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Details on the upcoming member meeting Aug. 18 on Zoom, minutes and more. STATE OF THE LOCAL Dave Pomeroy talks about the future, how we move forward together, and also remembers Pat Varialle. IN THE POCKET Secretary-Treasurer Vince Santoro reflects on his time as the Local 257 secretary-treasurer. NEWS The Country Music Hall of Fame inducted its 2021 class — including Local 257’s Eddie Bayers and the late Pete Drake — during an unforgettable event with appearances from many other Nashville Musicians Association members. HEARD ON THE GRAPEVINE comings and goings of Local 257 members.
JULY – SEPT 2022 3 EDDIE BAYERS 8 Official Journal of the Nashville Musicians Association, AFM Local 257 | JULY — SEPT 2022 4 ANNOUNCEMENTS
32 FINANCIALS 33 MEMBER STATUS 34 DO
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14 COVER STORY: EDDIE BAYERS Hot off of his Country Music Hall of Fame induction — the first for a drummer — Eddie Bayers talks to our writer Warren Denney about the fascinating genre-blind path that led him to this historic career highlight. REVIEWS Who better than a great steel guitarist and writer — Steve Fishell — to tell the story of the iconic Buddy Emmons? Read our review of Steel Guitar Icon. Also, we check out a second outing from Alison Krauss and Robert Plant, and the new jazz record from the Tom Hemby Band, Dealin’ It. Finally, in the live music scene, a cutting-edge group that needs to be on your radar — Nashville Composer Collective. SYMPHONY NOTES Bassist Kevin Jablonski reflects on the NSO season, and changes for the coming year. JAZZ & BLUES Austin Bealmear offers an update on local jazz and blues at local venues large and small, classes, festivals, and more. FINAL NOTES We bid farewell to Hargus “Pig” Robbins, Beegie Adair, Jerry Crutchfield, Dallas Frazier, Ray “Chubby” Howard, Cecil “Slim” Hawkins, Jack Houston Pruett, Jr., and Timothy Stacy. NOT FOR FISHELL AND BUDDY AT COUNTRY MUSIC HALL OF FAME INDUCTION. PHOTO: RICK MALKIN
The
GALLERY We recognize member milestones as well as other events and honors.
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COVER
EXECUTIVE BOARD PRESENT: Biff Watson, Rich Eckhardt(alt), Jerry Kimbrough, Steven Sheehan, Laura Ross.
2. All involved parties have agreed to reversion of the 11 Indiana counties to the Louisville, Kentucky, AFM local. A voice vote was taken and was unanimous in favor of the transfer.
HEARING BOARD PRESENT: Kent Goodson, Tiger Fitzhugh, Teresa Hargrove, Sarah Martin McConnell.
President Pomeroy called meeting to order at 5:39 p.m.
OFFICERS PRESENT: Dave Pomeroy, Vince Santoro, Steve Tveit (sergeant at arms).
3. The AMFA petition should have more signatures. We will increase our efforts.
ANNOUNCEMENTS DO WE HAVE YOUR CURRENT EMAIL ADDRESS?
PARLIAMENTARIAN: Bill Wiggins.
Meeting adjourned at 6:12 p.m.
OTHER TOPICS OF DISCUSSION:
4 THE NASHVILLE MUSICIAN @ 2022 Nashville Musicians Association P.O. Box 120399, Nashville TN 37212 All rights nashvillemusicians.orgreserved. OFFICIAL QUARTERLY JOURNAL OF THE NASHVILLE MUSICIANS ASSOCIATION AFM LOCAL 257 CONTRIBUTINGCONTRIBUTINGMANAGINGPUBLISHEREDITOREDITORASSISTANTEDITORWRITERSPHOTOGRAPHERSARTDIRECTIONWEBADMINISTRATORADSALES LOCAL 257 OFFICERS NASHVILLEEXECUTIVESECRETARY-TREASURERPRESIDENTEXECUTIVEBOARDBOARDALTERNATESHEARINGBOARDTRUSTEESSERGEANTATARMSSYMPHONYSTEWARDOFFICEMANAGERELECTRONICMEDIASERVICESDIRECTORRECORDING/ELECTRONICMEDIADIRECTOR,LIVE/TOURINGDEPT.PENSIONADMINISTRATORANDMPTFCOORDINATORADMINISTRATIVEANDRECORDINGASSISTANTMEMBERSHIP Dave Pomeroy Vince Santoro Kathy Osborne Leslie Barr Austin KevinSteveBiffBrucePaulDaveSarahKentTeresaTigerMicheleCaseyRichJonathanTomStevenLauraBiffAlisonJerryVinceDave615-244-9514LeslieKathyLisaVinceDaveDonnTrippLeslieDaveKathyRoyKevinWarrenBealmearDenneyJablonskiMontanaOsbornePomeroyBarrDockersonJonesPomeroySantoroDunnDesignOsborneBarrPomeroySantoroKimbroughPrestwoodWatsonRossSheehanWildYudkinEckhardtBrefkaVoanCappsFitzhughHargroveGoodsonMartinMcConnellMoodyOssolaRadekWatsonTveitJablonskiLauraSlaterHeatherSmalleyPaigeConnersSarahSwensenCassandraTormesLeslieBarrSavannahRitchieWilliamSansbury The next General Membership Meeting of Local 257 will take place Thursday, Aug. 18, 2022, at 5:30 p.m. on Zoom by teleconference. All members will receive an email with instructions on how to attend with Zoom. On the agenda are reports from the president and secretary-treasurer and other important discussions. Make plans to attend now and stay involved in the business of your local. If you need instruction on how to attend by teleconference, please call the local at 615-244-9514 for assistance. Nashville Musicians Association | AFM Local 257, AFL-CIO Minutes of the Zoom Special Membership Meeting Nov. 29, 2021
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.
4. Our Premier Parking discounts can turn out to be free depending on time of day. MSC to approve 11 county reversion to Louisville. Jerry Kimbrough, Jeff Dayton. MSC to adjourn. Jeff Dayton, Laura Ross.
1. Local 257 Toys4Tots drive will end Wednesday, Dec. 1, at 2 p.m.
PRESENT: Chris Carmichael, Ellen Angelico, Nell Levin, Michael August, John Mattick, Jeff Dayton, Roy Vogt, Rebecca Cole, Sunny Dada, John Root.
2. Giving Tuesday will be advertised to membership/public.
AGENDA: 1. Pomeroy explained what led to the call for a special meeting, which is the transfer of 11 Indiana counties in our jurisdiction to the Louisville, Kentucky, Local 11-637, as 257 cannot effectively service this geographic area, which is much closer to Louisville. This has been a subject of discussion with 11-637 for several months.
1. HVAC replacement is nearing and the duct system is in bad shape. We are meeting with an engineer to assess its viability before we get quotes on the heat pumps.
4. New membership applications were distributed and discussed. MSC to approve new member applications. TW, SS. MSC to adjourn. BW, RE. Meeting adjourned at 2:42 p.m.
SECRETARY-TREASURER REPORT
3. Two hackberry trees at the back of our parking lot will be removed by NES. No date has been given as to when.
ANNOUNCEMENTSTNM
2. Our PPP 2.0 forgiveness has been confirmed.
3. HUB will be removing the trees at the back of our lot at some point in the future. MSC to approve Secretary-Treasurer report. RE, BW.
PRESENT: Vince Santoro(VS), Dave Pomeroy(DP), Tom Wild(TW), Jonathan Yudkin(JY), Steven Sheehan(SS) , Biff Watson(BW), Rich Eckhardt(RE), Casey Brefka(CB).
AGENDA: A proposal regarding an employee’s salary was discussed and approved. MSC to approve. LR, JY. Secretary-Treasurer report was approved online March 30, 2022. New member applications were approved online March 30, 2022. MSC to adjourn. LR, AP. Meeting adjourned at 6:04 p.m.
PensionQuestions?Fund For more information contact: Tanisha Figueroa TFigueroa@afmepf.org212-284-1272 Gary Lubliner glubliner@afmepf.org212-284-1289
MINUTES: Minutes from March 29, 2022, were distributed in advance. MSC to approve as amended.
MONDAY,MONDAY,HOLIDAYSSEPT.5LABORDAYOCT.10COLUMBUSDAY
SECRETARY-TREASURER REPORT:
PRESIDENT’S REPORT: The following issues were briefly discussed: 1. New contract agreement for General Jackson includes a three-percent raise across the board and expansion of band members.
3. Former Local 257 member who wanted to rejoin and keep his membership intact was discussed. MSC to approve TW, BW.
President Pomeroy called the meeting to order at 1:28 p.m.
AGENDA: 1. Leadership Music donation of $500 was discussed. MSC to approve. BW, RE.
JULY – SEPT 2022 5
3. Our two-month Membership Drive in February and March 2022 brought in more than 50 new members.
1. Crisis Assistance Fund has paid two applicants $1,000 each. We are still accepting donations and have a balance of $20,000 in the fund.
Nashville Musicians Association AFM Local 257, AFL-CIO Minutes of the Executive Board Zoom Meeting May 10, 2022
PRESENT: Vince Santoro(VS), Dave Pomeroy(DP), Laura Ross(LR), Tom Wild(TW), Jonathan Yudkin(JY), Steven Sheehan(SS) , Alison Prestwood(AP), Biff Watson(BW), Jerry Kimbrough(JK), Rich Eckhardt(RE).
Nashville Musicians Association AFM Local 257, AFL-CIO Minutes of the Executive Board Zoom Meeting March 29, 2022
2. Tennessee Titans ad marketing was discussed. MSC to respectfully decline. CB, SS.
2. Will take part in mediation with RFD TV regarding overdue payments for three years of reruns of the Marty Stuart Show, Ray Stevens’ Caba-Ray and The Statler Brothers Show on Wed., Mar. 30, with the total wages and pension amount currently at $265,000 and three years of late fees bringing total to $677,000.
2. Many services, such as HVAC, security, and Metro Nashville services that we deal with regularly are having trouble by either being very busy or their supply chains are backed up. Small businesses have trouble keeping crews.
RE, BW. PRESIDENT’S REPORT: The following issues were briefly discussed: 1. We have settled our long-running RFD lawsuit, which will finally get the musicians most of the money they were owed for RFD reruns of The Marty Stuart Show, Ray Stevens’ Caba-Ray, and The Statler Brothers Show in 2019, ‘20 and ‘21.
4. The recent staff changes and new hires are working out favorably.
MINUTES: Minutes from Nov. 22, 2021 were distributed in advance.
Absent: Casey Brefka. President Pomeroy called the meeting to order at 5:06 p.m.
Absent: Alison Prestwood(AP), Laura Ross(LR), Jerry Kimbrough(JK).
6 THE NASHVILLE MUSICIAN BY DAVE POMEROY things begin to stabilize in some of the areas of our business that were hardest hit by the pandemic — especially live music and touring — it is more important than ever for musicians to communicate and work together for the greater good. To some that may sound like a cliché, but to take the lessons we learn from the past, and apply them going forward is at the core of what Lo cal 257 does. Our goal is to make things bet ter for all of us. Music has that power, and our mission is to give Local 257 members what they need to not only survive, but to thrive in a very competitive and constantly evolving mu sic business. We are seeing a healthy shift in our membership towards youth and diversity, both in demographics and musical genres. This is because the word is getting around that we are a valuable resource for any musi cian who wants to protect themself and their work. It’s a two-way street — the more you get involved, the more we can do for you.
Pandemic survey I was one of the panelists for a music in dustry informational event presented May 24 by Whippoorwill Arts, who conducted a nationwide survey about the challenges the pandemic has placed on musicians. It was a good chance to open up a dialogue between different areas of the industry, and demon strate to others all of the things that the AFM and Local 257 have done to help musicians through this unprecedented crisis. It is al ways good to let others know what we are doing, and vice versa. Pat VarialIe passes I must take a moment and acknowledge the passing of AFM Electronic Media Director Pat Varialle. Pat had 48 years of experience in electronic media as an AFM employee, into the CMHOF, and Pete Drake’s posthu mous induction was also very well deserved, and long overdue. It is good to see the CM HOF catching up on musicians who should be in the Hall, and there are many more de serving folks we hope to see honored in that way in the future. Thank you, Vince As you will read in his column, Vince Santoro is stepping down at the end of August. I want to take this opportunity to personally thank Vince for his time, dedication, and hard work on behalf of all AFM Local 257 musicians. He has been a big help to us all in many ways, and I am proud of how we were able to get through some very challenging times together. I have appointed Will Barrow to take Vince’s place until the next election in late 2023. I have known Will for a long time and I believe he has the right skill set for the job. I am confident that he will step in, step up, and do a great job in the secretarytreasurer position. Aug. 9 Benefit Concert for FBF I will be hosting a fundraising concert at 3rd & Lindsley Aug. 9 for our Funeral Benefit Fund, which has taken a big hit during the pandem ic. Lots of 257 members will be performing and all funds raised will go towards keeping next year’s dues from going up. Still rocking after all these years As we continue to approach our 120th an niversary this coming December, it is inter esting to look back and imagine what those founders anticipated the future path of AFM Local 257 to be. Those seven people who signed the charter were willing to dedicate their time and energy to uniting musicians, and were the 257th local to join the Fed eration, which was founded just six years previously in 1896. I think they would proud of what they did, and what we have done to move things forward. As the third larg est U.S. local in the Federation and a place where in spite of right-to-work (for less) laws, we get musicians paid fairly and make sure their intellectual property is respected. We can always do more, and we will, but I am proud of what we have done over the past 14 years, and look forward to doing even better – by working together. That’s how we make a difference, both now and in the future. The power is in our hands.
STATE OF THE LOCAL As TNM and taught me so much about all types of recording contracts and agreements over the past 20 years. He helped untold num bers of musicians get paid for their work in an unselfish, evenhanded way. During times when the AFM was in turmoil, somehow Pat managed to stay above the fray and treated everyone with respect. On May 13, Pat was struck and killed by a bus in the early morn ing hours as he was making his usual com mute from his home in Staten Island to work at AFM headquarters in Times Square. We spoke on the phone the night before he passed. He was one of the best people I have ever known. I will never forget his dedication and countless contributions to AFM musicians, and I send much love to his wife Patricia and son Nicholas. His successor John Painting, who had been preparing to take Pat’s place upon his re tirement, which was only a year away, is already doing a great job. John would be the first to agree that Pat was an incred ible worker for musicians and a great hu man being as well. He was truly a gift to musicians, and we all owe him a great debt of gratitude. Congrats, Eddie Bayers! On a happier note, it has been a true bless ing to know and work with Eddie Bayers, and his recent induction into the Country Music Hall of Fame is well deserved. I have been fortunate to work with Eddie on records with Keith Whitley, Trisha Yearwood, Alan Jack son, and others, and know firsthand he de serves this honor. He is a shining example of how the positive, flexible and professional attitude Nashville players bring into the studio can make the difference between a record and a hit record. He has that magic touch, and I am glad a little of that magic rubbed off on me. Eddie is the first drummer to be inducted Dave Pomeroy and Eddie Bayers
Having spent eight years doing the local’s work, and learning more every day about the machinations of our union in Nashville, I can say that I leave with a better understanding of the world of worker/employer relationships. Tennessee is a right-to-work state, and that impacts what we do here so much, that one cannot just read a secretary-treasurer handbook to study for the job. That handbook is helpful but does not tell the whole story. The right-to-work status means an increase in the number of hats one must fit on one’s head!
I will begin by getting quotes from companies to replace our two aging units, but just as importantly, gather ideas for how we can im prove the balance of air flow throughout the building. When Will takes over he’ll have a head start on that and many other issues that I can get him up to speed on. Will and I will go over how I’ve done things, from which he can develop his own method going forward — that’s probably the best approach anyway. I believe Dave Pomeroy and Will Barrow can become a great team that can handle all the future curve balls thrown at Local 257. Seeing my daily routine opening up to more personal endeavors — playing, singing and creative involvement — brings a melancholy to mind. I’ll be freer to do what I want, but this will also bring a sad ness. I will miss interacting with everyone, both our staff and our membership. I hope I’m wrong that this will simply end — maybe it will just become more leisurely. While here I’ve been happy to work with so many folks that naming them all wouldn’t fit in this column. Our staff has gone through additions and deletions that have faded into history, but everyone I came into contact with I can recall with a smile on my face and envision them with joy. To our membership, I ask you to continue to support this local. Remember that dues are how we are able to offer you all such a high level of service, and how we pay our bills! The higher our membership numbers, the stronger we all are. This fact gets repeated often but it is never said enough. Take part in the business of our local — at tend membership meetings. Getting through the last two years of COVID-19 has not been fun, but one good thing is how easy it now is to attend meetings via Zoom! At these meetings our members can listen to what others are saying, stay up on union workings, and even start a conversation of one’s personal views. These meetings are where the “union” begins to take shape and you really shouldn’t miss out on these opportunities. I hope our local continues to grow and meet all its challenges with the strength of our membership behind them. That power is more than folks sometimes understand. This power needs to be nurtured and brought to the table to combat entities that want to take that power away. To all AFM Local 257 members I say: Carry on the work that others have begun! I hope to see many of you as we do that thing we love –making music!
Stepping Down As
I appreciated the advisory I got when I started this job, and as I step away, I want to give Will a similar heads-up on our HVAC situa tion in this mid-1970s vintage building.
IN THE POCKETTNM
BY VINCE SANTORO
Of course, the financial workings of the local are paramount to stay on top of, and there’s no shortage of funding issues that come into play. When I began my stint here my predecessor informed me that our Funeral Benefit Fund was in serious trouble, and had been for quite some time. In 2015, we proposed bylaw changes that, with approval of membership, helped keep the fund afloat. The Local 257 funeral benefit still requires careful yearly analysis because of the changing nature of Local 257 demographics. When I stepped into this job, I recall arriving in the morning to find pots and pans strewn about the lobby area to catch rainwater from our leaking roof. That gave me an idea of how much care would be neces sary to prolong the building’s useful life and I set my jaw to make that one of my imperatives. Replacing the old skylight and establishing biannual maintenance of our flat roof was a big step in that direction. The constant building upkeep won’t diminish until we leave this location, if that ever happens. I hope it never comes to pass. The tradition of Local 257 has been followed and strengthened right here within these walls and it would be a shame to find ourselves elsewhere. Those early-years summers in the humid rehearsal hall were brutal and we finally pulled the trigger on a three-way ductless Mit subishi system that has been a great comfort to those who use the room. If you do use the room you’ve probably noticed the array of refuse bins that I marked for Styrofoam, Recycle and Trash. Those really help – thanks! We have a recycle cubicle for items like plastic bags, light bulbs, glass and all our Christmas decorations!
I knew early on that we generated a lot of refuse, some that can be recycled, and that we should make use of Metro’s bins/pickup service to do what we can to not dump everything in the landfill. Just another hat to wear. After all that, the business part of my business begins. With the expertise of our longtime CPA, Ron Stewart, we get all the nonprofit filings done that keep our status up to date. These docu ments and reports can involve our entire office sometimes, just to ad
JULY – SEPT 2022 7 of this writing, it’s my plan to step down from my position as secretary-treasurer for Local 257 on Sept. 1. When you receive The Nash ville Musician magazine for the third quarter of 2022, it will be about 30 days until Will Barrow takes over as an appointee to the job.
minister our Crisis Assistance Fund, our Healthcare Trust that governs the “True Group” healthcare group, the Funeral Benefit Fund, and the local itself, which all have to be audited annually or monthly.
Many of you know Will, and I have confidence that he will be up to the challenge here. There’s a lot to be prepared for, but with this staff’s help I’m certain Will and I can make a seamless transition.
Ashley Judd, Wynonna Judd and Ricky Skaggs
Photos by Jason Kempin and Terry Wyatt/Getty Images for the Country Music Hall of Fame and Museum
Vince Gill, Eddie Bayers and Kyle Young
—likeplayed[Pete“EverythingDrake]onfitaglove.”CharlieMcCoy
Wendy Moten
John Drake, Rose Drake, Charlie McCoy and Kyle Young Lane Brody and Eddie Bayers
Local 257 members Eddie Bayers and the late Pete Drake were in ducted into the Country Music Hall of Fame as part of the 2021 class on May 1. The ceremony, held in the CMA Theater, was delayed because of the pandemic, and was particularly poignant because of the death of inductee Naomi Judd one day before the event. The late Ray Charles was also inducted along with the Judds. Some consideration was given to delaying the ceremony again because of the tragic death of Judd, but her daughter Wynonna, as well as the rest of the family, asked that the Hall of Fame ceremony go ahead as Bayersplanned.made history as the first drummer to become a member of the Country Music Hall of Fame. He was inducted by Vince Gill, who sang one of the many hits on which Bayers has played — his huge hit “When I Call Your Name.” Trisha Yearwood performed another, her No. 2 hit single “Walkaway Joe.” Bayers became a member of the Musicians Hall of Fame in 2019, and has played on over 300 gold and platinum records. Additionally, he sits on the board of directors of NARAS, and is also a producer and studio co-owner, as well as a member of the Notorious Cherry Bombs band. “People make a family, and we are certainly a family,” said Bay ers following his induction. “I love all of you. God bless you all.”
Country Music Hall of Fame member Charlie McCoy in ducted the late Pete Drake in another historic moment, as he was the first steel guitarist to become a member of the Country Hall of Fame. McCoy presented the medallion to Drake’s widow Rose and his son, John Drake. “Everything he played on fit like a glove,” said McCoy. “He became part of the records he was on.” In addi tion to his work on many country classics, Drake has appeared on projects for Bob Dylan, George Harrison, and Ringo Starr.
CountryMusic Hall of InductionFame
8 THE NASHVILLE MUSICIAN NEWS
Local 257 life member Ricky Skaggs inducted the Judds, presenting the medallion to Wynonna and her sister Ashley Judd. Two Local 257 members who also perform as a duo, Gillian Welch and David Rawlings, paid tribute to the Judds with a per formance of “Young Love (Strong Love).”
Some consideration was given to delaying the ceremony again because of the tragic death of Judd, but her daughter Wynonna, as well as the rest of the family, asked that the Hall of Fame ceremony go ahead as planned.
Drake’s contributions to music also include the historic in vention of the “talk box” which he used on his 1964 hit “Forever.” He was also legendary for his publishing company, record label, and studio ventures. Musical salutes to Drake included a per formance by Local 257 member Wendy Moten of “He Stopped Loving Her Today,” a huge hit for George Jones on which the steel guitarist played.
David Rawlings and Gillian Welch
NEWS
As always, the stellar house band boasted a plethora of Local 257 members including bandleader Biff Watson, as well as Brent Mason, Deanie Richardson, Rachel Loy, Tommy White, Jen Gunderman, Jeff White, and Wendy Moten Kyle Young, Valerie Ervin and Ronnie Milsap
Fellow piano player Ronnie Milsap presented the late Ray Charles’ medallion to Valerie Ervin of the Ray Charles Founda tion. Milsap, a Local 257 life member, talked about his friend ship with Charles, and said the two exchanged braille letters over the years. "There was one of him and only one," said Mil sap. "He sang country music like it should be sung." Marty Stuart and his wife Connie Smith closed out the ceremony with the traditional sing-along that ends every Hall of Fame induction — “Will the Circle Be Unbroken?”
Garth Brooks and the house band “There was one of him [Ray Charles] and only one.” — Ronnie Milsap Photo: Dave Pomeroy TNM
Dolly Parton and Dr. Naji Abumrad
10 THE NASHVILLE MUSICIAN
DOLLY PARTON Local 257 life member Dolly Parton, long noted not only for her amazing career, but for her incredible monetary support of charities and medical causes, has made another impressive donation to Vanderbilt University Medical Center (VUMC). In June she donated one million dollars to the hospital’s pediatric infectious disease re search to help in the fight against infectious diseases, such as the coronavirus.
“I love all children. No child should ever have to suffer, and I’m willing to do my part to try and keep as many of them as I can as healthy and safe as possible,” Parton explains. The country legend previously made a $1 million gift to VUMC in April 2020 in honor of her longtime friend, Naji Abumrad, MD, to increase scientific knowledge and advance the battle against COVID-19.
Among Parton’s other gifts to VUMC was a transformational contribution to the Monroe Carell Jr. Children’s Hospital at Vanderbilt Pediatric Cancer Program in honor of Abumrad and her niece, Hannah Dennison, who was successfully treated for leukemia as a child at Children’s Hospital.
“Dolly’s previous support to infectious disease research, and also our pediatric cancer program, has already saved count less lives,” said Jeff Balser, Dean of the Vanderbilt University School of Medicine. “This new gift will bolster our defenses against future threats to the safety of this region and society as a whole. It speaks volumes about her passion for people, and we couldn’t be more thankful.”
“I’m gonna be a member of the Grand Ole Opry! Can I bring my songs with me?” — Don Schlitz “I’ve had so many amazing things happen, but I want to to tell you what — this is the icing on the cake” — Charlie McCoy Charlie McCoy, Vince Gill and Don Schlitz Dolly Parton and Dr. Naji Abumrad
Two Local 257 luminaries were invited to become members of the Grand Ole Opry in June during a live broadcast of the show, as Vince Gill surprised Charlie McCoy and Don Schlitz with the news. It was reportedly the first time in decades that two artists had received the invitation during the same show. Among the staggering list of multi-instrumentalist McCoy’s recording credits are classics like “He Stopped Loving Her Today,” “The Boxer,” and “I Was Country When Country Wasn’t Cool.” Schlitz has written monster hits like “Forever and Ever, Amen,” “The Gambler,” and “When You Say Nothing at All.” McCoy and Schlitz are both members of the Country Music Hall of Fame and both have received Grammys and numerous other awards and nomina tions over the course of their careers. “I’ve had so many amazing things happen, but I want to tell you what – this is the icing on the cake. I cannot thank everyone enough for this honor. I am blown away. Thank you,” McCoySchlitzsaid.echoed McCoy’s sentiment. “I’m gonna be a member of the Grand Ole Opry! Can I bring my songs with me? Like Charlie said, ‘This is the icing.’” Each will be inducted into the Grand Ole Opry later this year.
HEARD ON THE GRAPEVINE
CHARLIE MCCOY AND DON SCHLITZ INVITED TO BECOME MEMBERS OF THE GRAND OLE OPRY
A CONCERT FOR KENTUCKY
Local 257 members Bobby Bare and Dierks Bentley were inducted into the Music City Walk of Fame April 5, along with Connie Smith and Keb’ Mo’. Each artist was presented with their own star in Walk of Fame Park in downtown Nashville. Producer and longtime friend Buddy Cannon presented Bare’s star, and fellow Walk of Fame member Marty Stuart presented Bentley’s star.
JULY – SEPT 2022 11 HEARD ON THE GRAPEVINE
Chris Stapleton “A Concert for Kentucky”
The Walk of Fame recognizes artists for outstanding contributions to the musical history of Nashville. This year’s ceremony was the first in two years due to pandemicrelated delays. TNM
April 23 show in Lexington, Kentucky, raised over $1 million for his charity, the Outlaw State of Kind Hometown Fund. The sold-out event was the first concert ever held at the University of Kentucky’s new Kroger Field, and featured perfor mances by Local 257 member Stapleton along with Willie Nelson and Family, Sheryl Crow and Madeline Edwards.
Bobby Bare Dierks Bentley
Bare is a member of the Country Music Hall of Fame, and has had over 60 charting singles, a Grammy award, and numerous other awards and nominations. Bentley has charted 20 No. 1 records and received multiple nominations and awards. Both artists are members of the Grand Ole Opry.
The Hometown Fund is administered by the Blue Grass Community Foundation and supports a variety of causes close to the Stapleton’s heart in his home state of Kentucky. Initial Hometown Fund grants include $250,000 to The Mr. Holland’s Opus Foundation, as well as additional pledges to the American Red Cross, UK Healthcare Kentucky Children’s Hospital, the Community Foundation of Western Kentucky’s Disaster Relief Fund, and Dolly Parton’s Imagination Library.
LOCAL 257 MEMBERS INDUCTED INTO THE MUSIC CITY WALK OF FAME
“Every night we walk on a stage, we do our best to help people forget their troubles or celebrate or remember or hope or heal. Every night we play, a portion of those profits always goes to charity. As a musician I can’t think of a greater honor than reaching a point where we can play a show for 40,000 people and give all of the profits back to a community that has been so unfailingly loyal and supportive. It is a tremendously pure and rewarding moment to get to provide the medicine that is music in that space. I’m grateful to everyone who came to the show and to all of the musicians, managers, agents and crew members that made this moment possible,” Stapleton said. The generous Kentucky native is the subject of a new ex hibit that opened July 1 at the Country Music Hall of Fame and Museum entitled “Chris Stapleton: Since 1978.”
Chris Stapleton’s “A Concert for Kentucky”
12 THE NASHVILLE MUSICIAN
1. (l-r) TONY BROWN and Larry Strickland talk about their time with Elvis with Shannon Sanders before the film’s debut.
2. (l-r) Alfreda McCrary Lee, Ann McCrary, DAVE POMEROY, REGINA MCCRARY, and Shannon Sanders walk the Elvis film premiere red carpet. Sanders plays a pastor in the film, and the McCrarys sing on the soundtrack.
4. Workshop drummer SCOTT METKO, cohost DAVID ABDO, and new member, violinist LACY ROSTZAK play through a chart and create the arrangement. The ever-popular Musician-Songwriter Workshop event restarted in June after a pandemic-induced break. Musicians and songwriters mingled and honed their chops at the free workshop, which is held on the 4th Wednesday monthly in the Local 257 rehearsal hall.
3. 1. 2. 4. 5.5. MELODY GUY (center) works on her new song “Need You Back,” with the house band, including MARK WEBER (guitar) and WILL BARROW (keys) with guest musicians.
WorkshopMusician-SongwriterGALLERY
3. ALISON BRAZIL sings her original song “Wide Eyes” with the house band with her son, Jonás Jiménez, in tow.
ALISON BRAZIL and the Roots of Rhythm perform at Plaza Mariachi as part of Music for Seniors’ free daytime concert series.
SAM BUSH, KEITH CARLOCK and JEFF COFFIN rock out at the Exit/In for the InstrumentHead Revealed book release party.
Bassist JIMBO HART and guitarist AUDLEY FREED jamming at the Exit/In at the InstrumentHead Revealed book release party.
GALLERYTNM
Ménage Épicé explores world music at Rudy’s Jazz Room. (l-r) JACOB JEZIORO, SIMON MÁRTENSSON, JEFF TAYLOR , JOHN ARRUCCI.
Y
by Warren Denney ou can lean on Eddie Bayers. He’s proven he’s made for it. As one of the most celebrated drummers in popular music history — one who happens to be the first inducted into the Country Music Hall of Fame, among many other professional distinctions — Bayers is also an undeniable triumph as a human being.
Drummer without borders
14 THE NASHVILLE MUSICIAN continued on page 16
This is a man who had every chance to fail. Maybe by all reckoning, he should have failed. But, whether it’s inside a song, or inside the living of his life, Bayers has refused His decorated father, a fighter pilot and Navy man to the core, left his family when Bayers was fifteen, and tragically, the young musician then lost his mother and sister to a car accident at sixteen. And though Bayers would ultimately reconcile with his father, at the time he was not welcome in his remarried father’s new home. He was on his own. This is existential matter. Looking back, Bayers points to something he carried inside him, even at that age. “One thing I always knew, whether it was something innate, but I was never going to be a victim for anything,” Bayers said, recently. “I don’t care if it was being destitute, whether death, anything like that. I was not going to subject myself to being all that [identity as a victim]. Never did.”
Eddie Bayers
“I had no idea of what country music was, or what Nashville was then,” Bayers said. “To me, and really, you knew then even as ten and twelve-year-olds, it wasn’t country music. We were pop. We were the Kinks, or James Brown, or Wilson Pickett.”
It’s not the attitude you expect from one that age. And, because Bayers did not submit himself to that way of living, he was able to em bark upon a path that led him to a life he could never have imagined. “It was hope and survival,” he said. “Yeah. Being that I was es tranged from my father — he was married and had another family, and his wife didn’t like me. But, it worked out. My mother’s side of the family wanted to take me in, but they were all law enforcement, and I thought that really wasn’t for me. “I had to choose custody, and I reached out to him and said ‘If you just let me go, I’ll go with you.’ He had no problem with that, and I gave him my custody. It totally estranged me from my mother’s side family, but it worked out. He helped me box up my keyboard — I had a C3 organ at that time.”
“The others all just went home to Philly and to New Jersey, and I’m there,” he said. “I’ll never forget. The Rita Hotel is where we were staying at that time. When all that broke up, I had my keyboard, and they allowed me to store it there. I would panhandle on the boardwalk and go “Therearound.was a club owner there that would let me play keyboards. I met Joey Joya there. He was with the band, the Big Bear Revue, and he liked my playing and wanted to hire me.”
Following his new arrangement with his father, he approached a friend in Philadelphia as his first tenuous, independent step. “I had a friend, Gene Golden, from here actually,” Bayers said. “They had moved up north. I knew he was there, and I contacted him. He told me there was a band up there that needed a keyboard player. I flew up to Philadelphia and the leader of that band met me at the airport, and the rest is history.”
“I’ve maintained that idea,” Bayers said. “As things progressed over the years, I have to say, I never thought of music in those terms. I’m about the music first, and an artist, because I don’t believe in that.” That first experience in Philadelphia forced — and reinforced — the idea. He was ready at the jump. “It was a show band,” he said. “You’d hear everything from Louis Prima to Frank Sinatra. It certainly wasn’t the pop music I had been listening to. But, the one thing I always believed in — not that I want ed all that had transpired — I didn’t want it — but I wanted to exist. I wanted to survive. Especially, if it could be musical, then that’s the best of all worlds. That, and finding out I could get paid $170 a week! Then whatever it was, I would study that music. I would listen to Dean Martin, and I’d learn it.”
And, though the teen had cut his teeth on classical music, and had lived half his young life in Nashville, it was the golden age of AM radio, and he didn’t think of music in terms of genre, a fundamental perspective that carries him to this day.
Bayers had grown up taking piano, trained in classical music. And though he had bounced around the U.S. as a military brat, and spent four years in North Africa, he had maintained those lessons. Notably, his family had lived in Nashville from 1958 to 1966, where he was taught by Belmont professor Maxine Hurt. “Musically, it was all classically oriented,” Bayers said. “My fa ther had — even when we lived in Africa, commissioned a Russian professor to teach me, then when we came here after he retired, I followed through, even as a youngster — there really wasn’t any mainstream mind about the music I was learning.”
Bayers also quickly learned other lessons, too. A dose of reality in the burgeoning life of a young professional musician. He had to learn how to deal with disappointment, and how to persevere. At sev enteen, the band broke up in Wildwood, New Jersey, leaving Bayers homeless, half a block from the city’s boardwalk.
Bayers played with Joya and the band for a couple of years, catching the attention of the Checkmates, Ltd., a top-drawing R&B band in Las Vegas. Once he cleared up a few things with the Big Bear Revue, he was bound for Nevada. It was a classic time in Las Vegas, a bygone era. It was the golden age of AM radio, and he didn’t think of music in terms of genre, a fundamental perspective that carries him to this day.
“It was hope and survival.”
16 THE NASHVILLE MUSICIAN continued from page 15
“A lot of the music at that time was so diverse. I was really for tunate, because I would go from the Edwin Hawkins Singers, to Big Brother [Holding Company], for example. Janis [Joplin] had since died. They wanted me to play on their record, so I went to San Fran cisco and did that. I was all over the map.”
JULY – SEPT 2022 17 continued on page 18
Bayers met legendary drummer Larrie Londin there, and became convinced he would focus solely on drums. “I was more into the keyboards,” he said. “I auditioned down at the Carousel, and Larrie hired me. He was my first — my influence — it came from watching him. “So, being in the town, in country music, I wanted to listen to the great music. I reached out to Buddy Harmon, and became close with him. He would tell me about the days in the ‘50s and ‘60s, and all the stuff they were doing. Now, you listen, and you hear those loops, snaps, claps of things. He was having to overdub things, whether it was tape box with a brush, or hitting something like a music stand.”
“Everything you see today, that’s all depicted as retro Las Vegas — the sign, the Stardust hotel, I mean, it was classic,” he said. “I mean you would go down and see Frank Sinatra or Sammy Davis Jr. They were still the heads. I mean, it was like, I had front row seats. “The Checkmates had been discovered by Nancy Wilson, and they had a residency in a small lounge in Caesars, called Nero’s Nook. I was too young, really, to be in the casino, but all of a sudden, I had a license that said I was twenty-one. The band was great, a little more natural to me. They had a great singer, Sonny Charles — he’d sing ‘Black Pearl.’ I’d be on keyboards, and when the drummer, Sweet Louie [Marvin Smith], would go out, I’d get on drums.”
The move also brought into focus the world around him, a world that was experiencing social and cultural upheaval, not unlike today. Again, Bayers perspective on music — one that eschewed genres — served him well. “Living in Oakland, things would just happen,” Bayers said. “I would go down to this club in Oakland, on Telegraph Avenue, and the owner of the club — a Black club — was the basketball player Don Barksdale, and he put me with a gospel group that needed a drum mer. It was the Edwin Hawkins Singers.”
That existence set the table for his ultimate career-defining move to Nashville, which he did in 1974. “I had been thinking about it for awhile,” he said. “The connections here. Anyway, I made the move and came, and that’s when I got into the Carousel Club, anything to eat. There’s a reason for everything.”
“It became a scene where people began to recognize us. Then the calls came in, and Don Cook was one of the first. He took me to Acuff-Rose. Don Gant was working there. We came in, I played him some of the songs I’d written, so he signed me. Then, he moved to
Perhaps the greatest beauty of music is that it exists on its own. Anyone can make it, regardless of color or creed. It doesn’t bear the witness of prejudice. It doesn’t know its own manufactured labels. It only knows it exists and lives within its groove. That is where Bayers has always worked. Inside that groove.
It was that connection that led to his meeting Tom Fogerty, of Creedence Clearwater Revival fame, allowing him to move in North ern California circles that now certainly seem surreal. Of course, the Edwin Hawkins Singers were a Black group, known eminently for its arrangement and performance of “Oh Happy Day” — a group that sprang from the Ephesian Church of God in Christ, where Bayers went. To this day, Bayers holds a Christian faith that serves as his core“Edwin’scompass.brother
The gig lasted over a year, and gave Bayers more experience as a multi-instrumentalist. It also included a stint with the Checkmates’ alter-ego, the Blues Crusaders, a band that would hit the road with several of its members when it wasn’t playing the residency. “When it was finally done, the musical director of Checkmates, Joe Romano, left and moved to Oakland, California,” Bayers said. “He got in touch with me and told me I could get my AA [Associate of Arts] degree for free if I was a resident out there. I moved out and roomed with him. We rented a house together.”
Walter had his own band, which was produced by Tom Fogerty at Fantasy Records,” Bayers said. “That’s how I met Tom, and we would go into Fantasy Studios after hours and jam. We would go in midnight, and that band was Tom on acoustic, Merl Saunders on B3, me on piano, Bil ly Cole on drums, and Jerry Gar cia. When Jerry was off the road, he was friends with Tom, and so we would go in and just jam. There was no band, although we would work around Nipper’s Cor ner and places like that in Oakland and San Francisco.
Bayers began to fit in, become noticed. He heard about Audio Media, a studio opening on Division.
“I went over there,” he said. “I walked in simultaneously with Paul Worley [whom he would ultimately partner with in the Money Pit studio from 1984 until 2004]. He had just graduated from Vander bilt. We both were interested in telling ownership we’d like to work. They couldn’t really pay, but we wanted to learn. We agreed if things happened, they could compensate. Which they did. They became a production studio, and we were doing everything for National Geo graphic, for K-TEL, all these. It wasn’t mainstream music, but we had to hire other musicians that were working in the town.
In the early-1980s, Bayers reconnected with producer Brent Ma her, someone he had known going back to his Checkmates, Ltd. days when Maher was working at Las Vegas’s United Recording Studios under the great sound recording engineer Bill Porter. The reunion here was fortuitous.
He would go on to play on every one of the duo’s albums, and in an aligning of the planets, both the Judds and Bayers were inducted into the Country Music Hall of Fame in the same class of 2021, along with Ray Charles and Pete Drake.
“Barry once told me what he thought I bring to the table,” Bay ers said. “He said ‘Your hi-hat dances. It’s not just a clock. It’s about a groove. You can technically do anything you want. But, if it don’t groove …”
“Back in that day, it was about a producer,” he said. “By working with Brent, I did the Judds, I did Michael Johnson, I did Steve Perry, then Tony Brown. Oh, my God, I’m like, ‘They have me from Reba to Steve Wariner, to Rodney Crowell, to Vince.’ Kyle Lehning, from Dan Seals to Randy Travis, and all this music.
Along the way, he has played on hundreds of gold and platinum albums, countless movie soundtracks, been named to the Musi cians Hall of Fame, earned the ACM’s Drummer of the Year fourteen times, and broke new ground with the Country Music Hall of Fame. Not bad for a kid who found himself homeless at seventeen. He knows no boundaries, and he brings service to the song, and ser vice to the Producergroove.Barry Beckett, known for his great work with, and being a part of the Muscle Shoals Rhythm Section, defined Bayers’ work in simple, emotional terms.
“Bayers has recorded and played with everyone, across the musical spectrum — a list that is endless, relentless and mindblowing.”
“During that day, if a great producer, like Tony Brown, did what he did on Patty Loveless, like that. Other labels would rush to get you to produce their artist. Of course, one of the greatest ones was Jimmy Bowen, and a lot of my accolades came because I worked for him those years, because he was ruling Nashville. A lot of my accolades came because I worked for him.”
Eddie Bayers and Roy Orbison
Sting and Eddie BayersRicky Skaggs, Eddie Bayers and Vince Gill
“Your hi-hat dances. It’s not just a clock. It’s about a groove. You can tehnically do anything you want.”
“I’d known Brent for a long time,” Bayers said. “I’m back here, and I’m doing a jingle, and he’s the engineer. His daughter had been in a severe accident. The nurse caring for her at the hospital had given him a tape of her and her daughter — which was Naomi and Wynonna. We went in and cut the demos, and it became the EP hits.”
18 THE NASHVILLE MUSICIAN continued from page 17 Tree, and Don and I both went over to Tree. I had the luxury of being in that family. I mean, with [Bobby] Braddock and [Curley] Putman, watching these great songs being created — the demo sessions too.”
Other things clicked. Jim Ed Norman hired him for some of his first country sessions. He found work with George Jones, Dolly Par ton, Ricky Skaggs, and others.
Bayers has recorded and played with everyone, across the musi cal spectrum, including those already mentioned, along with George Strait, Elton John, Mark Knopfler, Anne Murray, Mickey Gilley, Steve Winwood, John Denver, Bob Seger, Garth Brooks, Alan Jackson, Tri sha Yearwood, Lyle Lovett, Sting, Kenny Chesney, Peter Frampton — a list that is endless, relentless, and mind-blowing.
— Barry Beckett
Eddie Bayers, Eddie Rabbitt and Kenny Rogers
Elton John, Tammy Wynette and Eddie Bayers
JULY – SEPT 2022TNM19 Eddie Bayers Live Setup 1. 14" A Zildjian New Beat HiHats – Pair 2. 18" K Crash Ride 3. 21" A Zildjian Sweet Ride 4. 18” K Dark Crash Medium Thin 5. 17" K Dark Crash Thin Studio Kit Masters Maple Gum Custom Hand Rubbed Black Stain 24x16 bass drum 12x8 16x1614x10tomtomfloor tom 14x5 SensiTone Brass snare drum 14x5 SensiTone Maple snare drum 14x6.5 SensiTone Brass snare drum Hardware P2050C Redline Eliminator pedals P2052C Redline Eliminator double pedals H1050 Redline Eliminator hi-hat stand C1030 cymbal stands TC1030B tom/cymbal stands S1030 snare stand S930 snare stand D1000N throne
Buddy Emmons: Steel Guitar Icon University of Illinois Press
This book is a fascinating portrait of the life and work of steel guitarist Buddy Emmons, a creative genius and complex personality whose impact on the world of music is immeasurable. Emmons’ musical and technical contributions to the evolution of the pedal steel guitar were game changers of the highest order, and his immense discography runs from Little Jimmy Dickens to Ray Charles, Judy Collins, Gary Burton, and Gram Parsons, with a slew of very influential solo albums as well. Combining first-person excerpts from Emmons’ journals, augmented with finely detailed commentary and stories from fellow musicians, friends and much more, this excellent biography, written by longtime AFM 257 member, steel guitarist Steve Fishell, honors the life and music of this amazing innovator. Fishell began working on the book in collaboration with Emmons for several years before his passing in 2015. The long-anticipated end result is a fascinating and compelling story that will appeal to any music lover, not just fans of the steel Emmons’guitar.
FishellSteve
Photo: Donn Jones, courtesy of the Country Music Hall of Fame® and Museum Buddy Emmons and Steve Fishell
20 THE NASHVILLE MUSICIAN REVIEWS
immeasurable.”worldimpactpersonalitycomplexwhoseontheofmusicis
journey began in rural Indiana. His dad, Don, was a country music fan and a machinist who worked for the Bendix company. Emmons began taking violin lessons at 10 years old. After listening to Don Helms’ steel guitar while playing with Hank Williams Sr. on the Grand Ole Opry, before long he was learning to play the mail order Hawaiian steel guitar that his dad convinced him to try. Maybe the lack of frets was less daunting because of his previous violin lessons, but either way, Emmons was destined to change his chosen instrument in more ways than anyone could imagine. Arriving in Nashville at the age of 18, he joined Local 257 in 1955, and immediately dove into the burgeoning Music City scene. He had many musical adventures on the road and in the studio with the likes of Dickens, Ernest Tubb, and Ray Price, was constantly experimenting with different tunings and mechanical adjustments to his instruments, all of which led to his rise as an acclaimed studio musician and artist in his own right. The evolution of his various tunings is meticulously documented in the book’sEmmonsappendix.was a unique character in many ways, and his tumultuous personal life, including a variety of excesses, impulsive migrations from Nashville to Los Angeles and back, giving up the steel for the bass guitar at various times, and the unexpected passing of his wife Peggy, are told in an honest but nonjudgmental way. Emmons’ interactions with Jimmy Day, Willie Nelson, Grady Martin, and John Hartford, illuminate his personality and passion for the things he loved. The focus of the book is unfailingly positive, and reveals the deep respect Fishell has for Emmons. The book includes insightful quotes and perspectives from many AFM 257 members, including Paul Franklin, Buddy Spicher, Tommy White, David Smith, Gregg Galbreath, Buddy Cannon, Paul Hollowell, and more. This is a great read, and sheds light on one of Music City’s most intriguing and influential players. “A creative genius and
Robert Plant and Alison Krauss Raise the Roof Concord Records
The excellent group of musicians on the record include Local 257 members Stuart Duncan on banjo, fiddle, mandolin and cello, Buddy Miller on electric mandolin and guitar, Colin Linden on dobro, Russ Pahl on pedal steel, guitar and electric bass, Viktor Krauss and Den nis Crouch on upright bass, and Jeff Taylor on piano, accordion, and two variations of the zither, the dolceola, and marxophone. Los An geles Local 47 members who played on the project include Burnett, who played various instruments and sang background vocals, Jay Bellerose on drums, and David Hildalgo (Los Lobos) on guitars. New York City Local 802 members included are Bill Frisell on guitars and Marc Ribot on acoustic and electric guitars, dobro, and bass guitar.
The second album from the power duo of Robert Plant and Alison Krauss is an evocative combination of songs and sounds that transcends any single genre or style. Raise the Roof features an eclectic variety of songs by a diverse selection of writers and artists, including the Everly Brothers, Bert Jansch, Calexico, and Allen Toussaint, with one origi nal tune thrown in for good measure. The album was produced by T-Bone Burnett and recorded at Nashville’s Sound Emporium studio, as was its acclaimed predecessor — Raising Sand — which won multiple awards after its release in 2007. The chemistry between Plant and Krauss is palpable, and their voices blend in an effortless, natural way throughout the album, which avoids the many cliches that vocal duet projects can easily fall into.
“Quattro” opens the record with a mellow, spooky, vibe. Insis tent mandolin, ominous drums and percussion drive the track, with chunky electric guitars filling in the gaps as it builds to a climax. “The Price of Love” totally reinvents the Everly Brothers’ original version into a slow and atmospheric sonic journey, and “Trouble with my Lover” features Krauss emoting in a bluesy mode, with upright bass and vibey electric guitar driving the track. “Searching for My Love” has an insistent chugging feel, and the chiming stereo electric gui tars wrap the yearning vocals in a blanket of warmth. Plant sounds relaxed and comfortable as he explores the lower registers of his voice, which is a perfect contrast with Krauss’ angelic tones.
“Can’t Let Go” is a rockabilly-tinged throwback with Duane Eddyesque low guitar, bass and drums driving the train under the tight duo vocals. “You Led Me to the Wrong” puts Plant’s pleading vocal in the forefront against a spare backdrop of Duncan’s haunting fiddle over muted acoustic guitars and percussion, followed by “Last Kind Words Blues,” written by blues artist Geeshie Wiley in 1930. Krauss is totally comfortable singing this spooky gem, with mandolin, gui tars, and echoing percussion sounds that seem to come straight out of the graveyard. “High and Lonesome” breaks out the rock & roll vibe with acoustic bass, stomping, and handclaps keeping the beat until dissolving into a coda of stacked strings. Perhaps the most unexpected song choice is Merle Haggard’s “Going Where the Lonely Go,” which finds Krauss’ gentle vocal float ing over the slow-motion tempo and Pahl’s steel breaking hearts all over town. The album closer is “Somebody Was Watching Over Me,” with pulsing drums, dirty guitars, big groaning bass, and droning background vocals casting a spell that commands the listener to hit repeat. This album is a triumph of collaboration and a collision of styles that once again demonstrates that if you are not sure what genre to call it, it must be Americana!—
Roy Montana Tom Hemby Band Dealin’ It tomhemby.com Dealin’ It is certainly an appropriately titled project, as the Tom Hemby Band delivers the goods on this dynamic and exciting instrumental project. Combin ing jazz, rock, funk, blues and more, this record is, to quote Duke Ellington, “beyond category.” In addition to acoustic and electric guitarist Hemby, this ensemble of world-class musicians includes saxophonist Mark Douthit, and drummer Keith Carlock, along with bassist Adam Nitti and keyboardist Michael Whit taker. The combined resumes of these players include Steely Dan, Larry Carlton, Michael McDonald, Amy Grant, Steve Winwood, Toto and Sting – and that’s just the tip of the iceberg!
Produced by Hemby with Mark Hornsby, this album explodes with energy, tone, and taste from start to finish. The 10 compositions, eight by Hemby, with one each by Nitti and Whittaker, are excellent jumping off points for group improvisation and solo flights, and every member of the band pulls their share of the weight. The album kicks off with Carlock’s ridiculously funky intro to “Sneaky,” a blues/funk groovefest. Douthit’s sax glides on top of the ensemble, and the interplay between his solo and the band’s punc tuations is a blast. Kicking it up a notch is “The Big Dang Deal,” which marries a tight groove with a Crusaders-like melody and shimmering keyboard textures, with Hemby’s soaring guitar grabbing the spot light, followed by Douthit’s sax running through a funky envelope filter effect. Nitti’s astounding solo bass intro to “Six Ways from Sunday” immediately locks into sync with Carlock, setting up the contrast of a smooth sax/guitar twin melody over a seriously syncopated rhythm section. “Oakwood Road” features another outstanding bass solo by Nitti, and Hemby’s explosive solo and searing tones on this and other tunes such as “Wrestle with the Devil” and “Free Byrd” conjure up visions of electric guitar icons like Eric Johnson and Jeff Beck. “Afro Funk,” written by Whittaker, is a great vehicle for larger-than-life en semble licks, amazing rhythm section work, and dazzling solos. “The Street” has a mid-period Steely Dan shuffle feel, and with Hemby’s liquid guitar melodies leading the way. Whittaker steps up with a masterful acoustic piano solo that rises and falls with the band, and Douthit sails above the fray with a gorgeous sax solo before handing it back to Hemby. The ballad “Another Lonely Moon” spotlights Hemby’s emotive string bending abilities, and when the band kicks in, Douthit takes it to the moon and back, and the ar rangement just keeps building and building to a climax and resolu tion. The closer, “Sidewayz,” features Carlock’s propulsive chops
JULY – SEPT 2022 REVIEWS21continued on page 22
REVIEWS continued from page 21 and syncopated groove, with twin bass and piano licks rising and falling, and the band taking one last funky cruise around the neighborhood before taking it home, com plete with a surprise cuckoo clock ending. This is a great example of the whole be ing greater than the sum of the parts, and when the parts are this good, that’s saying a lot! Here’s hoping for more from this ener getic, enlightening, and exciting ensemble.
Nextchord.was an unexpected pleasure – an untitled piece written by Daniel Krenz for solo euphonium. However, the euphonium player who was scheduled to appear was not able to perform, so Roger Bissell selflessly volunteered to play the piece on trombone and learned it at the last minute. Bissell, in characteristic self-effacing form, made a joke of his extraordinary effort. It was an intriguing piece that certainly requires the player to push the limits of the instrument. Not surprisingly, Bissell rose to the occasion with a splendid performance. The show closed with a two-part com position “I. Variations on a Mingus Tune and II. Variations on a Van Heusen Tune” by bass ist Jack Williams. This featured a five-piece ensemble composed of AFM 257 members “It is important to have programs like this that bring the arts into the community, engage younger musicians, and keep modern classical music on the radar. ”
John Darnall conducts a Nashville Composer Collective ensemble.
Alan Suska (C trumpet), John Fumo (B flat trumpet), with Kummer (French horn), Bis sell (trombone), and Huber (tuba). The tex tures of the horns blended together well and the oblique musical reference to Mingus was a nice thematic twist. The second movement was a bit more formal but no less interest ing, and featured the versatility and range of the horns to great effect. It is important to have programs like this that bring the arts into the commu nity, engage younger musicians, and keep modern classical music on the radar. NCC is a donation-based volunteer effort, so we offer kudos to John Darnall and all those who have contributed both financially and artistically, to keep this effort going.
The piece opens with staggered horn arpeggios alternating with dramatic string figures, which quickly fade into a marimba/ harp ostinato, before melting into piano with low strings and horns with flute on top. Low strings and solo cello lines alternate with percussive horn stabs, and a solo trumpet intertwines with piano and strings, while in tersecting melodies appear from both sides of the stage before joining together for a full final
22 THE NASHVILLE MUSICIAN
Nashville CollectiveComposer Live at UnitedFranklinMethodist
Church June 21, 2022 Nashville Composer Collective has been presenting concerts of contemporary clas sical music in Nashville since 2013. Guitar ist John Darnall is the Director of NCC, and hosted this performance at Franklin UMC, that included many Local 257 members in volved both as composers and performers, as well as a number of young musicians and composers who are in a great environ ment to learn and grow. The show opened with guitarist John Pell’s composition “Laurindo,” which he per formed with Ann Richards on flute and David Davidson on violin. Pell’s cascading classi cal guitar beautifully framed Richards’ warm flute playing and Davidson’s passionate violin work. The trio’s interplay was precise and dynamic, using the different tonalities of each instrument to great effect. Darnall’s composition “Bend, Dent, Break,” which he dedicated to his motherin-law, is an ambitious yet accessible piece that features an unusual instrumental line up. The 15-piece ensemble included Local 257 members Glenn Wanner (bass), Kris Wilkinson (viola), Ted Wilson (piano), Roger Bissell and Bill Huber (trombones), Patrick Kunkee (trumpet), Jennifer Kummer (French horn), Robbie Shankle (bass clarinet), and Ann Richards (flute). Darnall conducted the piece, which also features cellos, marim bas, English horn, bassoon, and harp. The warmth of the tones of the chosen instru ments and the interplay between instru ments and sections is intricate and superbly voiced to make the transitions seamless.
TNM (l-r) Ann Richards, John Pell, David Davidson, and John Darnall
24 THE NASHVILLE MUSICIAN circumstances, a one-time agreement was reached with the incredible and rapid as sistance of our AFM counterparts in New York at the Symphonic Services Division, which allowed this recording to be used for the concerts Friday through Sunday. Our collaborations with the Nashville Symphony Chorus also started again, and it’s been a few years since we’ve gotten to share the stage with them. We joined forces for a special run of Handel’s Messiah in April and then again later in June to close out our classical series with Beethoven’s joyous Symphony No. 9 Those final performances of Beethoven were extra special, since they brought the Nashville Symphony’s 75th anniversary season to a close. In celebration of that milestone, the NSO commissioned a piece to be played on the first half of the program, and they asked one of our own violists, Chris Farrell, to do the honors since he is also an accomplished composer. The piece, titled Continuum, was a crowd favorite, and at every performance it received an enthu siastic standing ovation. New faces for the new season You may have seen in the news that our concertmaster, Jun Iwasaki, will be leaving at the end of the season to join the Kansas City Symphony as their new concertmaster in the fall. Jun has served as concertmaster here since 2011, so he’s given a lot to the Nashville Symphony. It will be difficult to fill his shoes, but we wish him all the best as he begins his next chapter. We will be search ing for a successor next season, and we also have many more auditions scheduled as we continue to work toward regaining our full strength of permanent players. We made a little progress to that ef fect in May, when we held an audition for he Symphony’s 2021-22 season is in the books, and what a year it’s been! It’s hard to believe that just last fall we were taking our first cautious steps as an orchestra back into the hall and doing much smaller scale concerts. In con trast, the final months of the season have been packed with our typical array of mov ies, classical series concerts, pops shows, outdoor performances and more. Season successes highlight collaborations, and quick thinking One of the most exciting collaborations of the season was a program with the Nash ville Ballet at the Schermerhorn in May. We had done a similar project in 2019 where we played Carmina Burana, and this year’s repertoire was Copland’s Billy the Kid Suite, and the complete Firebird ballet by Stravin sky. Unfortunately, this run of concerts happened to coincide with the latest surge in COVID-19 cases as it was beginning to impact Nashville. We were able to navi gate all of our rehearsals on Tuesday and Wednesday, but multiple positive cases in the orchestra over the next few days de railed the four concerts we had scheduled from Thursday through Sunday. The challenge of replacing musicians as well as the repercussions from the resulting exposure events prevented the symphony from performing live, which was heartbreak ing. But we were able to salvage some of the performances due to some quick think ing and monumental efforts to switch gears. The Symphony did have to cancel Thurs day’s concert since there simply wasn’t enough time to pivot that day, but the rest of the shows were able to proceed by using a recording of the Wednesday night dress re hearsal that had been captured for archival and study purposes. Due to the exceptional BY KEVIN JABLONSKI SYMPHONY NOTES T
The last bit of news I have is that I will be stepping down as Local 257 Union Stew ard at the end of July, which is the natural expiration of my term. The musicians of the orchestra have elected Mindy Whitley to fill the position for the next four-year term, and I am grateful to her for being willing to step into this important role. We have worked closely together during the craziest times of the pandemic including the furlough, since she was chair of the Orchestra Committee from 2017 to 2021. She has also served on the most recent Negotiating Committee, so her experience will make for a smooth transition. It’s been an honor to serve as Union Steward for the past three years, and after everything we’ve been through, I’m convinced now more than ever that we are strongest when we are united. TNM
The Symphony has announced the lineup for the 202223 season, and it is packed full of great concerts from start to finish.
several positions in the second violin sec tion. We were delighted to hire three new violinists to begin with us in September, and one of our current section second vio linists, Jung-Min Shin, won the position of Principal Second Violin. Of course, the Symphony has now announced the lineup for the 2022-23 season, and it is packed full of great con certs from start to finish. We’ll begin with Mahler’s epic Symphony No. 2 and con tinue with an exciting lineup of guest art ists and repertoire, including a program of all female composers and a massive world premiere by Hannibal Lokumbe. Our usual slate of movies, pops, and family concerts is sure to guarantee that there will be something for everyone to enjoy.
The help section You can list your group’s availability on the Nashville Musicians As sociation website by building a profile at nashvillemusicians.org and at sites like thumbtack.com, where a typical category would be “Jazz band for hire.” Educators should check out jazzresources.org, a resource site for jazz band directors and music teachers in K-12 programs. Materials range from teacher training, to charts for bands and choirs, to lessons in voicing, comping and improvising. Want to improve your own playing? Locate a jazz tutor at www.wyzant.com. Put in your info, pick a local tutor from those listed, chat with the tutor, and book a live lesson. Still searching for the perfect guitar to play? At the Guitar Build Workshop in Germantown, professional craftsmen will help you build your own in a one-day session and you can take it home that night. Sessions are every other Saturday, 9:00 - 5:00 p.m., materials and lunch are included in the fee. See you out there.
JULY – SEPT 2022 25 BY AUSTIN BEALMEAR JAZZ & BLUES BEAT At the end of May, I attended the “Turn Up the Mic, Tune Up the Fu ture” panel discussion that is mentioned in Dave Pomeroy’s column on page 6 in this issue. A panel discussion on working conditions for musicians, based on a 2021 study by Whippoorwill Arts, seemed to me a very good idea. After listening, it occurred to me that increased awareness should be followed by action. Subsequent workshops could be hosted to generate and organize ideas into proposals for solutions to current problems. Organizations like Whippoorwill and the Nashville Musicians Association could then take the proposals to people and institutions that have the power to enhance and imple ment the ideas. While improving conditions for working musicians has been an AFM agenda for a long time, it appears that right now in Nashville, we have a moment of opportunity to be even more ef fective by partnering with other organizations that have similar goals. In addition to Whippoorwill, I could suggest NMAAM, Music Maker Foundation, Jefferson Street Sound Museum, Musicians Hall of Fame and Museum, MusiCares, Music Health Alliance, and Middle Tennes see Musicians Fund. If you have more ideas, send your suggestions to austinbel22@gmail.com
Big outdoorand venues The Schermerhorn Sympho ny Center brings back two of its popular acts this season. Bluesman Robert Cray plays Aug. 16 at 7:30 p.m. with a two-drummer quintet including Steve Jordan, whose career spans from Saturday Night Live (1970s) to the Rolling Stones (2021). On Sept. 18 at 7:30 p.m. Boney James plays tenor in the smooth jazz mode, complete with hat. Bridgestone Arena hosts smooth vocalist Michael Bublé — complete with accent mark — Aug. 16 at 8:00 p.m. The Ryman Auditorium also swings the standards with vocalist/ pianist Diana Krall Oct. 13 at 7:30 p.m. The Ryman acoustics make this the perfect place for smokey Ms. Krall and her rhythm section. The Centennial Park Big Band Dances will continue through August, every Saturday night in the event shelter at 7:30 p.m. After surviving the pandemic and park remodeling, these dance parties are more popular than ever, so make sure you get there early for the free dance lesson and a spot on the lawn. And I love the name of this one — the Crooked Eye Blues Fest at the Robertson County Fairgrounds in Springfield, Ten nessee, Saturday, Aug. 20 from 2-10 p.m. Five bands plus Kids of Rock — remember the movie School of Rock ? If being outdoors in the fall is your thing, try the First Bank Amphi theater with the current version of legendary pop/R&B/jazz band Earth, Wind & Fire Oct. 5 at 7:30 p.m. After 50 years, founder Maurice White, who is from Memphis, still produces the 9-piece band. The theater itself is a major experience, a reclaimed rock quarry in the woods. Cheekwood Gardens’ Harvest Sunday Jazz concert series will feature jazz quartets led by Local 257 members. Performances are from 11:00 a.m.-1:30 p.m. Sept. 18 and 25; and Oct. 2, 9, 16, 23 and 30. The lineup so far includes Pat Coil, Andy Reiss, Will Barrow, and Les Sabler, with more to be announced. Check for listings at: cheekwood.org/calendar TNM
The Nashville Jazz Workshop has reduced the seating capacity in its Buchanan Street Jazz Cave to accommodate the current health situation, so don’t delay in getting tickets for their events. Their next Jazz AM program for kids spotlights the music of Latin legend Celia Cruz on Saturday morning, Aug. 16 at 10 a.m. More blues jams are popping up these days. Try Sundays from 3-7 p.m. at Twin Kegs II on Hermitage Ave. And then there’s Soulful Fridays from 7-10 p.m. at Solberg Studios on Jefferson Street.
Other performances
The City Winery offers jazz you can relate to this fall, with stillpopular groove meisters Spyro Gyra Sept. 8 at 8 p.m., and vocalist/ songwriter Madeleine Peyroux Oct. 21 at 8 p.m. Keep an eye on the schedule at Rudy’s Jazz Room because some major names have been popping up there as sidemen. Jazz in Knoxville, Tennessee, is spotlighted on the current week ly PBS series Live at Lucille’s. The Knoxville club of the ‘90s is cel ebrated with combinations of famous and local musicians, recorded at PBS studios in Knoxville, and cosponsored by the Knoxville Jazz Orchestra and Tennessee Arts Commission, among others. See wnpt.org for schedule.
Robbins attended the Nashville School for the Blind where he studied classical mu sic — he already played jazz, honky-tonk, and blues. He said his nickname was be stowed by a supervisor at school, because of his habit of slipping in through a dirty fire escape to play when he wasn’t supposed to do so, and getting soot-covered in the pro cess.Buddy Killen hired Robbins for his first big session — the George Jones song “White Lightning,” which became a No. 1 single. Owen Bradley brought in Robbins to fill in for Floyd Cramer at a 1961 session to record Patsy Cline’s “I Fall to Pieces.” When Cramer decided to focus on his solo career, Jan. 18, 1938 — Jan. 30, 2022
Robbins stepped in and his amazing career began to unfold. He would go on to play on an incredible number of sessions, and creat ing along the way, some unforgettably beau tiful parts, like the intro to “Behind Closed Doors” for Charlie Rich, and the keyboards for Dolly Parton’s “Coat of Many Colors.”
Robbins graced huge hits like “Crazy,” “The Gambler,” and “Don’t it Make My Brown Eyes Blue,” with his inspired playing. Although he worked a myriad of ses sions for country artists, Robbins was also in demand on R&B recordings — among others, he contributed to Arthur Alexander’s “Anna,” — later covered by the Beatles. He also began to make rockabilly solo albums in the ‘50s, under the name Mel Robbins. He would eventually go on to make eight instru mental albums, including a 1977 Grammywinning record titled Country Instrumental ist of the Year Robbins’ perfect sense of exactly what to play where, was part of what drew art ists like Bob Dylan to Nashville to record his 1966 classic album Blonde on Blonde. The experience of working with Dylan was new for Robbins, and he talked about it in an interview. “He’d say ‘Boys, I’ve got to write a song,’ so he’d want everybody to get out of the studio. So we’d roam the halls until 1 or 2 o’clock in the morning. Then he’d say, ‘Alright, I’ve got one.’”
Hargus “Pig” Robbins
It is indisputable that his inventive, unique contributions helped make tracks like “Rainy Day Woman #12 and 35,” and “Sad Eyed Lady of the Lowlands” unforgettable. The artists who followed Dylan to record in Music City, like Joan Baez, also engaged Robbins, who was celebrated with fellow Nashville Cats studio players in a 2014 exhibit at the Country Music Hall of Fame and Museum. The legendary piano player’s career con tinued nearly until the end of his life. Over the decades he played with everyone from Gordon Lightfoot and Aaron Neville to Ween, to Sturgill Simpson. Travis Tritt talked about working with Robbins. “I did an uptempo, rockin’ version of ‘Winter Wonderland’ on my 1992 Christmas album. On that track you can hear me yell, ‘Burn it up, Pig’ right before the piano solo,” Tritt said. “He was a truly legendary musi cian and a gentleman.” Parton tried to book Robbins for a ses sion in 2021, but the musician was not well enough to Robbinswork.was awarded CMA Instrumen talist of the Year in 1977 and 2000, and was inducted into the Country Music Hall of Fame in 2012. Fellow Hall of Famer Charlie McCoy said at the reception following the ceremony that Robbins was “the best session man I’ve ever known. Anytime Pig’s on a session, everyone else plays better.” Producer Jerry Kennedy said of all the musicians he had on sessions, Robbins ”…stood tallest. He has been a backbone for Nashville.” Robbins was known for far more than just being an amazing keyboardist. Local 257 President Dave Pomeroy talked about Robbins after his passing. “He was also a fine person, with a great sense of humor, who was gracious and kind to countless up-and-coming musicians. His impact and contributions to Nashville’s mu sic cannot be overestimated,” Pomeroy said. Robbins was preceded in death by his parents, and his wife Vicki West Robbins. Survivors include one son, David Robbins; and three brothers, Billy, Forrest, and Boyd Robbins.Acelebration of life was held March 12 at the Country Music Hall of Fame and Mu seum CMA theater, with video tributes, live performances, and remarks from friends and family.
FINAL NOTES
B eloved and iconic keyboardist Hargus “Pig” Robbins, 84, died Jan. 30, 2022. Widely believed to be the most influential country pianist of all time, he had an essential role in first helping to create the A-Team’s immortal Nashville Sound, and then continuing to play on thousands of albums over the course of his 60-year career. He joined Local 257 Aug. 29, 1957. He was born in Spring City, Tennessee, Jan. 18, 1938, to Raymond and Olis Boles Robbins. A tragic accident when he was three resulted in total loss of vision in one eye; a physiologically sympathetic condition caused vision loss in his other eye later.
26 THE NASHVILLE MUSICIAN
Beegie Adair Dec. 11, 1937 – Jan. 23, 2022 Jazz artist Beegie Adair, 84, died Jan. 23, 2022. Known worldwide through many global tours and her numerous recordings, she was also a highly-regarded mainstay of the local jazz community and a pioneer for women musicians who followed in her footsteps. She was a keyboardist, vocalist, and life member of the Nashville Musicians Association who joined Local 257 June 10, 1957. Bobbe Gorin Long was born Dec. 11, 1937, in Cave City, Kentucky, to Arthur and Bobbe Martin Long. Her father owned a gas station, and although not professionals, both parents were musical, and “had good ears,” as Adair recalled in an interview with Warren Denney for The Nashville Musician. Her nick name, originally B.G., to differentiate from her mother’s name, quickly became “Beegie.”
The youngster gravitated to the piano early on, starting lessons at the age of five. After graduation from Caverna High School in 1954 she attended Western Ken tucky University in Bowling Green, where her musical education extended beyond the classroom. “There were all these guys com ing back from the Korean War, and I was young. I went to college at 16. They were older and had been in the war, played in U.S. Army bands. And I met these guys, and they were pulling a band together. The saxophone player came into the lounge one day, where I was playing by myself, and he said, ‘You play by ear?’ It was like an apprenticeship. We worked together all four years with a lot of other guys, in various bands. I learned from them like I was learning from a teacher, all the bands did,” Adair said. After obtaining her degree in music edu cation in 1958, Adair moved to Nashville, with a plan of attending Peabody College for an advanced degree. A friend in college had given her the phone number for Carl Garvin, a local jazz trumpet player with a band that played local country clubs and other venues. She was hired on the spot, and played with him on and off for several years. Garvin often sat in with the WSM Waking Crew, and Adair became a part of the scene, learning more music, and getting to know people who of fered her more gigs. Adair played Printer’s Alley, and in 1961 joined a jazz band headed by Hank Garland. The serendipitous nature of how things were falling in place wasn’t lost on Adair. “I think about this a lot, and I still don’t know,” she said. “I just feel like I was always in the right place at the right time. I didn’t have a plan, so much as I just wanted to play the piano,” Adair said. Adair’s fortuitous experiences continued, when she was hired as a secretary for Paul Wyatt at Capitol Records. Even though she didn’t have many clerical skills, she was a hit in the office, and began to soak up the songwriter culture, as locals like Jerry Reed, Harlan Howard, Ray Stevens, and others would come in and play new tunes. Her first session work materialized when Anita Kerr fell ill, and she filled in. By 1967 she had gained enough notoriety to get a call to play three songs with Eddy Arnold — who would win three times that night — at the orga nization’s inaugural CMA Awards show. The session work continued and Adair would go on to work with a legendary list of perform ers like Chet Atkins, Dolly Parton, Lucille Ball, Steve Allen, Dinah Shore, Peggy Lee, and others. Live work included performanc es with Perry Como, Henry Mancini, Wayne Newton, and others. In 1971 she met her future husband — musician, producer, and professor Billy Adair, who was in a rock band at the time. They became friends, and also began to play jazz together around town. The couple, who married in 1975, played regularly at F. Scott’s for many years. They also composed jingles, and played a variety of other venues. By 1982 Adair had formed a quartet with Denis Solee, which morphed into the BeBop Co-Op. She played regularly in Nashville with different configurations of the band, but her group became solidified when bassist Roger Spencer joined in 1988, and drum mer Chris Brown in 1992. “I moved to Nashville in 1988 and within the first few weeks I was in town, I ended up on a gig with Beegie at the Triple Crown, a bar at 3rd and Commerce. The leader on the gig was Jim Williamson. Beegie and I imme diately hooked up musically, because I’m a big fan of the Great American Songbook and she knew all those tunes from the inside out. So, we began doing some gigs with Denis Solee and Chris Brown. She was an integral part in the beginning of the Jazz Workshop,” SpencerAdair’ssaid.first record, Escape to New York, was released in 1991. Ultimately, she would go on to release 36 albums with her trio on the Green Hill label — classic interpre tations of the Great American Songbook, Sinatra classics, Cole Porter standards, jazz covers of Christmas songs, and much more. She released a live album, The Real Thing, on her own AMG label, which spent over 12 weeks in the top 20 on the JazzWeek charts and was named one of the top 100 best jazz albums of 2012. Her body of work led to global recogni tion — she has sold over two million re cords, and performed sold-out shows with the trio at Carnegie Hall in 2016 and 2017. Beginning in 2011, the trio played annual gigs at Birdland, in Midtown Manhattan, and later added regular shows at Feinstein’s/54 Below, also in Midtown. Adair continued to
JULY – SEPT 2022 27 FINAL NOTES continued on page 28
“Jerry Crutchfield had a wonderful for mula for music publishing: He combined a great team of pluggers led by Pat Higdon, and a small, diverse group of talented songwrit ers, anchored by Dave Loggins. And he let us write whatever we wanted to write. The results were some very talented folks who encouraged and supported each other, and a lot of songs we wanted to hear,” Schlitz said. In the mid ‘70s Crutchfield began to spend more time producing. He said in an interview that he “really enjoyed the energy of the stu dio — and musicians making music.” His first landmark success was as the producer
The group was signed by Chet Atkins to RCA Records, and the two brothers moved to Nashville, where the band was renamed the Escorts. They released a single in 1956, and appeared on Arthur Godfrey’s CBS morning show, and also his TV show Talent Scouts. The group didn’t have a hit, but Crutchfield’s music career was launched. He got calls from Atkins and Owen Brad ley, who hired him as a vocalist, and he be gan to work as a singer and studio musician on recording sessions for artists such as Webb Pierce, Jerry Reed, Roger Miller, Bill Jerry Crutchfield Anderson, Leroy Van Dyke, and Hank Locklin. Crutchfield was also working at Tree Publish ing, and had quick success with songwriting when “Little Sparrow,” a cowrite with his brother Jan, was released in April 1960 as the B-side to Eddy Arnold’s “My Arms Are a House.” In an interview, Crutchfield said after he sent the song to Atkins, he had to sing the melody over the phone to the producer be cause the demo was mixed too low.
Renowned songwriter, producer, and pub lishing executive Jerry Crutchfield, 87, died Jan. 11, 2022. Over his career he had over 150 songs recorded by iconic artists like Elvis Presley, Glen Campbell, and Brenda Lee. He established MCA Music (now Uni versal Music) where he was president for 25 years, and also headed Capitol/Liberty Re cords from 1989-1992. He was a singer and keyboardist, and a 60-year member of the Nashville Musicians Association who joined Local 257 April 6, 1962. Crutchfield was born Aug. 10, 1934, in Paducah, Kentucky, to the late Forrest Lee and Lorene Green Crutchfield, and began singing with gospel quartets in high school. By the time he was 18 he had joined the Melody Masters gospel group. After high school he attended Murray State University in Paducah, Kentucky, and also worked as a disc jockey at local radio stations WCBL in Benton, and WKYB in Paducah. By the late 1950s he and his brother Jan had joined a vocal group called the Country Gentlemen, described as “pop/do-wop” by Crutchfield.
Other cuts followed, and Crutchfield would go on to amass over 150 songs re corded by Elvis Presley, Brenda Lee, Glen Campbell, George Jones, Dottie West, Wan da Jackson, Ernest Tubb, Hank Williams Jr., Tanya Tucker, Tammy Wynette, and Charley Pride among others. He also had writing success with R&B artists like Arthur Alexan der and Lou Rawls, bluegrass artist Jimmy Martin, and pop singers such as Mac Davis and Linda Ronstadt. In 1971 he went to work for Decca Re cords, and stayed on when the label became MCA. He launched the powerhouse publish ing company MCA Music, and signed Dave Loggins, Don Schlitz, Gary Burr, and others. Schlitz talked about the MCA team.
28 THE NASHVILLE MUSICIAN FINAL NOTES continued from page 27 tour globally, playing sold-out shows in Lon don and in Japan, and at Steinway Piano Galleries across the nation as an honored Steinway Artist. Adair was a regular performer at the Nashville Jazz Workshop, where she was one of the first faculty members, along with founders Spencer and Lori Mechem, and a board member emeritus. She hosted an NPR radio program in the ‘90s called Improvised Thoughts, where she chatted with other artists, including Tony Bennett, Ann Wilson, and Helen Mer rill. Adair was also an adjunct professor at the Blair School of Music in Vanderbilt Uni versity, and served for several years in the 2000s as a member of the AFM Local 257 ExecutiveTrumpetBoard.player George Tidwell talked about his friendship with Adair. ‘I had the amazing good fortune of hav ing Beeg as both a best friend and favorite musical compatriot since 1963. She was smart, funny, fiercely loyal, and of course a giant of a musician. To be in the bandstand with her, playing the jazz she loved so much, was a total joy, and I’ll always be grateful for the pleasure of her inspiring company,” TidwellAdairsaid.was preceded in death by her par ents, Bobbe Martin and Arthur Gorin Long; and her husband of 38 years, William “Billy” Adair Jr. Survivors include her dear friend, colleague and business partner, Monica Ra mey; her Nashville Jazz Workshop family; and legions of musical collaborators, friends and fans from around the world. Inurnment was in Williamson Memorial Gardens. A celebration of life will be con ducted at a later date. Memorials may be made to Nashville Jazz Workshop at www. nashvillejazz.org, the Billy Adair Scholar ship Fund at Vanderbilt University at www. giving.vanderbilt.edu, the Williamson County Animal Center at www.adoptwcac.org or St. Joseph Indian School at www.give.stjo.org. Jerry Crutchfield Aug. 10, 1934 – Jan. 11, 2022
In 1976 Frazier was inducted into the Nashville Songwriter Hall of Fame, an honor family members said he greatly cherished. In 1988 he stepped away from the music industry to become a minister, and pastored a church in White House, Tennessee, from 1999 to 2006. He did continue to write, andJerry Crutchfield and Lee Greenwood
JULY – SEPT 2022 29 FINAL NOTES continued on page 30 of Loggins’ 1974 megahit “Please Come to Boston,” which led to other projects for artists such as Tanya Tucker, Campbell, Wynette, Ann Murray, Barbara Mandrell, the Gatlin Brothers, and Lee Greenwood (including his hits “I.O.U” and “God Bless the U.S.A.”) After Crutchfield’s passing, Greenwood talked about the impact the producer had on his “Mycareer.life changed the day I met Jerry Crutchfield. He was the first person in Nash ville to believe in me and without him, I would have never had the career in country music that I’ve been blessed to have. We made magical records together,” Greenwood said. Crutchfield’s production credits — like his songwriting — popped up in many genres; he also produced the Buck Owens – Ringo Starr collaboration “Act Naturally,” and a host of gospel albums, including a Dove Award-winning release for the Hemp hills, and for Dove-nominated artists Jake Hess, Cynthia Clawson and Doug Oldham. On top of all this, he produced 52 syndicated Jimmy Dean TV shows. Over his career Crutchfield produc tions received many CMA Song of the Year nominations, and won twice. He also won a 1994 CMA Album of the Year award for coproducing Common Thread – The Songs of the Eagles He began to manage his own publishing companies in the ‘90s — Crutchfield Music and Glitterfish Music — and also continued producing for another two decades. Recently, Crutchfield’s alma mater, Mur ray State University, held an exhibition of his memorabilia, and established a scholarship in hisCrutchfieldname. is survived by his wife of 62 years, Patsy; one son, Martin; one daugh ter, Christy Fields; and three grandchildren. A celebration of life is planned for a date in the Thefuture.family requests that donations be made in Crutchfield’s name to the AFM Lo cal 257 Emergency Relief Fund or the Crisis Assistance Fund, 11 Music Circle North, Nashville, TN, 37203. Dallas Frazier Oct. 27, 1939 – Jan. 14, 2022 Award-winning songwriter, multi-instrumen talist, and singer Dallas Frazier, 82, died Jan. 14, 2022. His many hit songs include the first-ever CMA Song of the Year for “There Goes My Everything,” recorded by Jack Greene. He was a 56-year life member of the Nashville Musicians Association who joined Local 257 March 25, 1966. He was born Oct. 27, 1939, in Spiro, Oklahoma, to the late William Floyd and Eva Marie Laughlin Frazier Person. The family moved to the Bakersfield, California, area when Frazier was a small child. He told an interviewer “We were the Okies who went out to California with mattresses tied on the tops of their Model A Fords. My folks were poor. At twelve I moved away from home, with my folks’ permission.” Frazier’s interest in singing and writing had already become a part of his life. At the ripe old age of 12, he had become a featured singer with local performer Ferlin Husky, and two years later the precocious young musician was signed with Capitol Re cords as a recording artist — his first ses sion included two of his own compositions. From 1954 to 1958 he was a regular on Cliffie Stone’s Hometown Jamboree, a Los Angeles television program. He also per formed on the Cousin Herb Henson Trading Post TV Show in Bakersfield. Frazier met and married his wife Sharon in 1958. Two years later he had his first hit record with “Alley Oop,” which the Holly wood Argyles took to No. 1 — Frazier was among the background vocalists on the re lease, and toured briefly with the group. The family moved to Nashville in 1963 and Fra zier’s friend Ferlin Husky signed Frazier to a publishing deal. Husky recorded the chart success “Timber I’m Falling,” which he cow rote with Frazier, in 1964. Two years later Frazier earned his first Grammy nomination, and received a 1967 CMA Song of the Year award at the organization’s inaugural event. By 1968 the writer was already so soughtafter that George Jones recorded an entire album of Frazier’s compositions, and Con nie Smith did the same in 1972. The list of artists who have recorded Frazier songs is long, and filled with legends like Willie Nel son, Merle Haggard, Randy Travis, Ricky Skaggs, Conway Twitty, Kenny Rogers, Keith Richards, Nick Lowe, The Beach Boys, George Strait, Elvis Presley, Gene Watson, and Loretta Lynn. The hit record “All I Have to Offer You (Is Me)” for Charley Pride gave Frazier another Grammy nomination. The beautiful and haunting “Beneath Still Waters,” recorded by Emmylou Harris in 1978 and again by Rhonda Vincent in 2014, demonstrates something of the full spec trum of human experience Frazier was able to traverse in his vast catalogue. That the writer of beloved novelty songs like “Mohair Sam,” — which Presley was said to have loved and played for the Beatles when they met — could also write heartbreakers like this, says volumes about the depth of Fra zier’sThetalent.writer had an artist deal himself, first in the mid ‘60s, and eventually charted eight times, the highest being a true earwormsort-of-ditty called “Elvira,” the title track of his first album. In 1981 the Oak Ridge Boys covered it, and got a crossover hit that went to No. 1 on the country charts, and No. 5 on the Billboard Hot 100. The tune would gar ner Frazier his third Grammy nod. The Oaks had previously received a Grammy award in the mid-‘70s for another Frazier tune they recorded when they were a gospel group — “The Baptism of Jesse Taylor.” Another 1981 No. 1 for Frazier came with the Gene Watson release “Fourteen Carat Mind.”
30 THE NASHVILLE MUSICIAN two years after taking part in the Country Music Hall of Fame’s “Poets & Prophets” series in 2010, he released a final album: Dallas Frazier: Writing and Singing Again A documentary about his life, Elvira: The True Story of Dallas Frazier was released in 2020.Survivors include his wife of 63 years, Sharon Carpani Frazier; three daughters, Robin Proetta, Melody Morris, and Alison Thompson; one sister, Judy Shults; four grandchildren; one great-grandson; and several nieces and nephews.
Howard founded the Steel Guitar Jambo ree in the ‘90s and continued to play shows in Nashville with his son, Tony, and various artists like Daryle Singletary, Tom Jones, Tri sha Yearwood and Tanya Tucker. The new century did not see Howard resting on his laurels — instead, he returned to broadcast ing with a new simulcast radio show on Real Roots Radio every Saturday and Sunday that also aired online. He continued to perform live with the Clean Cut Country Show, and also sat in during Rhonda Vincent shows.
In addition to his parents, Howard was preceded in death by his wife, Dorothy; one son, John Earl Howard; and one sister, Mayme DiMuzio. Survivors include two sons, Brian and Anthony Howard; one sister, Mary Rose Zink, five grandchildren; and numer ous great-grandchildren, nieces, nephews, and other family members. Funeral services were held Jan. 4, 2022, at the Anderson Funeral Home in Franklin, Ohio, with Pastor David Zornes officiating. Burial followed in Woodhill Cemetery. The Howard family wishes to thank the Steve, Gary, and Stephen Lake families and the staff and loyal listeners of Real Roots Radio.
Fellow steel guitarists who knew Howard talked about his generous spirit and friendly demeanor. Steve Hinson said he was a “wonderful man who loved the steel guitar and everybody who played it!’ Tommy White talked about Howard’s influence. “Chubby was and always will be a cherished pedal steel friend and steel guitar icon to me. I loved his recordings with Shot Jackson on a Sho-Bud steel guitar. RIP dear friend!” White said. He was inducted into the Steel Guitar Hall of Fame in 2015, the Franklin High School Hall of Fame in 2016, and the Ohio Country Music Hall of Fame in 2019.
FINAL NOTES continued from page 29 by playing in front of the family grocery store to bemused shoppers. The family moved to Franklin, Ohio, in the ‘40s. By the time he was a teenager, he had played his first show with country and bluegrass singer Jimmy Skinner. Howard attended Franklin High School and then served in the U.S. Navy dur ing World War II. He continued performing regionally throughout the ‘40s, and by the ‘50s he was touring regularly with a variety of artists nationally, and for USO tours around the world. Along the way he met Dorothy Lee Gruszczynski, who became his wife on July 30,The1954.couple moved to Florida, where How ard played with RCA artist Ernie Lee, and ap peared on the singer’s TV show. By the end of the ‘50s he had relocated to Washington, where he would start the country’s first steel guitar players club. He performed with many artists including Buck Owens and Jack Rob erts; Roberts had a TV show and as a mem ber of his band, Howard backed up guests on the program including Lefty Frizzell, Faron Young, and Carl Smith. He became friends with Merle Haggard as a result of supporting him during a union grievance, and also made a lifelong friend of Jim Reeves. Howard continued to develop his passion for broadcasting, and started his first radio show on KAYE in Puyallup, Washington. He also created two TV shows — Western Jam boree on WTVW and a unique offering called Look and Listen, a radio-TV simulcast on WTVW in which viewers would watch How ard spin records. By 1971 he had recorded an album with Shot Jackson, and returned to Franklin, Ohio, where he joined a national touring band called Steve Lake and the Swingmasters, which backed up many artists including The Statler Brothers, Crystal Gayle, Loretta Lynn, Lorne Greene, Hee Haw cast and Lawrence Welk Show members. The Swingmasters also backed up Johnny Russell on the Phil Donahue Show, and made several appear ances on the Grand Ole Opry performing with Connie Smith. In 1975 Howard released another album with Shot Jackson, and he joined Boxcar Willie’s band in the ‘80s, made 26 Opry appearances, and also played Wembley Stadium in London, England. By 1989 he had joined the Renfro Valley house band, a gig he enjoyed for a decade.
Cecil A. “Slim” Hawkins Sept. 14, 1933 – Feb. 11, 2022 Cecil A. “Slim” Hawkins, 88, died Feb. 11, 2022. He was a multi-instrumentalist and a life member of the Nashville Musicians Association who joined Local 257 March 24, Hawkins1978. was born Sept. 14, 1933, in Chatham-Kent, Ontario, Canada, to Ce cil Ray Hawkins and Elsie Mae Brotherton Hawkins. He served in the U.S. Army dur ing the Korean War, and after his service
A celebration of life and memorial ser vice was held Jan. 20 at First Baptist Church Chapel in Hendersonville, Tennessee, where Frazier was a longtime member. Donations may be made in Frazier’s name to the Nash ville Rescue Mission. Ray “Chubby” V. Howard June 5, 1926 – Dec. 23, 2021 Steel guitarist, historian, promoter, and broadcaster Ray “Chubby” V. Howard, 95, died Dec. 23, 2021. The effervescent, welltraveled musician was a 60-plus year life member of the AFM who joined Local 257 March 11, 1983, and was first a member of Local 117 in Tacoma, Washington, begin ning in 1959. Additionally, he was a mem ber of the Cincinnati, Ohio, local from 19621965, and then transferred to Local 76-493 in Seattle, Washington, where he retained dual membership with Local 257 until 2012. He was born June 5, 1926, in Goose Rock, Kentucky, to Clemia Mae Bowling and John Henry Howard. When he was eight, his father bought him a Sears Silvertone steel guitar and amp, and he worked on his chops
NOTES
The family asks that memorials be made to the Humphreys County Flood Relief through United Way, P.O. Box 212, Waverly, TN 37185, or to Fairfield Baptist Church, 1863 TN-100, Centerville, TN 37033.
When he attended Jim’s funeral that was the first thing he said to me. He was much loved by this family and especially close to Jim,” Glaser said. In addition to his musical talent, friends recalled Pruett’s humor, and his great love for people and animals. He adopted special needs dogs, fostered lost birds, and was known for his beloved “menagerie of critters.” Pruett was also an avid motorcyclist.
TNM
In addition to his parents, Hawkins was preceded in death by one brother, Blake Hawkins. Survivors include one son, Russell Hawkins; one sister, Lynda Homenuik; three grandchildren; and two great-grandchildren.
Funeral services were held Feb. 21 in the Humphreys County Funeral Home Cha pel with Bro. Mark Walton, Joe James, and William Brown officiating. Interment followed in the Young Cemetery.
A celebration of life service was held Feb. 27 at Hendersonville Funeral Home. Donations may be made to W.O. Smith School of Music, Alive Hospice or Safe Place for Animals.
FINAL ory, Tennessee. Later he and his sister Jael would both join his mother’s touring band, and Pruett would go on to play bass with many artists over the years, including Jeanne Pruett, Johnny Russell, and Jim Glaser. Jane Glaser talked about the friendship between the Pruetts and the Glasers, from the time Jack Jr. was a toddler. “My husband, Jim, and Jack, Sr., went golfing and took Jack, Jr. with them. He was only about three and a half years old. He kept yelling, “It’s gonna rain, it’s gonna rain and we are not gonna have any fun!” re peatedly the entire time. Jack, Jr. did not want me to marry Jim. I was supposed to wait till he grew up and he was going to marry me. He and the family attended the wedding and he said to his mom, “Just think, Mom, only five years old and already got my heart broke.”
JULY – SEPT 2022 31 worked in maintenance for the Humphreys County School System in Tennessee, until retirement. Hawkins, who was known locally as the “Singing Fiddler,” had a radio program for several years. Friends and family said the musician enjoyed playing at local jam ses sions, telling stories, laughing, and camping.
Pruett was preceded in death by his father, Jack Pruett, Sr. Survivors include his life part ner, Susan Dalton; his mother, Jeanne Pruett; and one sister, Jael Pruett Salter.
Jack Houston Pruett Jr. Feb. 27, 1956 – Feb. 1, 1922 Bassist Jack Houston Pruett Jr., 65, died Feb. 1, 1922. He was the son of country art ist Jeanne Pruett and guitarist Jack Pruett Sr. He was a life member of the Nashville Musicians Association who joined Local 257 March 8, 1974. Pruett was born Feb. 27, 1956, and grew up in the Nashville area. His father, Jack Pruett Sr., played guitar with Marty Robbins for many years. His mother Jeanne was a successful songwriter and artist — her legendary hit was “Satin Sheets.” Jack Jr. attended DuPont High School in Old Hick
Timothy A. Stacy Dec. 14, 1953 – Jan. 15, 2022 Bassist, vocalist, and songwriter Timothy A. Stacy, 68, died Jan. 15, 2022. He was a life member of Local 257 who joined Nov. 18, 1975. Stacy was born in Canton, Ohio, Dec. 14, 1953, to the late Watson “Doc” and Allie Stacy. His father played fiddle, and Stacy was a proficient musician and singer by the time he was 15. In his early 20s he moved to Nashville, where he would go on tour with artists like Hank Williams Jr. and Charlie Louvin, perform on the Grand Ole Opry, and work as a vocalist on several records. He was also a member of the ‘90s vocal group trio The SouthSiders. As a member of the Wood Brothers, Stacy toured and also appeared on albums including Hooked on Country. In the early ‘90s he moved to Las Vegas as bassist and vocalist for the group. He left the Wood Brothers in 1997 and formed his own band — Tim Stacy and Cross fire. The group worked at a variety of local live music ven ues and had a longstanding gig as house band for Saddle ‘N Spurs. Crossfire was recognized not just for musical talent, but also for giving back to the community — they were always quick to perform for charity fundraisers. Survivors include two sisters, Barbara Thiessen, and Tawnya Russell; one brother, Larry Stacy; and several niec es and nephews. To honor Stacy’s request, no funeral service was held. The family wish to thank the doctors, nurses, and all of the Aultman staff for Stacy’s exceptional care.
FINANCIALS Don't forget to like us on InstagramFacebook,andTwitter.SearchforNASHVILLEMUSICIANSASSOCIATION TNM N A S H V I L L MUSICIANSEAFMLOCAL257 12 0 NASHVILLE MUSICIANS ASSOCIATION BALANCE SHEET - MODIFIED CASH BASIS - SUBSTANTIALLY ALL DISCLOSURES OMITTED. DECEMBER 31, 2021 FUNERAL REGULAR SPECIAL BENEFIT EMERGENCY FUND FUND FUND RELIEF FUND TOTAL CashASSETS:&Checking Accounts 158400 224789 22240 99569 504998 Investments 0 0 107069 0 107069 Totals 158400 224789 129309 99569 612067 Due from Regular Fund 0 0 414264 956 415220 Property & Equipment Land 125000 125000 Building 509792 509792 Building Renovation 416842 416842 Furnishings & Equipment 411680 411680 Less: Accumulated Depreciation -1032174 -1032174 Total Property & Equipment 431140 0 0 0 431140 _______ _______ _______ _______ _______ TOTAL 589540 224789 543573 100525 1458427 PaymentsEscrowLIABILITIESandAdvance 6866 212278 8000 0 227144 Due to Funds 415220 0 0 0 415220 Payroll taxes withheld 485 0 0 0 485 Total Liabilities 422571 212278 8000 642849 FUND BALANCES 166969 12511 535573 100525 815578 _______ ______ ______ _______ ________ TOTAL 589540 224789 543573 100525 1458427 THESE FINANCIAL STATEMENTS HAVE NOT BEEN AUDITED OR REVIEWED, AND NO CPA EXPRESSES AN OPINION OR A CONCLUSION NOR PROVIDES ANY ASSURANCE ON THEM. NASHVILLE MUSICIANS ASSOCIATION STATEMENT OF INCOME - MODIFIED CASH BASIS -SUBSTANTIALLY ALL DISCLOSURES OMITTED. YEAR ENDED DECEMBER 31, 2021 FUNERAL REGULAR SPECIAL BENEFIT ER FUND FUND FUND FUND TOTAL LOCALREVENUESDUES 435203 435203 INITIATION FEES 6400 6400 ERF CONTRIBUTIONS 15880 15880 FUNERAL BENEFIT CONTRIBUTIONS 91937 91937 FEDERATION INITIATION FEES 2340 2340 WORK DUES 401937 401937 FINES & REINSTATEMENT FEES 1945 1945 INTEREST EARNED 413 14 2802 29 3258 UNAPPLIED MEMBERS' ESCROW 3546 3546 CASH OVER & SHORT -54 -123 -177 CANDY & SNACK SALES 408 408 SERVICE CHARGES 52439 52439 LATE FEE - SERVICE CHARGES 365 365 CREDIT CARD USAGE FEE 4092 4092 SBA LOAN FORGIVEN 88856 88856 ADVERTISING SALES 8331 8331 DISCOUNTS RECEIVED 46 46 OTHER 3900 3900 ARTISTS & OTHERS 152274 152274 AFM - EP FUND 9005 9005 AFM HEALTH & WELFARE 8097 8097 SERVICE CHARGE 4447 4447 MUSICIANS' PAYROLL TAXES 9736 9736 CONVENIENCE FEE 0 CARTAGE 1444 1444 RESIGNATION CLEARANCE FEES 370 370 ENTERTAIINMENT RECEIPTS 3000 3000 EMPLOYEE RETENTION TAX CREDIT 65110 65110 TOTAL REVENUES 1078647 184894 94739 15909 1374189 SALARIESEXPENSES& PAYROLL TAXES 479884 479884 OFFICER'S EXPENSES 2511 2511 OFFICE EXPENSES 117086 200 117286 OTHER EXPENSES 58519 58519 BUILDING & EQUIPMENT MAINTENANCE 77472 77472 PER CAPITA TAX 124844 124844 DEPRECIATION 12070 12070 FEDERATION INITIATION FEES 2600 2600 AFM-EP FUND 56505 9462 65967 AFM WORK DUES 70888 70888 COMMISSIONS 1849 1849 ADVERTISING 168 168 ARTISTS & OTHERS 2800 160963 163763 REFUNDS 33 33 SERVICE CHARGE 3706 3706 MUSICIANS PAYROLL TAXES 9952 9952 BANK CHARGES & FEES 17236 52 30 17318 BENEFITS 134000 4000 138000 ERF CONTRIBUTIONS 5778 5778 PROFESSIONAL FEES 8918 8918 TOTAL EXPENSES 1030243 184135 142948 4200 1361526 OPERATING PROFIT (LOSS) 48404) 759) (48209) 11709) 12663) THESE FINANCIAL STATEMENTS HAVE NOT BEEN AUDITED OR REVIEWED , AND NO CPA EXPRESSES AN OPINION OR A CONCLUSION NOR PROVIDES ANY ASSURANCE ON THEM. IN MEMORIAM The officers, staff and members of Local 257 extend our deepest sympathies to the families and friends of our members who have recently passed away. You are in our thoughts, hearts and prayers. Name Born Joined Died Life Member Alan J Cassaro 01/26/1944 04/30/1974 06/13/2022 Y David Ray Robbins 01/19/1951 07/10/1991 04/23/2022 Bill Walker 04/28/1927 08/06/1964 05/26/2022 Y William Lee Witt 01/02/1954 02/01/1971 05/20/2022 Y
JULY – SEPT 2022 33 NEW MEMBERS Robert E Calder Clint Robert Chandler Jose Daniel De Assis Wesley James Dorethy Marcus Edward Finnie Joel MarthaJohnFrahmFumoNoelle Goodin
G Grigsby, III Mark Aaron Kreuzer Benjamin M Long Carl Peter Massaro Grady Lee Saxman Donna Lynn Wehofer Theresa S Zick EXPELLED Courtney Jimel Johnson Benjamin Haynes James Terry Crisp Joseph Michael Dorn Michael Todd Foley Daniel Joseph O’Lannerghty Kevin Rooney MEMBER STATUS Carlo MaryChrisChristopherJohnMaryNoahJeddBobbyMichaelRayDonLarryMelodyGaryGilbertElaineAdrianColasaccoJamesCroceDavidsonWGannGoldGuyThomasHardenErwinHartWHerndonGHiteGHuffMichaelHughesJosephHungateHelenLawDukeLippincottRyanMarquartAMcCormickElizabethMcFarland Jo Dee M Messina Craig TravisJonathanMarkJohnathanDavidJoseAdamDavidKevinMichaelMarkWendyMorrisonMotenENeslerJ.PayneMPostMSantosShepherdSibajaStrayerElmoSzetelaFThompsonMarcTrebingLamarWetzel PROPS TO YOU
John
fulfill their contractual and
34 THE NASHVILLE MUSICIAN The “Do Not Work For” list exists to warn our members, other musicians and the general public about employers who, according to our records, owe players money and/or pension, have failed to sign the appropriate AFM signatory documents required to make the appropriate pension contribution, or are soliciting union members to do non-union work. When you work without the protection of an AFM contract, you are being denied all of your intellectual property rights, as well as pension and health care contributions. TOP OFFENDERS LIST
1720 Entertainment (unpaid contracts/unauthorized sales –Jamie O’Neal project) • Ed
videogame
employers
& Patrick Sampson
(multiple unpaid contracts/ unauthorized sales) • Revelator/Gregg Brown (multiple bounced checks/unpaid contracts) • Beautiful Monkey/JAB Country/Josh Gracin • Eric Legg & Tracey Legg (multiple unpaid contracts) • Ray Vega/Casa Vega • Quarterback/G Force/Doug Anderson • Rust Records/Ken Cooper (unpaid contracts and pension) • HonkyTone Records – Debbie Randle (multiple unpaid contracts/pension) • Jeanette Porrazzo DO NOT WORK FOR UNPAID CONTRACTS AND PENSION Knight Brothers/Harold, Dean, Danny & Curtis Knight River County Band/SVC Entertainment (unpaid demo conversion/pension) UNPAID PENSION ONLY Comsource Media/Tommy Holland Conchita Leeflang/Chris Sevier Ricky D. Cook FJH MatthewEnterprisesFlinchum dba Resilient Jeffrey Green/Cahernzcole House Randy JasonMissionaryHatchettMusicMorales(pension/demo signature) OTB Publishing (pension/demo signature) Tebey Ottoh Ride N High Records Jason Sturgeon Music AFM PHONONON-SIGNATORYLIST 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 StonebridgeHeavenRecordsProductionsStation Entertainment The Collective TNM DO NOT WORK FOR MembershipNext Meeting Thursday, Aug. 18 5:30 p.m. on Zoom MONDAY,MONDAY,HOLIDAYSSEPT.5LABORDAYOCT.10COLUMBUSDAY
These
•
Tommy Sims dba Positive Movement Sims remains in violation of a 2012 court order to pay more than $300K owed to musicians since 2008. Sims has recently made two payments towards this debt. Music Scoring/Alan Umstead – solicitation and contracting non-union scoring sessions for TV, film and video games. Musicians who work for them are being denied appropriate wages and all intellectual property rights. Arts/Steve Schnur – commissioning and promoting non-union sessions and exploiting musicians' intellectual property for his own gain. are who owe musicians money and have thus far refused to ethical obligations to Local 257 musicians. Terry K. Johnson/ Sampson (producer) (artist)
Nashville
Electronic
36 THE NASHVILLE MUSICIAN Nashville Musicians Association PO Box —AddressNashville,120399TN37212-0399ServiceRequested— PermitNashville,U.S.NonprofitPostagePAIDTNNo.648 Allow me the honor of serving you in your next Real Estate endeavor, no matter how large or small. § MULTI-MILLION DOLLAR SALES § NASHVILLE REALTOR FOR OVER 10 YEARS § LOCAL 257 MEMBER FOR OVER 30 YEARS Proud Affiliate of The Realty Association MIKE HAYNES REALTOR, e-PRO, ABR, SRES www.NashvilleAbode.comLET’S GET YOU IN A HOME! 615.969.7744 cell | 615.358.9010 office IT’S NOT BUSINESSJUST, IT’S PERSONAL. REAL ESTATE. MHAYNES@REALTRACS.COM
