICIAL QUARTERLY JOURNAL OF THE NASHVILLE MUSICIANS ASSOCIATION AFM LOCAL 257

PUBLISHER EDITOR MANAGING EDITOR ASSISTANT EDITOR CONTRIBUTING WRITERS

CONTRIBUTING PHOTOGRAPHERS

ART DIRECTION WEB ADMINISTRATOR AD SALES

LOCAL 257 OFFICERS PRESIDENT SECRETARY-TREASURER EXECUTIVE BOARD

HEARING BOARD

TRUSTEES

Dave Pomeroy Vince Santoro Kathy Osborne Leslie Barr Austin Bealmear Warren Denney Roy Montana Kathy Osborne Dave Pomeroy Vince Santoro Steve Tveit Laura Ross Rick Diamond Mickey Dobo Tripp Dockerson Donn Jones Dave Pomeroy Vince Santoro Lisa Dunn Design Kathy Osborne Leslie Barr 615-244-9514

Dave Pomeroy Vince Santoro Jimmy Capps Jonathan Yudkin Laura Ross Tom Wild Jerry Kimbrough Steve Hinson Andre Reiss Michele Voan Capps Tiger Fitzhugh Teresa Hargrove Kent Goodson Dave Moody Kathy Shepard John Terrence Bruce Radek Biff Watson Steve Tveit

NASHVILLE SYMPHONY STEWARD

Laura Ross

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

Anita Winstead

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

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

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The next Local 257 General Membership meeting will be Tuesday, Aug. 14. Doors will open at 1:30 p.m. and the meeting will start promptly at 2 p.m. There will be president and secretarytreasurer reports, and discussion of other important issues. Please make plans to attend and take part in the business of your union.

Nashville Musicians Association AFM Local 257, AFL-CIO Minutes of the Executive Board Meeting Feb. 6, 2018 PRESENT: Vince Santoro(VS), Dave Pomeroy(DP), Tom Wild(TW), Laura Ross(LR),

Jonathan Yudkin(JY), Andre Reiss(AR), Steven Sheehan(SS), Steve Hinson(SH).

ABSENT: Jimmy Capps(JC), Chuck Bradley(CB), Jerry Kimbrough(JK).

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

MINUTES: Minutes from Dec.14, 2017 were distributed.

MSC to approve as amended. TW, SS. PRESIDENT’S REPORT: The following issues were discussed:

SERGEANT-AT-ARMS

OFFICE MANAGER

Next General Membership Meeting Tuesday, Aug. 14

1. Communication is continuing with Belmont University and the musician community regarding the ongoing promotion of nonunion recording at Ocean Way. 2. Discussion about studios that have stopped working on the card.

3. Members with large overdue work dues balances were identified and the criteria for sending their names to the Hearing Board was discussed.

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

reported the following: 1. Tom Solinsky has installed three young trees in our parking lot for cost plus $50/labor, totaling $200 for two Golden Maples and one Redbud.

2. The membership drive, which commenced Dec. 1, coupled with the effect of our healthcare group plan being established, has resulted in 120 new members to date. The drive will continue through March 2018.

MSC to approve Sec-Treas report. JY, LR. MSC to accept new member applications. AR, SS. Motion to adjourn. AR,TW. Meeting adjourned at 9:16 a.m.

DO WE HAVE YOUR CURRENT

EMAIL ADDRESS?

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

ANNOUNCEMENTS

ACA COMPLIANT HEALTH INSURANCE PLANS AVAILABLE AFM Local 257, working with our longtime health insurance advocate RJ Stillwell and his company Sound Healthcare, introduced in December 2017 three Blue Cross Blue Shield group health insurance plans available to members in good standing.

SAVE A TREE! Sign up for the electronic version of The Nashville Musician by sending an email to kathyo@afm257.org

Don't forget to like us on Facebook, Instagram and Twitter.

Search for Nashville Musicians Association

LOCAL 257 HOLIDAY CLOSINGS Monday, Sept. 3, 2018 Labor Day

Monday, Oct. 8, 2018 Columbus Day

The plans are ACA compliant — one bronze, which is HSA qualified, and two silver plans. You must keep your annual dues up to date to continue to qualify for the plan. YOU DO NOT HAVE TO WAIT UNTIL “OPEN ENROLLMENT” TO SIGN UP. To find out more about the plans, please contact RJ Stillwell and have your Local 257 member ID number ready when you call.

RJ STILLWELL

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.

SOUND HEALTHCARE 615-256-8667 SOUNDHEALTHCARE.ORG

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

TNM

JULY – SEPT 2018 5

STATE OF THE LOCAL

BY DAVE POMEROY

Technology, diversity, inclusion, and the universal language of music

As

I write this, we are preparing for the big 2018 Summer NAMM weekend. Volunteers from Local 257 will be hosting our booth and helping us explain to young musicians how the AFM can help them make a living in the ever-changing music business. Gear manufacturers and companies from all over the world will descend on Nashville, and Music City Center will be a massive cacophony of sights and sounds.

Cutting through all the background noise is the sonic wave of nonverbal communication and person-to-person connection through music, still one of the most powerful forces in the universe. No matter what styles of music you play or what your chosen instrument may be, somewhere at NAMM there is something or someone who may catch your eyes and ears, and change the way you look at music, and maybe even life.

A universal language in the 21st century

Recently, we were in Miami for the AFM Southern Conference of Locals. On a night off, a few of us traveled to the Cuban section of the city and found a nightclub featuring live music. Walking into the dimly lit club felt like we were entering a time capsule. It was a visual feast of imagery, with beautifully framed portraits of artists such as Celia Cruz, Gloria Estefan, and many others. While we waited for the performance, videos tracing the history of Latin music played on the screen, conjuring up visions of beautiful days and exotic nights gone by. When the band hit the stage, it was pure magic. Nearly a dozen performers — mostly percussion and vocals — created a tapestry of rhythm, melody and harmony.

We did not understand a word that was said or sung, but it didn’t matter, the universal 6 THE NASHVILLE MUSICIAN

language spoke loud and clear to everyone in attendance. I went back to the Southern Conference re-energized in a way that only a musical and cultural experience like that can make happen.

The technology-driven process that began with the 24-hour news cycle and computers in the 1980s has transformed the communication industry, how we talk to each other, and needless to say, the music business as well. The way music is consumed has

It’s important to remember that we will always have more in common than we have differences — and through the positive power of music, we are stronger together. changed drastically as CD sales declined and digital downloads did not make up the difference — streaming is fast becoming the new normal. All of this has changed the revenue streams for many musicians quite a bit. We continue to fight for AM/FM performance rights for terrestrial radio, which should have happened long ago. We are urging our legislators to move the Music Modernization Act forward in Congress, which would fix a number of longstanding issues and level the playing field between the different stakeholder groups. Sound Exchange and the AFM/SAGAFTRA Intellectual Property Fund have grown dramatically as non-interactive digital radio generates money for backup musicians and singers, who were paid $57 million last year, $12 million to Tennessee residents alone.

Diversity + inclusion = solidarity

The history of Tennessee music is one of diversity, inclusion, and respect, and Nashville has always had a strong musical component that includes far more than the country genre. From the Fisk Jubilee Singers to Elvis’ unique blend of musical styles, the Jefferson Street R&B scene that influenced a young Jimi Hendrix and more, the musical diversity here has played a huge role in who we are and how we deal with each other. It is worth noting that Nashville was one of the first cities to deal with segregation protests in a nonviolent way.

Common ground seems to be in short supply these days, but somehow music can still make a difference. It is the soundtrack of our lives — it crosses barriers and connects hearts and minds. Live music is one experience that can’t be duplicated on a computer or iPad. It brings people of all backgrounds together with its common bond – the love of creative expression in all its forms. Whether you are rocking out in an East Nashville club, dancing at Plaza Mariachi, or listening to the amazing Nashville Symphony at the Schermerhorn — you will find that the joy of music is a universal and infinite source of energy.

Our recently concluded Nashville Symphony negotiations were a great example of teamwork leading to a positive conclusion.

This is why AFM Local 257 exists. Mutual respect is what made Nashville what it is today, and we are proud of the role we play in reminding employers, city officials, and fans that there would be no Music City without musicians. It’s important to remember that we will always have more in common than we have differences — and through the positive power TNM of music, we are stronger together.

NEW GROOVES

As

part of our effort to be as environmentally ethical as possible, we want to recycle our Local 257 office waste in a thoughtful manner. Although our staff is small in number we generate a considerable amount of detritus. I often wonder if the stores and shops that I walk into have any real protocol in use — I hope so.

BY VINCE SANTORO

Where do we take it?

Finding the proper businesses who DO the recycling is a whole other issue.

Here’s what we do with our stuff:

• On our patio we line up four big Metro Pickup recycle bins. Mostly these bins are loaded

It’s not easy being green

When Dave Pomeroy was elected in 2008 and started settling in to his office, one of the first things he did was bring one of his recycle bins from home for his paper trash. That one bin quickly grew to several throughout the office — and we got more and more interested in recycling.

Since we set our sights on being ‘ecoconscious’ it’s become a part of the local’s mission. We not only want to reduce our own “footprint,” but are also driven by the hope that if lots of folks put in the effort to recycle, our community’s future will be more secure. Towns and cities across the nation and the world — all chipping in — can make recycling a global success. But it all starts right here – with each person’s commitment.

The type of stuff we do is probably the same as what you do at your home. We have a “Trash” can in our kitchen, along with a box for recyclables and a tall tub that is marked for “Styrofoam Only.” If you enter our rehearsal hall you’ll see three tubs, one for trash, one for recycle, and one for Styrofoam Only. We also found out that plastic bags aren’t supposed to be put in with recyclables, but Kroger DOES recycle plastic bags in their marked cans in the front of their stores. Our staff also has a cubicle that houses containers for glass, plastic bags, batteries and light bulbs, and the ever-present “Recycle box.”

•

• • •

with cardboard, aluminum cans, plastic containers, paper (we unload a lot of that!), etc.

In addition to the paper we discard is the paper we have to shred. We shred in our office, and that goes in the patio bins, but we also have to shred two big 40-gallon tubs of shreddables about twice a year. We’ve been lucky to have a friend, Shane Horton, whose paper-recycling business provides help periodically. Our glass goes to the Hillsboro High School Recycle Center along with any large cardboard that’s broken down. The plastic bags, as I said, go to the Kroger receptacles.

We had to find a place that recycled the old CRT-type TVs. The Metro Convenience Centers will accept a maximum of two of those per trip along with a Davidson County tag. The one we use is off Trinity Lane at 943 Doctor Richard G. Adams Dr. Phone: 615-862-8631.

If you have old paint to get rid of, the Convenience Centers will take it if it is dry. If it’s wet you need to add as much kitty litter to make it dry. Another Convenience Center is at 3254 Ezell Pike behind the South Police Precinct. Their number is 615-880-2530.

There was a story going around that Styrofoam cannot be recycled, but with determination we found an outfit whose sole purpose is recycling Styrofoam. EFP in LaVergne is the only place we have found for this purpose. Their number is 615-832-6222.

We generate a ton of electronics, wires and connectors, too. We take that stuff to A Green Earth off Gallatin Pike at 1015 W. Kirkland Ave. Phone: 615-262-9279.

A word about your rehearsal hall

The local’s office can do their part, and we ask that folks using Cooper Hall do, too!

The rehearsal hall is often left in unacceptable condition. We ask any members who rehearse in Cooper Hall to leave it looking exactly how it was when you arrived. That includes your detritus, because SOMEONE is going to have to pick it up and deal with it, and mommy is not available! I would say, “Treat it like it’s your house,” but that might backfire on me.

Here are a few rehearsal hall rules we need to convey to you:

• Do not throw half-full drinks in the trash – empty them in the kitchen sink first.

• Do not put take-out Styrofoam containers in the “Styrofoam” bin until they have been rinsed in the sink or cleared of food in the trash.

• Do not leave your half-eaten cereal bowls for us to clean up. This actually happened!

We’re all in this together

You may have other routines for recycling that you follow, but the one thing that matters is that we all chip in. Let’s show ourselves and anyone who notices that solidarity comes in many forms, and TNM our AFM philosophy of solidarity can be the driving force to get the job done.

JULY – SEPT 2018 7

HEARD ON THE GRAPEVINE

JOHNNY CARVER

Country artist Johnny Carver, who charted with the top-ten records “Tie a Yellow Ribbon Round the Ole Oak Tree” and “Afternoon Delight” in the 1970s, is still deeply involved in a musical career that now focuses on helping music students hone their skills.

The Carver Class of Music in Lebanon, Tenn., has all sorts of pupils of all ages and backgrounds. “When I retired from the road full time, I filled my love of music by teaching guitar,” Carver said. After first teaching at the Cumberland Arts Academy, he and his wife Lisa decided to open a facility in 2009, partly to help the family’s church raise funds for a new building.

A portion of the proceeds from the school are still donated to the Carvers’ home congregation, Bethlehem United Methodist Church. Instructors include pianist Dawn Taylor, Carver’s son Brandon, fiddle/ violin instructor David Johnson, and parttime staff who teach other instrument and vocal classes. Offerings include lessons for guitar and piano, learning to read music, and even how to work with the Nashville Number System — which is used by session musicians in recording studios to chart songs. “My program has blossomed into a very successful music school. Obviously, this keeps me busy along with a few road dates here and there. I love music, and enjoy spreading my knowledge to others through teaching,” Carver said.

ROLAND WHITE

Life member and master mandolin player Roland White was honored May 15 by the Nashville Metropolitan Council for his many achievements in bluegrass music. A special resoultion was introduced by council member Jeff Syracuse, and a proclamation recognized White as a pioneer and legendary musician; it referenced some of the landmark events of his long career. A sampling of those include stints with the Kentucky Colonels, Bill Monroe, Lester Flatt, and the Grammy-winning Nashville Bluegrass Band, as well as classic performances on the Andy Griffith Show.

White was inducted into the International Bluegrass Music Hall of Fame in 2017. He and his band still perform regularly and he has said he has no plans to retire.

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Johnny Carver and student

Roland White and his wife Diane Bouska

Alan Jackson

ALAN JACKSON

Local 257 member Alan Jackson was inducted into the Songwriters Hall of Fame this summer — joining Steve Dorff, Bill Anderson, and John Mellencamp among others, in a 2018 class dominated by “heartland” musicians.

“I don’t feel quite worthy,” Jackson said.” “It’s hard to get in here.” The Grammy-winning artist has had a lengthy career over the decades and numerous hits including “Don’t Rock the Jukebox,” “Chattahoochee” and “I Don’t Even Know Your Name.”

The Hall of Fame was established in 1969, and recognizes writers in all genres.

The ceremony was held June 14 in New York City.

VERLON THOMPSON

Sweet Dreams Do Come True: Verlon Thompson, A Musical Memoir chronicles Verlon Thompson

the life and career of veteran songwriter and guitarist Verlon Thompson, a longtime Local 257 member. The film has been recognized with several honors, including awards and mentions at the Red Dirt International Film Festival, the BEA Festival of Media Arts, and Bare Bones International Film & Music Festival.

Filmed across several states including Tennessee, several other Local 257 musicians and artists appear in the movie including Jon Randall, Guy Clark, Shawn Camp and Sam Bush, along with Suzy Bogguss, Doug Crider and Waylon Holyfield.

Many other musical peers of Thompson appear, as well as family and friends.

The movie was produced by Brent Simonds, a professor at Illinois State University with a network television and educational film background. He traveled with Thompson over a three-year period, filming live performances and conducting interviews. “It’s a sweet story about a really sweet man who has monstrous talent, especially when it comes to playing acoustic guitar,” Simonds said.

PHOTO: RON WADE

HEARD ON THE GRAPEVINE

Benita Hill and Shawn Camp

PHOTO: RON WADE

G-MEN RAISE MONEY FOR RELIEF FUND

(l to r): Dave Pomeroy with Chapman’s daughter Allison Chapman, his wife Connie Chapman, and son Lee Sartin

When bassist Mike Chapman, a longtime member of the Nashville Musicians Association, passed away two years ago his family requested that memorials be made to the local’s Emergency Relief Fund.

Chapman’s former bandmates in the G-Men — the musicians who played on Garth Brooks’ hit records — made sure these wishes were carried out. They performed at a benefit concert in December 2016 with all proceeds going to the Local 257 fund, which assists members with financial difficulties brought on by a health crisis or other emergency.

This April the G-Men did it again and staged a second concert at 3rd & Lindsley in Chapman’s memory. The event featured songwriters performing Brooks’ hits, backed by the legendary artist’s studio band.

4.

M.C.’ed by Dave Pomeroy, the sold-out event raised over $8,000 for the fund.

G-men who performed were drummer Milton Sledge, steel and slide guitarist Bruce Bouton — who is also in Brooks’ touring band — guitarist Chris Leuzinger, and piano player Bobby Wood. Other players from Brooks’ touring band included Jimmy Mattingly on fiddle and guitar, and keyboardists Dave Gant and Steve Cox. Also playing in the house band were family friends — bassist Jeff Jenkins, and guitarist Jeff Zona. The Norris Twins handled the background vocals, and Jay Patten sat in on sax for a tune.

Songwriters performing included Pat Alger, Tony Arata, Kent Blazy, Shawn Camp, Benita Hill, Earl Bud Lee, Mitch 3.

Rossell, Victoria Shaw, Pete Wasner and Jenny Yates.

Norris Twins, Pat Alger, and Chris Leuzinger

PHOTO: RON WADE

Pomeroy said “Mike Chapman was a friend and a great bass player. He was an integral part of the sound that took Garth to some very rarified ground in his career — and honestly altered the course of country music, bringing a host of new fans to the genre. What fewer people realize is what a generous and compassionate person Mike was. We thank his family and the G-Men for keeping his memory alive in such an amazing way. Many more lives will be TNM benefited by his thoughtfulness.”

JULY – SEPT 2018 9

news

NEWS

Lower Broadway

L

ower Broadway has played a very large part in creating the buzz that has made Nashville a destination city and brought an incredible economic boom to clubs, hotels, restaurants, and all the support services that thrive on tourist money. Largely left behind in the big influx of new money are the folks who really make it all possible — the hard-working musicians who tirelessly entertain the endless flood of partiers that flock up and down Broadway all day and most of the night.

It has long been a mission of Local 257 to find ways to assist the club players who not only aren’t getting rich from the boom, but often have been negatively impacted.

Swarming taxis and Uber drivers disregard the rules of the loading zones, and city officials don’t always give much advance notice before shutting down giant swaths of the downtown area from traffic. Add to this a lack of taxi ticketing by police officers, having to pay exorbitant sums to park blocks from their workplace, and being paid a nonliving wage, and you have an inkling of what these musicians go through.

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Some of these issues are being addressed with a measure of success. After calling meetings specifically for Lower Broadway musicians to talk about their problems and make suggestions for improvements, Local 257 has offered members $5 park- “The hard-working musicians ing passes to a nearby garage, and partnered with Lyft to start a program on Lower Broadway play to give musicians discounted rides long shifts for low pay. In the to downtown Nashville. Police prescourse of their day they also ence has increased, although it is still sporadic. And several blocks of have to fight with taxi drivers, Broadway were completely reformat- struggle to find reasonable ted, with new lanes and taxi stands places to park, and adjust to on side streets.

However, the biggest problem re- a plethora of special events mains: Lack of a reasonable base pay that will help club musicians with their that restrict access to their bottom line and relieve some of the job sites. It’s long past time stress of depending solely on the “Tip for them to reap a small Jar” to get them up to a living wage.

With pay scales in mind, two monetary gain, considering more meetings were called this spring they are a huge part of the (open to members and nonmembers alike) so that a conversation could reason the tourist industry is begin that would incorporate as many booming. This is an ongoing views as possible. These meetings process — stay tuned.” have led to a draft proposal which is being brought to two or three of the — Dave Pomeroy more musician-friendly club owners to start talking about raising musician’s base pay.

NEWS

Election 2.0 As reported in the April — June 2018 issue of The Nashville Musician, Postal Service errors in the 2017 election forced the local to send out ballots to members again in March. Fortunately, the “redo” election was only required for the Local 257 Executive Board, as all other officers, committee members, and delegates were elected by acclamation at the fourth quarter general membership meeting in November 2017. Special thanks to the Local 257 Election Committee for its diligence and careful work in very unexpected circumstances.

Out of an eligible membership of 2190, 524 ballots were returned and 31 were disqualified, primarily due to signatures in the wrong place or some other voting rules infraction.

Executive board votes were counted on April 14. The top seven candidates will serve as executive board members, with the next three serving as alternates. Totals are shown here in descending vote count order.

Secretary-Treasurer Vince Santoro swears in new 2018 Local 257 Executive Board members Jonathan Yudkin, Tom Wild, Steven Sheehan (alternate), Andre Reiss and Jimmy Capps. Not pictured: Local 257 Executive Board Members Laura Ross, Jerry Kimbrough, Steve Hinson and alternates Chuck Bradley and Danny Rader.

Local 257 Executive Board Jimmy Capps — 353 votes Laura Ross — 345 votes Jerry Kimbrough — 284 votes Andre Reiss — 269 votes Tom Wild — 260 votes Jonathan Yudkin — 228 votes Steve Hinson — 226 votes

Hearing Board Michele Voan Capps Tiger Fitzhugh Kent Goodson Teresa Hargrove Dave Moody Kathy Shepard John Terrance

Alternates Steven Sheehan —191 votes Chuck Bradley — 184 votes Danny Rader — 154 votes

AFM Convention Delegates Laura Ross Tom Wild Steve Tveit

Jerry Tachoir — 149 votes Rich Eckhardt — 110 votes

Trustees Bruce Radek Biff Watson

Officers and Delegates elected by acclamation:

Election Committee Devin Malone (Chair) Shane Adams (Secretary) Jason Howard Roy Vogt Seph Allen Mark Weber Chuck Tilley TNM

Sergeant-At-Arms Steve Tveit

President Dave Pomeroy Secretary-Treasurer Vince Santoro

JULY – SEPT 2018 11

GALLERY

A Great Day in Nashvillle Local 257 musicians gathered at the Musicians Hall of Fame on May 2 to be a part of the second photoshoot in our series of “A Great Day in Nashville.”

(L-R) VINCE SANTORO, CATHERINE STYRON MARX, KERRY MARX, MIKE BUB, TOM HAMBRIDGE, PAT SEVERS, REGGIE YOUNG, JAY MCDOWELL, BOBBY WOOD, HARGUS “PIG” ROBBINS, FRED ELTRINGHAM, JIMMY CAPPS, DAVE ROE, CHARLIE MCCOY, MICHELE VOAN CAPPS, PAT MCGRATH, BIFF WATSON, LARRY BEAIRD, BRENT MASON, NIR Z, TAMMY ROGERS-KING, MARK HILL, WANDA VICK BURCHFIELD, BRIAN FULLEN, GARY LUNN, JIMMY NICHOLS 3.

1.

1. DAVE ROE AND BOBBY WOOD 2. MARK HILL, FRED ELTRINGHAM, BRIAN FULLEN

2.

12 THE NASHVILLE MUSICIAN

3. (L-R) JIMMY NICHOLS, GARY LUNN, LARRY BEAIRD, BRENT MASON, CHARLIE MCCOY, BIFF WATSON

GALLERY

Life member and accordion master JOEY MISKULIN was honored at a Country Music Hall of Fame and Museum “Nashville Cat” event in April. (l-r) Miskulin and CMHOF’s Peter Cooper.

2.

1.

1. We removed a couple of trees at the local this

year and followed the wisdom of planting a new tree, when one is taken down. Our friend Thomas Solinsky with SoundForest planted five new trees for us — a mix of Redbuds and Maples.

2. (L-R) Local 257 members CHUCK TILLEY, STEVE MANDILE and JOHN HOWARD, of the band Sixwire, who perform as the house band that entertains fans at Predators home games.

3. Guitarist STEVE PURCELL honored the local by volunteering to clean the windows. He did a sparkling job! (l-r) Vince Santoro, Purcell, Dave Pomeroy 4. RON ELLIOTT (left) shows off his new 50-year pin. Dave Pomeroy offers his congratulations.

3.

4. continued on page 14 JULY – SEPT 2018 13

PINS

GALLERY continued from page 13

2.

1. New life member BETTY JOHNSTON (BJ) BURNSED with her

piano teacher of 57 years, Judy Potts. (l-r) 1.

2. Keyboardist JIMMY NICHOLS shows off his new 25-year pin.

28 NSO members playing an instrument from the Violins of Hope collection were asked to stand.

Concertmaster Jun Awasaki solos during the NSO's Violins of Hope performance — playing one of the instruments from the event.

Violins of Hope

THE VIOLINS OF HOPE is a collection of restored instruments played by Jewish musicians during the Holocaust. These instruments have survived concentration camps, pogroms and many long journeys to tell remarkable stories of injustice, suffering, resilience and survival. The Nashville Symphony partnered with the Jewish Federation of Nashville to bring the Violins of Hope to Nashville this spring to facilitate a citywide dialogue about music, art, social justice and free expression. In addition to concert performances including Verdi’s “Requiem” by the NSO, the instruments were also on display at the public library.

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PROGRAMS AT THE HALL Enjoy exclusive performances and conversations on our website—a living archive of one-of-a-kind programs and an extension of the stories told in our galleries. Witness artists, songwriters, producers, and more, sharing the music and moments that built their careers.

TUNE IN TODAY

Downtown Nashville • #PressPlayRecord • @CountryMusicHOF CountryMusicHallofFame.org/Programs/Watch-Listen supported by

Museum programs are funded in part by the Gibson Foundation; Metropolitan Nashville Arts Commission; and the Tennessee Arts Commission.

JULY – SEPT 2018 15

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m C

RIDING THE

FROM PHILLY SOUL TO MISSISSIPPI DELTA BLUES

Q River

BY WARREN DENNEY

John Oates is a mighty man. He bears the weight of a bright superstardom as if it were light as a feather.

Not that it’s a past from which he runs — he has reaped the benefit for his part in the mega-duo Hall & Oates, and continues to do so — but, rather, it is a weight he does not allow to define him.

He exploded onto the world with his musical

partner Daryl Hall in 1977, wrapped in heavy pop, with the duo’s first No. 1 hit “Rich Girl,” setting in motion a run that has spanned five decades and sold 40 million records. They are the best-selling duo of all time, having ridden an airy, blue-eyed fusion of rock and R&B to a blinding pop immortality, with six Billboard chart-topping hits and countless PHOTO: PHILIP MURPHY

other Top 40 appearances along the way. continued on page 18 JULY – SEPT 2018 17

continued from page 17

PHOTO: JEFF FASSANO

Though New York City-born, Oates cut his real teeth at Temple University in Philadelphia, Pa., exploring folk, rock, pop and the Philadelphia sound. It was there the two met. They formed Hall & Oates in 1970 and then began the climb to superstardom. And, beneath the hits there existed a silent strength. They wrote most of their songs. That fact didn’t necessarily matter to the countless fans — they were moved more by the vocal harmonies and the sense of a changing popular scene.

But, that fact did matter to the pair. And, it lies at the heart of Oates’ relentless chasing of the song, and why he has made his unlikely home in Nashville, likely.

“I was always in a band,” Oates said recently, as he was preparing to leave on a Hall & Oates summer tour. “I joined a band in sixth grade, as soon as I knew I WAS ALWAYS enough chords to be able to play, I IN A BAND. I played folk music. I played coffee housJOINED A BAND es during the early-1960s folk revival.

IN SIXTH GRADE, So I was just always a musician.

“You have to dig pretty deep if you AS SOON AS I want to find the line that connects my KNEW ENOUGH early folk and blues roots to the Hall CHORDS TO BE & Oates catalogs. Around 1959 or ABLE TO PLAY, 1960, a friend of mine’s brother came I PLAYED FOLK home from college with a stack of reMUSIC. I PLAYED cords — the Carter Family, Dave Van COFFEE HOUSES Ronk, Woody Guthrie, the New Lost City Ramblers. And I had never really DURING THE heard that music before. When I did, EARLY-1960’S I was fascinated with it, especially the FOLK REVIVAL. acoustic guitar work — the finger SO I WAS JUST picking, the strumming, the styles, dulcimer styles, things like that. It just ALWAYS A grabbed me. I literally absorbed those records, and I would go to his house and borrow them. I would do the classic needle drop, you know, where I would listen for five or ten seconds, and try to figure out what key they were in.

And so eventually, I was self-taught, and I learned an entire 18 THE NASHVILLE MUSICIAN

PHOTO: SEAN HAGWELL

repertoire of folk music — everything from the child ballads to the bluegrass, to early Appalachian stuff.

“And that's what I started doing, but at the same time I was in an R&B band playing early R&B — Stax, Volt, Memphis stuff. My musical life has always been this kind of duality between the two. To this day, it hasn't changed.”

To point, his latest record Arkansas — released in February this year — is a work built on his sense of folk songs, inspired by the music and legacy of Mississippi John Hurt. The 70-year-old Oates seems very much at home. He began playing Hurt’s music at an early age, spent time with him in the 1960s, and played his guitar on the first two Hall & Oates records. True to form, Oates wrote a number of the songs that appear, and offered renditions of others from the Hurt songbook. The record has a warm, emotional tone, and the musicians include Local 257 members Sam Bush on mandolin, Russ Pahl on pedal steel guitar, Guthrie Trapp on lead guitar, Steve Mackey on bass, Josh Day on percussion, and Nat Smith on cello.

Oates’ vocal delivery features a weathered sincerity, rockish and expressive underneath, and he’s able to carry some heavy storylines.

“Through age and wear and tear, I've lost a little bit of my range, but I made up for it in the technique of being able to tell the story,” he said. “I've been much more conscious of the keys that I'm playing in — very sensitive to it before I even start. What key is going to sit in the right spot in my voice?

I think that was a fundamental piece to this record as well. Every one of these songs was effortless to sing for me. Not only because of the keys, but because I've been singing them for 50 years.”

Even so, there’s a straddling of two worlds beneath it all — his voice brings the songs into the light of today’s pop universe, and those two worlds reflect who he is in a deeper sense.

“So I do the Arkansas project,” he said. “I play with these incredible roots musicians. Then I go and play in a giant Hall & Oates tour, and I do this popR&B stuff. So really this dichotomy or this duality of my musical styles has never really changed.”

Again, one can turn to Philadelphia to find the root inspiration for this record.

“Temple University was a very important part of my musical DNA,” Oates said. “Philadelphia in the early-1960s, of course, everyone recognizes the Gamble and Huff sound — the sound of Philadelphia — the urban R&B that kind of evolved from doo-wop and stuff like that. So that's also part of my DNA.

The creative urge reappeared, and as that decade came to a close, he found himself open to ideas.

“I was living in Colorado, and I was purposefully not involved in music,” he said. “I really needed to shed this pop star thing of the 1980s. I wasn't happy during that period of time, even though we were so commercially successful. So I left the East Coast, left everything behind, started my life over again in the mountains, in Colorado. But by the late-1990s, I started to get the itch to be more creative musically again, and Aspen, Colorado wasn't the place to do it.

“Through some mutual friends, I was invited to come to Nashville and write some songs. Something totally new. I came down, started getting the lay of the land, and started making some relationships. I liked what I found because it harkened back to my folk days. In a way, I saw the connection. There are musicians here and kindred spirits, musical spirits that can reignite my earliest musical influences. Those influences had kind of gotten buried under the pop world and career that I had been doing.”

Oates tested the waters in an early demo session.

“I remember sitting in there with this collection of great musicians, none of whom I knew, but who were assembled for me through a mutual friend,” Oates said. So I'm playing, and it felt comfortable. It felt like the old days to me, in some weird way. That was very important to me, and then I realized I had a lot of learn. I realized that I had to find out who I could be as an individual musician outside of Hall & Oates, the partnership, the thing that I had kind of become comfortable PHOTO: PHILIP MURPHY

PHOTO: PHILIP MURPHY

“However, Philadelphia also had an incredible folk tradition. The Philadelphia Folk Festival is going on 53 years. There are some great coffee houses like the Second Fret and the Main Point. So, I was doing both. I would go to the uptown theater on Saturday night and see Smokey Robinson and the Miracles and Otis Redding, and I would go to the Philadelphia Folk Festival and see Doc Watson and Mississippi John Hurt and all the rediscovered — so to speak — traditional players.”

After Oates had played Hurt’s guitar early in his career, on loan from a friend, it was sold to a collector in Colorado and there it remained until the owner passed away.

With help, he was able to track the guitar down and purchase it.

“Now I have it again, so it's come back to me,” Oates said. “Serendipity or whatever you want to call it, I got the guitar right when I finished the Arkansas album. If I wanted to be greedy, I would say I wish I had it at the beginning so I could've actually played it. But I got it. It was almost like a reward.

“I played the guitar for the first time in public at the Station Inn in November of last year, when I first got it. Since then, I've been sprucing it up a bit. It was in disuse for over 30 years. So now it's playing great. It really has been a gift from the gods.”

Given his background, it’s no real surprise that Nashville would hold a certain appeal, nor is it a surprise that he would fit.

Living on his ranch in Colorado in the 1990s, Oates had retreated from music, attempting to recalibrate his pop star status. But, as it happens, in attempting to hide Oates discovered another road.

JOHN OATES

Gear

Studio Guitars: • Martin Custom 0028 and 0015 M • Gibson 1967 ES125 TC / Gibson Custom B25 / Gibson Custom L00 • 1964 Guild F 30 • Trussart Steelcaster / 1967 Fender Jazz Master H&O Live Guitars: • 1958 Fender Stratocaster with PAF Humbucker pickups • 1990 Fender Custom Shop Stratocaster with Seymour Duncan pickups • TV Jones Model 10 Studio Amps: • 1966 Fender Princeton • Swart Atomic Space Tone Pro Live Show Amps: • AER Compact 60 Acoustic Amp • 1967 Fender Pro Reverb • Todd Sharp JOAT Combo • Dr. Z Maz

• Custom Pedal Boards by Xact Tone Solutions

• Tec 21 Acoustic Fly Rig • Live Microphone Miktec PM9

JULY – SEPT 2018 19

continued from page 19

with. It was exciting to see where I could take it, and I began to record here in the early 2000s.”

He recorded his second solo album, 1000 Miles of Life, released in 2008, in Nashville with musicians Bush, Béla Fleck, and Jerry Douglas, to name three.

“You know, I was playing with these guys, and I realized how high the bar was set instrumentally,” Oates said. “Quite frankly, I had been coasting a bit. This is a whole other level of musicianship here, that I was not used to because I was used to being part of a band. I had my role, and my role was very clearly defined, and I was very comfortable in it, but it wasn't challenging in any way. Now, all of a sudden I was being challenged by these incredible musicians.

“I started practicing. It was one of the greatest things that's happened to me musically. I started really woodshedding. I began to rediscover these early folk roots and realized I could take this to another place, and these early influences could be the foundation for something new.”

It could be viewed as a flashpoint for the separation of two planets.

“Both Daryl and I — I think — have done the same thing,” Oates said. “It's something to be really proud of. Not many groups, especially groups who obtained the stature and commercial success of what Daryl and I have done together, are able to separate themselves. Daryl created his TV show Live from Daryl's House, which has given him an identity and a direction that’s legitimate and recognized, and I've done the same thing here in Nashville, where I've been accepted and embraced by the Americana roots community. I'm not a country player — I've never been a contemporary country artist in any way. I never pretended to be, but the Americana genre seems to be so all-encompassing.

“I'm allowed to work within that kind of framework or authenticity, and that's all I care about.”

What he did realize within that framework was not only a commitment to that authenticity, but to the songs themselves.

Oates had landed squarely in a writer’s town. He and his wife bought a condo in Nashville soon after the flood in 2010, and the scene began to evolve. He was in pre-production for a third solo effort, Mississippi Mile.

“We started the sessions, and I realized I was spending more money — we're living in Colorado at the time — and I realized we're spending more money on hotels, rental cars, and flights than I was on the actual album. I was sensing just how much time we were going to spend here.

“We found a condo in The Gulch, and we settled into that, and every year from that point on, began to spend more and more time until we came to the realization that we actually live here now. So, we bought a house about 2 1/2 years ago.”

Oates, who joined the AFM in 1970 in Redding, Pa., joined Local 257 in 2011.

The commitment to the music manifested itself physically.

“When I recognized how high the bar was set instrumentally, I also began to recognize how high the bar was set compositionally, from the songwriter's point of view,” Oates said.

“I began with some really heavy duty songwriters, and I saw 20 THE NASHVILLE MUSICIAN

(l-r) Sam Bush, Steve Mackey, Nathaniel Smith, Russ Pahl, David Kalmusky, John Oates, Guthrie Trapp, Josh Day, Ethan Barrette, Patrick Fraker.

the care and the sensitivity to telling a story, which isn't that necessary in pop music.

“So, I learned to dig a little deeper. And so whether it was instrumentally or with the songwriting, the bar was set higher, and I needed to rise to that level. Nashville has been a real inspirational change in my life, so it's very important to me to be here and really to wave the flag for Nashville. I think this latest record is better than anything I’ve done.”

Oates is earnest and passionate in this world.

He has learned over the years the importance of striking at the heart, and the value of beHAS BEEN A REAL ing open-minded. Of course, he has certainly earned his bones. In 2005, Hall & Oates were INSPIRATIONAL inducted into the American Songwriters Hall of CHANGE IN MY Fame, and in May of 2008 they received the LIFE, SO IT’S VERY BMI Icon Award for outstanding career achieveIMPORTANT TO ME ment in songwriting. The duo was inducted into TO BE HERE. the Rock and Roll Hall of Fame in 2014, and have earned many American Music Awards, MTV Awards, and received multiple Grammy nominations over the course of their megawatt career. The bottom line for Oates resides, though, in today.

“I'm proud of how this record came together because it was not intended to be what it became,” he said. “It was one of those things where I've learned to let magic happen. One thing I learned from Arif Martin, who produced our two early albums — someone who I consider to be one of the great producers of all time — was to just surround yourself with great people and let them do what they do and just guide the process.

“And, that's what I've always done here in town. It's an embarrassment of riches here because you have these incredible people to draw from, and who can help you realize your vision. There was no vision for this album. It was supposed to be a casual EP of Mississippi John Hurt songs that I was going to play on an acoustic guitar. It would have fallen short.

“I didn't want to abandon the songs. So, I assembled this very eclectic band with a cello and Sam Bush on mandolin, and this great rhythm section. If you strip away all that, I'm still playing the real traditional stuff on the acoustic guitar, but what they brought to this music was something totally original…the sound evolved into something very special. And I remember thinking we were really onto something after my engineer and I listened to the very first track, which was ‘Stack O'Lee.’ “And I think it comes through. The magic comes through the grooves, as they used to say in the old days.”

For Oates, those old days bear the promise of the new. TNM

1

JULY – SEPT 2018 21

REVIEWS

Looking Back is Greene’s latest project, and true to its title, it is a retrospective summing up of his influences, favorite musical styles, and his positive, faithdriven outlook on life.

Buddy Greene Looking Back Rufus Music

L

ongtime Local 257 member Buddy Greene is a multi-talented man.

Since his early days playing in Jerry Reed’s band, and then moving on to his own solo career, this humble harmonica virtuoso has traveled the world and made more than 20 albums during his 30-plus-year career. His song “Mary, Did You Know?” written with Mark Lowry, has become a Christmas standard. Looking Back is Greene’s latest project, and true to its title, it is a retrospective summing up of his influences, favorite musical styles, and his positive, faith-driven outlook on life. Produced by acoustic guitar wizard Bryan Sutton with a meticulous sense of detail and an impeccable cast of musicians, this album is an 18-track, 71-minute journey — and is a definitive portrait of an artist in full command of his powers, and not afraid to have some fun.

“Brand New Day,” an ode to appreciating the sentiment that every day is a gift, opens simply with Sutton’s guitar and Greene’s harmonica setting the mood.

When Sam Bush (mandolin), Aubrey Haynie (fiddle), Ron Block (2nd guitar), and Mark Fain (bass), kick in at the chorus they immediately carve out a supple wall of acoustic sound while Greene’s yearning and sincere vocal floats over the top. The great Del McCoury makes a guest appearance on “Keep Your Head in the Word,” with his distinctive 22 THE NASHVILLE MUSICIAN

high harmony sailing over the “bluegrass meets gospel” rhythm while Kenny “Thumper” Malone adds an extra percussive edge as only he can.

Sutton, who takes many roles throughout the project, plays a National Resonator slide guitar on this track like he was born in a swamp. “In His Presence” is full of joy and gratitude and the band lays down a rich acoustic landscape that rises and falls with Bush’s distinctive backbeat chop. The Sam Cook standard “Jesus Gave Me Water” is given a Dixieland-swing feel with great success: Greene leads the church parade to New Orleans with his fingerpicked 12-string and a burning harmonica solo. Jeff Taylor’s sizzling piano follows, leading up to a big finish — the Isaacs Sisters’ call and response exchanges with Greene’s urgent lead vocal take it over the top.

Songs like “Divine Love,” “Green Tree,” and “Grace for the Moment” are well-crafted, uplifting tunes that exemplify Greene’s songwriting prowess. He avoids clichés, and somehow reinvents his universal message of hope and love time and again, without repeating himself or settling for the obvious.

He is not afraid to address difficult subjects either. The anthemic “Man Against Man” addresses the subjects of racism and violence from an honest, heartfelt perspective that does more than complain about division — it brings a message of unity to this

COVER CE: PAUL SOUPIEST

PHOTO: DAVID BRAUD

crucial topic. Michael Franks’ “Jesus Gonna Make It Alright” is an unexpected treat with Malone and Fain laying down a big, wide open groove with harmonica and fiddle trading bluesy licks on top, and Casey Campbell’s tasty mandolin tying it all together.

“Real Love” features Greene stretching out vocally with some fine falsetto improvising over an extremely funky groove.

John D. Loudermilk’s “Big Daddy” sounds like an Earl Scruggs Revue jam session with Herb Pederson singing back up and Bush and Sutton trading red-hot licks with Greene. The folk standard “Look Up, Look Down, That Lonesome Road” is absolutely gorgeous from start to finish, and would be the perfect ending credit song for a film. The album closes with Rev. Gary Davis’ “I Belong to the Band” — it begins with a deep rhythmic dance from the entire ensemble that finally breaks into a double-time, gospel rave up. Great stuff. buddygreene.com – Roy Montana

REVIEWS

sense of melody. “Fire Drill” lets Daly stretch out over a rockin’ shuffle with Steve Holland on drums, and the album closes with the title track, which starts out spookily with an ominous baritone drone before kicking into a delicate yet powerful midtempo groove.

The band supports Daly’s melodic excursions with an Enrico Morricone Spaghetti Western feel, with Brewster’s drums driving them towards the sunset. The whole album is a really fun listening experience, whether you are a steel guitar nut or simply a fan of eclectic and unique music.

– Roy Montana

Mike Daly

Renascence Mike Daly Music Steel guitarist Mike Daly is equally at home as a tasty sideman or doing his own thing as an artist, writer and producer. Renascence is his third solo album, and the underlying concept is one of collaboration. Five tracks feature Daly duetting with some of the world’s greatest steel players – Lloyd Green, Dan Dugmore, Robert Randolph, Greg Leisz, and B.J. Cole. Four of the album’s nine tracks feature the tight and varied interaction between Daly’s palette of steel and slide guitars and his super-tight accompanists Dave Francis (bass), Mike Webb (keyboards) and drummers Steve Brewster, Dennis Holt, and Steve Holland. The result is a fascinating blend of textures, styles, and good vibes from start to finish.

The opening track “Thundershower” sets the mood with Daly’s spacey glissandos, and Webb’s Wurlitzer electric piano and organ, with a soaring steel melody and plenty of rhythmic punch from Brewster and Francis. Things mellow out a bit on “md.ldg” featuring Green’s distinctively sweet steel and Daly’s baritone slide dancing around each other over a percussion-driven groove. The solo section keeps building like a wave ready to crash into the shore, before returning to the main melody. Richard Thompson’s classic ballad “The Dimming of the Day” is given a beautiful treatment featuring British steel guitar legend Cole, with Daly’s supportive and atmospheric parts on Weissenborn guitar, and high strung Martin dobro providing a mellow backdrop, along with Mike Webb’s sweet accordion. The rhythm section of Francis on upright bass and Holt on drums give this track an elegant lilting feel that rises and falls organically, and Cole sounds wonderful.

Dierks Bentley

“A Little R&R” takes it up a notch with famed “sacred steel” jam band icon Robert Randolph sitting in for a driving tune. The stereo mix of these two slide monsters gives the listener a chance to zero in on their very different playing styles. Randolph plays a wild, distorted solo in a Jimi Hendrix mode, contrasting perfectly with Daly’s cleaner tones, and Webb joins in on B-3 for a three-way lick extravaganza. Local 47’s Greg Leisz, whose impressive resume runs the gamut from Bill Frisell to Ry Cooder, joins for “Ryland” on steel and lap steel, with Daly’s acoustic sounds creating an earthy backdrop that would make great film music. “Andah” shifts gears several times, from solo slide mandolin to a vibrato-laden steel melody, a totally unexpected steel drum ostinato played by Daly, with his steel rising over a rocking groove before chilling out for an acoustic Weissenborn solo, and back again. Quite the journey!

Dugmore is featured on a beautiful medley of Paul Simon’s “Old Friends” and Stevie Ray Vaughan’s “Lenny” with Daly on percussion, Weissenborn and baritone slide guitars with Francis on bass and acoustic guitar that give Dugmore lots of room for his trademark full-range tone and atmospheric

The Mountain Capitol Nashville

Dierks Bentley is one of the few modern country artists who has been able to successfully balance accessible radio-friendly tunes with music that digs deeper both lyrically and musically. The Mountain feels a bit like a successor to his acclaimed 2010 Up on the Ridge album that brought together his bluegrass roots and commercial aspirations. Bentley’s coproducer for that album — Local 257 member Jon Randall Stewart — rejoins Bentley’s creative team with coproducer Ross Copperman. Recorded in Colorado, the album feels like a tour-de-force statement from a confident artist at the peak of his game. The core band is an all-star unit, including Local 257’s Ian Fitchuck, Rob McNelley, Jedd Hughes, Danny Rader, Dan Hochhalter, and Local 47’s Matt Chamberlain on drums, along with Local 257 guests Sam Bush, Tim O’Brien, Jerry Douglas and more.

“Burnin’ Man” kicks things off with a big groove and rapid-fire lyrics, topped off with soaring guitar and harmonies courtesy of the Brothers Osborne. The title track feels like hanging out with Tom Petty at the local honky-tonk. Raunchy electric guitar parts contrast with a fiddle/banjo breakdown as the track closes, with the continued on page 24 JULY – SEPT 2018 23

REVIEWS

continued from page 23

Bentley is one of the few modern country artists who has been able to successfully balance accessible radio-friendly tunes with music that digs deeper both lyrically and musically. guitars winning the battle in the end. The philosophical bent of the lyrics continues with “Living,” an ode to the everyday battle we all fight to keep our perspective. Bentley’s voice delivers that message in a totally believable way, and the track’s mighty dynamics reinforce it all. “Woman, Amen” is nothing less than an anthem for the ages, and is already a big hit single. With its relentless bass drum and tom-tom pulse and the big sing-along choruses that have become a staple of contemporary music, this is Bentley at his best. “You Can’t Bring Me Down” is driven by a powerful groove that features Bush’s mandolin trading hot licks with McNelley’s electric guitar.

“Nothing On But the Stars” combines reverb-drenched electric guitar, puls-

ing loops, intimate verses and a hypnotic melody that builds into an epic chorus. “My Religion” takes an unexpected turn towards piano-driven gospel with a lyric about our inability to always control our feelings, joined

by Douglas’ dobro and O’Brien’s bouzouki, and the slow burn of the track is a nice contrast. “One Way” has a bit of an L.A.-country rock feel, with multiple acoustic guitars, Hochhalter’s fiddle, and Dugmore’s steel giving it a timeless feel — Bentley’s mellow vocal would make Don Williams smile. “Stranger to Myself” is a potpourri of musical textures, wrapping Bentley’s vocal in a soft gentle groove with lots of light and shade — another great example of the subtle and tasteful production by Stewart and Copperman.

The duet with Brandi Carlisle, “Travel-

ing Light,” is a beefed-up bluegrass groove with Douglas and Bush putting their magic to work, and Carlisle’s ethereal voice blending sweetly with Bentley’s earthy tone. The closing track, “That’s How I’m Going Out,” written by Stewart and his wife Jessi Alexander, sums up the album perfectly with its real-world perspective on the fleeting nature of fame in the short-attention world we live in these days. The Mountain is an album which will stand the test of time, and cements Bentley’s position as one of the few contemporary country artists who can toe the line between commercial success and artistic integrity. Hats off to all concerned for a job well done.

— George Myers TNM

Your NASHVILLE SYMPHONY

100+ Concerts On Sale Now

TICKETS: 615.687.6400 | NashvilleSymphony.org

24 THE NASHVILLE MUSICIAN

JULY – SEPT 2018 25

SYMPHONY NOTES

BY LAURA ROSS

Looking back

We began our season with John Williams on the podium and end with four performances of his masterpiece Star Wars. As with Harry Potter—we’ve now performed the third and fourth in the series of eight movies—we will perform all nine Star Wars movies in the future.

A momentous partnership with the Jewish Federation of Nashville and Middle Tennessee helped us bring the Violins of Hope to Nashville for two-and-a-half months, with a free display in the downtown library. Tieins with other exhibitions included two Civil Rights exhibits at the Frist, more than 50 performances with partners such as the Nashville Ballet, and with guest artists such as Pinchas Zuckerman and Josh Bell. The orchestra performed with the violins on two series concerts: Leshnoff Symphony No. 4, which was recorded with the Violins of Hope for Naxos, and Verdi’s Requiem, a work with historic ties to the Holocaust. In addition, our bass section had the opportunity to perform on a bass once owned by Leo Rosner, a Holocaust survivor and member of Schindler’s List. The historic instrument was loaned to the orchestra by Nashville jazz bassist, Patrick Crossley. As this project wrapped up, the orchestra was gifted with violin No. 17 from the Weinstein’s Violins of Hope collection by the Nashville Jewish Federation.

It will be on display and will remain permanently in the Schermerhorn Symphony Center to commemorate our partnership.

We’ve said farewell to friends and colleagues while simultaneously welcoming new members. We lost our former Pops

The orchestra was gifted with violin No. 17 from the Weinstein’s Violins of Hope collection by the Nashville Jewish Federation 26 THE NASHVILLE MUSICIAN

AS

the orchestra heads into its final weeks of the season, there is much to reflect upon.

conductor and devoted friend Ronn Huff, who was the best friend musicians ever had.

A few weeks ago section second violinist Kenny Barnd announced his retirement this July after 19 years with the Nashville Symphony. Our amazing principal oboist James Button departed at the end of last season for a position in the San Francisco Symphony; he recently received tenure in that orchestra. We said hello in January and now say farewell to assistant/second/e-flat clarinetist Eric Abramowitz as he takes on a new position with the Toronto Symphony. We also welcomed Matt Abramo to our bass section in January, and both our one-year appointees—Gloria Yun and Leslie Fagan—won positions in the flute section, though not for the positions they initially filled.

The orchestra committee worked hard and offered wonderful support to the negotiating committee this season. Violist Michelle Collins and cellist Keith Nicholas rotate off the committee and next season principal timpanist Josh Hickman and principal trombonist Paul Jenkins will join Mindy Whitley, Lynn Peithman, Ali Gooding (currently on maternity leave), ICSOM delegate Brad Mansell and the union steward—me—on the committee.

Successful negotiations

We recently completed negotiations for a new four-year agreement that were cordial and collaborative. This negotiating team was incredibly experienced and thoughtful; every single person had previously served as orchestra committee chair and each member — Brad Mansell, Kevin Jablonski, James Zimmermann, Judith Ablon and I — was proactive and completely involved in the process. We did things differently this time, holding potluck dinners and lunches that allowed the committee to hear individual ideas

and points of view, which in turn helped us develop surveys and assemble our proposals. As union steward, I also keep a continuous list of orchestra committee issues, along with additional thoughts and comments from musicians that come my way between contracts, so these are also informative in this process. We couldn’t have done this without the support of Dave Pomeroy, who was invaluable to the process, and the guidance and leadership we received from our attorney Kevin Case, who was truly impressive.

With a complete turnover in our operations staff these past few years it was also important to keep the lines of communication open. Chief Operating Officer Steve Brosvik and Operations Manager Sonja Winkler met with the committee last September to review potential conflicts in regard to contract language. Because of this, many “housekeeping” issues were dealt with quickly and easily and the process ran smoothly.

And while the board and management still remain cautious when it comes to the budget, the board leadership ultimately agreed to a four-year agreement that will bring our salaries to $70,050 in the final season. Our musicians, along with a marketing team led by Dan Grossman, have worked very hard these past seasons to increase the earned income percentage—somewhere in the mid-60s—to a level that is unheard of in our industry. Everyone has worked very hard for this success, but there is more work to do to increase contributions. Our musicians are urged to continue participating in patron events to continue breaking down that “fourth” wall between those of us on stage and our supporters. Thanks to their generosity we are able to do what we love to do and have trained our whole lives for, which is to be a member of one of the greatest professional symphony TNM orchestras in the country.

AS

JAZZ & BLUES BEAT

we deal with the annual steam bath-half of Middle Tennessee summer, the festivals are winding down, schools are preparing their concert schedules, and we continue to search for news to report.

It’s a shame that standard media outlets here cover so little jazz and blues. There are no newspapers or magazines with club calendars. The online Nashville Scene calendar seems formatted to emphasize country and pop, although the magazine does have occasional short articles of special events. The Tennessee Jazz & Blues Society website has an event calendar, and the blues societies have jam session calendars, but it seems that many clubs, promoters and even musicians no longer want to make the effort to list or update their gigs. I guess everyone thinks that Twitter and Facebook will do it all.

Stanley Clarke

Jonathon Batiste

Delbert McClinton

Actually, there are bars and restaurants all over Middle Tennessee that book the music, but they won’t advertise it, even when it costs nothing. This summer, I drove all over to find new venues to talk about (see below). But it’s just too hard to run around every quarter to check out venues, track down their managers, unearth their schedules and figure out who is really jazz and blues. That’s another problem; especially the word “jazz” which gets applied to all kinds of things that aren’t even close. So how about some help? I encourage all musicians that would like some reporting done on their gigs, recordings, new projects, whatever, to please contact me through the union.

In the parks

Big Band Dances wind up in Centennial Park every Saturday in August, from 7-10 p.m. For the schedule of all Metro sponsored park concerts, go to www.nashville.gov/Parksand-Recreation. Jazz On The Cumberland downtown in Cumberland Park has four dates left: Aug. 19, Sept. 16, Oct. 21, and Nov. 11.

But no word on what bands are playing.

In the main venues

At the Schermerhorn Symphony Center, there is only one event before winter. Pianist

Jon Batiste from The Late Show with Stephen Colbert will play a solo concert that promises to be a mix of jazz and funky soul on Friday, Oct. 19 at 8 p.m. If you watch the TV show, listen as Batiste often slips in tunes by Thelonious Monk and other hipsters between the show biz bits.

At the City Winery, virtuoso drummer Terry Bozzio brings his Reality Tour and his ginormous drum set into the main room on Monday, Aug. 27 at 8 p.m. For blues fans, longtime favorite Delbert McClinton stops by on Friday, Aug. 31 at 8 p.m. Finally, get your tickets early as the room will be full of bass players to hear two shows by the legendary Stanley Clarke on Friday, Oct. 19 at 7 p.m. and 10 p.m.

At the Franklin Theater, blues favorite Tab Benoit appears Thursday, Aug. 23 at 8 p.m. Pokey LaFarge shows off his eclectic mix of early jazz, blues and country on Thursday, Sept. 6 at 8 p.m.

In the schools

The Nashville Jazz Workshop presents another of its annual fundraising concerts, Jazzmania, Saturday, Oct. 20, from 6 – 10 p.m. at the Factory in Franklin. Belmont University usually schedules some fine free concerts by its jazz faculty, students and others starting in August. Look for a major piano concert and a faculty ensemble among the first offerings. Middle Tennessee State University has excellent faculty/student concerts starting in August, and its Jazz Artist Series usually begins in October.

In the clubs

Gray’s On Main in Franklin has music on weekends, with jazz vocals a couple of times each month, and a jazz brunch from 10 a.m.

- 2 p.m. every Sunday. The artist schedule is almost the same every month, but they do have a web calendar. Sambuca in The

BY AUSTIN BEALMEAR

Gulch still has occasional jazz — check their website for the current calendar. The historic Printers Alley club Skull’s Rainbow Room says it has jazz every night with vocalist Laura Mayo. Nearby, the Black Rabbit bar offers nightly jazz centered around an old upright piano. No word on who plays. A new soul food place on Dickerson Road, Shugga Hi, has a jazz brunch every Sunday from 10 a.m. – 3 p.m. Terrific food, a small stage for bands, but no schedule of performers.

The Old School Farm is a unique and wonderful organic restaurant out on Old Hydes Ferry Pike. The food is raised or grown right on site and prepared fresh. There is live music most nights, including some jazz and blues, and they have a website with a schedule. Go to www.theoldschoolnashville.com.

The Mellow Mushroom in Franklin has good pizza and music outdoors every night, with occasional jazz and blues. Not one word about music on their website, even though the summer has been entirely booked since January. Finezza Italian Bistro has dinner jazz on Thursday and Friday nights, no mention of music on their web site.

When you visit these venues, and I hope you will, tell them to put the music schedule on the websites and in their rooms. If they won’t listen to us as musicians, maybe they’ll listen to us as customers.

See you out there.

TNM

JULY – SEPT 2018 27

FINAL NOTES

Randy Lynn Scruggs Aug. 3, 1953 — April 17, 2018

G

rammy-award winning guitarist, artist, and producer Randy Lynn Scruggs, 64, died April 17, 2018. He was the son of bluegrass icon Earl Scruggs, and a life member of the Nashville Musicians Association who joined Local 257 in September 1971.

He was born in Nashville, Tenn., Aug. 3, 1953 to Earl and Louise Scruggs, and grew up surrounded by music and musicians. At the age of 13 he made his first recording. He and his brother Gary recorded two albums as The Scruggs Brothers, including the 1970 Vanguard release All the Way Home, and a self-titled follow up. Randy and Gary joined their father in the genre-busting Earl Scruggs Revue in 1969. The legendary group released over a dozen albums on Columbia Records.

Scruggs also played bass on John Hartford’s seminal 1972 album Aereo-Plain.

Scruggs found additional success as a songwriter, including “We Danced Anyway,” for Deana Carter and “Shakin’” for Sawyer Brown. In the ‘80s he cowrote several songs for Earl Thomas Conley including “Love Don’t Care (Whose Heart It Breaks),” “Don’t Make 28 THE NASHVILLE MUSICIAN

It Easy for Me,” and “Angel in Disguise.” He coproduced and played guitar on the 1989 Grammy-winning Will the Circle Be Unbroken: Volume Two for the Nitty Gritty Dirt Band, and also coproduced and played guitar on Will the Circle Be Unbroken: Volume Three.

He teamed with Earl Scruggs and Doc Watson to contribute “Keep on the Sunny Side,” to the 1994 AIDS benefit album Red Hot + Country. In 1998 he released his solo debut Crown of Jewels. Scruggs recorded with a long list of artists during his career, including Loretta Lynn, Waylon Jennings, George Strait, Miranda Lambert, Lee Ann Womack, Toby Keith, and Alison Krauss.

His most recent credit was acoustic guitar on this year’s Johnny Cash: Forever Words, a project with multiple artists who wrote music to Cash’s poetry.

Dave Pomeroy, a longtime friend of Scruggs, commented on his passing: “Randy was a humble, modest man whose skill set was huge, as a player, writer, and producer.

He could oversee an entire session from the acoustic guitar booth and not miss a lick. I was honored to work with him on a variety

of projects, and he always empowered those around him to rise up to his creative level.”

A private celebration of life was held May 29 at the Country Music Hall of Fame.

Scruggs was preceded in death by his parents, Earl and Louise Scruggs; and one brother, Steve Scruggs. Survivors include his wife Sandy; one daughter, Lindsey; and one brother, Gary Scruggs.

The family requests that memorial contributions be made to the Country Music Hall of Fame and Museum (www.countrymusichalloffame.org) or the Earl Scruggs Center in Shelby, NC. (www.earlscruggscenter.org)

“Randy was a humble, modest man whose skill set was huge, as a player, writer, and producer. He could oversee an entire session from the acoustic guitar booth and not miss a lick.” — Dave Pomeroy

FINAL NOTES

Ronald Lee “Ronn” Huff March 16, 1938 — March 18, 2018

“Huff was a genius at programming.

He was so creative at being able to combine the classical world with the pop music world that he was able to satisfy both our Pops subscribers as well as our Classical subscribers.” – Mary Kathryn VanOsdale

Ronald Lee “Ronn” Huff, 80, died March 18, 2018.

He was an arranger, producer, and conductor — as well as a life member of the Nashville Musicians Association who joined the local in February 1975.

Huff was born March 16, 1938 in Lansing, Mich.

When he was 21 he married Donna Mains. He began his professional career as a minister of music and church choir director in Denver, Colo. While there, he arranged two books of hymns, Celebration: Music for Festival Choir and Celebration II, both of which were successful.

He went on to arrange music for the Gaithers’ 1973 musical Alleluia, A Praise Gathering, which became the first Christian recording to receive an RIAA Gold certification. He also arranged His Love, Reaching for the Gaithers, along with a variety of other projects. He worked with a host of artists in many genres, including Whitney Houston, Amy Grant, Celine Dion, Keith Urban, Alison Krauss, the Boston Pops, and Jewel, among others.

Huff was producer and principal conductor for the Nashville Symphony from 1994 until 2002, when he had to limit his activities due to Parkinson’s. He was inducted into the Gospel Music Association in 2005 as a nonperforming member. He was also a founding member of the Friends of the Arts at Belmont Board; its members support the College of Visual and Performing Arts. In 2005, the Ronna and Donna Huff Endowed Scholarship was created to support a Belmont music student majoring in Composition and Arranging. In 2011 he came out of retirement to arrange music for a tribute event in Nashville that featured the songs of Bill and Gloria Gaither.

Mary Kathryn VanOsdale, NSO Concertmaster Emerita, commented on Huff’s passing: “Ronn Huff was a genius at programming. He was so creative at being able to combine the classical world with the pop music world that he was able to satisfy both our Pops subscribers as well as our Classical subscribers. His connection with Music Row as well as the Christian music industry allowed new doors to open for future collaborations with our orchestra. His unique style of working with our orchestra was successful because he took the time to make each player feel that their individual contribution of talent was the key to the great success of our Pops productions. He was a great friend to our organization and we will miss his presence greatly,” VanOsdale said.

Survivors include his wife Donna; and three sons, Dann, David and Ronnie. A memorial service was held April 7 in Wightman Chapel at Scarritt-Bennett Center.

The family asks that donations in Huff’s memory be made to Alive Hospice or the Nashville Symphony.

Ronnie Victor Prophet Dec. 26, 1937 — March 2, 2018 Canadian country artist Ronnie Victor Prophet, 80, died March 2, 2018. He was a guitarist and singer known for his TV work and his one-man shows that mixed music and comedy. A life member of the Nashville Musicians Association, he joined the local in August 1969.

He was born Dec. 26, 1937 in Calumet, Quebec, and was raised on his family’s nearby farm. He came from a musical family — his second cousin Orval Prophet was a successful country artist as well.

Prophet began singing at age seven and was playing guitar by the time he was 10. He debuted at 15 on Ottawa’s CFRA radio show The Happy Wanderers.

He moved to Montreal at 17 and began singing in various clubs.

Prophet began to have success in the U.S. in the mid ‘60s, and made his move to Nashville in 1969.

Soon he began performing at Boots Randolph’s Carousel Club, which he eventually owned and renamed Ronnie Prophet’s Carousel Club. Over the next 16 years he performed there and also toured the world with Kenny Rogers, Perry Como, Mel Tillis, George Jones and Charley Pride, among others. In the 1970s he hosted a series of programs for CBC-TV and CTV, including The Ronnie Prophet Show. Chet Atkins once said Prophet put on the best one-man show he had ever seen.

In 1986 he married his duo partner, singer GloryAnne Carriere. From 1997, he was based in Branson, Mo., where he performed with his wife until his retirecontinued on page 30 ment in 2015.

JULY – SEPT 2018 29

FINAL NOTES

continued from page 29

Over his career he had 26 hit singles in Canada — five of which charted in the U.S. — and released more than two dozen albums. His Billboard hits included “Sanctuary,” “Shine On,” and “It Ain’t Easy Lovin’ Me.” He earned two Juno Awards; he also won accolades from the Canadian Country Music Association and the Big Country Awards. He was inducted into the Canadian Country Music Hall of Fame in 1999.

Survivors include his wife of 32 years, Glory-Anne Carriere Prophet, two sons, Tony and Jimmy Prophet; stepchildren Rhonda Paisley, Warren Carriere, and Tamara Greer; and 12 grandchildren. Prophet was interred at Avoca Cemetery near his farm home in Quebec. The family has requested donations be sent to St. Jude Children’s Research Hospital and directed to the Ronnie Prophet Memorial Fund.

“I’ve known Kenny since he was 17 years old when he was a young singersongwriter in Hollywood trying to break into the business. When he finally settled in Nashville, I was very happy to see how successful he had become as an artist and songwriter.” – Duane Eddy Kenny O’Dell June 21, 1944 — March 28, 2018 Singer and songwriter Kenny O’Dell, 73, died March 28, 2018. His many hit records include the Grammy award-winning No. 1 Charlie Rich crossover classic “Behind Closed Doors,” and the 1984 Judds hit “Mama He’s Crazy.” He was also a guitarist who joined AFM Local 257 in November 1994.

He was born Kenneth Guy Gist, Jr., in Antlers, Okla., on June 21, 1944, and raised in California. He started writing at 13 and launched a record company — Mary Kay Records — after he graduated from high school. Early in his career he played with Duane Eddy and then formed a band called Guys and Dolls. He moved to Nashville in 1969 — changing his name because it was easier to pronounce. After his relocation, he helmed House of Gold publishing, where he wrote for Dottie West, Tanya Tucker and Kenny Rogers. Early suc30 THE NASHVILLE MUSICIAN

cess came with Bobby Vee’s recording of O’Dell’s “Beautiful People.”

O’Dell recorded three albums in the ‘60s and ‘70s, including Beautiful People, Kenny O’Dell, and Let’s Shake Hands and Come Out Lovin.’ He generated several charting singles over his career, including “Let’s Shake Hands and Come Out Lovin,” “Soulful Woman,” “As Long as I Can Wake Up in Your Arms,” and “My Honky Tonk Ways.”

O’Dell said “Behind Closed Doors” was inspired by the Watergate crimes. In addition to a Best Country Song Grammy, the tune was awarded CMA Song of the Year.

Rich also had success with another O’Dell song, “I Take It On Home.” Other writing credits include “Lizzie the Rainman” for Tanya Tucker, Billie Jo Spears’ “Too Much Is Not Enough” and “Never Did Like Whiskey,” and “House of Love” for Dottie West.

In 1984 he won NSAI Songwriter of the Year; he was inducted into the Nashville Songwriters Hall of Fame in 1996. O’Dell was married to guitarist and Musicians Hall of Famer Vivian “Corki” Casey O’Dell, who died in 2017.

O’Dell’s close friend and fellow Local 257 member Duane Eddy spoke about his passing: “I’ve known Kenny since he was 17 years old when he was a young singer/songwriter in Hollywood trying to break into the business. When he finally settled in Nashville, I was very happy to see how successful he had become as an artist and songwriter.

He and his wife, Corki, were a big part of the Nashville social scene for 40 years.

They loved country music and never missed a chance to attend a function celebrating it. Kenny was my dear friend for almost six decades and I miss him terribly.

My world will never be the same without both him and Corki in it,” Eddy said.

In addition to his wife, O’Dell was preceded in death by his parents, Kenneth and Marian Gist. Survivors include his son, Alvin Casey; two daughters, Diana Rose and Sandra Blevens; seven grandchildren; and five great-grandchildren. In lieu of flowers, memorials may be made to the Alzheimer’s Association. A private burial will be held at a later date.

FINAL NOTES

John Lucius Green, Sr. Nov. 16, 1936 — Feb. 20, 2018

“John, our bass player James Watkins, and I became very close, like brothers. We constantly advised each other about techniques we had read about or experimented with. He will surely be missed.” – Dillard Montgomery

John Lucius Green, Sr., 81, died Feb. 20, 2018. He was a life member of the Nashville Musicians Association who joined the local in June 1961. Green played tenor sax and clarinet and was also a singer; his long career in Nashville became part of the important R&B legacy of Music City.

Green was born Nov. 16, 1936. His life was centered around music; in addition to his work in the house band of the historic New Era Club, he was a well-loved band director of Hayne High School in the Trinity Land area of Nashville. Green was also a familiar face on the ‘60s TV show, Night Train to Nashville — a predecessor to Soul Train. He was one of the founding members of the New Imperials, with whom he played for over four decades. He has also shared his musical talents with local churches, including Clark Memorial and The Temple Church.

Local 257 keyboardist, and fellow member of the New Imperials Dillard Montgomery was a lifelong friend who played with Green for over 40 years. He commented on his passing: “I met John about 60 years ago. I had just been discharged from the U.S. Air Force and had gone back to college in 1958. John had already graduated and was teaching in Shelbyville, Tenn., as it was difficult to get hired in the big cities without experience. After four years I was hired right out of college. In 1968 John called me to see if I would be interested in a job at the Ramada Inn Airport in Nashville. I was skeptical as we were teaching school and would have to play every school night until 1 a.m., then get up early to go teach children. However, I accepted the job because of my relationship with John and because I believed it couldn’t last any longer than a few weeks. We stayed there 14 years.

“John, our bass player James Watkins, and I became very close, like brothers. We constantly advised each other about techniques we had read about or experimented with. I was devastated to hear of his passing. There is a void. He was a great man, family man, husband, father, and musician. He will surely be missed,” Montgomery said.

Green was preceded in death by a son, John L. Green, Jr., and one grandson. Survivors include his wife Katherine; one daughter, Jewell Winn; one sister, Jamie Otis; stepmother Louise Garrett; five grandchildren, 12 great-grandchildren; and a host of nephews, nieces, cousins, and friends. A celebration of life was held at The Temple Church Feb. 26 and included a musical tribute. Interment followed at Greenwood Cemetery North. continued on page 32

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FINAL NOTES continued from page 31

Samuel H. Hollingsworth, Jr. June 29, 1922 — Nov. 22, 2017

Samuel H. Hollingsworth, Jr., 95, died Nov. 22, 2017. He was a longtime principal bassist for the Pittsburgh Symphony Orchestra who also played in ensembles in Dallas, Texas, Nashville, Tenn., and Indianapolis, Ind. He was a native of Birmingham, Ala., who briefly sold insurance before his love of country music drew him to move to Nashville, where he began a career at the Grand Ole Opry. His fellow musicians there encouraged him to study classical music, so he moved to New York City and began attending Julliard. He studied under the New York Philharmonic’s Fred Zimmerman before dropping out to play professionally full time. His professor later Samuel Hollingsworth (right) with his called a recording of his former student “the most longtime friend Chet Atkins (left) and Jack beautiful playing I have ever heard in my life.”

Jezzro (center) Photo courtesy of the

Hollingsworth worked at a variety of venues in Pittsburgh Symphony Orchestra New York City. During a 1942 Broadway production of Porgy and Bess at the Majestic Theater in 1942, he looked into the audience to find Judy Garland nodding admiringly at his upright bass playing. He took a break from music to serve his country; during World War II Hollingsworth served as a radio operator in the Merchant Marine.

Following his time in the military he played in the Nashville Symphony, where his family said he helped to racially integrate the ensemble. In 1964 he traveled to New York City to play a double bass solo recital at Carnegie Hall. In 1970 he joined the Pittsburgh Symphony Orchestra.

Hollingsworth was known as a progressive liberal, and somewhat of a hippie, according to his nephew Peter Karlovich. His wife Betty was a dancer and pioneering dance therapist; the two met at a party and married on New Year’s Eve in 1974.

His career continued to gain recognition. His musicianship won much critical praise — his performance with Met Opera star Justino Diaz of Mozart’s “Per questa bella mano” at the 1984 Casals Festival was called “transcendent…totally stellar, and otherworldly” by PSO tuba player Sumner Erickson. A Pittsburgh Post-Gazette senior arts editor and longtime voice instructor, Robert Croan, said “It seemed to me that when Sam played, he and his instrument became a single entity.”

After he retired in 1995 Hollingsworth continued to play guitar, and at 92 got a smart phone “and he knew how to use it,” his nephew said. “For the most part, anyway.”

He was preceded in death by his wife and one son, Samuel Hollingsworth III. Survivors include one daughter, Priscilla Hollingsworth. A Mass of Christian Burial was held in November at St. Paul of the Cross Monastery in Pittsburgh, Penn. In a nod to Garland, “Somewhere Over the Rainbow” was played during the service. Interment followed at St. Nicholas Croatian Cemetery. The family asks that donations be made to the charity of one’s choice. TNM

IN MEMORIAM

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

32 THE NASHVILLE MUSICIAN

Name

Born

Joined

Died

Life Member

D J Fontana

03/15/1931

04/04/1966

06/13/2018

Y

Randy L Scruggs

08/03/1953

09/01/1967

04/17/2018

N

MEMBER STATUS NEW MEMBERS Heidi Anna Jane Anderson (Heidi Raye) GTR PIA MDN UKE heidiraye@gmail.com Cell-(615)-947-6339 Delaney Baker BAS GTR delaneybaker@gmail.com Cell-(615)-653-3937 Michael Anthony Baldwin DRM GTR BAS toxic1342@gmail.com Cell-(912)-323-3481 Patrick Neil Barber GTR javadavida@gmail.com Ken A Barken TPT VOC ken@kenbarken.com Cell-(615)-838-0502 Tyler Chiarelli GTR DRM tyler.chiarelli@gmail.com Cell-(816)-812-2426 Kate Clark GTR kate_a_clark@yahoo.com Cell-(310)-402-8966 Philip Aaron Creamer VOC GTR PIA philipcreamer@gmail.com Cell-(817)-881-4234 Danick Dupelle VOC GTR DANICKD@MAC.COM Cell-(615)-584-5491 Mark Lee Fain BAS fainbass@charter.net Cell-(615)-478-8662 Shane Michael Harvell BAS Benjamin Frank Haynes (Phoenix Benjamin) VOC GTR DRM PRC PRO phoenixbenjamin@icloud.com Cell-(310)-721-0942 Michael Austin Ingber DRM BAS GTR KEY michaelingber@mac.com Cell-(516)-316-6838 James Tyler Jaeger (Tyler Jaeger) TPT tylerjaeger5@gmail.com Cell-(407)-717-7704 Douglas Richard Lawler (Doug Lawler) GTR douglawler66@gmail.com Cell-(615)-414-3929

Christian Anthony Licavoli GTR DRM PIA BAS licavoli.chriss@yahoo.com Cell-(912)-704-1931

Spencer Wallace DRM spencer@spencerwallace.com Cell-(425)-591-6704

Mark Thomas McClurg DRM FDL mark.mcclurg@ralcoshow.com

Jack Cameron White DRM

Brenton Edward McCollough (Brent McCollough) PIA KEY ORG SYN VOC GTR BAS brentmccollough@gmail.com Cell-(615)-484-3199 William H Mercer, III (Billy Mercer) BAS GTR mercerbilly@gmail.com Cell-(615)-496-9690 Jamie E Michael GTR jamieericmichael@hotmail.com Randall C Moore (R.C. Moore) GTR BJO randymoore78@gmail.com Luke Moseley KEY PIA ACC SYN luke@lukemoseleymusic.com Cell-(214)-926-2190 Sarah Nordlund PIA nordlundlaw@mindspring.com Cell-(615)-305-5085 Amberly Rosen FDL VLN MDN VOC Kenny Rudd GTR kennethb.rudd@yahoo.com Cell-(701)-371-3688 Walter Scott (Walt Smith) ACC GTR HRM KEY MDN VOC waltscottpianist@gmail.com Cell-(615)-974-2515 Danne Sheets, Jr DRM PRC HDP dsheetsjr@gmail.com Cell-(317)-753-8668 Keith Sorrels OBO EHN kwsorrels@gmail.com Cell-(219)-789-0550 Michael Lewis Swope (Mike Swope) DRM swopem@aol.com Cell-(865)-300-2400

Eugene Wright (Buddy Wright) bodybwright12@gmail.com Cell-(917)-975-2488 REINSTATED Wayne Edgar Addleman Roy Buell Agee Randy Allan Archer Kelly Back Nathan Barlowe Billy Ray Barnette Stephen H Bassett Alyssa B. Bonagura Richard Allen Boyer Gary S Burr Joeie Dale Canaday, Jr Richard B Carter Zachary Eugene Casebolt Ron Chancey Elton Christopher Charles Paul W Chrisman Matthew M Combs Jeffrey A Cook James H Cromwell John Shelby Deaderick Richard Deroberts Clayton Mitchell Feibusch Patrick H Flynn Jimmy M Nichols Frank Thomas Green Jeff Hanna Larry Thomas Harden Anthony R Harrell Ray W Herndon David Lee Hicks W S Holland James E Hurst John B Jarvis Laur Joamets Jerry Ray Johnston Andrew J Keenan Tom Kirk Craig Dwayne Koons Bernie M Leadon Earl L Lett Stephen Lewis John Duke Lippincott Jeffrey Allan Lockerman Steve Anthony Mandile John Leo McAndrew Charles Lynn Mead Mark Andrew Miller Bob Moore Russ Pahl John Mark Painter Dolly Parton Karen J Pendley-Kuykendall Peter Michaelson Pisarczyk

Jovan Raynaldo Quallo Brent Rader Gregory Lynn Ritchie Rivers Rutherford, II Thomas John Paul Samulak Kirby L Shelstad Alan Stoker Larry Taylor Chester Cortez Thompson Mark F Thompson George Tidwell Guthrie Trapp Samuel C Tritico Rozlyn Marie Turner ames Marshall White EXPELLED Shane Adams Don J Aliquo, Jr Mark Jeffrey Allen Jeff Alan Armstrong James L Brantley Cole Burgess Michael Casteel William Dunbar Chelf Darrick Jerry Cline Harrell Dink Cook, Jr James Terry Crisp Jonathan Tyler Crone Dominic John Davis Rachael Davis Richard Brian Free Elaine Garton Frizzell Derek W Hawkes Bruce Hayes Ryan Jackson Holladay Joel Hutsell Virginia Clare Johnson Kelsey A Lamb Rodney Allyn Ledbetter James Kendall Lester William Claude Marshall, III Mark Oakley Wesley Knox Ramsay Marshall Richardson Calvin Lee Rogers, Jr John E Rogers Charlie L Vaughan Richard F Vito Lewis Bryant Wells James H West, II Jeff T White TNM

Michele R Tackett (Cheley Tackett) SNG VOC GTR cheley@cheleytackett.com Cell-(615)-473-6366 Anne Marie Thurmond CLA athurmond@tntech.edu JULY – SEPT 2018 33

DO NOT WORK FOR

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

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

TOP OFFENDERS LIST Nashville Music Scoring/Alan Umstead - Solicitation and contracting of non-union scoring sessions for TV, film, and videogames Electronic Arts/Steve Schnur - Commissioning and promoting non-union videogame sessions These are employers who owe musicians large amounts of money and have thus far refused to fulfill their contractual obligations to Local 257 musicians.

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

Next General Membership Meeting Tuesday, Aug. 14, 2018 2 p.m.

34 THE NASHVILLE MUSICIAN

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

604 Records Heaven Productions Stonebridge Station Entertainment The Collective TNM

WHAT DO LORETTA LYNN, KEITH URBAN, KELSEA BALLERINI, PETER FRAMPTON, AND THE MUSICIANS OF THE NASHVILLE SYMPHONY HAVE IN COMMON? R E V I E W S :

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Official JOurnal Of afM lOcal 257 april– June 2014

Road to success

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Musicians Hall of faMe 2014 inductiOn cereMOny

carry-On instruMent update lOwdOwn On signatOries April–June 2014 1

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felix cavaliere

Riffs on The Rascals OFFICIAL JOURNAL OF AFM LOCAL 257 OCTOBER– DECEMBER 2014

Official JOurnal Of afM lOcal 257 January– March 2014

peter FRAMPTON

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Still showing us the way

on life, love, and The PoweR of a song

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