The Nashville Musician — July-September 2023

4 ANNOUNCEMENTS Details on the upcoming member meeting Aug. 17 on Zoom and in person at Local 257, minutes and updated rehearsal hall policies.

6 STATE OF THE LOCAL Dave Pomeroy on how music connects us in times of change, standing in unity with SAG-AFTRA, and looking ahead to the future.

7 BETWEEN THE NOTES Secretary-Treasurer Will Barrow on the many benefits of union membership, and how solidarity strengthens us all.

8 NEWS A complete report on the AFM National Convention, held in June in Las Vegas.

12 HEARD ON THE GRAPEVINE

The comings and goings of Local 257 members.

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

18 COVER STORY: JIM HORN The inimitable woodwind master talks to Warren Denney about his career playing with everyone. Really, everyone. Dive into this fascinating story that starts at rock’s Big Bang, and continues with all the Beatles, Elvis, and legendary artists and events from nearly every genre. Horn is a GOAT if there ever was one.

24 REVIEWS Marty Stuart and His Fabulous Superlatives raise their own bar with Altitude, and Nick Bruno writes the definitive new number system book.

26 SYMPHONY NOTES Melinda Whitley turns her attention to the meaning of solidarity, and why it matters.

27 JAZZ & BLUES Austin Bealmear offers an update on local jazz and blues.

28 FINAL NOTES We bid farewell to Michael Rhodes, Ralph Land, Rusty Russell, Marvin Russell, Bruce Osbon, John Shepherd, Joe Mack Vincent, and Samuel Collins.

33 MEMBER STATUS

34 DO NOT WORK FOR LIST

18

JIM HORN 24

MARTY STUART AND HIS FABULOUS SUPERLATIVES

AFM CONVENTION

Cover photo: Rusty Russell

OFFICIAL QUARTERLY JOURNAL OF THE NASHVILLE MUSICIANS ASSOCIATION

AFM LOCAL 257

PUBLISHER EDITOR

MANAGING EDITOR ASSISTANT EDITOR

CONTRIBUTING WRITERS

The next General Membership Meeting of Local 257 will take place Thursday, Aug. 17, 2023, at 5:30 p.m. on Zoom and in person at the local. 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.

CONTRIBUTING PHOTOGRAPHERS

ART DIRECTION

WEB ADMINISTRATOR AD SALES

LOCAL 257 OFFICERS PRESIDENT

SECRETARY-TREASURER

EXECUTIVE BOARD

Dave Pomeroy

Will Barrow

Kathy Osborne

Leslie Barr

Austin Bealmear

Warren Denney

Melinda Whitley

Roy Montana

Kathy Osborne

Dave Pomeroy

Leslie Barr

Mickey Dobo

Donn Jones

Dave Pomeroy

Lisa Dunn Design

Kathy Osborne

Leslie Barr 615-244-9514

Dave Pomeroy

Will Barrow

Jerry Kimbrough

Alison Prestwood

Biff Watson

Laura Ross

Steven Sheehan

Tom Wild

Jonathan Yudkin

NASHVILLE MUSICIANS ASSOCIATION

AFM LOCAL 257, AFL-CIO

MINUTES OF THE 2ND QUARTER ZOOM MEMBERSHIP MEETING MAY 25, 2023

Present: Michelle Poe, Tom Shed, Richard Wineland, Ellen Angelico, Regina McCrary, Mark Dorminy, Teresa Hargrove, Lee Armstrong, Neil Levin, Sunny Dada, Kent Goodson, Jeff Dayton, Douglas Green, John Root, Vince Barranco, Don Kerce

Executive Board Present: Jonathan Yudkin, Biff Watson, Steve Sheehan, Rich Eckhardt (alt).

Hearing Board Present: Tiger Fitzhugh, Paul Ossola

Parliamentarian: Bill Wiggins

Officers Present: Dave Pomeroy, Will Barrow, Steve Tveit (sergeant at arms)

President Pomeroy called meeting to order: 5:49 p.m.

Minutes from March 2, 2023, Membership Meeting were displayed and discussed.

President’s Report:

1. The SRLA contract was ratified, and the contract includes a 6% raise. Labels are being held more accountable, and continue to be reminded that work for hire agreements are illegal with union contracts.

2. Parking and loading for musicians, particularly downtown, continues to be an issue, and we continue to work with the powers that be to improve this.

3. There is an upcoming election for Nashville mayor and various city government positions, and we urge members to become informed on the candidates, vote and get involved.

4. We participated in the Nashville Independent Venue Survey, with meetings and discussions, in a study and forum commissioned by city government.

EXECUTIVE BOARD ALTERNATES

HEARING BOARD

Rich Eckhardt

Casey Brefka

Michele Voan Capps

Tiger Fitzhugh

Teresa Hargrove

Kent Goodson

Sarah Martin McConnell

Dave Moody

Paul Ossola

5. We made a new side letter to our agreement with CMA Fest. Now every musician playing it will make the same pay ($170-a $100 raise for nonleaders), with no extra leader pay now (leaders make the same $170 as before).

6. The AFM convention will be held in late June in Las Vegas, with Will Barrow, Laura Ross, Tiger Fitzhugh and Tom Wild representing Local 257 as delegates. At the convention, an election will be held for president, secretary-treasurer, vice-president to replace these outgoing officers. Dave Pomeroy is running for international vice president on the Team Progress ticket.

Secretary-Treasurer Report:

TRUSTEES

Bruce Radek

Biff Watson

• Our HVAC unit, which is no spring chicken, is hanging in there. Hopefully it will continue to do so through the dog days of summer.

• Michael Minton is the new staff member at the front desk.

SERGEANT AT ARMS

NASHVILLE SYMPHONY STEWARD

OFFICE MANAGER

ELECTRONIC MEDIA

SERVICES DIRECTOR

RECORDING/ELECTRONIC MEDIA

Steve Tveit

Melinda Whitley

Savannah Ritchie

Billy Lynn

Paige Conners

William Sansbury

Cassandra Tormes

Zoe Willett

Leslie Barr

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

MEMBERSHIP

Michael Minton

@2023 Nashville Musicians Association

P.O. Box 120399, Nashville TN 37212

All rights reserved. nashvillemusicians.org

NASHVILLE MUSICIAN

• The Wednesday events at the rehearsal hall continue to bring opportunity for learning about the craft of songwriting, experiencing a variety of world music and playing original songs with musicians. In the world music workshops since the last quarterly meeting, we’ve presented music from India, Brazil, West Africa and Ireland. We’ve got lots more exciting ones coming up, the second Wednesday every month. Steve Leslie’s songwriting class continues on the first and third Wednesday of each month. The musician-songwriter workshop is still happening the last Wednesday of the month, hosted by Dave Abdo, and he’s always looking for song submissions.

Agenda: There were no proposed resolutions or amendments to our by-laws.

Discussion:

Rich Eckhardt discussed a recent experience of finding the rehearsal hall in disarray when coming in to rehearse. Will Barrow related that though this seems to be an atypical scenario, it’s important to leave the hall tidy and with everything in its proper place.

Dave and others discussed the concept of musicians paying into their own pension with the SIngle Song Overdub and Live Touring agreements.Dave discussed the moving of the Chet Atkins statue to the Musicians Hall of Fame.

Motion to adjourn. Motion is made by Jeff Dayton, seconded by Paul Ossola Meeting adjourned at 6:39 p.m.

AFM 257 Rehearsal Hall Guidelines

Use of the Local 257 rehearsal hall is one of the popular perks that come with membership. The guidelines have been recently updated. Make sure you read through the new policies before you contact us to book the hall.

Booking the hall

1. The hall is booked by phone only, on a first-come, first-served basis. Call the office at 615-244-9514, 9 a.m.-4 p.m. Monday – Friday.

2. The person booking the hall must be a member in good standing who does not owe more than $250 in overdue work dues. The member is responsible for picking up and leaving the key and should be present at the rehearsal, barring unforeseen complications.

3. To ensure all members have access, we request that members do not book the hall more than two times per week, and no more than four hours per session, other than by special permission.

4. The member booking the hall assumes responsibility for the condition of the room and the gear in it, sets the alarm when the rehearsal is finished, and drops the key through the cage at the front desk if the office is closed when rehearsal is finished.

5. Please notify the office ASAP if you won’t be using the time you have reserved, so it can be made available for someone else.

LOCAL AUDITION

Rehearsals and piano

1. Once your rehearsal has begun — and in general — the outside entrance doors to the hall should be closed, as the humidity affects the piano’s tuning.

2. The piano should not be moved, and when you are finished, the lid should be closed and the cover put back on. No food or drinks should ever be placed on the piano. It should be miked if using with a band or at volume, and should never be banged on. There is an 88 key weighted keyboard available in the hall that can be run through the PA for higher volume piano/keyboard playing.

P.A. system and backline

1. There should be at least two mics, plugged into the board in channels 1 and 2 on stands at the front of the stage. Please leave them plugged in.

2. Please do not unplug the board or speakers. If you make changes in the set up and/or inputs, please reset everything back to its original settings.

3. If the house drum kit and backline amplifiers need to be moved to fit your configuration, they should be returned to the stage area when you are done.

How to leave the rehearsal hall — and how it should be found

1. Please clean up after yourselves. Chairs and stands should be put away.

LOCAL AUDITION

2. Let us know if you find the hall to be in less than good shape or if there are any problems with the gear.

3. All trash should go in the big trash can, and all recycling in the blue recycling bin - including charts you’re done with!

After you leave the hall

1. Make sure both doors going out to the side exit are closed.

2. Turn off the rehearsal hall lights.

3. If exiting after office hours, turn on the alarm per the printed instructions with the key. Please turn off the lights in the lobby as well as the rehearsal hall. Make sure you have the code ready, which is on the key. Once it is set and blinking red, you have 60 seconds to exit, before setting off the alarm. After the alarm is set, please drop the key through the cages at the front desk. The exit door will lock behind you, but please make sure it is shut completely.

Emergencies

If you have an emergency, please call or text Will Barrow at his cell at 615-4733203, and if you don’t get a prompt response, try Dave Pomeroy at 615-5795227. Thanks for your help and consideration in keeping our rehearsal hall in top-notch shape for ALL of our members!

LOCAL AUDITION

BASSOON/CONTRA SUBLIST AUDITION

HORN

SUBLIST AUDITION

THURSDAY, OCT 5, 2023

2:00-8:00PM

Schermerhorn Symphony Center

2023-24 per service rate: $194.60

Highly qualified candidates please apply online by September 8th: nashvillesymphony.org/auditions

For repertoire please visit: nashvillesymphony.org/auditions

HORN

SUBLIST AUDITION

THURSDAY, OCT 5, 2023

2:00-8:00PM

Schermerhorn Symphony Center

2023-24 per service rate: $194.60

Highly qualified candidates please apply online by September 8th: nashvillesymphony.org/auditions

For repertoire please visit: nashvillesymphony.org/auditions

MONDAY, SEPT 18, 2023

9:00AM-5:00PM

Schermerhorn Symphony Center

*Candidates may choose to audition on one or both instruments.

2023-24 per service rate: $194.60

Highly qualified candidates please apply online by August 28th: nashvillesymphony.org/auditions

For repertoire please visit: nashvillesymphony.org/auditions

Nashville Symphony Giancarlo Guerrero, Music Director

Nashville Symphony Giancarlo Guerrero, Music Director

Nashville Symphony Giancarlo Guerrero, Music Director

BY DAVE POMEROY

Music — and life — often moves in a circular fashion, and the multiple orbits keep turning at different speeds, catching us off guard at times. Music connects us in ways we don’t always see coming, and brings us together through its commonality. The past few months have been a reminder of the preciousness and the fragility of life on earth, and hopefully the importance of finding those connections that help make sense of what often feels like a crazy world.

The relocation of the Chet Atkins statue from 5th and Union to the Musicians Hall of Fame was a brilliant move, and it is now in a perfect spot at the entrance to the MHOF. I was honored to say a few words at the dedication ceremony. Chet and Owen Bradley’s leadership in the 1950s established the tradition of mutual respect between musicians and employers that defined Nashville as Music City. I was very blessed to work with and get to know both Owen and Chet, and when Chet recorded a song I cowrote, it was one of the biggest thrills of my life.

We stand in solidarity with SAG-AFTRA, as their actors are currently on strike after failing to reach an agreement with the major film companies. We are watching these developments closely, and we are the next ones in line to negotiate with these extremely wealthy companies that still somehow claim they are not making money through streaming and new technologies.

Our cover feature on Jim Horn shines a light on one of the most prolific recording and touring musicians of all time. I met Jim when he joined Don Williams’ touring band, and later played on several of his solo albums. He still has the passion for music that makes the work we do worth all of the effort and preparation behind the scenes.

Music connects us in times of change

The loss of fellow AFM Local 257 members is never easy, but this quarter was particularly tough. Michael Rhodes was a good friend for more than 40 years, and Rusty Russell and I went back almost that far. They were both multi-talented people we lost way too soon. In a cool twist of fate, the Jim Horn cover photo we chose turned out to be one of Rusty’s — another poignant reminder of unexpected connections. John Shepherd played Lower Broadway for more

donated their Funeral Benefit Fund payout back to the Fund. As we are still digging our way out of the Fund’s deficit, that gift is incredibly generous and greatly appreciated. If you are interested in how you can help the Fund get through this unprecedented time, please contact us.

The AFM Convention was delayed a year due to the pandemic, and it was great to see old friends in person again — and meet new ones — as we discussed how to move the AFM forward. My election as AFM International Vice President is a step up from my position on the AFM International Executive Board, which I have held since 2010. Like the IEB, this is a part-time position, and will not interfere with my work as Local 257 president. In fact, it will give us a stronger and clearer voice in the AFM’s dialogue with the international entertainment industry. The world is looking at Nashville as a functional business model that is working because we are able to have respectful dialogue and functional relationships with the vast majority of employers.

than 50 years, and was the first musician to advocate for the preservation of Lower Broadway in the 1970s, and Ralph Land was a passionate leader of the Vietnam Veterans community for decades. Bruce Osbon was a modest virtuoso who played with Porter Wagoner for many years. They will all be missed, but their legacy, and all of our past members’ achievements, live on for us to continue, and take to the next level. We miss you, appreciate you, and send our respect to you and all our members who have gone before. On a related note, several members who have passed have

I am grateful to all of you who do your best to bring the work you do onto AFM agreements. The examples go on and on, of how, even decades later, the protection of an AFM contract ensures your work retains its value for decades. Remember that when you work nonunion, what you make that day is all you will EVER make. Help us help you by bringing your questions and situations to our attention as early in the process as possible. Getting musicians and their beneficiaries what they deserve is the AFM’s mission, and is my passion as well. The best is yet to come, as long as we remember how we got here, learn from our mistakes as well as our victories, and treat each other as we would treat ourselves. That’s The Nashville Way.

“What’s

in it for me?” becomes “What can we do for each other?”

When prospective AFM members, in Nashville and elsewhere, consider joining a local, the most common question is, “What can the union do for me?” and “What am I getting for my investment [in annual dues]?” This is a prudent question, as money is tight for most of us, as we hustle to make a living doing this thing that we love. The answer to these questions is lengthy and evolving. It is important that our prospective and ongoing members know that here at the 257, we are trying to find and develop ways we can help and inspire ALL our members. We have some great things going on at our rehearsal hall; world music presentations, classes on songwriting and a forum for having songs played and “demo-ed.”

The hall itself is a wonderful and costfree place to rehearse, practice and teach. And it serves the community, with a weekly AA meeting and Wednesday workshop that are open to all.

We are continuing to work to make it easier for musicians playing downtown, and elsewhere, to park and load in. We book our musicians on trust fund gigs, and work with cool venues like Cheekwood and others all over town, to get our musicians work. We offer the opportunity to join our Blue Cross Blue Shield exclusive group insurance plan. Those are just a few of the things we offer all our members. It is a frequent misconception that the union is only valuable and cost effective for those consistently recording on the card and working gigs on union contracts. It is important that we all help to change that perception, and work together to develop the outreach, diversity and value of the union.

The question of “What’s in it for me?” also brings to mind a different kind of question; what can we do for each other and the community, individually and through our

union? At its core, the AFM is a brother and sisterhood that works for all, and for the betterment of the musical and greater community in which we live and work.

I was reminded in a big way of this while attending the AFM convention for the first time recently in Las Vegas. We did the business of updating our bylaws, and heard from those who represent our interests in various facets of the music industry such as recording, symphony work, streaming revenues, etc. And, we elected new leadership. I met officers and members from all over the U.S. and Canada, from the largest and smallest of locals, and heard about what they are doing to make a difference for each other and in their communities. I heard about some exciting ways they are creating opportunities for gigs, education and music making, and will develop some of those here.

At the convention we also honored those we have lost since the last such gathering in 2019, who have served as delegates. The gratitude and love for our union brothers and sisters were palpable and moving. Congrats to our prez, Dave Pomeroy, for being elected international vice president of the AFM, as he continues to lead our union. Towards the end of the convention, we dealt with some potentially contentious issues, but they were tackled with respect, and there was a prevailing sense that we are all in this together. And this is something that the union offers that is invaluable — we come together to inspire each other, and to help each other’s musical lives to be better. No one does this like our musical community and Local 257 in Nashville.

As we look for new ways to add value to union membership, attract new members and make cool stuff happen here, we welcome input on things we can do, and on how you might want to help. We will

BY WILL BARROW

begin podcasting soon. We’d also like to develop programs that help musicians on the business side of being a musician, and we welcome expertise on that — on topics like music placement and sync licensing, internet marketing, booking gigs, and other practical, business and tech-related subjects. Feel free to email me (willb@nashvillemusicans.org) if you want to discuss any of that, or have any other ideas for helping members or the community at large.

As we develop and diversify with members who are younger and from all over the country and world, we can offer new opportunities and benefits for our members. We can reach out and expand our circle. We’d love to have our members let musicians who are nonmembers know what we are up to, what we can offer them and what we do for each other, so spread the word! Thanks for being part of this great organization — we are all in this together.

102nd AFM Convention Report

Local 257 President Dave Pomeroy attended his seventh AFM Convention last month along with delegates Will Barrow, Tiger Fitzhugh, Tom Wild and Laura Ross. During the four-day event Pomeroy was elected to the position of International Vice President, after serving four terms on the International Executive Board, (IEB) the governing body of the union. He contributes the following report on the convention.

he 102nd AFM Convention was held in Las Vegas from June 26 to 29. It was preceded by four days of International Executive Board meetings, and three days of workshops, various regional and player conference meetings, including the Southern Conference, of which Local 257 is a member. Multiple convention committees spent many hours going over the Recommendations (submitted by the IEB) and Resolutions (submitted by various locals and player conferences) to be voted on during the Convention.

The previously announced retirements of AFM President Ray Hair, Secretary-Treasurer Jay Blumenthal, and International Vice President Bruce Fife made the atmosphere of this gathering quite different than the previous conventions I have attended. The vibe was a unique combination of the post-pandemic joy of being together again, respect and appreciation for the hard work of those who were stepping down, and a tangible feeling of inevitable change in the air. This convention was on a mission to move things forward, and featured a healthy mix of honest dialogue about the future, with a greater understanding of how we made it through a number of crises to get where we are today. The pandemic forced us to deal with things differently, and the lessons we learned on many levels and the increased awareness of the need to diversify our membership were not lost on the delegates. There were 132 AFM Locals represented by 212 delegates, as well as 13 delegates from five player conferences, including ICSOM, of which the Nashville Symphony is a member.

Music, speeches, reports, and resolutions

The opening Sunday night reception featured a great set from Mike Steinel and the University of North Texas Jazz Faculty Ensemble, featuring Local 257’s Pat Coil playing excellent piano. Ray Chew, music director of Dancing with the Stars, and his wife Vivian were given the American Eagle Award for the fundraising efforts they did with the AFM — raising nearly $100,000 for musicians who lost work during the early stages of the COVID crisis. Ray Chew and his tight ensemble of players and singers performed a sizzling “Hits of Stevie Wonder” set that brought the crowd to its feet.

Every morning had great pre-meeting music, courtesy of a wide variety of ensembles from Las Vegas AFM Local 369. The convention’s first day opened with the U.S. and Canadian anthems, invocation, and a moment of silence for our dear departed EMSD Director, Pat Varriale, who left us tragically a year ago. The first day was filled with inspiring speeches from AFM President Hair, Mike Huppe from Sound Exchange, Kim Roberts Hedgepeth from the Film Musicians Secondary Markets Fund, and reps from the AFL-CIO, Actors Guild and other labor organizations. All these entities work closely with the AFM on legislative and international initiatives to add to the flow of money going to musicians in the music industry’s increasingly streaming-based economy. Rob DiPaola from the AFM Special Payments Fund spoke and gave Nashville credit for having a large majority of the biggest checks in this year’s $9 million distribution,

Newly elected AFM leadership team alongside outgoing president Ray Hair. (l-r) Hair, Tino Gagliardi, Dave Pomeroy, Alan Willaert, Ken Shirk, Tina Morrison, John Acosta, Ed Malaga, Luc Fortín, Dusty Kelly

Local 257’s Pat Coil on piano

Ray and Vivian Chew, receipients of the American Eagle Award

Ray Chew with his Lifetime Achievement Award. Ray Hair, Ray Chew, Jay Blumenthal

which will come in August. This is exactly why working on the card is the smart thing to do, and why Nashville is Music City.

The lobby of the hall was filled with music on breaks, and the display booths and staff of the Music Performance Trust Fund (MPTF), Union Plus, Sound Recording Special Payments Fund, and TEMPO, the AFM’s legislative branch. These are all very significant factors in why it makes sense to be a union member, and we appreciate all they do for our members.

The second day opened with a solemn memorial service for all the AFM members who passed in the previous three years. There was beautiful music by the Las Vegas Chamber Players as the names of AFM members who passed since the last Convention in 2019 were read and roses placed in a memorial urn. Local 257 members listed included John Prine, Michael Rhodes, Charlie Daniels, Sleepy LaBeef, Hal Ketchum, Don Everly, Loretta Lynn, Anita Kerr, and Jerry Lee Lewis.

The speakers included Dan Beck, who has done a great job running the Music Performance Trust Fund. He spoke about the positive impact the MPTF has had on musicians and our communities. AFM Legislative Director Alfonso Pollard gave a report regarding the latest developments in Washington D.C., focusing of course on the American Music Fairness Act. Stephanie Taub from the AFM/SAG-AFTRA Fund gave an encouraging update on the revenue increases our international intellectual property efforts have created, which led to a nearly 50 percent increase in this year’s distribution. If we are able to pull off passage of the AMFA in Congress, it will be a huge game changer in international revenue for U.S. musicians.

AFM Symphonic Services Director Rochelle Skolnick gave an update on all things symphonic. I must say she is doing a great job getting multiple orchestras through tough times, as witnessed recently in Fort Wayne, Indiana. She also conducted several seminars throughout the week on these topics, and has been a great help to the Nashville Symphony as well. We also heard from John Smith and Benoìt Machuel, the leading officers of FIM (International Musicians Union) with whom we have developed a strong relationship over the past 13 years. They have been working with us on intellectual property issues that have led — and will continue to lead — to significantly increased revenue from foreign collectives.

Official convention business consists of discussing and voting on various Recommendations (which are proposed by the IEB) and Resolutions (which are proposed by individual Locals). These go to the various committees for consideration, and sometimes modification and consolidation, before being brought to the floor for consideration, discussion and possibly being amended by the delegates. IEB members do not vote on any of these Recommenda-

tions or Resolutions, only the delegates do. Most of the IEB Recommendations were housekeeping measures, including a proposal to not raise annual per capita or Federation dues, and clarifying the legality and procedures of remote or hybrid meetings, and if necessary, the AFM Convention, if circumstances dictate.

The third day brought more resolutions and recommendations to the floor, including lively discussions regarding the AFM’s orchestral strike fund, and various resolutions related to touring musicals and traveling orchestral productions. There was a positive discussion about encouraging DJs, Hip-Hop and EDM artists and musicians to join the AFM. Other than joining ICSOM’s Resolution 1 to expand Symphony Strike Fund benefits, which was adopted, Local 257’s sole proposal, Resolution 10, was a flashback to our 2019 Convention Resolution written to urge the Federation to work towards getting major artists’ nationwide tours on a single AFM contract. This would result in the AFM collecting and sharing the associated traveling work dues between the locals and the Federation, rather than having 40 different locals chase the same six musicians for traveling work dues. In 2019, this was rolled into a “package resolution” and when the pandemic hit the touring business, it went to the back burner. This time, it was again combined with two other related proposals and was approved for another three years. I am going to make sure that it moves forward, now that touring has rebounded so well. This will help all AFM Locals and is much more efficient than the old method of chasing down work dues one local at a time.

Most of the other resolutions and recommendations were housekeeping measures, such as allowing for remote meetings, like we were forced to do during the pandemic, to be legal according to AFM bylaws.

In some cases, when there is not a clear majority, or an obvious inability for the delegates to reach a mutually agreeable conclusion, turning it over to the IEB is the most reasonable result.

The most potentially controversial of the Recommendations and Resolutions were two from Canada, one asserting their desire to be more independent within Canada and another to create independent scales for local agreements. The concern, as always, is the undercutting of our international agreements, especially when it comes to film and television. Thankfully, both resolutions were dealt with in a way that avoided immediate conflict in that area. The Canadian Vice President was given a bit more authority in internal Canadian affairs, and the request to create independent local scales for media agreements was referred to the IEB. We will make sure that local media contracts will not be used to undercut Federation agreements.

continued on page 10

The lobby of the hall was filled with music on breaks, and the display booths and staff of the Music Performance Trust Fund (MPTF), Union Plus, Sound Recording Special Payments Fund, and TEMPO, the AFM’s legislative branch. These are all very significant factors in why it makes sense to be a union member, and we appreciate all they do for our members.

Elections

The Convention elections have been highly anticipated for the past few months. There were two tickets running for office — Team Progress and VPU (Voices/Power/Unity). The winners in the election

Swearing in of the new AFM president and vice presidents.

were International President Tino Gagliardi, Secretary/Treasurer Ken Shirk, Canadian VP Alan Willeart, and myself (International Vice President, along with International Executive Board members Tina Morrison, Ed Malaga, and Luc Fortín, all from Team Progress. The other two executive board slots were filled by John Acosta and Dusty Kelly from the VPU slate. I am looking forward to continue working with the IEB while stepping up to a higher position and giving Local 257 a clearer voice on the Federation level. Thanks to everyone who stepped up to run for national office. This is how democracy works, and we owe it to each other and our members to work in cooperation with everyone who cares about the future of OUR union.

Local 257 received an award for the AFM’s second highest level of TEMPO contributions since the previous Convention. We won this silver medal for the second Convention in a row. This is very cool and hats off to all of you who made the choice to give an extra $5 on top

of your annual dues to help TEMPO and our ERF. Nashville is leading the way in many areas of the AFM, and it is because of our commitment to promoting respect between musicians and employers that has made the difference. We have more power than we realize sometimes. Let’s not be afraid to use it!

As always, it was great to see many familiar faces, and a strong influx of new officers and delegates as well. The demographic shift we have been trying to achieve for many years is finally manifesting itself in AFM Leadership around the country. Respect for unions is at a new high, and there is a reason for it – we are the ONLY organization looking out for professional musicians. We are proud to represent you, and hope you will continue to help us help you by staying involved and continuing to bring more members and more union work into the equation.

Ray Hair congratulates Dave Pomeroy as Tino Gagliardi looks on.

Local 257 delegates to the national convention

“The 102nd AFM convention was the smoothest and most efficiently conducted of the four that I’ve had the privilege to attend. It was also a fitting send-off to the leadership team that guided the AFM through the past turbulent decade plus. Thanks to Ray Hair for the appointment to the Law Committee. Having interacted over the years with many of the new International Officers and Board members, I have confidence in the new leadership as we move into the future. Congratulations to our own International Vice President, Dave

Pomeroy.” — Tom Wild

“I feel very fortunate to represent Local 257 at the international convention. It was inspiring to see so many people, representing tiny locals and huge ones, orchestra players, session players, casual gig players, all trying to strengthen our ability to be treated fairly by employers. Exhausting — if ‘What happens in Vegas stays in Vegas,’ there are a lot of incredibly long meetings with excruciating detail in Vegas now — but I feel better about the union’s future now than I have for a while, and glad to vote for Dave for VP!”

— Tiger Fitzhugh

“I received a certificate for serving as a Convention Delegate for 25 years — since 1995 in fact — along with many friends who began their careers as Players Conference officers and later became voting delegates like me. To represent Local 257 at these conventions is a real honor. Another high point was my appointment by President Ray Hair to serve as Chair of the Good & Welfare Committee; my committee was one of five that heard testimony about Recommendations and Resolutions submitted to the convention for consideration, and following committee deliberations I reported the committee’s favorable or unfavorable recommendation as well as rationale for that recommendation. It was a great honor to serve my Local and the AFM in this way.”

— Laura Ross

Local 257 convention delegates Tom Wild, Laura Ross, Tiger Fitzhugh and Local 257 Secretary-Treasurer Will Barrow

Jay Blumenthal and Laura Ross with her attendance award

TRISHA YEARWOOD AND JOHN PRINE

Trisha Yearwood and the late John Prine will be inducted into the Austin City Limits Hall of Fame at an event to be held Oct. 26 at the Moody Theater in Austin, Texas.

“Appearing on Austin City Limits for the first time in 1992 was a rite of passage for me as an artist,” Yearwood said. “After watching all of my heroes grace that stage, walking onto it myself was a spiritual experience. I am so honored to go into the ACL Hall of Fame, made even sweeter by going in alongside my friend John Prine. Getting to sing with John was one of the highlights of my career, and I’m proud to share the evening honoring his memory.”

“We are delighted and honored that Austin City Limits will induct John into its esteemed Hall of Fame,” says Fiona Whelan Prine. “ACL is an important institution, celebrating the very best of American music and performances. John was always proud to appear on Austin City Limits. This induction would be a proud moment for him to join some of the artists he most admired. It is especially meaningful that he will be inducted alongside his dear friend, and duet partner, Trisha Yearwood.”

“John Prine and Trisha Yearwood represent both the growth and continuity of ACL’s legacy,” said longtime ACL Executive Producer Terry Lickona. “John was the consummate songwriter whose body of work on ACL spans decades. Trisha was one of a new breed of women in country music, and one of the first to recognize ACL’s value and impact. They are foundational artists in ACL’s rich legacy.”

Past Local 257 inductees to the ACL Hall of Fame include Kris Kristofferson and Lyle Lovett, as well as the late Guy Clark, Loretta Lynn, and Roy Orbison. Musical highlights and inductions from the ceremony will air on PBS in 2024.

PATTY LOVELESS

The accomplished career of singer, guitarist, songwriter, and Local 257 life member Patty Loveless will be the subject of an upcoming exhibit at the Country Music Hall of Fame and Museum. Patty Loveless: No Trouble with the Truth will trace her story from Appalachian roots to her award-winning career, and will be open from Aug. 23, 2023, through October 2024.

“My journey into a career of music all started out on an Epiphone acoustic guitar my father bought for me in 1969,” Loveless said. “As a 12-year-old, I didn’t want to set the world on fire, I just wanted to play and sing music. By the age of 14, I wrote ‘Sounds of Loneliness’ and ‘I Did’ on this guitar, two songs that in 1986 ended up on my debut album for MCA records. Now that guitar will be displayed in my exhibit at the Country Music Hall of Fame and Museum, where it truly belongs with other memorabilia of the many people that supported me throughout my musical journey to whom I’m forever grateful.”

In support of the exhibit’s opening, Loveless will participate in a conversation and acoustic performance in the museum’s CMA Theater Aug. 26.

Some of the notable pieces on display will include stage wear, tour memorabilia,

manuscripts, set lists, instruments, photographs, videos, posters, and advertising pamphlets.

A Kentucky native, Loveless was the youngest of eight children in a coal mining family. By age 11, she began singing and writing songs. At age 12, she learned to play the guitar her father gave her and started performing with her brother Roger as The Singing Swinging Rameys at fairs, festivals, schools and more. At age 15, Loveless began performing with the popular country duo the Wilburn Brothers on the weekends, later joining them on tour after she graduated high school. In 1985 she signed with MCA Records, and three years later had her first Top 10 hit record. Over the course of her career, Loveless has won five Country Music Association awards, two Academy of Country Music awards and two Grammys. She became a member of the Grand Ole Opry June 11, 1988, and will be inducted into the Country Music Hall of Fame in October of this year.

JOHN ENGLAND

John England, leader of the popular Western Swingers band, was honored as a Western Swing Hero earlier this year by the Cowtown Society of Western Music. The ceremony took place May 6 during the 23rd Annual CSWM Western Swing Fest, held in Mineral Wells, Texas.

England said in a post on social media that he’s happy for the recognition he and the Western Swingers have received.

bor of love. Our current lineup sounds great, and we have a lot of fun playing together. We couldn’t have stayed together this long without the remarkable loyalty of Jesse Lee Jones at Robert’s Western World, a lot of wonderful musicians, and the support of so many music lovers. Thanks a lot!”

John England and the Western Swingers play regularly at Robert’s Western World on Lower Broadway, and at other area venues. For more information and their schedule, visit them on Facebook, or at westernswingers.com

“We have just hit our 22nd anniversary, and I’m really proud of that. For me, the Western Swingers has been a la- TNM

Western Swingers (l-r) Walter Hartman, Derek Pell, John England, Rory Hoffman, (not pictured) Tommy Hannum and Geoff Henderson

“We have just hit our 22nd anniversary, and I’m really proud of that.”

— John England

New home for Chet

Russ Faxon’s wonderful Chet Atkins sculpture commissioned in 2000 for the Bank of America building was moved June 9 to its new permanent home at the entrance of the Musicians Hall of Fame and Museum. The unveiling and rededication ceremony was a sweet tribute to the legacy of Mr. Guitar.

1. (l-r) John Knowles, C. G. P.,* Ray Stevens, sculptor Russ Faxon, Dave Pomeroy, Linda Chambers, and Steve Wariner, C.G.P.*

*Certified Guitar Player

2. Steve Wariner plays “ Windy and Warm” in honor of Chet.

Trombonist Desmond Ng, drummer and band leader Sofia Goodman, and percussionist Jimmy Lopez perform at the Nashville Jazz Workshop July 14.

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An Afro-Caribbean World Music Workshop was presented in June by Giovanni Rodriguez, with Marcela Pinilla, Yosvani Cordero and Manuel Manotas Ramirez.

Bill Pursell honored

at Lost in Time album release celebration

1. The superb ensemble behind Laura Pursell included Tom Hemby and Pat Bergeson on guitars, Bob Mater on drums, Jim Ferguson on bass, and Jason Coleman on piano. The eight-piece string section, conducted by Steve Mauldin and led by David Angell, featured David Davidson, Conni Ellisor, Karen Winkelmann, Patrick Monnius, Sari Reist, Monisa Angell, and Paul Nelson.

2. Laura Pursell joins Charlie McCoy for a song in tribute to her dad, the late Bill Pursell.

Nashville Jazz Orchestra

NJO performed at Cheekwood’s annual Classic Cars event after-party for car owners on June 17. Pictured below, front row from left: Leader/pianist Ted Wilson, sax players Brandon Moore, Alex Graham, Jimmy Bowland, and Ryan Middagh; Middle row: Bo Clayton, Vinnie Ciesielski, and Casey Brefka on trumpets, trombonists Bill Huber and Jeff Adams; Back row: drummer Bob Mater and bassist Rod Linton

continued on page 16

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Pins

Justin David proudly displays his 25-year pin with his family. He sent us his thoughts on the milestone. “I would like to thank Local 257 for supporting me for 25 years as a member of the musicians union. These girls pictured with me, (Abby, Mylea, and Molly,) have made every step, endured every day I’ve been gone on tour, and made every sacrifice along my musical journey! Here’s to 25 more years!!! Love to all!!”

SAG-AFTRA rally

LIFE MEMBER

1. Multi-instrumentalist

2. Bassist Billy Taylor celebrates 50 years as an AFM Local 257 member.

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1. The AFM supports our SAG-AFTRA brothers and sisters as they go on strike in search of better treatment from their very wealthy employers.

2. (l-r) Local 257 members Charlie Morgan, Dave Pomeroy, Kathy Chiavola, and Nell Levin stand in solidarity with SAG-AFTRA

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Attention Songwriters: Do You Have Music Streaming?

May Have Money for You!

Everywhere the Wind Blows.. JIM HORN

by Warren Denney

Jim Horn’s father made things with his hands. He was an expert, fine mason, and he knew to build something requires vision and definition. A plan.

So, when one of his sons determined it was in his best interest to leave Los Angeles before finishing his senior year in high school to join Duane Eddy’s incendiary band as a saxophonist, his father quickly brought everything into focus.

Something to the effect of failure not being an option, though his father might have been more creative with his choice of the f-word.

“I had to sit my mom and dad down and tell them what I wanted to do,” Horn said recently, from his home in Virginia. “I’ve been offered a job with Duane Eddy, and it pays good because he’s got No. 1 records out there. The pay is real good. I told them I really had to do this. And my mom was not surprised that I said that, but she wasn’t on my side.

“My dad let me know it was serious [laughing]. I’ve got two months left in high school and I’d have to start the whole year over if I didn’t make it. I’d made up my mind.”

It wasn’t going to be a blind shot for Horn. He was already gone in many ways. The teen was driven to succeed at the thing he loved: emotionally charged music, powered by soul. He heard it on the radio, and he tried to translate it through his own band, Jim Horn and the Blue Notes. School dances. Parties. He became a familiar face in Los Angeles nightclubs, sitting in with different musicians, or just soaking it in. The world was turning

and burning. Just listen to Eddy’s “Rebel Rouser,” the instrumental rocker released in 1958.

This is Horn’s place in history. He was there when it began to burn.

“My brother and I had a lot of albums at that time — jazz, R&B, a little bit of rock & roll had just come in,” he said. “But I loved R&B, and we listened to the Black stations, and I learned a lot from that soulful playing. I listened to Johnny Otis’s show in Los Angeles. It was all R&B.

“That’s what really got me going. Try to play like the musicians you love. Try to sing like the singers you love. It’s all the same thing. And, the big crasher was when I heard Eddy was looking for a sax player. His sax player he had in Hollywood got into recording more, and he couldn’t do the road with Duane anymore. Steve Douglas. He was a friend of mine. Duane had all these big hits out there — ‘Rebel-Rouser, ‘Forty Miles of Bad Road,’ all big hits out there. I got a call from Steve, and he had told Duane to call me. Holy crap.”

“That’s what really got me going. Try to play like the musicians you love. Try to sing like the singers you love. It’s all the same thing.”

When the ground is shifting, things happen fast. He went from working for his father in the summers, playing with the Blue Notes, and his ’50 Chevy to New York and the Alan Freed Easter Jubilee shows at the Brooklyn Paramount theater. It was a trial by fire, and Horn needed help.

“I needed help because he didn’t like the sound of my horn,” Horn said. “’You got to talk to King Curtis. You got to sit down with King and figure out how to get a better sound.’ So, King took me upstairs, told me to get all different stuff, different saxophone, different reeds, mouthpiece. So, I went down to the music store the next day and bought everything he told me to buy. Then we went back upstairs. He was a great guy. He saved my ass.

“We were doing the last show. And it was just packed, jammed with teenagers and everything. And so, on the last show, we’re out there and I had the new set-up, all the new saxophone stuff, funky sound, and put a real good edge on it. Growled my horn. I’ve never told anybody this … and so, we played ‘Rebel Rouser’ at the end and it goes up a half-step, and I’ve got that answer. On the final going up to the top note and everything, I jumped in the air — I leaped up in the air and landed on my feet. And Duane flipped out. And, when I was coming off the stage, Duane grabbed me, and I thought he was going to fire me, but he said ‘Dammit, man, leave that in the show every night, man! You got the gig.’”

That’s how Horn’s life story began, deep in the hurly-burly, embryonic state of a new American art form.

“That’s how everything started and just came to a head,” Horn said. “And, man, I was wailing. And, I hung with it — I don’t know, four or five years, and I got into the studio work. Everybody was using me in the studios, because nobody played like I did. And, I learned to play the flutes and oboe, English horn, and piccolo, just all the saxophones. I was probably the busiest sax player in Hollywood for quite some time.”

There are rock & roll flashpoints scattered about the land, and Los Angeles in the mid-60’s was one that seethed. But, when someone is said to have played with everyone, it is often taken with a grain of salt. Not with Horn. He’s played with everyone.

“I definitely played with everybody there that would come,” he said. “And, it would be new people that you’d never heard of. When the Beach Boys got going, and stuff like that. I was doing all of that, and everything was different. I worked with Ray Charles, in the studio with him. I got to do stuff with different Beatles and all of that started coming in. George Harrison did a lot for me with that. And, oh man,

“I got into the studio work. Everybody was using me in the studios, because nobody played like I did.”

Blue Notes

Jim Horn and James Taylor

Lynyrd Skynyrd horn section with Gary Rossington

Jim Horn, Bruce Springsteen and Stephanie Horn

it was just one of those things where everybody that was cutting the records then. It was Canned Heat. ‘Going Up the Country.’”

“And Elvis Presley — the movies I worked on with him. The sessions I worked with him. He was one of my favorites. He’d say, ‘Come on, Jim, get your horn, man.’ You knew when Elvis said that, you ran over and got your horn.”

Horn grew into himself — he learned who he was in the studio. It was a rare education, and a life not easily understood by men in the street.

“When new people came to town, like Mac Rebennack — Dr. John — I was there where the action was,” he said. “I had a session with Phil Spector. That was before he lost his marbles — yeah. But, he was a genius. And, Dr. John was on the session with us, and playing keyboards. He didn’t have a car then, and I’d give him rides. It was wild, man. I got to know him, and we got real tight, and he started using me on his sessions … I had a great life with all these crazy people.”

Horn let the music carry him along, somewhat windblown at times. He was open to all possibilities, and that was a strength that allowed him to share studio space and stages with artists such as Leon Russell, Elton John, George Harrison, Joe Cocker, the Fifth Dimension, Steely Dan, Warren Zevon, Aaron Neville, Boz Scaggs, Delaney and Bonnie, Garth Brooks, Roy Orbison, the Righteous Brothers, U2, Kenny Chesney, Linda Ronstadt, Vince Gill, Stevie Wonder, the Rolling Stones, Barbra Streisand, for God’s sake — the list literally goes on forever. He became an integral part of John Denver’s music, a collaborator and close friend of the late singer and songwriter, and became in his own words, Denver’s “wind, water, and birds in his music.”

Horn landed onstage at the Concert for Bangladesh organized by Harrison in 1971. He led the Hollywood Horns, playing the live recorded shows with Harrison, Ravi Shankar, Bob Dylan, Eric Clapton, Ringo, Badfinger, and others in what now seems like an abstract, and quaint time when people truly cared about the plight of the world and those around them.

The same wind that allowed him to travel the far reaches of the planet, allowed Horn to land in Nashville. That wind might have been a woman, or maybe some sessions with producer Jimmy Bowen in the 1980s, but whatever drew him to the city opened the door to a new chapter in music.

“I was leery of moving to Nashville because I thought — well, I wasn’t doing any sessions right away,” Horn said. “So, Don Williams gets me into the studio to do ‘That’s the Thing About Love.’ I’ve got Don Williams records, man. I love him. [I didn’t really know what to expect] Don was in the booth with all the band members waiting on me, and I walked in there, and he had that low voice. Real cool. And so, he said, ‘Let’s get out there, fellas.’ It’s almost like you were on a farm somewhere and they’re bringing the horses in or something.

“And he says, ‘Jim, I want you to play a solo on this, and I don’t care what kind of sax you use, and you can listen to it first and then decide.’ Right then I knew I was working with nice people. Keyboard player, everybody, guitar, bass, drums, everybody was like a family.”

Horn did find family in Nashville, recording with Ronnie Milsap, playing and touring with Williams and Delbert McClinton for several years, and became a part of Wynonna’s world, recording with her on the platinum-selling Tell Me Why, her second solo

Hollywood Horns at the Concert for Bangladesh

(l-r) BIlly Burnette, Larry Knechtel, Mick Fleetwood, Duane Eddy, Steve Cropper, James Burton, Jim Horn

Photo courtesy Billy Burnette

record released in 1993, and going on the road for a year. He played with Garth Brooks at the memorable Central Park concert in 1997, recorded for HBO, and at the Hollywood Bowl. He found himself on Vince Gill recordings, and became a longtime touring member of Kenny Chesney’s band.

“Everyone I worked with there — Johnny Cash, Waylon Jennings, Willie Nelson … so many great singers. So much great music. Charlie Daniels. Hank Jr. Brooks & Dunn. They all treated me like family. You just know you’re in the right place.” Horn said.

He has found himself so often in the right place at the right time over a career that has touched eight decades. Unbelievable. But, you can’t be in the right place, or the right time, if you don’t have the right stuff. He was there for rock & roll’s Big Bang, and he has forged a career that proves all music to be universal. He is a living thread that has sewn R&B, rock & roll, blues, pop, and country together, confirming that fact. He’s a member of the Musicians Hall of Fame in Nashville, inducted in 2007 as a part of L.A.’s infamous Wrecking Crew.

When Horn reflects now on the brightest moments, he lands on a story about recording live with Ray Charles in his studio in Los Angeles. He was asked to play flute, and a visiting arranger from New York laid it out for him. They ran the song down, and after it was over, Charles was not happy. He asked the arranger to write the chords out for Horn.

“Ray says ‘Jim, baby, just play the fills where they work the best,’” Horn said. “The hair stood up on my head. Ray Charles was calling me ‘baby.’ After we finished recording, he walked right over to me — he knew the lay of the land so well — he just walked right over to me and said ‘Jim, baby. That’s exactly what I wanted to hear, darling.’ Ray Charles is talking to me like that. I’ll take that to my grave. He was something else. Man, he could do anything, say anything, play anything. It’s Ray Charles.” And, Horn’s playing was exactly what he wanted to hear.

Pictured (L-R): Dan Penn, Patterson Hood, Jim Horn, David Hood, Richard Bennett and Vice President of Museum Services Michael Gray at the Country Music Hall of Fame and Museum.

Photo: Courtesy of the Country Music Hall of Fame and Museum

Jim Horn and some of his fellow 2007 Musicians Hall of Fame inductees.

Musicians Hall of Fame exhibit: Alto flute used on “Age of Aquarius” by the 5th Dimension, “God Only Knows” by the Beach Boys, and “Close to You” by the Carpenters.

Horn with some of his traditional Native American flutes.

Jim Horn plays Yamaha instruments.

It is no secret that Marty Stuart and His Fabulous Superlatives — Kenny Vaughan, Harry Stinson, and Chris Scruggs — are one of the most versatile bands in the musical universe. Their recent induction into the Musicians Hall of Fame was just one more validation of their status as a superb live band that also knows how to make outstanding records. This album contains many great individual tunes, but should be listened to as a whole to really feel the impact and intent of the excellent collective effort. Stuart wrote every tune on this album, and it holds together wonderfully.

The album opens with the first of three cosmic instrumentals titled “Lost Byrd Space Train.” Stuart punches out a series of hot licks on the late Clarence White’s iconic string-bender Tele over a funky groove, setting the tone for this primarily electric guitar-driven project. The next tune, “Country Star” is an anthem to the working-class ethic of an up and coming country artist, and the possible consequences of his search for adventure. Stuart’s voice has never sounded more powerful, and the band is punching the daylights out of the aggressive groove. It also marks one of the late great Hargus “Pig” Robbins’ final sessions, and also features Jim “Moose” Brown on organ.

Marty Stuart and His Fabulous

Superlatives

Altitude

Snakefarm Records

Powerful 12-string electric guitar kicks off “Sittin’ Alone,” and combined with the sweet harmonies of the Superlatives, takes the listener back to the ‘60s, with a “Byrds meets the Beatles” vibe. “A Friend of Mine” has tons of reverb, and a pulsing eighthnote groove. The lyric talks about all the things that we might have in common, both good and bad. “Space” reintroduces the unique sound of the electric sitar, and the Superlatives dance around Stuart’s pleading vocal and sitar bends, giving him lots of room to express the complex emotion of this tune, and he does just that.

scorching Tele bending solo and fills are right on the money.

The title track comes out blasting from the past with a straight-up country shuffle right out of the ‘60s, with Pig Robbins playing that 4/4 groove as only he could. Stuart’s authentic vocal, Gary Carter’s nimble steel, and twin fiddles courtesy of Aubrey Haynie and Billy Contreras complete the picture. “Vegas” is a driving twangfest with guitars and shakers pushing Stuart’s laidback vocal towards the edge, and his

“The Sun is Quietly Sleeping” is a sweet ballad that features gorgeous strings arranged by Kris Wilkinson, and played by Wilkinson, David Angell, David Davidson, and Sari Reist, plus Sam Bacco on vibraphone. The second installment of “Lost Byrd Space Train” has a trippy rockabilly feel with strings, guitars, and percussion that intertwine before segueing into a wild free form intro to “Nightriding” that slides into a slinky shuffle, with Stuart reminiscing about nocturnal cruising around town with no particular place to go. “Tomahawk” has a slippery ‘50s train beat, with multiple stacked guitar solos that would make Les Paul proud surrounding the enigmatic lyric. “Time to Dance” is a driving tune that celebrates the good stuff that happens to those who work hard for a living at the end of the day. Kenny Vaughan absolutely slays the wah-wah guitar solo, and if there was ever any doubt, on this track the Superlatives prove that they can rock out with the best of them.

Things calm down with the sweet acoustic sound of “The Angels Came Down,” and that brings it all back home. On this song and throughout the album, the background vocals of Stinson, Vaughan, and Scruggs are tight, soulful, and add the

“Real music about real subjects, played and sung with class, and fire.”

perfect color. The album closes with a final “Lost Byrd Space Train” excerpt that ends with a mournful train whistle.

This is an album that bears repeated listening, and has no weak spots whatsoever. Hats off to Marty Stuart and His Fabulous Superlatives for once again raising the bar with real music about real subjects, played and sung with taste, class, and fire.

— Roy Montana

Nick Bruno

The REAL Nashville Number System

The Nashville Number System is one of the most unique elements of Music City’s evolution as a recording center. The history of the system in Nashville began with the Jordanaires using numbers as a way to arrange vocal parts quickly, which was observed and adapted to include chord charts by studio musicians Wayne Moss and Charlie McCoy. It quickly became the standard of notation in Nashville studios for nonorchestral sessions. Conceptually, this system was perfect for a town full of capos and detuned guitars. It makes so much sense to be able to think of a song’s chord structure as a moveable mathematical equation, rather than a series of letters that need mental transposition if the key changes to suit the singer — which happens a lot in the studio. Having learned the number system when I first moved to Nashville in 1977, I can testify that this musical shorthand it is one of the reasons why recording musicians in Nashville are so time-efficient.

Longtime Local 257 member, keyboardist, arranger and producer Nick Bruno has had a long and interesting career — working with many major artists including Elvis Presley, J.D. Sumner and the Stamps, Johnny Rivers, The Imperials, and Dolly Parton, and many recording sessions with musicians including Charlie McCoy, Bob Moore, Buddy Harman, and Leon Rhodes. He is a member of the Gospel Music Association Hall of Fame, and received a Lifetime Achievement Award from the Southern Gospel Music Guild.

Having learned about the NNS directly from Charlie McCoy back in the day, and having read Local 257 member Chas Williams’ excellent book on the Nashville Number System, Bruno was inspired to take it up one more notch and dig deeper into this conceptual formula. After he was done, both McCoy and Williams chimed in, recommending Bruno’s book as the next step forward. The beauty of this system is the freedom of interpretation, and Bruno takes the time to explain the roots of the system and how to use it for your own knowledge and musical expression. Throughout the book, Bruno carefully explains the various similarities and relationships between traditional music notation and the Nashville Number System. In particular, Bruno focuses on areas that have been somewhat vague in the past, including the misconception that the NNS is based on chord harmonization, the diatonic scale, and/or the Roman numeral system. Of course, there are many similar-

ities, but as Bruno points out, the NSS defines every chord as a major triad unless notated otherwise. This provides more flexibility in the long run, as specific notation versus traditional harmony concepts is a more accurate methodology. He also includes an enlightening section delineating complex chords as a combination of a triad with a different root note, which simplifies things considerably.

Bruno includes numerous examples of number charts in several styles and genres and a CD of those songs as well. This is a very informative book overall which shines a light on the universality of musical expression, and arms the reader with the tools to take their musical abilities up several notches. Congrats to Nick Bruno for honoring the past and enlightening the future. The book is available, both in traditional print and digitally at www.nickbruno.com.

— Dave Pomeroy

Support your local union

BY MELINDA WHITLEY

AsI approach the end of my first year as shop steward in the Nashville Symphony, I think taking a moment for a little reflection is appropriate, and I would like to share my thoughts about something important with the larger music community in Nashville. Like other colleagues in my generation, I have been an AFM member for as long as I can remember. Many of us initially joined as music students and worked in union orchestras to pay our way through school. Having grown up around several orchestras battling labor issues, it never occurred to me not to join the AFM.

Living in Nashville for over 20 years, it has been an effort to reconcile for myself what it means to have a job in a professional union orchestra in a “right-to-work” state. I am learning how to discuss both what I see, and how that is different from what I would like to see. I certainly do not have all the answers to our unique issues in Nashville. It seems to be a complicated and uncomfortable discussion for most people.

Knowing that people will avoid what makes them uncomfortable creates a bit of a bind here for my orchestra. It is much easier to move on with our individual lives, focused on things that make us feel good, especially when what makes us feel good is making more money, right now. I am grateful that some of our symphony musicians have opportunities to do so.

Your union has your back

Alas, opportunities do not knock on everyone’s door equally or exactly when we might need it. But to me, that is the reason for being in a union orchestra that really works for all of us — even for our management, board of directors, audiences, and our entire local music community. Simply calling a group a team does not make it a team, but working together for the good of everyone does. A union orchestra watches out for things that affect its members with the least amount of resources. We make the music together, and we leave the welfare of no one behind, because if we do, the abilities of the ensemble will suffer.

For example, if we are short in an instrumental section due to things like illness, injury from overwork or overplaying, or a salary that does not measure up to industry standards, the whole ensemble has to adjust our sound production, often by hiring extra temporary help unless we leave the chair vacant. Even when we play amplified concerts, an engineer at the mixing board has to adjust for perceived weaknesses on the stage. So the strengths and overall health of our musicians is paramount. Without it, more

people have to work to support the work we do. That costs everyone more time, energy, and money.

Without getting too far into state politics, the fact that our state is a “right-to-work” state means that it is more difficult for our union to conduct business on behalf of the musicians. Yet healthy, well-cared for musicians help the entire organization to be successful. Well-cared for musicians do not typically feel the necessity to struggle or fight to meet their needs. In fact, a wellcared for employee is typically more willing to go the extra mile for an organization when it is needed.

The city of Nashville and the other music business employers who hire the Musicians of the Nashville Symphony benefit from the strong and healthy union membership of the symphony musicians. Because of our union, other employers who hire our fantastic and highly skilled symphony musicians, do not have to meet the most important needs of those they hire, such as health, dental, disability, and life insurance, instrument insurance, pension payments, family leave, sick time, not to mention the guaranteed salary for a negotiated amount of work that allows those same symphony musicians the freedom to use their spare time to help out other employers with fewer resources to share. Our success in negotiating salaries, benefits, and work rules for our musicians in the Nashville Symphony enables everyone’s continued success.

Union dues give back multiple benefits

This success does not just happen organically. It is purposeful and by design. It requires a commitment and buy-in from all of us in the form of work dues and membership dues amounting to a small percentage of our pay that is negotiated and protected with our full participation. Among other things, these dues pay for needed resources like professional people and materials that make negotiations successful. It is a proven fact that union workers earn more in compensation and benefits than nonunion workers in all types of industries, including the music industry.

So, the next time an employer uses any of the Musicians of the Nashville Symphony and enjoys a successful profitable project, remember to thank your union musicians of the NSO. Even if the project was “off-the-card,” or quietly used a mix of union and nonunion musicians, I want everyone to recognize that our unionized symphony musicians contributed to your success. We deserve every eligible musician’s participation and every local employer’s support.

This quarter I’m glad to report — the joint is jumpin’. So, let’s get to it.

Made for summer

There’s lots of good activity left for the season in Metro Parks. Swing with Big Band Dances in the Centennial Park Event Shelter every Saturday night through Aug. 26. Dance lessons available as well. Food is available from food trucks each week. The Music Performance Trust Fund is sponsoring the big band performances led by Local 257 members, including Casey Brefka’s Music City Big Band Aug. 12. For the full band schedule, go to creativeparksnashville.org

Would your kids like to take up an instrument? The Performing Arts Studio in Centennial Park offers group guitar classes for ages 8-18 Wednesday afternoons. Centennial JamBands for ages 8-18 and all instruments also meets in the afternoons. Adult programs include Tuesday night sessions with a different theme each week, Djembe Drum Classes, and the Hartman Park Band, at various times during the year. Most activities are in the Performing Arts Studio in Centennial Park. To find out what’s available, summer and fall, call 615-862-8440 or email Music@nashville.gov.

The 23rd Annual Jefferson Street Jazz & Blues Festival has moved to the Tennessee State University campus on the Edward S. Temple Track, on July 22. Four bands plus a headliner that is yet to be announced. Want more? How about Patterson’s Blues & BBQ Festival in Lascassas, Tennessee, — a few miles northwest of Murfreesboro — Sunday, July 22 to Monday, July 24. For details go to pattersonrotary.org

Here’s a party for you: The July Summer Jam on the General Jackson Showboat. Party starts at 5 p.m. Sunday, July 30, at the Opryland dock. Three levels of “happy hour” with DJs, then live jazz, blues, and soul with a 3-course meal during a 3-hour scenic cruise on the Cumberland. generaljackson.com

School’s NOT out for summer

Mark your calendars for the Nashville Jazz Workshop’s annual fundraiser — Jazzmania — Oct. 21, in Liberty Hall in the Factory at Franklin. NJW will be releasing more information soon. How about renting the NJW’s Buchanan Street Jazz Cave for your next party, luncheon, or corporate meeting? An upscale, sophisticated space with fabulous acoustics, fully-equipped for sound, A/V, and music! Find out more at nashvillejazz.org .

For the fall semester, the School of Music concerts at Middle Tennessee State University include trumpeter Jamey Simmons’ Composition Recital Tuesday, Sept. 18, and the first concert in the annual Jazz Artist Series Thursday, Sept. 28, in the Wright Music Building. Belmont University School of Music presents its first Faculty Jazz Concert on Wednesday, Sept. 20, in Massey Concert Hall.

Cool summer venues

There’s plenty of jazz at Schermerhorn Symphony Center. Béla Fleck plays Gershwin’s “Rhapsody in Blue” with the Symphony Sept. 9; enjoy an evening with bassist/vocalist Esperanza Spaulding Tuesday, Sept. 26. Piano virtuoso Kenny Barron presents his trio Sun-

BY AUSTIN BEALMEAR

day, Oct. 29. The Symphony plays Concerto for Trombone by jazz legend Chick Corea, featuring trombonist Joseph Alessi three nights — Nov. 2-4. All concerts at 7:30 p.m. More info at nashvillesymphony.org

Want to hear some really serious guitar shredding? Ryman Auditorium presents the return of Shakti with John McLaughlin, Zakir Hussain and special guest John Scofield Aug. 31, then Pat Metheny plays solo Monday, Oct. 9. More info at ryman.com.

Rudy’s Jazz Room in the Gulch has two to three bands every night except Tuesday. A group called MILEStones plays a tribute to modern jazz giant Miles Davis Friday, Aug. 18. If swing is your thing, Sully’s Swingin’ Sunday Supper offers a swing band with a special dinner a couple of Sundays each month. For more jazz and food, head down Jefferson Street to 18th Avenue and bop into Helen’s Hot Chicken for Monday Night Jazz. Still going strong is the Sunday Blues Jam at Twin Kegs II on Hermitage Avenue. Sit-ins with the host band welcome.

On the East Nashville side, The 5-Spot in Five Points has blues every Monday night, and you can experience the roots of jazz and blues with the band AfroKokoRoot July 28 and Aug. 25. Want a comfy place to catch up with a friend, hear some good sounds, and watch the evening sky? Go for Van Gogh’s Wine Bar on Woodland Street. It’s an intimate bar in an old house with an unfussy music garden that features jazz Saturday nights.

See you out there.

Béla Fleck

Widely-acclaimed bassist Michael Rhodes, 69, died March 4, 2023. The ten-time winner of the Academy of Country Music’s Bass Player of the Year Award worked on a plethora of Grammy-winning records, and was inducted into the Musicians Hall of Fame as a member of The Players in 2019. Rhodes was a life member of the Nashville Musicians Association who joined Local 257 May 2, 1979.

Rhodes was born in Monroe, Louisiana, on Sept. 16, 1953. In an interview he said the first music to catch his ear was the drum and chanting he heard in Tarzan movies. He wasn’t from a musical family, but has said that in his house the radio or records were always playing — R&B, Cajun, and other genres. Older neighborhood boys introduced him to Jerry Lee Lewis and Elvis Presley, and Rhodes started teaching himself guitar at 11 — but even then, he said he always liked the bottom strings the best. A neighborhood band needed a bass player, so Rhodes borrowed one and joined the group. Eventually he convinced his mother to buy him a Silvertone bass, and he began to play the local circuit with assorted cover bands, which resulted in Rhodes becoming proficient at playing all kinds of music. He lists Tommy Cogbill, James Jameson, Norbert Putnam, and David Hood, among other notable bassists, as early influences during this time.

In 1971 Rhodes moved to Austin where he worked with a local band until his move to Memphis, to play with Charlie Rich’s son, Allan Rich. He had friends playing in a house band in Nashville, and friends working with Tree Publishing, which led to Rhodes beginning to play demos for Tree. The work increased, and he moved to Nashville in 1977. “Everyone thinks they can play country music, but it’s really hard,” Rhodes said in an interview. “It’s an exercise in minimalism, and every note has to mean something.”

Rhodes went on to record with a stunningly long list of artists from multiple genres over the next 40 years, a sampling of which includes Willie Nelson, Etta James, Mark Knopfler, Alan Jackson,

Michael Rhodes

Sept. 16, 1953 – March 4, 2023

Stevie Nicks, Brian Wilson, Joss Stone, Lee Ann Womack (“I Hope You Dance”), Dolly Parton, the (Dixie) Chicks, J.J. Cale, Wynonna, Merle Haggard, Randall Bramblett, Amy Grant, Hank Williams Jr, the Highwaymen, Shawn Colvin (“Sunny Came Home”), John Oates, George Strait, Kenny Chesney, Bob Seger, Dave Stewart, Keith Whitley, Joan Baez, Lionel Richie, Burt Bacharach, Aaron Neville, Johnny Cash, Lonnie Mack, India.Arie, Buddy Guy, Grace Potter, Billy Joe Shaver, Ruthie Collins, Michael McDonald, Dan Penn, Jennifer Holiday, John Fogerty, Elton John and Joan Osborne.

Drummer Eddie Bayers played with Rhodes many times over the years and was a longtime friend.

“Michael and I first met in 1977. It was one of those mystical happenings. We became part of each other. I’m thankful for recordings and videos we shared with each other because I can listen and watch the great music we shared together. We didn’t just share music together, we shared life,” Bayers said.

Although he was in high demand as a session musician, Rhodes also found time to play on several tours with artists that included his childhood hero Steve Winwood, as well as Vince Gill, Rodney Crowell, Roseann Cash, and more recently, Joe Bonamassa.

In the ‘80s he performed with beloved local rock band the Nerve, and continued to play with a variety of bands throughout his career, including The Players, The Fortunate Sons, the Oz Noy Trio, the World-Famous Headliners, the Vinyl Kings, the Pat McLaughlin Band, the Delta Playboys, The Purifires, and the Grammy-nominated Notorious Cherry Bombs.

Survivors include his wife Lindsay Fairbanks Rhodes; one son, Jason Rhodes; one daughter, Melody Wind Rhodes; Lindsay’s sons, Van and Weston Hayes; and six grandchildren.

Donations in Rhodes’ name may be made to the Music Health Alliance, 2737 Larmon Drive, Nashville, TN, 37204 or online at musichealthalliance.com

N. “RUSTY” RUSSELL

May 5, 1956 – March 27, 2023

MARVIN GLYNN RUSSELL

Dec. 29, 1936 – March 12, 2023

Guitarist and teacher Marvin Glynn Russell, 86, died March 12, 2023. He toured with Wilma Lee and Stoney Cooper in the ‘60s and played with many other artists as well. In 1965 he began to teach guitar, and would go on to instruct thousands of students over the decades. Russell joined AFM Local 257 Aug. 29, 1962, and was a 60-year Nashville Musicians Association life member.

He was born Dec. 29, 1936, in Maryville, Tennessee, to Clifford and Iva Russell of Blount County. Russell graduated from Lanier School in 1955 and afterwards worked at a gas station, but found playing music more lucrative. In 1959 he was asked by Sevier County resident Bill Owens to play on some demos for his 13-yearold niece, Dolly Parton. The songs helped lead to stardom for the teenager who went on to perform on the Grand Ole Opry that year. The songs appear on Parton’s 2004 compilation The Early Years

Guitarist Raymond N. “Rusty” Russell, 66, died March 27, 2023. He was a touring and session musician, songwriter, and the longtime host of the monthly Local 257 Musician-Songwriter Sessions — the event now known as the Musician-Songwriter Workshop. Russell was also a professional writer and photographer. In addition to guitar, he played bass and trumpet, and joined Local 257 Jan. 31, 2007.

Russell was born May 5, 1956, in Casper, Wyoming. His passion was music, particularly jazz guitar. Over the course of his career, he taught and mentored many aspiring musicians. His work for publications included photography and writing for Vintage Guitar. He was also the Nashville editor for Guitar Player.

Friends lauded Russell’s enthusiasm, kindness, and humor.

Revered guitarist and songwriter Gary Talley talked about his long friendship with Russell.

“I am so sad to hear my old friend Rusty Russell has passed. We worked and played together many times over the years. He just mailed me some guitar picks a few months ago. Great musician, photographer, writer and one of the smartest, funniest people in the world,” Talley said.

Violinist Andrea Zonn talked about Russell’s impact on others.

“One of the kindest, wisest, smartest people. Full of great stories, great empathy and great insight. A good neighbor to my mother. A champion to budding musicians. A dog lover, loved by his magnificent pups. And a husband who spoke of his wife with such love and admiration that it altered the universe for the better,” Zonn said.

Russell’s band The Rhythm Masters backed up Con Hunley when the singer first got his start in Knoxville. He also played locally with Don Gibson, and in Nashville worked with artists like the Louvin Brothers, Grandpa Jones, and Red Foley. Russell was in Wilma Lee and Stoney Cooper’s band for a gig on March 3, 1963, with Patsy Cline — the last time the singer performed.

However, Russell said in an interview that he quickly grew tired of the road. “The road life, it’s not the best life when you’re traveling around,” Russell said. “The good part of it was the picking part, the show. When you would get back on the bus, that part there kindly got old.”

Russell decided to return to Blount County and teach full time, a vocation he continued until very recently. He never stopped playing, and some of his work can be seen on YouTube; he was a gifted fingerpicker in the style of Chet Atkins. Many of his students spoke movingly after his passing about Russell and the impact he had on their lives.

“I enjoy giving lessons and seeing kids and grownups and teaching new songs and things like that. Some of these kids might be just like Dolly — a 13-year-old kid today, but they might be a star tomorrow,” Russell said.

Russell was a member of the Greenback Memorial Church.

He was preceded in death by his wife, Linda J. Russell; and two brothers, Newmon and Lester Russell. Survivors include two sons, Michael Perkins and Tommy Russell; two daughters, Lisa Norville and Melissa Brown; five grandchildren; four great-grandchildren; one brother, Gerald Russell; and one sister, Sandra Hipps.

Services were held at McCammon-Ammons-Click Funeral Home March 14 with interment March 15 at Sherwood Memorial Gardens.

Marvin Glynn Russell

Survivors include Russell’s wife of 23 years, Lynn Questell; one sister, Marcie McKenzie; and one nephew.

A memorial service was held March 31 in Glenpool, Oklahoma. Donations may be made in Russell’s name to a favorite charity.

“We worked and played together many times over the years. Great musician, photographer, writer and one of the smartest, funniest people in the world.”

— Gary Talley

continued from page 29

BRUCE OSBON

May 30, 1939 – March 3, 2023

Guitarist Bruce Osbon, 83, died March 3, 2023. He was a longtime member of the Porter Wagoner band, and a life member of the Nashville Musicians Association who joined Local 257 Nov. 16, 1966.

The Greene County, Indiana, native was born May 30, 1939, to Kathryn and Tom Osbon. By the time he was a teenager he was playing local gigs, and in 1965 he moved to Nashville to pursue his dream of playing on the Grand Ole Opry. The accomplished flat top picker succeeded and surpassed his goals. In addition to Wagoner, Osbon performed and recorded with artists such as Dolly Parton, Stan Hitchcock, Nat Stuckey, Dottie West, Skeeter Davis, Jim Ed Brown, Mel Tillis, Charlie Louvin, and many others. He won the Nashville Super Picker award, and in 2016 he was inducted into the prestigious National Thumbpickers Hall of Fame.

Osbon was a devout Christian who played at local churches, including Evangel Temple and Oak Hill Assembly. He was a longtime member of the Nashville Cowboy Church. Additionally, he worked as a piano tuner for Opryland and for residential customers in Nashville for many years. Friends remembered him for his showmanship, his devotion to his family, and his love of stories and jokes. He was known for helping musicians new to Nashville learn the ropes, including the Nashville Number System.

In addition to his parents, Osbon was preceded in death by his wife Frances; one sister, Ardath Brown; and one granddaughter. Survivors include two daughters, Valeri Allen and Shellie Sullivan; one sister, Nan Arnold; one grandson; three great-grandchildren; and numerous nieces, nephews, and cousins.

A celebration of life was held March 11 at Woodlawn-RoeschPatton Funeral Home and Memorial Park. Donations can be made to Discovering the Jewish Jesus at discoveringthejewishjesus.com

JOHN A. SHEPHERD

May 27, 1937 – April 3, 2023

Life member John A. Shepherd, 85, died April 3, 2023. He was a guitarist and singer who played venues on Broadway in Nashville for over 50 years. Shepherd was a 50-year AFM member who first joined the Nampa, Idaho, local in 1968. He joined Local 257 Nov. 29, 1976.

He was born in Clearwater, Florida, May 27, 1937, to Patrick V. and Barbara Brownell Shepherd. He first honed his skills in the Rocky Mountain West honky-tonk circuit. Shepherd served in the U.S. Navy, and met his wife, Lois, a Nashville native, when she was booking bands at Naval bases in Pensacola. The couple moved to Nashville in 1972.

In the ‘70s and ‘80s the Shepherds were involved in the Broadway Revitalization Commission, a group of concerned citizens who worked to preserve the heritage of Lower Broadway, which had suffered from such decline that there was even a plan to tear down the Ryman Auditorium. Shepherd spoke out against the planned razing of the area at Nashville City Council meetings, and rallied others to the cause. Over his career Shepherd was a regular performer on Lower Broadway, sometimes accompanied by his wife. He was celebrated for his friendliness, his kindness to fledgling musicians, his fingerpicking, and his extensive knowledge of more than a thousand honky-tonk favorites, including many classic country tunes.

Drummer John Root talked about Shepherd and his support for the downtown musician community.

“John was such a kind soul. Whenever our shifts intertwined on Broadway he would always stop by and wave a dollar in front of the crowd. He’d then put it on the edge of our tip jug to encourage our customers. A little gesture, but a way of showing we’re all in this together. A giving man with an open heart. John and his wife Lois are truly missed,” Root said.

In addition to his mother and father, Shepherd was preceded in death by his wife, Lois Irene Shepherd; and one brother, Thomas A. Shepherd. Survivors include one daughter, Dale Kennedy; two sisters, Carol Shepherd Propper and Margaret E. Shepherd; two brothers, Michael V. and Gordon A. Shepherd; twenty grandchildren; and several nieces and nephews.

A celebration of life was held April 23 at Robert’s Western World in Nashville.

Bruce Osbon and Porter Wagoner Tom and Bruce Osbon

John A. Shepherd

JOE MACK VINCENT

April 1, 1931 – April 6, 2023

Steel guitarist Joe Mack Vincent, 92, died April 6, 2023. He also played guitar and sang. Over the course of his career, he worked with Marty Robbins and Faron Young, and was a 52-year life member of the AFM who joined Local 257 Dec. 15, 1970.

Vincent was born April 1, 1931, and served in the U.S. Army during the Korean War. He toured with Robbins and Young, and played on Robbins’ first hit, “I’ll Go On Alone.” in 1952. Vincent also played on Young’s first No. 1 record, “Live Fast, Love Hard, Die Young ,” which spent three weeks at the top of the Billboard chart in 1955.

Steel guitarist Steve Hinson talked about meeting Vincent.

“I met Joe out at Duane Marrs’ shop, where a lot of steel players hung out. I had heard his great playing my entire life, and was glad to get to meet him and tell him how much I enjoyed his playing. He was a real gentleman, and the records speak for themselves,” Hinson said.

Vincent was a member of Inglewood Baptist Church and was retired from Baptist Hospital.

Survivors include his wife of 60 years, Sylvia Webb Vincent; and one son, Joseph Michael Vincent.

Funeral services were held April 11 at Forest Lawn Funeral Home with Kenneth Webb officiating. A military burial followed in the Forest Lawn Memorial Gardens. Memorial donations may be made to Alive Hospice.

SAMUEL LEE COLLINS

Feb. 25, 1941 – April 9, 2023

Guitarist and singer Samuel Lee Collins, 82, died April 9, 2023. He was a 44-year member who joined Local 257 March 30, 1974.

Collins was born Feb. 25, 1941, in Bloomington, Indiana, to Oscar and Nettie Coffey Collins. He was retired from the Indiana Dept. of Natural Resources, and worked primarily at Paynetown State Recreation Area on Lake Monroe. Collins was a member of the Church of the Firstborn.

Collins was preceded in death by his parents; his wife, Pauline Smith Collins; one daughter, Michelle Deckard; one grandson; one brother; and three sisters.

Survivors include two daughters, Stephanie Sims and Tammy Miles; one sister, Rose Mason; nine grandchildren; and six great-grandchildren.

Funeral services were held April 13 at the Day & Deremiah-Frye Funeral Home in Bloomington. Burial followed in Mt. Gilead Cemetery. Memorial contributions may be made to Heart to Heart Hospice in Bloomington, Indiana.

RALPH E. LAND

May 11, 1946 – Feb. 24, 2023

Nashville Musicians Association life member and U.S. veteran activist Ralph E. Land, 76, died Feb. 24, 2023. He was a percussionist, session musician, and contractor who worked with a variety of artists including George Jones and Sammi Smith, both on tour and for television productions. Land joined Local 257 Sept. 4, 1974.

Land was born May 11, 1946, to Margaret I. and Eulis E. Land. He booked his first recording session when he was only 16, but had to delay his musical career when he was later drafted into the U.S. Army. He was wounded twice during his service, and after retirement from the military he began performing with various groups in St. Louis. He also worked as a staff drummer for the ABC TV Charlotte Peters Show. Land played with an assortment of bands after his move to Nashville. He became a member of The Sidemen, and worked with artists who didn’t have their own bands. Later he went on to form his own group, called Studio Three. After a stint in Los Angeles working on movie score production, his war injuries began to be more problematic and he returned to Nashville.

Through The Vietnam Veterans of America, Chapter 953 he met many others going through similar issues. He became involved with the group Veterans Serving Veterans. He also affiliated with Vietnam Veterans of America Chapter 45 and Vietnam Veterans of America Chapter 240 — which he helped start. Land was named

“I met Joe, Johnny Fautheree, Faron Young, Gordon Terry, and Jimmy Fautheree out at Duane Marrs’ shop. I had heard his great playing my entire life, and was glad to get to meet him and tell him how much I enjoyed his playing.”

— Steve Hinson

Faron Young, The Young Sheriff and His Country Deputies, Tom Prichard, Joe Vincent, Johnny Fautheree, Faron Young, Gordon Terry, and Jimmy Fautheree.

continued from page 31

legislative chairman of the Tennessee State Council, VIP president for the Community Partnership Program (We Honor Americans), and was a participant in the committee to finalize Agent Orange legislation. He was a lifetime member of the Military Order of the Purple Heart, VFW NCOA DAV, past legislative director for the Military Order of the Purple Heart, and president and founder of the Vietnam Veterans of America Chapter 953 in Nashville.

Other affiliations included 6th District Commander, DAV and Chapter Service Office, president for Vietnam Veterans of Nashville Foundation, vice president for the Community Partnership Program (We Honor Veterans), Commander Jerry Reed Music City AMVETS Post 176, member of the Legislative and Governmental Affairs Vietnam Veterans of America, state legislative director for Disabled American Veterans, member of the Tennessee Valley Health Care Veterans Advisory Board, and a member of the board of directors for the Fisher House of Middle Tennessee.

“Ralph was a fine musician and a very good man, who selflessly worked hard for decades to promote respect and understanding for his fellow Vietnam veterans. I will always fondly remember

“Ralph was a fine musician and a very good man, who selflessly worked hard for decades to promote respect and understanding for his fellow Vietnam veterans. I will always fondly remember him leading the Vietnam Veterans in Nashville’s Veterans Day parade. He made us proud, and he will be missed,”

him leading the Vietnam Veterans in Nashville’s Veterans Day parade. He made us proud, and he will be missed,” said Local 257 President Dave Pomeroy.

In addition to his parents, Land was preceded in death by one brother, David Neil Land.

Survivors include his life partner, Cindy Tan; one brother, Harold Land; one sister, Anna McGowan; one nephew; one niece; three greatnephews; and close family friends, Lan Phan and his wife, Linh Phan.

A remembrance was held followed by a funeral service March 3 at Spring Hill Funeral Home and Cemetery in Nashville. A committal service is planned for the Middle Tennessee Veterans Cemetery. Donations may be made to a charity of choice.

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.

Ralph Land

— Dave Pomeroy

DO NOT WORK FOR

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

TOP OFFENDERS LIST

Tommy Sims dba Positive Movement

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

Nashville Music Scoring/Alan Umstead – solicitation and contracting nonunion scoring sessions for TV, film and video games. Musicians who work for them without an AFM contract are being denied appropriate wages and all intellectual property rights.

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

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

• Terry K. Johnson/ 1720 Entertainment (unpaid contracts/unauthorized sales –Jamie O’Neal project)

• Ed Sampson (producer) & Patrick Sampson (artist) (multiple unpaid contracts/ unauthorized sales) They are making small payments towards this debt.

• Revelator/Gregg Brown (multiple bounced checks/unpaid contracts)

• Beautiful Monkey/JAB Country/Josh Gracin

• Eric Legg & Tracey Legg (multiple unpaid contracts)

• Ray Vega/Casa Vega

• Quarterback/G Force/Doug Anderson

• Rust Records/Ken Cooper (unpaid contracts and pension)

• HonkyTone Records – Debbie Randle (multiple unpaid contracts/pension)

• Mike Barrios (unpaid live performance wages)

UNPAID CONTRACTS AND PENSION

Knight Brothers/Harold, Dean, Danny & Curtis Knight

River County Band/SVC Entertainment

(unpaid demo conversion/pension)

UNPAID PENSION ONLY

Comsource Media/Tommy Holland

Conchita Leeflang/Chris Sevier

Ricky D. Cook

FJH Enterprises

Matthew Flinchum dba Resilient

Jeffrey Green/Cahernzcole House

Randy Hatchett

Missionary Music

Jason Morales (pension/demo signature)

OTB Publishing (pension/demo signature)

Tebey Ottoh

Ride N High Records

Jason Sturgeon Music

AFM NON-SIGNATORY

PHONO LIST

We do not have signatory paperwork from the following employers — pension may have been paid in some cases, but cannot be credited to the proper musicians without a signatory agreement in place. If you can provide us with current contact info for these people, we will make sure you get your proper pension contribution for your work.

604 Records

Heaven Productions

Stonebridge Station Entertainment

The Collective